{"id":9585,"date":"2025-06-19T06:48:07","date_gmt":"2025-06-19T06:48:07","guid":{"rendered":"https:\/\/iffh.nl\/?page_id=9585"},"modified":"2025-06-19T06:52:55","modified_gmt":"2025-06-19T06:52:55","slug":"previous-editions-2021","status":"publish","type":"page","link":"https:\/\/iffh.nl\/old-web\/previous-editions-2021\/","title":{"rendered":"Previous Editions 2021"},"content":{"rendered":"

[vc_row el_class=”team” css=”.vc_custom_1749712162862{padding-top: 156px !important;padding-right: 156px !important;padding-left: 156px !important;}”][vc_column][vc_custom_heading text=”2021 Award Winner” font_container=”tag:h2|text_align:center” use_theme_fonts=”yes”][vc_row_inner][vc_column_inner][vc_column_text]<\/p>\n

\n \n \n \n \n <\/colgroup>\n <\/table>\n \n \n \n<\/div>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”20px”][\/vc_column][\/vc_row][vc_row el_id=”rowsa” el_class=”team”][vc_column][vc_custom_heading text=”Finalist films 2021″ font_container=”tag:h2|text_align:center” use_theme_fonts=”yes”][vc_custom_heading text=”Note: E-Certificates will be sent by e-mail to the submitters after the event” font_container=”tag:p|text_align:center” use_theme_fonts=”yes”][vc_row_inner][vc_column_inner][vc_column_text]<\/p>\n

\n\t
\n\t\t\t
\n\t\t
\n \n
\n \n \"Horizon\"\n
\n
\n \t

Horizon<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"M\u00c9B\u00c9T\"\n
\n
\n \t

M\u00c9B\u00c9T<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"EXIT\n
\n
\n \t

EXIT PACKAGE<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Indebted\n
\n
\n \t

Indebted To All Women<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Outcry\"\n
\n
\n \t

Outcry<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Escape\"\n
\n
\n \t

Escape<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"The\n
\n
\n \t

The Loss of Innocence<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Goodbye\n
\n
\n \t

Goodbye Home<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Straight\n
\n
\n \t

Straight Into The Ocean<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Mama’s\n
\n
\n \t

Mama’s Ashes<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Who\n
\n
\n \t

Who the f… is Roger Rossmeisl<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"TAMBARORO\"\n
\n
\n \t

TAMBARORO<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"From\n
\n
\n \t

From the Ground Up<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"The\n
\n
\n \t

The Common Ground<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"About\n
\n
\n \t

About Her<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Touiza\"\n
\n
\n \t

Touiza<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Monkey\n
\n
\n \t

Monkey Beach<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Tequila\n
\n
\n \t

Tequila Acid Party<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Rann\"\n
\n
\n \t

Rann<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"FEAR\"\n
\n
\n \t

FEAR<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"On\n
\n
\n \t

On \/ Off<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"The\n
\n
\n \t

The System<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Home\"\n
\n
\n \t

Home<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Freedom\n
\n
\n \t

Freedom Farm Sanctuary<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Kanda\n
\n
\n \t

Kanda Bode (Don’t Get Whipped)<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Wall\n
\n
\n \t

Wall #4<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Bibi’s\n
\n
\n \t

Bibi’s Breakfast<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Together\n
\n
\n \t

Together we cycle<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Still\n
\n
\n \t

Still A Revolutionary – Albert Einstein<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"People\n
\n
\n \t

People Talking (S2)<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Utopia\n
\n
\n \t

Utopia Of The Outraged<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"From\n
\n
\n \t

From Durban to Tomorrow<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Wake\n
\n
\n \t

Wake up<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"GUESTS\"\n
\n
\n \t

GUESTS<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"The\n
\n
\n \t

The Third Harmony: Nonviolence and the New Story of Human Nature<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"The\n
\n
\n \t

The Storykeeper<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Letters\n
\n
\n \t

Letters to Zohra<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t
\n \n
\n \n \"Tilted\"\n
\n
\n \t

Tilted<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t

\n\n\n\n\n\n
Daniele De Muro<\/td>\nDirector<\/td>\n<\/tr>\n
Daniele De Muro<\/td>\nWriter<\/td>\n<\/tr>\n
Daniele De Muro<\/td>\nProducer<\/td>\n<\/tr>\n
Chiara Lai, Viola Scuderi, Carlo Porru<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"M\u00c9B\u00c9T\"\n <\/div>\n \n
\n
\n

M\u00c9B\u00c9T<\/h2>

14 year old Njillan, one of the top students in her class, has just been awarded a government scholarship to pursue her secondary education. Excited to share this achievement with
\nher family, she is welcomed with bad news: Her father has given her away in marriage to Sengan, despite the protests from her mother.<\/p>\n

Njillan is forced to let go of her dreams and fulfil her marital duties. She falls pregnant and faces complications while giving birth to her son, Modi. She doesn\u2019t survive. Modi grows up and
\nis initiated into manhood by his grandfather, Njillan\u2019s father. Now a man, he has the opportunity to carry forward the culture of child marriage or reverse the trends and protect his future daughters. He has an encounter with the spirit of his mother, telling her story and pleading him to break the cycle.<\/p>\n

M\u00c9B\u00c9T tells the story of one girl\u2019s attempt to turn the tragedies of the past into lessons for the future. It is a conversation across generations to deliver positive change. The film showcases
\naspects of West-African culture to counter the negative narratives about the continent, and portray the reality of our journeys through stories of resilience and hope.<\/p>\n

Director Biography – Ousman Jarju<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Ousman Jarju<\/td>\nDirector<\/td>\n<\/tr>\n
Jama Jack<\/td>\nWriter<\/td>\n<\/tr>\n
Muhammed H. Mahoney<\/td>\nProducer<\/td>\n<\/tr>\n
Cristian Carbognani<\/td>\nWriter<\/td>\n<\/tr>\n
Ousman Jarju<\/td>\nProducer<\/td>\n<\/tr>\n
Muhammed H. Mahoney<\/td>\nProducer<\/td>\n<\/tr>\n
M.Gabriella Zeni<\/td>\nKey Cast<\/td>\n<\/tr>\n
Mariama Colley<\/td>\nKey Cast<\/td>\n<\/tr>\n
Jainaba T. Sarr<\/td>\nKey Cast<\/td>\n<\/tr>\n
Sheik Tijan Sonko<\/td>\nKey Cast<\/td>\n<\/tr>\n
Rohey Camara<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"EXIT\n <\/div>\n \n
\n
\n

EXIT PACKAGE<\/h2>

A black comedy, quarantine era murder mystery – a ZOOM meeting for a corrupt investment company goes horribly wrong. Made completely through ZOOM, with all of the actors working from home.<\/p>\n\n\n\n\n\n\n\n\n\n\n
John Gray<\/td>\nDirector<\/td>\n<\/tr>\n
John Gray<\/td>\nWriter<\/td>\n<\/tr>\n
Melissa Jo Peltier<\/td>\nProducer<\/td>\n<\/tr>\n
Kirk Acevedo<\/td>\nKey Cast<\/td>\n<\/tr>\n
Henry Czerny<\/td>\nKey Cast<\/td>\n<\/tr>\n
Tim Griffin<\/td>\nKey Cast<\/td>\n<\/tr>\n
Jason Kravits<\/td>\nKey Cast<\/td>\n<\/tr>\n
Kim Wayans<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Indebted\n <\/div>\n \n
\n
\n

Indebted To All Women<\/h2>

Abortion in El Salvador is punished with 20-40 years in prison. Indebted to All Women wants to give voice to those women suffering and struggling to change one of the most restrictive law in the world for sexual & reproductive rights.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Mar\u00eda Lobo<\/td>\nDirector<\/td>\n<\/tr>\n
Roi Guiti\u00e1n<\/td>\nDirector<\/td>\n<\/tr>\n
Mar\u00eda Lobo<\/td>\nWriter<\/td>\n<\/tr>\n
Roi Guiti\u00e1n<\/td>\nWriter<\/td>\n<\/tr>\n
Lorena Seijo<\/td>\nProducer<\/td>\n<\/tr>\n
Sonia D\u00edaz<\/td>\nProducer<\/td>\n<\/tr>\n
Teodora Vasques<\/td>\nProtagonists<\/td>\n<\/tr>\n
Sara Rogel<\/td>\nProtagonists<\/td>\n<\/tr>\n
Jaquelline Castillo<\/td>\nProtagonists<\/td>\n<\/tr>\n
Xiomara Argueta<\/td>\nProtagonists<\/td>\n<\/tr>\n
Roxana Delgado<\/td>\nProtagonists<\/td>\n<\/tr>\n
Morena Herrera<\/td>\nProtagonists<\/td>\n<\/tr>\n
Alberto Romero<\/td>\nProtagonists<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Outcry\"\n <\/div>\n \n
\n
\n

Outcry<\/h2>

A visual poem about anxieties of the moment: fires, climate change–living with the scattered sense of civilization breaking apart while the needs of humanity still remain the same–desire for love, peace and a harmony within a more natural world.<\/p>\n\n\n\n\n\n\n
lucinda luvaas<\/td>\nDirector<\/td>\n<\/tr>\n
lucinda luvaas<\/td>\nWriter<\/td>\n<\/tr>\n
Sammy Corrado IV<\/td>\nKey Cast<\/td>\n<\/tr>\n
Katrina Casmer<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Escape\"\n <\/div>\n \n
\n
\n

Escape<\/h2>

A dull couple goes on another holiday in their own country and finds out that holiday farm ‘Berg en Dal’ provides an excellent (two-way) escape.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Patrick Maijer<\/td>\nDirector<\/td>\n<\/tr>\n
Jasper Riksen<\/td>\nWriter<\/td>\n<\/tr>\n
Joanne Kroon<\/td>\nWriter<\/td>\n<\/tr>\n
Patrick Maijer<\/td>\nProducer<\/td>\n<\/tr>\n
Leonie Minnee<\/td>\nProducer<\/td>\n<\/tr>\n
Christian Groot<\/td>\nProducer<\/td>\n<\/tr>\n
Helen Dalessi<\/td>\nKey Cast<\/td>\n<\/tr>\n
Martijm Scherff<\/td>\nKey Cast<\/td>\n<\/tr>\n
Fr\u00e9d\u00e9rique Arnold<\/td>\nKey Cast<\/td>\n<\/tr>\n
Tarik Rahali<\/td>\nKey Cast<\/td>\n<\/tr>\n
Joeri Mol<\/td>\nKey Cast<\/td>\n<\/tr>\n
Marijn Westerik<\/td>\nEditor<\/td>\n<\/tr>\n
Bradley Regterschot<\/td>\nSound<\/td>\n<\/tr>\n
Stan van den Baar<\/td>\nSound Design<\/td>\n<\/tr>\n
Ralph van Boeschoten<\/td>\nDirector of Photography<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"The\n <\/div>\n \n
\n
\n

The Loss of Innocence<\/h2>

This film tells the story of a girl who wants to claim her place in the world, same as a man, but certain men are preventing her. They tell her that the space she is trying to claim has always belonged to them, and that they\u2019re not ready to share it. Not to mention the fact that, if they so wish, she will also belong to them and not have a say in it. She becomes a monster just like her predator, and there\u2019s no turning back.
\nThis film is a revenge tale, where characters are archetypes and actions are symbolic. The hero goes through a journey of light and darkness, death and rebirth, helped by those who give her the tools to navigate in this violent world. She loses her innocence and understands that she needs to embrace her own darkness to be free again.<\/p>\n\n\n\n\n\n\n
Sarah Bentefrit<\/td>\nDirector<\/td>\n<\/tr>\n
Sarah Bentefrit<\/td>\nWriter<\/td>\n<\/tr>\n
Sarah Bentefrit<\/td>\nProducer<\/td>\n<\/tr>\n
Joana Vinogradoff<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Goodbye\n <\/div>\n \n
\n
\n

Goodbye Home<\/h2>

On a hot summer day, a young boy lounges in a tyre swing hanging from the big branch of an old ghost gum. He peers through binoculars to catch glimpses of a baby koala and its parents living at the top of the gum\u2019s mighty trunk. The surrounding bush vibrates with native animal life. In the distance, plumes of grey smoke rise above the coastal landscape, showering the horizon with ash.
\nAs the boy helps his parents prepare their home for an evacuation, so too do the animals prepare their homes: a wombat clears his burrow of debris, a finch tidies her nest; flocks of birds begin their migrations to safer skies. The boy and his kelpie sit on the porch, watching on with trepidation.
\nThe sun grows a burnt orange; a dusty hue befalls the landscape. A tiny ember drifts in the wind like an orange snowflake. The baby koala sticks its head out from the gumtree for a closer look. He winces and scratches at his nose, burnt by the ember\u2019s seductive glow. Then the wind changes.
\nThe sky turns an ominous black, then a blazing red as the fires race towards the coastal bushland community. A mob of kangaroos bound over fallen branches. The boy\u2019s parents load their car with memories and keepsakes. The boy and his kelpie jump in but the kelpie whines and barks at the commotion outside. Through the smoke, the boy can see the family of koalas trapped between fallen branches. He rushes to their aid. Behind him, his parents approach with boxes.
\n\u201cA line of cars follow the only road out of town. The boy watches through a rear window as the glowing town becomes distant. He turns forward and takes his seat. His kelpie lays on the floor at his feet. Something shifts inside a box beside him.\u201d
\nThe boy and his parents have brought the koala family in the car with them. Guided by rural firemen, the two families journey to safety. Though they share the same experience of loss, it is their bushland home that unites them.
\nAnd home is where they will return, when the bushfires are over.<\/p>\n\n\n\n\n\n\n\n
Jonathan Chong<\/td>\nDirector<\/td>\n<\/tr>\n
Jett Tattersall<\/td>\nWriter<\/td>\n<\/tr>\n
David Hov<\/td>\nProducer<\/td>\n<\/tr>\n
Oliver Lawrance<\/td>\nProducer<\/td>\n<\/tr>\n
Jamie Rogers<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Straight\n <\/div>\n \n
\n
\n

Straight Into The Ocean<\/h2>

Straight Into The Ocean – A Music Video by Allen Ling
\nNov 19, 2020<\/p>\n

This visual and audio work is about heartbreak, closure, friendship and tragedy. We follow the journey of lovers, and witness two very different outcomes.<\/p>\n

Completed in 2020, the original song and visual story is loosely based on real life events.<\/p>\n

Starring Aramis Knight, Beteal Sharon Mahari, Annie Malev, Emma Kenney and Allen Ling.<\/p>\n

Directed by Carolyn Laws, filmed and edited By Zachary Perlow, colorized by Roy Sun, executive produced by Allen Ling<\/p>\n

Filmed on location in Kauai, HI and Talmage, CA.<\/p>\n

STRAIGHT INTO THE OCEAN Lyrics and Music by Allen Ling \u00a9 2018<\/p>\n\n\n\n\n\n\n\n\n\n\n
Carolyn Laws<\/td>\nDirector<\/td>\n<\/tr>\n
Allen Ling<\/td>\nWriter<\/td>\n<\/tr>\n
Zachary Perlow, Allen Ling<\/td>\nProducer<\/td>\n<\/tr>\n
Aramis Knight<\/td>\nKey Cast<\/td>\n<\/tr>\n
Emma Kenney<\/td>\nKey Cast<\/td>\n<\/tr>\n
Beteal Sharon Mahari<\/td>\nKey Cast<\/td>\n<\/tr>\n
Annie Malev<\/td>\nKey Cast<\/td>\n<\/tr>\n
Allen Ling<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Mama’s\n <\/div>\n \n
\n
\n

Mama’s Ashes<\/h2>

Under pressure of his stepfather Estevan, Jurri\u00ebn travels to Spain to disperse his recently deceased mother. The rebellious teenager has a different wish, but how far does he have to go to bring his mother’s ashes safely back home?<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Caspar Commijs<\/td>\nDirector<\/td>\n<\/tr>\n
Caspar Commijs<\/td>\nWriter<\/td>\n<\/tr>\n
David Warringa<\/td>\nWriter<\/td>\n<\/tr>\n
David Warringa<\/td>\nProducer<\/td>\n<\/tr>\n
Bas Keizer<\/td>\nKey Cast<\/td>\n<\/tr>\n
Carlos Garc\u00eda Est\u00e9vez<\/td>\nKey Cast<\/td>\n<\/tr>\n
Paige Allerton<\/td>\nKey Cast<\/td>\n<\/tr>\n
Joris Prakken<\/td>\nSound<\/td>\n<\/tr>\n
Wiegert de Vries<\/td>\nDOP<\/td>\n<\/tr>\n
Wesley Mulder<\/td>\nGaffer<\/td>\n<\/tr>\n
Marleen Klapwijk<\/td>\nProduction Design<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Who\n <\/div>\n \n
\n
\n

Who the f… is Roger Rossmeisl<\/h2>

A 90′- documentary about Roger Raymond Rossmeisl (1927-1979), the most overlooked great guitar maker of all time. Roger’s voice is spoken by Bruno Ganz<\/p>\n\n\n\n\n\n\n\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"TAMBARORO\"\n <\/div>\n \n
\n
\n

TAMBARORO<\/h2>

Ancient knowledge, modern media, vitalizing an endangered oral language and culture, the film is a discovery journey of a well-educated man returning to his village roots for wisdom and identity. In a remote Indonesian pearl diving community, elders share ancient self-governance teachings despite centuries of colonialism. Tambaroro Laut, an all-night festival of spiritual ecology, launches the pearl oyster and sea cucumber harvest in the Aru Islands. TAMBARORO introduces Gwatle language and culture to the world celebrating human diversity.<\/p>\n

Luc Quelin<\/td>\nDirector<\/td>\n<\/tr>\n
Luc Quelin and Kaspar Glarner<\/td>\nWriter<\/td>\n<\/tr>\n
Permanent Films<\/td>\nProducer<\/td>\n<\/tr>\n
Bruno Ganz, George Vjestica, Alexander Hacke, The Dandy Warhols<\/td>\nKey Cast<\/td>\n<\/tr>\n
\n\n\n\n\n\n\n\n\n\n\n\n
Ross Gordon<\/td>\nDirector<\/td>\n<\/tr>\n
Sonny Djonler<\/td>\nWriter<\/td>\n<\/tr>\n
Ross Gordon<\/td>\nWriter<\/td>\n<\/tr>\n
Helen Novaindah<\/td>\nWriter<\/td>\n<\/tr>\n
Nila Ayu Utami<\/td>\nWriter<\/td>\n<\/tr>\n
Ross Gordon<\/td>\nProducer<\/td>\n<\/tr>\n
Sonny Djonler<\/td>\nProducer<\/td>\n<\/tr>\n
Sonny Djonler<\/td>\nKey Cast<\/td>\n<\/tr>\n
Jason Cooper<\/td>\nEditor<\/td>\n<\/tr>\n
Sean Groten<\/td>\nSound Design<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"From\n <\/div>\n \n
\n
\n

From the Ground Up<\/h2>

In the semi-arid village of Malolo in Singida, Tanzania, Adija and her surrounding community rely on one water source, a single hole in the ground no larger than the size of an average puddle. From the Ground Up takes a look into Adija\u2019s daily routine and provides a powerful understanding of the localized impact of the increasingly dire global water crisis.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Trent Zulkiewicz<\/td>\nDirector<\/td>\n<\/tr>\n
Will Brenninkmeyer<\/td>\nDirector<\/td>\n<\/tr>\n
Michelle Kimura<\/td>\nProducer<\/td>\n<\/tr>\n
Kate Costanza<\/td>\nProducer<\/td>\n<\/tr>\n
Mallory Arthurs<\/td>\nProducer<\/td>\n<\/tr>\n
Megan Ruiz<\/td>\nCinematographers<\/td>\n<\/tr>\n
Mia Latran<\/td>\nCinematographers<\/td>\n<\/tr>\n
Megan Ruiz<\/td>\nEditors<\/td>\n<\/tr>\n
Will Brenninkmeyer<\/td>\nEditors<\/td>\n<\/tr>\n
Adija<\/td>\nKey Cast<\/td>\n<\/tr>\n
Crystal Brau<\/td>\nSound Team<\/td>\n<\/tr>\n
Andra Cain<\/td>\nSound Team<\/td>\n<\/tr>\n
Avery Smith<\/td>\nMultimedia Director<\/td>\n<\/tr>\n
Olivia Badalamenti<\/td>\nMultimedia Director<\/td>\n<\/tr>\n
Corbin Meier<\/td>\nMultimedia Director<\/td>\n<\/tr>\n
Stelious Kroudis<\/td>\nMultimedia Director<\/td>\n<\/tr>\n
Kathleen Connor<\/td>\nMultimedia Director<\/td>\n<\/tr>\n
Maggie Mengel<\/td>\nMultimedia Director<\/td>\n<\/tr>\n
Pia Nomen<\/td>\nMultimedia Director<\/td>\n<\/tr>\n
Taylor Washington<\/td>\nMultimedia Director<\/td>\n<\/tr>\n
Max Davidoff-Grey<\/td>\nComposers<\/td>\n<\/tr>\n
Kiera Quinn<\/td>\nFundraising<\/td>\n<\/tr>\n
Ben Kraninger<\/td>\nFundraising<\/td>\n<\/tr>\n
Brad de Jesus<\/td>\nProduction Manager<\/td>\n<\/tr>\n
Kate Costanza<\/td>\nLine Producers<\/td>\n<\/tr>\n
Sureatha Longstreet<\/td>\nLine Producers<\/td>\n<\/tr>\n
Nema Etebar<\/td>\nCreative Consultant<\/td>\n<\/tr>\n
Amari Johnson<\/td>\nGroup Facilitator<\/td>\n<\/tr>\n
Lydia Namayani<\/td>\nTranslators<\/td>\n<\/tr>\n
Jonas Almani<\/td>\nTranslators<\/td>\n<\/tr>\n
Derek Ongeri<\/td>\nTranslators<\/td>\n<\/tr>\n
Latisha Nkonya<\/td>\nTranslators<\/td>\n<\/tr>\n
Victor Mubelwa Kaleshu<\/td>\nTranslators<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"The\n <\/div>\n \n
\n
\n

The Common Ground<\/h2>

After losing both his parents of HIV\/AIDS at the age of 10, Ugandan Joseph Rutaraka is sponsored by Compassion International up to graduation and founds The Rakai Orphans Hope Project (ROHP), a registered Ugandan non-profit NGO to help children infected or affected by HIV\/ AIDS.<\/p>\n\n\n\n
Andrea Franceschini<\/td>\nDirector<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"About\n <\/div>\n \n
\n
\n

About Her<\/h2>

ABOUT HER deals with a sad and unfortunate issue: domestic violence against women. It is the story of a relationship marked by inequality and violence in which the male partner abusive behavior grows daily. Besides physical and psychological aggressions imposed on women, death could be one of the outcomes. At the end of the day, these abusive men frequently become killers in their own homes. Due to the alarming numbers of feminicide worldwide, it is urgent: we must talk about it.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Wagner Cinelli<\/td>\nDirector<\/td>\n<\/tr>\n
Wagner Cinelli<\/td>\nWriter<\/td>\n<\/tr>\n
Giane Zimmer<\/td>\nExecutive Producer<\/td>\n<\/tr>\n
Com Dominio Filmes<\/td>\nProducer<\/td>\n<\/tr>\n
Daniel Zimmer<\/td>\nProduction Assistants<\/td>\n<\/tr>\n
Gabriela Zimmer<\/td>\nProduction Assistants<\/td>\n<\/tr>\n
Lucas Chewie<\/td>\nArt Director \/ Animation Director \/ Character Design \/ Storyboard & Animatic<\/td>\n<\/tr>\n
Alexandre S. Matos, Catarina Ni\u00e9ro, Emanuel Barroso, Gabriela Zogbi, Isis Muniz, Lucas Chewie, Matheus Henrique de Souza, Patricia Pieratti, Paulo Imon, <\/td>\nIllustrators<\/td>\n<\/tr>\n
Anizio Lobo, Gabriel Faria<\/td>\nAnimation Assistants<\/td>\n<\/tr>\n
Dudi Brito, Jaka Red, Julius Barbosa, Lucas Chewie, M\u00e1rcia Monteiro <\/td>\nScenery<\/td>\n<\/tr>\n
Lucas Chewie <\/td>\nMounting & Editing<\/td>\n<\/tr>\n
Clementino Junior, Gisele Carvalho, Helena Duarte dos Santos, Jansen Raveira, Larissa Meyer, Marcio de Castro, Marcos Vinicio, Ol\u00edvia Duarte dos Santos, Pablo Henrique, Pedro Barreto, Raquel Duarte<\/td>\nCollaborators<\/td>\n<\/tr>\n
Tom\u00e1s Magari\u00f1os<\/td>\nVideo Mastering<\/td>\n<\/tr>\n
Gabinete de Artes<\/td>\nCredits Design<\/td>\n<\/tr>\n
Bando Sonoro<\/td>\nAudio Design Studio<\/td>\n<\/tr>\n
Bruno Armelin<\/td>\nSound Design<\/td>\n<\/tr>\n
Gabriel Barcelos<\/td>\nSound Editing Assistant<\/td>\n<\/tr>\n
Wagner Cinelli<\/td>\nSound Track<\/td>\n<\/tr>\n
Urca Bossa Jazz<\/td>\nArrangements<\/td>\n<\/tr>\n
Urca Bossa Jazz<\/td>\nArrangements<\/td>\n<\/tr>\n
Didier Fernan<\/td>\nBass<\/td>\n<\/tr>\n
Paulinho Crian\u00e7a<\/td>\nDrums<\/td>\n<\/tr>\n
Tino Junior<\/td>\nFlute & Sax<\/td>\n<\/tr>\n
Wagner Cinelli<\/td>\nPiano<\/td>\n<\/tr>\n
La Maison Estudio<\/td>\nRecording, Mixing & Mastering<\/td>\n<\/tr>\n
Didier Fernan<\/td>\nAudio Engineer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Touiza\"\n <\/div>\n \n
\n
\n

Touiza<\/h2>

Karim Bengana began his career as assistant to French director Claude Miller. The latter co-produced his second documentary – portrait of a humanitarian doctor in Mali.
\nDuring 10 years, he works as a screenwriter for French television. In 2011, he directed Yasmine, a short film, selected among others at the festival of Clermont-Ferrand film festival and Melbourne film festival. Touiza is his second short fiction film. Since 2016, he has been developing several fiction projects for Bang Bang.<\/p>\n\n\n\n\n\n\n\n\n\n\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Monkey\n <\/div>\n \n
\n
\n

Monkey Beach<\/h2>

Lisa Hill has powers. She can foretell death, She sees mythical creatures. She talks with the dead. She has harrowing visions. She left Kitamaat, her ocean-side village, hoping if she partied hard enough in Vancouver, her visions and the grief they inflicted would disappear. But when a warning from her dead cousin sends her racing back home, Lisa realizes the partying didn’t work. Her visions are back \u2013 with a vengeance. Her childhood visions of her younger brother Jimmy have returned. In them, Jimmy drowns.
\nGrowing up, Lisa\u2019s visions made her feel like she had to protect Jimmy. But no one would believer her \u2013 except for her grandmother, Mama-oo. Back home, Jimmy reassures Lisa that he’s good, he’s safe. But one morning he heads out with Uncle Josh on his fishing boat. When the Coast Guard calls to say the boat has disappeared, Lisa feels hopeless. Jimmy had insisted on fishing with Josh, but Lisa soon learns he wasn\u2019t interested in fishing. He was intent on ridding the village of Josh, a sexual predator who has abused many young women, including Karaoke, Jimmy\u2019s fianc\u00e9.
\nIn a desperate quest to save Jimmy, Lisa sets out on a journey by boat to Monkey Beach, a powerful place where she believes she will find Jimmy \u2013 and where she will face the hardest journey of all, to the Land of the Dead. In her quest Lisa discovers the true meaning of her visions: But are they blessings in disguise or agents of dark forces?<\/p>\n

karim bengana<\/td>\nDirector<\/td>\n<\/tr>\n
karim bengana<\/td>\nWriter<\/td>\n<\/tr>\n
Alexandre gavras<\/td>\nProducer<\/td>\n<\/tr>\n
karim bengana<\/td>\nProducer<\/td>\n<\/tr>\n
amina Salem<\/td>\nProducer<\/td>\n<\/tr>\n
farida rahouadj<\/td>\nKey Cast<\/td>\n<\/tr>\n
amira hilda douaouda<\/td>\nKey Cast<\/td>\n<\/tr>\n
\n\n\n\n\n\n\n\n\n\n\n
Loretta Sarah Todd<\/td>\nDirector<\/td>\n<\/tr>\n
Loretta Sarah Todd, Johnny Darrell, Andrew Duncan<\/td>\nWriter<\/td>\n<\/tr>\n
Loretta Sarah Todd<\/td>\nProducer<\/td>\n<\/tr>\n
Patti Poskitt<\/td>\nProducer<\/td>\n<\/tr>\n
Carla Robinson<\/td>\nProducer<\/td>\n<\/tr>\n
Fred Fuchs<\/td>\nProducer<\/td>\n<\/tr>\n
Matthew O’Connor<\/td>\nProducer<\/td>\n<\/tr>\n
Lisa Richardson<\/td>\nProducer<\/td>\n<\/tr>\n
Grace Dove, Joel Ouelette, Nathaniel Arcand, Tina Marie Lameman, Adam Beach, Stefany Mathias<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Tequila\n <\/div>\n \n
\n
\n

Tequila Acid Party<\/h2>

A group of bored roommates are drawn towards a wild acid techno party across the street. The lines between peer pressure and cautionary advice keep getting blurrier with every shot of tequila.<\/p>\n

This music video follows the logic of being at a wacky party. Meeting all the other freaks and losing track of time and space, and how many glasses you’ve had, as the night turns into morning. Someone in the back is drinking from a clog? This guy here is randomly sprinkling the floor with salt. That person over there scares me, but there’s no denying they do have some great moves.<\/p>\n

Suddenly we’re inside the stomach, which looks like a sort of nuclear reactor about to go into meltdown. Or is that where we have been all along? <\/p>\n

Director – Liesbeth Eeckman, Joel Rabijns<\/p>\n\n\n\n\n\n\n\n\n\n\n\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Rann\"\n <\/div>\n \n
\n
\n

Rann<\/h2>

Over the span of a winter day, Rann quietly observes an intricate network of people, plants and animals, challenging our notion that deserts are empty barren expanses of nothingness.<\/p>\n

Here in the Little Rann of Kutchh, endangered species like wild ass (Equus hemionus khur) compete with domestic cattle from bordering villages. Invasive mesquite threatens to choke the desert but also provides food, shade and firewood. The ubiquitous beat of the borewell pump reminds us that here in the middle of \u2018nowhere\u2019 there is the life and labour of Agariyas who pan salt in the harshest of conditions. The desert is never empty.<\/p>\n

Rann simultaneously reinforces the spectacular beauty of the earth\u2019s natural landscapes while reminding us how profoundly it has been shaped by human and animal activity.<\/p>\n

Liesbeth Eeckman<\/td>\nDirector<\/td>\n<\/tr>\n
Joel Rabijns<\/td>\nDirector<\/td>\n<\/tr>\n
KLANKPARTIJ<\/td>\nComposer<\/td>\n<\/tr>\n
Simon Halsberghe<\/td>\nWriter<\/td>\n<\/tr>\n
Liesbeth Eeckman<\/td>\nWriter<\/td>\n<\/tr>\n
Joel Rabijns<\/td>\nWriter<\/td>\n<\/tr>\n
Liesbeth Eeckman, Joel Rabijns<\/td>\nanimation<\/td>\n<\/tr>\n
Liesbeth Eeckman<\/td>\ncharacter design<\/td>\n<\/tr>\n
\n\n\n\n\n\n\n\n\n\n\n\n\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"FEAR\"\n <\/div>\n \n
\n
\n

FEAR<\/h2>

“Face everything and rise”
\nA music video to a song by Ksenia Parkhatskaya about fear with its many faces and its destructive power. The film presents this struggle between ego and fear, and asks us at the end to recognise and rise above it. For when life is ruled by fear, there are no winners, we all lose.<\/p>\n

Sarina Pearson<\/td>\nProducer<\/td>\n<\/tr>\n
Peter Simpson<\/td>\nProducer<\/td>\n<\/tr>\n
Shuchi Kothari<\/td>\nProducer<\/td>\n<\/tr>\n
Peter Simpson<\/td>\nDirector<\/td>\n<\/tr>\n
Sarina Pearson<\/td>\nDirector<\/td>\n<\/tr>\n
Shuchi Kothari<\/td>\nDirector<\/td>\n<\/tr>\n
Peter Simpson<\/td>\nCinematographer<\/td>\n<\/tr>\n
Anita Kushwaha<\/td>\nSound<\/td>\n<\/tr>\n
Prisca Bouchet<\/td>\nEditor<\/td>\n<\/tr>\n
Nich Cunningham<\/td>\nSound Design<\/td>\n<\/tr>\n
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Julie Boehm<\/td>\nDirector<\/td>\n<\/tr>\n
Ksenia Parkhatskaya<\/td>\nWriter<\/td>\n<\/tr>\n
Julie Boehm<\/td>\nEditor<\/td>\n<\/tr>\n
Christoph Bockisch<\/td>\nDOP (Director of Photography)<\/td>\n<\/tr>\n
Peter Kreil<\/td>\nGaffer<\/td>\n<\/tr>\n
Venus Villa<\/td>\nAC<\/td>\n<\/tr>\n
Marc Zimmermann<\/td>\nVFX<\/td>\n<\/tr>\n
Nuria Aguade<\/td>\nFilm stills \/ Photographer<\/td>\n<\/tr>\n
Jazzville Productions<\/td>\nProduction company<\/td>\n<\/tr>\n
Aina Lanas, Ksenia Parkhatskaya, Irene Baeza Lopez<\/td>\nKey Cast<\/td>\n<\/tr>\n
Ksenia Parkhatskaya<\/td>\nLyrics<\/td>\n<\/tr>\n
Ksenia Parkhatskaya<\/td>\nSinger<\/td>\n<\/tr>\n
Ksenia Parkhatskaya, David Duffy<\/td>\nMusic<\/td>\n<\/tr>\n
David Duffy<\/td>\nsound design<\/td>\n<\/tr>\n
David Duffy, Gilles Estoppey, Anton Jarl, Keelan Kenny, Ferran Donatelli<\/td>\nMusicians<\/td>\n<\/tr>\n
Ferran Donatelli<\/td>\nMusic Mix & Master<\/td>\n<\/tr>\n
David Duffy<\/td>\nMusic Producer<\/td>\n<\/tr>\n
Ksenia Parkhatskaya<\/td>\nCostume design<\/td>\n<\/tr>\n
Eul\u00e0lia Batlle Gallardo<\/td>\nCostume design<\/td>\n<\/tr>\n
Julie Boehm<\/td>\nCostume design<\/td>\n<\/tr>\n
Judith Sturm<\/td>\nHat design<\/td>\n<\/tr>\n
Julia Vargas Cometta<\/td>\nMUA<\/td>\n<\/tr>\n
Evgenia Parhatskaja<\/td>\nMUA adviser<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"On\n <\/div>\n \n
\n
\n

On \/ Off<\/h2>

Endless distractions threaten to destroy creativity.<\/p>\n\n\n\n\n\n\n\n\n
Nicolas P. Villarreal<\/td>\nDirector<\/td>\n<\/tr>\n
Nicolas P. Villarreal<\/td>\nWriter<\/td>\n<\/tr>\n
Nicolas P. Villarreal<\/td>\nProducer<\/td>\n<\/tr>\n
Alessandro Squitti<\/td>\nProducer<\/td>\n<\/tr>\n
Michael Brennan<\/td>\nMusic<\/td>\n<\/tr>\n
Andrew Vernon<\/td>\nSound Designer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"The\n <\/div>\n \n
\n
\n

The System<\/h2>

The system works non-stop, and when one day it destroys all natural resources, it’s time to turn.<\/p>\n\n\n\n\n\n\n
Ramazan Demir<\/td>\nDirector<\/td>\n<\/tr>\n
Ramazan Demir<\/td>\nWriter<\/td>\n<\/tr>\n
Ramazan Demir<\/td>\nProducer<\/td>\n<\/tr>\n
murat karata\u015f, ali yavuzer, ahmed \u00f6zt\u00fcrk, k\u0131smet alma, z\u00fclfiye karao\u011flan, hamza k\u0131z\u0131lay, serap ayd\u0131ner, emine tanr\u0131verdi<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Home\"\n <\/div>\n \n
\n
\n

Home<\/h2>

A black comedy about Dirk, a man who lives with his dog and buys gadgets to fill up his boring single life. On a typical Thursday evening, he finds out that the relationship of trust with his AI device, named Atlas, is not as reliable as he thought. Can he fix his rapidly deteriorating situation? Or has he already exposed too much of himself to Atlas.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Guust Mulder<\/td>\nDirector<\/td>\n<\/tr>\n
Guust Mulder<\/td>\nWriter<\/td>\n<\/tr>\n
Full Frame<\/td>\nProducer<\/td>\n<\/tr>\n
Guust Mulder<\/td>\nProducer<\/td>\n<\/tr>\n
Jeroen de Man, Inge Sonderen<\/td>\nKey Cast<\/td>\n<\/tr>\n
Ren\u00e9e van Krimpen<\/td>\nExecutive Producer<\/td>\n<\/tr>\n
Guust Mulder<\/td>\nScreenplay<\/td>\n<\/tr>\n
Pepijn Robben, Ton Vorselaars<\/td>\nDOP<\/td>\n<\/tr>\n
Anke Haitsma<\/td>\nArt director<\/td>\n<\/tr>\n
Sjoerd Wesselink<\/td>\nArt Direction assistent<\/td>\n<\/tr>\n
Pepijn Robben<\/td>\nGaffer<\/td>\n<\/tr>\n
Ton Vorselaars<\/td>\nCamera operator<\/td>\n<\/tr>\n
Robin van Engen, Leard Muriqi, Wesley Umans<\/td>\nCamera and Light assistent<\/td>\n<\/tr>\n
Kevin Marijnissen<\/td>\nSound recordist<\/td>\n<\/tr>\n
Erwin Krause<\/td>\nDog trainer<\/td>\n<\/tr>\n
Jeroen Bernard, Guust Mulder<\/td>\nEditing<\/td>\n<\/tr>\n
Frans Suijs<\/td>\nGrading<\/td>\n<\/tr>\n
Daphne Betten<\/td>\nIllustrations and Animation<\/td>\n<\/tr>\n
Mieke van Gompel<\/td>\nMake up<\/td>\n<\/tr>\n
Jeffrey van Rossum, Thomas van den Burg<\/td>\nFilm score<\/td>\n<\/tr>\n
Kevin Marijnissen<\/td>\nSound design<\/td>\n<\/tr>\n
Guust Mulder<\/td>\nSound design<\/td>\n<\/tr>\n
Marck Hofmeester, Mascha Mulder<\/td>\nCatering<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Freedom\n <\/div>\n \n
\n
\n

Freedom Farm Sanctuary<\/h2>

The relationships between \u2018imperfect\u2019 farm animals to special volunteers, some with their own \u2018imperfections\u2019<\/p>\n\n\n\n\n\n\n\n\n\n\n\n
Taliya Finkel<\/td>\nDirector<\/td>\n<\/tr>\n
Taliya Finkel<\/td>\nWriter<\/td>\n<\/tr>\n
Taliya Finkel<\/td>\nProducer<\/td>\n<\/tr>\n
Mantegvosh Amara, Orly Arazi, Billy Ostrow, Yana Sophia, Orna Bucki, Ilana Diamant, <\/td>\nKey Cast<\/td>\n<\/tr>\n
Yoram Millo<\/td>\nCinematographer<\/td>\n<\/tr>\n
Omer Shadar<\/td>\nEditor<\/td>\n<\/tr>\n
Amir Boverman<\/td>\nSound Recorder<\/td>\n<\/tr>\n
Rafi Chen<\/td>\nSound Design<\/td>\n<\/tr>\n
Rafi Toran<\/td>\nMusic<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Kanda\n <\/div>\n \n
\n
\n

Kanda Bode (Don’t Get Whipped)<\/h2>

This documentary focuses on the Hamar Tribe, a semi nomadic and rural people who live along the Omo River in Southwestern Ethiopia. Preserving the traditions of their ancestors is essential to defining Hamar life. One of the most venerated of the Hamar\u2019s ancient traditions involves the transition of the Hamar male into an adult. Today, however there is a new awareness that aspects of this tradition are harmful to the health and well being of many who participate. The Hamar people are beginning to consider how their tradition can evolve.<\/p>\n

\u201cKanda Bode\u2026Don\u2019t Get Whipped.\u201d<\/p>\n\n\n\n\n\n\n\n\n
Fekad Kiros<\/td>\nDirector<\/td>\n<\/tr>\n
Cheryl Halpern<\/td>\nDirector<\/td>\n<\/tr>\n
Cheryl Halpern<\/td>\nProducer<\/td>\n<\/tr>\n
Mitchell Stuart<\/td>\nProducer<\/td>\n<\/tr>\n
Melena Abraham<\/td>\nKey Cast<\/td>\n<\/tr>\n
Alex Dolginko<\/td>\nEditor<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Wall\n <\/div>\n \n
\n
\n

Wall #4<\/h2>

When a cinema audience starts mocking the film they’re watching, the events in the theater take an unexpected turn.<\/p>\n\n\n\n\n\n\n\n
Lucas Camps<\/td>\nDirector<\/td>\n<\/tr>\n
Lucas Camps<\/td>\nWriter<\/td>\n<\/tr>\n
Lucas Camps<\/td>\nProducer<\/td>\n<\/tr>\n
Philip Driessen<\/td>\nProducer<\/td>\n<\/tr>\n
Bert Hana, Florence Vos Weeda, Anton de Bies, Dani\u00ebl Kolf<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Bibi’s\n <\/div>\n \n
\n
\n

Bibi’s Breakfast<\/h2>

A family drama at the kitchen table. About a father and his daughter and their inability to reach out to each other.<\/p>\n

A typical weekday. At first sight a typical home. Ben has had his daughter stay overnight. He\u2019s up early to be ready to leave for work and drop her off at the station, when he is hearing the familiar music of an old cassette coming from the kitchen. He enters and sees his daughter Bibi still in her dressing gown. She has prepared a surprise breakfast for him and wants to stay. Just like before.<\/p>\n

Bibi starts to look for her father’s old mug, explains why a warm tea cosy on your head helps you to get in touch with your feelings and tells him about eating a bee.
\nBen can\u2019t bear to listen to her and ignores the childhood game with a hollowed out boiled egg she wants to play. Breakfast turns into a painful tussle. In his efforts to alleviate the situation, Ben shuts his eyes to Bibi\u2019s real need: a true connection and acknowledgement of her struggle in life. It pushes her to the borders of her pain and she becomes a threat to herself. Ben has to set aside his own fear and step into Bibi\u2019s world in order to reach her and give her the one thing she needs: her father\u2019s love and security.
\nIt\u2019s a bitter and dangerous dance of illness, fear, denial, guilt and unconditional love.<\/p>\n\n\n\n\n\n\n\n
Sarif Tribou<\/td>\nDirector<\/td>\n<\/tr>\n
Willemijn Mignot<\/td>\nWriter<\/td>\n<\/tr>\n
Sarif Tribou<\/td>\nProducer<\/td>\n<\/tr>\n
Willemijn Mignot<\/td>\nProducer<\/td>\n<\/tr>\n
L\u00e9on Ali \u00c7ifteci, Nellie Benner<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Together\n <\/div>\n \n
\n
\n

Together we cycle<\/h2>

The film Together we cycle investigates the critical events that has led to the revival of the Dutch cycling culture. For most people, cycling in the Netherlands, appears like a natural phenomenon. However, until the 1970s the development of mobility in the Netherlands followed trends across the globe. The bicycle had had its day, and the future belonged to the car. The only thing that had to be done was to adapt cities to the influx of cars.<\/p>\n

Then Dutch society took a different turn. Against all odds people kept on cycling. The answer to the question why this happened in the Netherlands, is not straight forward. There are many factors, events and circumstances that worked together, both socially and policy-wise. In Together we cycle, key players tell the story of the bumpy road which led to the current state. Where cycling is an obvious choice for most citizens.<\/p>\n\n\n\n\n\n\n
Gertjan Hulster<\/td>\nDirector<\/td>\n<\/tr>\n
Arne Gielen<\/td>\nDirector<\/td>\n<\/tr>\n
Gertjan Hulster<\/td>\nWriter<\/td>\n<\/tr>\n
Gertjan Hulster<\/td>\nProducer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Still\n <\/div>\n \n
\n
\n

Still A Revolutionary – Albert Einstein<\/h2>

He was not the remote genius of present day myth. Still A Revolutionary – Albert Einstein, tells the real story of his life long firebrand activism.<\/p>\n\n\n\n\n\n\n\n
Julia Newman<\/td>\nDirector<\/td>\n<\/tr>\n
N\/A<\/td>\nWriter<\/td>\n<\/tr>\n
Julia Newman<\/td>\nProducer<\/td>\n<\/tr>\n
Coproducer, Gary sharfin<\/td>\nProducer<\/td>\n<\/tr>\n
N\/A<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"People\n <\/div>\n \n
\n
\n

People Talking (S2)<\/h2>

Gente Hablando (People Talking) is an award winning anthology series that explores human contradictions in a naturalistic style through seemingly mundane conversation and situations. The show features a strong script paired with great performances by some of spanish top actors.<\/p>\n\n\n\n\n\n\n\n
\u00c1lvaro Carmona<\/td>\nDirector<\/td>\n<\/tr>\n
\u00c1lvaro Carmona<\/td>\nWriter<\/td>\n<\/tr>\n
Emilio S\u00e1nchez<\/td>\nProducer<\/td>\n<\/tr>\n
Sonia Mart\u00ednez<\/td>\nProducer<\/td>\n<\/tr>\n
Miki Esparb\u00e9, Manolo Solo, Antonio Dur\u00e1n “Morris”, Mariola Fuentes, Mar\u00eda de Nati, Llu\u00eds Villanueva, Ra\u00fal Fern\u00e1ndez de Pablo, Itsaso Arana, Gorka Otxoa, Berto Romero, Pilar Berg\u00e9s<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Utopia\n <\/div>\n \n
\n
\n

Utopia Of The Outraged<\/h2>

Chile woke up on October 18th, 2019.
\nThe streets are flooded with people demanding to be heard, the main demand is “until dignity becomes a habit.”
\nWhile some people demonstrate peacefully, others: “the first line”, confronts the police to guarantee the safety of the protesters.
\nAll this is represented in a metaphorical and poetic way through the voice of the reading of Eduardo Galeano’s poetry “the right of deliriuous”.<\/p>\n\n\n\n\n\n\n\n\n\n
Marcelo Lagreze<\/td>\nShortfilm By<\/td>\n<\/tr>\n
Marcelo Lagreze<\/td>\nDirector<\/td>\n<\/tr>\n
Eduardo Galeano<\/td>\nText and Voice over<\/td>\n<\/tr>\n
Marcelo Lagreze<\/td>\nProducer<\/td>\n<\/tr>\n
Alejandra Oyarce<\/td>\nSound Postproduction<\/td>\n<\/tr>\n
Jorge Diaz<\/td>\nTechnical Support<\/td>\n<\/tr>\n
Leticia Esparza<\/td>\nSubtitles<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"From\n <\/div>\n \n
\n
\n

From Durban to Tomorrow<\/h2>

Logline:
\nFive frontline health advocates from different parts of the world work through victories and defeats plotting a path toward a meaningful, universal human right to health.<\/p>\n

Synopsis:
\nWith the inequities of global health more evident and stark today than at any point in history, FROM DURBAN TO TOMORROW recalls the mass protests led by people living with HIV in Durban, South Africa, which radically transformed the global landscape for human rights in health some two decades ago. These events in the year 2000 gave rise to a series of major advances in public health for marginalised people the world over, yet recent years have seen many of these hard-won gains severely eroded, putting tens of millions of lives at risk and compounding the threat posed by a deadly global pandemic. In FROM DURBAN TO TOMORROW, the stories of five frontline health advocates from different parts of the world underscore this rapidly worsening crisis and herald the impending battle for a meaningful, universal human right to health.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n
Dylan Mohan Gray<\/td>\nDirector<\/td>\n<\/tr>\n
Dylan Mohan Gray<\/td>\nWriter<\/td>\n<\/tr>\n
Dylan Mohan Gray<\/td>\nProducer<\/td>\n<\/tr>\n
Brett Davidson (Executive Producer)<\/td>\nProducer<\/td>\n<\/tr>\n
Meenu Seshu, Mouslihou Diallo, P\u00e9ter S\u00e1rosi, Vanessa L\u00f3pez, Vuyiseka Dubula-Majola, <\/td>\nKey Contributors<\/td>\n<\/tr>\n
Abhro Banerjee, Ronelle Loots<\/td>\nEditors<\/td>\n<\/tr>\n
Jay J. Odedra<\/td>\nCinematography<\/td>\n<\/tr>\n
Luca Petracca<\/td>\nOriginal Music<\/td>\n<\/tr>\n
Abhinav Ramachandran<\/td>\nSound Design<\/td>\n<\/tr>\n
Ashutosh Phatak<\/td>\nMusic Supervisor<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Wake\n <\/div>\n \n
\n
\n

Wake up<\/h2>

On a regular morning, Maya – a girl obsessed with conspiracy theories and who finds it hard to believe mainstream media – wakes up from a strange nightmare. Shortly she realizes it was just a dream and she starts to follow her daily morning routine. It is already 502 days since Maya is locked up in quarantine after a global virus outbreak. She believes the world has been shut down to prevent further spread. Nobody is allowed to go out of the house and she really has a hard time dealing with that situation. Maya has not seen her friends every since. During her work-out, strange things are starting to happen. Without having ordered anything a package is delivered at her door. Wondering and intrigued she takes it inside and starts to investigate the contents. Bit by bit she tries to figure out what it is about. Until she discovers a shocking truth.<\/p>\n\n\n\n\n\n\n\n\n
Mike Pasarella<\/td>\nDirector<\/td>\n<\/tr>\n
Mike Pasarella<\/td>\nWriter<\/td>\n<\/tr>\n
Pasarella Film<\/td>\nProducer<\/td>\n<\/tr>\n
Emma Fuhrmann Vidal, Ariadna Walsh, Pere Molina<\/td>\nKey Cast<\/td>\n<\/tr>\n
Adriana Pasarella<\/td>\nArt Director<\/td>\n<\/tr>\n
Freek Henkes<\/td>\nSoundtrack<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"GUESTS\"\n <\/div>\n \n
\n
\n

GUESTS<\/h2>

Paradoxical things happen in a guesthouse that are difficult to explain. As in the world.<\/p>\n\n\n\n\n\n\n
Alberto Mart\u00edn-Arag\u00f3n<\/td>\nDirector<\/td>\n<\/tr>\n
Alberto Mart\u00edn-Arag\u00f3n<\/td>\nWriter<\/td>\n<\/tr>\n
JUlia Dom\u00e9mech<\/td>\nProducer<\/td>\n<\/tr>\n
Julia Dom\u00e9nech, Sagrario Mart\u00edn-Arag\u00f3n, Alberto Mart\u00edn-Arag\u00f3n<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"The\n <\/div>\n \n
\n
\n

The Third Harmony: Nonviolence and the New Story of Human Nature<\/h2>

A healing force is rising in the world \u2014 and you can be part of it.<\/p>\n

The Third Harmony is a documentary film that is part of our fourfold effort to bring the ancient art of nonviolence into the mainstream of public consciousness. The film will be accompanied by a companion book of the same title, a cooperative board game for adults that serves as a mini-training in nonviolence, and a multi-year, cross media impact campaign.<\/p>\n

The Third Harmony is based on 30+ hours of interviews with prominent nonviolent activists and scholars, scientists, teachers, practitioners of restorative justice, and others, such as Congresswoman Pramila Jayapal, Bernard Lafayette Jr., Ph.D, and Erica Chenoweth, Ph.D. It tells the story of nonviolence, the greatest overlooked resource in human experience.<\/p>\n

Act One: What is Nonviolence? Through the testimony of seasoned activists, including the highly dramatic story of how women and children were recently saved from death by unarmed international actors, part of a new institution in civilian protection, we get a glimpse of the power of the force that Gandhi called nonviolence, and its implications for a whole new \u201cstory\u201d of what it means to be a human being.<\/p>\n

Act Two: How Does It Work? Introduction to the hard science that explains something of the power of nonviolence and how activists are using training and strategy to bring it out in the social field. Again, we hear dramatic stories from participants themselves that start to fill in this inspiring picture. We also learn the eye-opening statistics, never before examined, of the great success of nonviolent campaigns over the last century: What if people were as well trained in waging peace as soldiers are in waging war?<\/p>\n

Act Three: What Can I do? The payoff: Five tools by which any one of us can better prepare ourselves to be a part of this unfolding story; how it is emerging in everything from street protests, schools, to the U.S. government. And the final question: What are we waiting for?<\/p>\n\n\n\n\n\n\n\n\n\n\n
Michael N. Nagler, Ph.D<\/td>\nDirector<\/td>\n<\/tr>\n
Michael N. Nagler, Ph.D<\/td>\nWriter<\/td>\n<\/tr>\n
Steve Michelson<\/td>\nProducer<\/td>\n<\/tr>\n
Tom Eddington<\/td>\nProducer<\/td>\n<\/tr>\n
Congresswomen Pramila Jayapal, Bernard Lafayette Jr.,Ph.D,, Erica Chenoweth, Ph.D<\/td>\nKey Cast<\/td>\n<\/tr>\n
Dr. Erica Chenoweth<\/td>\nKey Cast<\/td>\n<\/tr>\n
Bernard LaFayette<\/td>\nKey Cast<\/td>\n<\/tr>\n
“SKY” JIM SCHUYLER<\/td>\nOriginal Score and Sound Design<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"The\n <\/div>\n \n
\n
\n

The Storykeeper<\/h2>

A B-17 soars over a Paris neighborhood in 1944 and crashes in an explosion that reverberates inside a 7-year-old Rene Psarolis. What happened? Did they all die or did some survive? Rene is haunted by questions. He seeks answers. He spend years piecing it all together. He is the Storykeeper.<\/p>\n\n\n\n\n\n\n
Rogier van Beeck Calkoen<\/td>\nDirector<\/td>\n<\/tr>\n
Erinn Byrne<\/td>\nWriter<\/td>\n<\/tr>\n
James Bonnet<\/td>\nKey Cast<\/td>\n<\/tr>\n
James Bonnet<\/td>\nProducer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Letters\n <\/div>\n \n
\n
\n

Letters to Zohra<\/h2>

Letters to Zohra is a documentary on the life of anti-apartheid activist Ahmed Kathrada, born of Indian parentage.<\/p>\n

On 12 June 1964 at the notorious Rivonia trial, Ahmed Kathrada, Nelson Mandela and several other activists were found guilty of preparing an armed uprising against the apartheid regime.<\/p>\n

Nelson Mandela\u2019s story is known to all; \u2018Kathy\u2019 Kathrada far less so. Mandela once wrote that Kathrada, \u2018was part of my life for so long and our stories were so interwoven, that there is no other option but to tell them together.\u2019<\/p>\n

In this documentary, we highlight Kathrada\u2019s role using extracts from some of the more than 900 letters he succeeded in having smuggled out of prison during his quarter century of internment. Kathrada\u2019s most important contact in the outside world \u2013 his eyes and ears in \u2018ordinary life\u2019 \u2013 was his niece Zohra.<\/p>\n

What effect did his imprisonment have on his family and 26 years of prison have on Kathrada?<\/p>\n

Kathrada was elected as a member of parliament for the ANC in the new democratic South Africa in 1994 and became Mandela\u2019s political advisor.<\/p>\n

Ahmed Kathrada passed away in 2017.<\/p>\n\n\n\n\n\n\n
Saskia Vredeveld<\/td>\nDirector<\/td>\n<\/tr>\n
Saskia Vredeveld Vredeveld<\/td>\nWriter<\/td>\n<\/tr>\n
Andre Bos<\/td>\nProducer<\/td>\n<\/tr>\n
Ahmed Kathrada<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Tilted\"\n <\/div>\n \n
\n
\n

Tilted<\/h2>

Does the present generation see things differently than their older generation? Is what they see the same as what they visualize? So the basic question comes down to, is SIGHT=VISION? Different people see the same thing from different angles. It is not the question of right or wrong, but more about your perspective. Ultimately it all depends on your vision !!<\/p>\n\n\n\n\n\n\n\n\n\n\n
Sudipta Chakraborty<\/td>\nDirector<\/td>\n<\/tr>\n
Sudipta Chakraborty<\/td>\nWriter<\/td>\n<\/tr>\n
Abhijit Chatterjee<\/td>\nKey Cast<\/td>\n<\/tr>\n
Agniv Chatterjee<\/td>\nKey Cast<\/td>\n<\/tr>\n
Siddhartha Bhattacharjee<\/td>\nKey Cast<\/td>\n<\/tr>\n
Milton Biswas<\/td>\nEdit & Background Music<\/td>\n<\/tr>\n
S C Films<\/td>\nProducer<\/td>\n<\/tr>\n
Sudipta Chakraborty<\/td>\nDirector of Photography<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Tomorrow,\n <\/div>\n \n
\n
\n

Tomorrow, an animated film about climate change (English version)<\/h2>

(The film was originally released on Dec 21, 2019, in Bangla. We re-released it as an international version in English on May 17, 2021. This version is available online)
\nRatul, a young boy in Bangladesh, is magically shown two very different visions of the future. In the first scenario, Bangladesh has been inundated by rising sea levels, causing great suffering; in the second scenario, fossil fuels have been replaced by renewable energy, and Bangladesh is prosperous.<\/p>\n

The purpose of this film is to teach children about fossil fuels and climate change.<\/p>\n\n\n\n\n\n\n\n\n\n
Mohammad Shihab Uddin<\/td>\nDirector<\/td>\n<\/tr>\n
Ahmed Khan Hirok<\/td>\nWriter<\/td>\n<\/tr>\n
Nasimul Hasan<\/td>\nWriter<\/td>\n<\/tr>\n
Kazi Zahin Hasan<\/td>\nProducer<\/td>\n<\/tr>\n
Kazi Zeeshan Hasan<\/td>\nProducer<\/td>\n<\/tr>\n
Fraser MacLean, Trina Ahmed, Ben Swimmer, Devin Leigh<\/td>\nKey Cast<\/td>\n<\/tr>\n
Murad Abrar, Issam M. Kamal, Adnan Al Sazzad, Mohammad Shihab Uddin, Mohammad Shihab Uddin, Mohammad Shihab Uddin, Abir Mahamud, Mohammad Jubaiyer Hossain, Mohammad Abhi Hasan, Mohammad Sheikh Sakib, Zamshed Khan Shovon, Adnan Al Sazzad, Mohammad Ashiqur Rahman Khan, Nafis Zaman, Mahmood Ar Rahman,Diponkar Dasgupta, Murad Abrar, Mohammad Mazharul Islam, Murad Abrar, Nafis Zaman, Mohammad Ashiqur Rahman Khan, Khondokar Kamrujjaman Nabil<\/td>\nCast and Crew<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n <\/div>\n <\/div> \n <\/div> \n <\/div> \n<\/div>

\n
\n
\n
\n \"Crossroads\n <\/div>\n \n
\n
\n

Crossroads Life<\/h2>

Crossroads Life depicts that part of life that cinema forgot: corporate work. Movies typically use it only as a plot backdrop; we never know what that “important presentation” really was about, nor what is at stake in managers’ struggles. Based on real events, Crossroads Life is as much about the contents of management work itself as about the humans engaging in it.
\nClara, a CFO (Chief Financial Officer) for the Romanian subsidiary of a large life insurance corporation, is promoted to regional CFO. She expatriates to Amsterdam and quickly finds out that the methods she used before, and who she was before, do not work in the new context. She persists, working harder and harder, but sinking more and more. The solution takes an unexpected shape, prompting Clara to question the very core of who she thought she was. See the trailer on
\n