{"id":9590,"date":"2025-06-19T06:54:40","date_gmt":"2025-06-19T06:54:40","guid":{"rendered":"https:\/\/iffh.nl\/?page_id=9590"},"modified":"2025-06-19T07:03:46","modified_gmt":"2025-06-19T07:03:46","slug":"previous-editions-2022","status":"publish","type":"page","link":"https:\/\/iffh.nl\/old-web\/previous-editions-2022\/","title":{"rendered":"Previous Editions 2022"},"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=”2022 Award Winner” font_container=”tag:h2|text_align:center” use_theme_fonts=”yes”][vc_row_inner][vc_column_inner][vc_column_text]

\n \n \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 2022″ 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\t\t
\n\t\t\t\t\t\t\t
\n \n
\n \n \"Seeing\n
\n
\n

Seeing in the dark<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Old\n
\n
\n

Old Friends and Other Days<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Shut\"\n
\n
\n

Shut<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"THE\n
\n
\n

THE LITTLE DRUMMER BOY<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Wolf\n
\n
\n

Wolf + Lamb<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Dancing\n
\n
\n

Dancing with Dharma<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"You\n
\n
\n

You Must Have Come From Hell<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Summer,\n
\n
\n

Summer, Kyoto<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Your\n
\n
\n

Your Choice<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Invisibilia\"\n
\n
\n

Invisibilia<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"APPLE\n
\n
\n

APPLE TREE<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Angelos\n
\n
\n

Angelos At Christmas<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"The\n
\n
\n

The Boy and The Mountain<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"In\n
\n
\n

In Search of the Malwatu Oya<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"(UN)CENSORED\"\n
\n
\n

(UN)CENSORED<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"‘Pipi\n
\n
\n

‘Pipi Thay Too’ (‘The Grandmother Tree’)<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Mother\n
\n
\n

Mother Tongue<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Quarterlife\n
\n
\n

Quarterlife Cruisers<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Rukh\"\n
\n
\n

Rukh<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"FARMERS\n
\n
\n

FARMERS – INDONESIA – EPISODE 1<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"When\n
\n
\n

When I Explode<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Brother\"\n
\n
\n

Brother<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Where\n
\n
\n

Where Do You Go?<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Conflict\"\n
\n
\n

Conflict<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Chuppah\"\n
\n
\n

Chuppah<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"NIRVANA\"\n
\n
\n

NIRVANA<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"MUSE\"\n
\n
\n

MUSE<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Dipsas\n
\n
\n

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

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

The Better Angels<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Italian\n
\n
\n

Italian Chefs<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"More\n
\n
\n

More Than Blood<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"UKWATI\n
\n
\n

UKWATI \/\/ The Wedding<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"FAIRPLAY\"\n
\n
\n

FAIRPLAY<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"SHARK\"\n
\n
\n

SHARK<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"CENSOR\n
\n
\n

CENSOR OF DREAMS<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"SPIDER\"\n
\n
\n

SPIDER<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"BEAR\"\n
\n
\n

BEAR<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Call\n
\n
\n

Call Anytime, I’m Not Leaving the House<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Capo\n
\n
\n

Capo di Famiglia III<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Unsettling\n
\n
\n

Unsettling Dust<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"F*ck\n
\n
\n

F*ck Endo. More than just menstrual pain.<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Between\n
\n
\n

Between Summits<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Falling\"\n
\n
\n

Falling<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"TWO\n
\n
\n

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

On the border<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Akesi\n
\n
\n

Akesi and the fight for Independence<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"What\n
\n
\n

What I will not forget<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Rice\n
\n
\n

Rice Connections<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Reviving\n
\n
\n

Reviving Rivers<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Le\n
\n
\n

Le Pain<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Worn\n
\n
\n

Worn Out<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Viva\"\n
\n
\n

Viva<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"This\n
\n
\n

This is what I’m wearing when I’m dead.<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Repentance\"\n
\n
\n

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

The House in the Middle of the Sea<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t
\n \n
\n \n \"Non-standard\n
\n
\n

Non-standard errors<\/h3>\n <\/div>\n \n <\/figcaption>\n \n \n <\/figure>\n <\/a>\n <\/div>\n\t\t\t\t\t\t\t

\n\n\n\n\n
Juli\u00ebtte Dominicus<\/td>\nDirector<\/td>\n<\/tr>\n
Fabi\u00ebnne Jongenburger<\/td>\nProducer<\/td>\n<\/tr>\n
Juli\u00ebtte Dominicus<\/td>\nWriter<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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

\n\t\t\t\t \t\t\t\t <\/div>\n\t\t\t\t \n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t

Old Friends and Other Days<\/h2>

The viewer is instantly plunged into an atmospheric, decaying, beautiful world where ambiguity reigns supreme and the stream of consciousness is governed by the world of song. Is it a sanctuary to enrich your senses or could it be purgatory? Our four muses take us through these fleeting moments of reflection, discipline, loneliness and joy where they tempt and entice us to remember what has gone before. What happens once everyone\u2019s cases are packed? Does it all just go back to the beginning again?<\/p>\n

Original concept and direction by Cameron Menzies, Old Friends and Other Days takes the music of Irish composer William Vincent Wallace and one of his contemporaries William Balfe and theatricalises each piece into epic storytelling through song: taking the ordinary into extraordinary and back again. Four of Northern Ireland\u2019s shining lights in opera are featured in this film, Mary McCabe, Emma Morwood, Carolyn Dobbin and Sin\u00e9ad O\u2019Kelly.<\/p>\n\n\n\n\n\n\n\n
Cameron Menzies<\/td>\nDirector<\/td>\n<\/tr>\n
Chris Patterson<\/td>\nProducer<\/td>\n<\/tr>\n
Carolyn Dobbin, Mary McCabe, Sin\u00e9ad O’Kelly, Emma Morwood, Bryan Evans<\/td>\nKey Cast<\/td>\n<\/tr>\n
Cameron Menzies<\/td>\nWriter<\/td>\n<\/tr>\n
Aidan Gault<\/td>\nDOP<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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

\n\t\t\t\t \t\t\t\t <\/div>\n\t\t\t\t \n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t

Shut<\/h2>

When Jonas visits his father after a long time, he’s shocked to find him in a confused state. Has his father’s mental state badly deteriorated or is something more sinister going on?<\/p>\n\n\n\n\n\n\n
Niels Bourgonje<\/td>\nDirector<\/td>\n<\/tr>\n
Bastiaan Tichler<\/td>\nWriter<\/td>\n<\/tr>\n
Daniel Aiss<\/td>\nProducer<\/td>\n<\/tr>\n
Jack Wouterse, Sanne den Hartogh<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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

\n\t\t\t\t \t\t\t\t <\/div>\n\t\t\t\t \n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t

THE LITTLE DRUMMER BOY<\/h2>

All is not what it seems when a father and son have a violent confrontation on Christmas Eve.<\/p>\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, P.G.A.<\/td>\nProducer<\/td>\n<\/tr>\n
John Gray<\/td>\nProducer<\/td>\n<\/tr>\n
Arizona Newsum<\/td>\nProducer<\/td>\n<\/tr>\n
Xander Berekely, Michael Graziadei, Jennifer Van Dyck, Wyatt Cirbus<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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

\n\t\t\t\t \t\t\t\t <\/div>\n\t\t\t\t \n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t

Wolf + Lamb<\/h2>

Wolf + Lamb (Lupo + Agnello) is above all a “coming-of-age novel”, based on the immortal and homonymous fable of Aesop. It is the story of the relationship Luca (Ladislao Liverani), Thomas (James Ferrara) and Elisa (Virginia Diop) entertain one another and behaviors such as bullying and the search for identity. Unbeknownst to them, are guided by a mysterious professor (Lino Guanciale) anthropology, and his blonde assistant, in this “Bildungsjourney” between ancient masks, religious festivals and archaic rituals that will inevitably lead our protagonists to confront each other and understand that wearing a mask is not enough to be what you want to be, but above all, every choice has consequences and responsibilities. With an unexpected ending and absolutely open to any further development.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n
Giuseppe Schettino<\/td>\nDirector<\/td>\n<\/tr>\n
Alberto Nucci Angeli<\/td>\nWriter<\/td>\n<\/tr>\n
Giuseppe Schettino<\/td>\nWriter<\/td>\n<\/tr>\n
Marielisa Serone<\/td>\nProducer<\/td>\n<\/tr>\n
Anna Paolini<\/td>\nProducer<\/td>\n<\/tr>\n
Lino Guanciale<\/td>\nProducer<\/td>\n<\/tr>\n
Stefano Francioni<\/td>\nProducer<\/td>\n<\/tr>\n
Lino Guanciale, Giacomo Ferrara, Virginia Diop, Ladislao Liverani<\/td>\nKey Cast<\/td>\n<\/tr>\n
Rea Matteo<\/td>\nDOP<\/td>\n<\/tr>\n
Marco Signoretti<\/td>\nEditor<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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

\n\t\t\t\t \t\t\t\t <\/div>\n\t\t\t\t \n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
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\n\t\t\t\t

Dancing with Dharma<\/h2>

Death is not necessarily an end, but rather an inevitable part of life.<\/p>\n

Dancing with Dharma follows the journey of two oddly paired characters across a night in London. Dharma, is grappling to come to terms with the sudden unexpected death of her husband. Death, having collected her husband\u2019s soul, is trying to make the most of his night in London. When she persistently follows him, a bizarre bond forms between the two\u2014 Dharma is able to get some of the answers she needs, and Death is able to alleviate his loneliness even if it\u2019s only for one night. <\/p>\n\n\n\n\n\n\n\n\n\n\n\n
Sukanya-Devika K Jhala<\/td>\nDirector<\/td>\n<\/tr>\n
Sukanya-Devika K Jhala<\/td>\nWriter<\/td>\n<\/tr>\n
Chen-Ling Liu<\/td>\nProducer<\/td>\n<\/tr>\n
Ludovica Sordi<\/td>\nProducer<\/td>\n<\/tr>\n
Tania Rodrigues, Moj Taylor<\/td>\nKey Cast<\/td>\n<\/tr>\n
Abigail Hurcomb<\/td>\nCinematographers<\/td>\n<\/tr>\n
Giulia Mazzocchi<\/td>\nProduction Designer<\/td>\n<\/tr>\n
Sukanya-Devika K Jhala<\/td>\nSound Editor<\/td>\n<\/tr>\n
Francesco Ibba<\/td>\nEditor<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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You Must Have Come From Hell<\/h2>

In her short film, Chalabi tells about her own asylum experience and the roles that refugees are forced into in Sweden. She explores the impact of structural apathy towards refugees in migration offices, socio-political discourse, and private spaces. The work becomes a place for memory and history writing where Chalabi tries to understand how to document a process that is prohibited to be documented by the person undergoing it. Animation in this film is a tool that serves an aim beyond its practical aspect of depicting a narrative. It is a resistance against the restrictions of filming, recording, and photographing whatever happens inside the Migration Board\u2019s offices in Sweden.<\/p>\n\n\n\n\n\n\n\n
Hayfaa Chalabi<\/td>\nDirector<\/td>\n<\/tr>\n
Hayfaa Chalabi<\/td>\nWriter<\/td>\n<\/tr>\n
Historieber\u00e4ttarna<\/td>\nProducer<\/td>\n<\/tr>\n
Hayfaa Chalabi<\/td>\nKey Cast<\/td>\n<\/tr>\n
Jonas Embring and hayfaa chalabi<\/td>\nEditor and animation<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Summer, Kyoto<\/h2>

Somewhere in Kyoto, Mr. and Mrs. Nakamura make a living by making scented bags. One night, when the husband takes a walk alone, he finds an old man lying helpless on the street. Being kind in nature, he takes the old man to his house, and offers him food and a night’s lodging. \u2028Next day the old man, getting back on his feet again, offers his help to show his thanks, so the good-natured husband asks him to deliver their products to their customer. The old man leaves and doesn’t return, just as his wife expected. And now the old man walks along the shore for some reason…<\/p>\n\n\n\n\n\n\n
Hiroshi Toda<\/td>\nDirector<\/td>\n<\/tr>\n
Hiroshi Toda<\/td>\nWriter<\/td>\n<\/tr>\n
Mika Toda<\/td>\nProducer<\/td>\n<\/tr>\n
Yoichi Hayashi<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Your Choice<\/h2>

Time goes fast. Progress seems too slow.
\nFood waste is a massive problem. For many it is just data, for others it means solutions to find. Our choices have an impact on the world we live in. Changing lifestyle, food habits, using technology or dumpster diving to open the dialogue on the topic is not enough. We need information, we need awareness, we need to move all together. Your choice, your world, your future.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Beatrice Bozzato<\/td>\nDirector<\/td>\n<\/tr>\n
Anastasia Carraro<\/td>\nDirector<\/td>\n<\/tr>\n
Stefano Chiarello<\/td>\nDirector<\/td>\n<\/tr>\n
Mattia Ledvina<\/td>\nDirector<\/td>\n<\/tr>\n
Izabela Lucyna Mazzola<\/td>\nDirector<\/td>\n<\/tr>\n
Beatrice Bozzato<\/td>\nWriter<\/td>\n<\/tr>\n
Anastasia Carraro<\/td>\nWriter<\/td>\n<\/tr>\n
Stefano Chiarello<\/td>\nWriter<\/td>\n<\/tr>\n
Mattia Ledvina<\/td>\nWriter<\/td>\n<\/tr>\n
Izabela Lucyna Mazzola<\/td>\nWriter<\/td>\n<\/tr>\n
Collettivo Fenice<\/td>\nProducer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Invisibilia<\/h2>

When a ordinairy man visits the toilet in a restaurant, he hears two men talking about what seems to be a drug deal. Scared but quiet he listens to them.<\/p>\n

Things get out of hand and the dealers seem to cause a dangerous fight where guns are involved and the toilet visitor himself seems to get in trouble as well.<\/p>\n\n\n\n\n\n\n\n
Ruben Willem de Goeij<\/td>\nDirector<\/td>\n<\/tr>\n
Ruben Willem de Goeij<\/td>\nWriter<\/td>\n<\/tr>\n
Ruben Willem de Goeij<\/td>\nProducer<\/td>\n<\/tr>\n
Thijs van Spall<\/td>\nProducer<\/td>\n<\/tr>\n
Duncan Meijering, Geert Dekkers, Edo Brunner, Ferdinand Ormskerk<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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APPLE TREE<\/h2>

Kolya gives a sudden and unusual birthday present to his son, which turns out a momentous one for the kid.<\/p>\n\t\t\t\t <\/div>\n\t\t\t\t \n\t\t\t\t <\/div>\n\t\t\t\t \n\t\t\t\t <\/div>\n\t\t\t\t \n\t\t\t\t

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Angelos At Christmas<\/h2>

It is Christmas Eve. Angelos, a mysterious 50-year-old man, observes a young boy singing the carols in the streets of Athens. He convinces the child to go with him in his car towards an unknown destination.<\/p>\n\n\n\n\n\n\n
FOTIS ZAMPETAKIS<\/td>\nDirector<\/td>\n<\/tr>\n
FOTIS ZAMPETAKIS<\/td>\nWriter<\/td>\n<\/tr>\n
ARTemis Productions<\/td>\nProducer<\/td>\n<\/tr>\n
DIMITIRIS GEORGALAS, MARIOS NOUSIAS, YVONNE MALTEZOU, MARIO BANUSHI, MARY CHRYSSANTHOPOULOU, KOSTAS LASKOS<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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The Boy and The Mountain<\/h2>

Hern\u00e1n is a child who likes to daydreaming, but in his studies he is not doing well at all. His father constantly urges him to improve, advising him that he must reach very high to succeed in life. Hern\u00e1n dispenses with his dream, gradually forgetting it to devote himself to his studies. Over time, and already become a successful entrepreneur, Hern\u00e1n achieves the dream that his father instilled in him, reach high, until one day he will realize that he has not really achieved something he always longed for. Then he will make the crucial decision to fulfill his dream, but fate will play tricks on him. Hern\u00e1n will have to face a new challenge that will change the meaning of his life.<\/p>\n\n\n\n\n\n\n\n\n\n
Santiago Aguilera<\/td>\nDirector<\/td>\n<\/tr>\n
Gabriel Monreal<\/td>\nDirector<\/td>\n<\/tr>\n
Pablo Aguirre<\/td>\nWriter<\/td>\n<\/tr>\n
Santiago Aguilera<\/td>\nWriter<\/td>\n<\/tr>\n
Kylie Trupp<\/td>\nWriter<\/td>\n<\/tr>\n
Gabriel Monreal<\/td>\nWriter<\/td>\n<\/tr>\n
Claudio Villarroel<\/td>\nProducer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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In Search of the Malwatu Oya<\/h2>

A Journey in Search of an Ancient Civilization.<\/p>\n

Starting from the holy mountain of Ritigala, Malwatu River, the second longest river (102 miles) in Sri Lanka, flows across the face of the Raja Rata (Land of the Kings) to enter the Bay of Mannar of the Indian Ocean. The most historic river basin in Sri Lanka, called Malwatu Oya in the native language, the River of Flower Gardens, lies at the very heart of the beginning of Sri Lanka\u2019s ancient civilization.<\/p>\n

It is believed that the Malwatu Oya provided a direct water route from the ancient port of Mantai, the largest and the most important port in the Indian Ocean, to the historic capital of Sri Lanka, Anuradhapura. Situated near the mouth of the Malwatu Oya, this great port drew traders from Greece, Rome, Persia, Egypt, China and East Asia as regular visitors to Mantai, which was then the hub of the trade between the East and the West.<\/p>\n

Despite its enormous significance and importance, today, very little is known about this historic river. The last person to explore the Malwatu Oya was the Englishman Robert Knox in 1679, who followed its path to escape the power of King of Kandy, Rajasimha II (1629 \u2013 1687 CE).<\/p>\n

Starting where Knox\u2019s journey ended, at Arippu where the river flows into the sea, a group of artists, historians, and explorers took on a Journey to row up the Malwatu Oya in canoes while documenting its course, its scenery, beginnings, environment, the legendary irrigation systems, and its surrounding village life.<\/p>\n

This is a Journey which has never been attempted in the modern era. The Malwatu Oya has never been explored or studied in its own right. Without Malwatu Oya, the civilization of Sri Lanka may never have come into being.<\/p>\n

A Journey in Search of the Malwatu Oya is a Journey to the Heart of an Ancient Civilization.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n
Dr. SinhaRaja Tammita-Delgoda<\/td>\nDirector<\/td>\n<\/tr>\n
Hiranya Malwatta<\/td>\nDirector<\/td>\n<\/tr>\n
Dr. SinhaRaja Tammita-Delgoda<\/td>\nProducer<\/td>\n<\/tr>\n
Nandana Sitinamaluwe (Producer)<\/td>\nProducer<\/td>\n<\/tr>\n
Shanika Weerasundara<\/td>\nProducer<\/td>\n<\/tr>\n
Hiranya Malwatta, Tharindu Amunugama, Dr. SinhaRaja Tammita-Delgoda, Eduard Hempel, Thilini Wickramasinghe<\/td>\nKey Cast<\/td>\n<\/tr>\n
Thorana Music<\/td>\nMusic<\/td>\n<\/tr>\n
Thorana Music<\/td>\nMusic<\/td>\n<\/tr>\n
Malani Bulathsinghala<\/td>\nMusic<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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(UN)CENSORED<\/h2>

Dance Short Film about the dream for equality in changes in life, status and freedom between women and men.<\/p>\n

Only a few will see the sorrow, but every woman knows the struggle in her own way. She tries to be what is accepted and normal in a world where the majority acts the way they have learned without thinking and self-reflection. She is fed up of being seen as the weakest, the guilty one and the object of seduction. Those one-sided thoughts that are made by narrow visioned man originate frustration and despair.<\/p>\n

She wonders what would be the right answer. Running away from bias and unwritten rules or show her story about equality with the power of movement.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Mike Pasarella<\/td>\nDirector<\/td>\n<\/tr>\n
Adriana Pasarella<\/td>\nWriter<\/td>\n<\/tr>\n
Mike Pasarella<\/td>\nWriter<\/td>\n<\/tr>\n
Studio Pasarella<\/td>\nProducer<\/td>\n<\/tr>\n
Adriana Pasarella<\/td>\nKey Cast<\/td>\n<\/tr>\n
Adriana Pasarella<\/td>\nChoreography<\/td>\n<\/tr>\n
Jo\u00eblle Leenders<\/td>\nClothing Design<\/td>\n<\/tr>\n
Otilia Veru<\/td>\nClothing Design<\/td>\n<\/tr>\n
Freek Henkes<\/td>\nMusic<\/td>\n<\/tr>\n
Laetitia Duveau<\/td>\nMusic<\/td>\n<\/tr>\n
Matteo Iannella<\/td>\nMusic<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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‘Pipi Thay Too’ (‘The Grandmother Tree’)<\/h2>\n\n\n\n\n
Laura Alice<\/td>\nDirector<\/td>\n<\/tr>\n
Drawn Together Studio<\/td>\nWriter<\/td>\n<\/tr>\n
Bluebird Foundation Inc., The Fort, The City of Greater Geelong, Laura Alice<\/td>\nProducer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Mother Tongue<\/h2>

A benefits claim appointment spins out of control when Candide, 23, borrows her sister\u2019s baby and strangely pretends like it\u2019s her own child. A suspicious Martijn, the caseworker, attempts to unravel her lies accusing Candide of fraud. But behind her charade lies an unexpected secret.<\/p>\n\n\n\n\n\n\n\n
Floris Ramaekers<\/td>\nDirector<\/td>\n<\/tr>\n
Floris Ramaekers<\/td>\nWriter<\/td>\n<\/tr>\n
Reinier Selen<\/td>\nProducer<\/td>\n<\/tr>\n
Luka Kluskens<\/td>\nKey Cast<\/td>\n<\/tr>\n
Jochum ten Haaf<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Quarterlife Cruisers<\/h2>

When the car is fine, but the people break down.<\/p>\n

Two 30-something besties, Wendy and Karin, are about to relive their teen years at a rock concert, when they decide to spice it up this time. They meet eighteen-year-old Anton who makes them feel young again. \u2018Hop on in!\u2019 and off they go: two dressed up glam rock chicks and one young guy who tries to keep his cool. It\u2019s like the olden days: carefree fun, adolescent sexual tensions, fantasies about doing drugs and the exciting promise of one very wild night.<\/p>\n

Or is it?
\nBecause Karin\u2019s husband is calling with mundane questions about their baby and the boy appears to still be living at his parents\u2019 house. The only one who can responsibly do drugs (because she\u2019s not breastfeeding) or kiss someone (because she\u2019s single) is Wendy. But this night should only be about being in the moment and only doing what they want, right? And does Wendy even want to do all these things, while Karin only watches?<\/p>\n

This roadtrip makes two women realize they\u2019re holding on to something that isn\u2019t there anymore. Or at least not exactly as it used to be. Maybe they\u2019ll have to redefine what their \u2018fun night out\u2019 should look like and discover that being young isn\u2019t some holy grail to fixate upon.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Karlijn Koel<\/td>\nDirector<\/td>\n<\/tr>\n
Elly Scheele, Tim Zweistra<\/td>\nWriter<\/td>\n<\/tr>\n
Ferdi \u00c7elik<\/td>\nProducer<\/td>\n<\/tr>\n
Willemijn de Jonge, Karlijn Koel<\/td>\nCreative Producers<\/td>\n<\/tr>\n
Karlijn Koel, Willemijn de Jonge, Ronald Kalter<\/td>\nKey Cast<\/td>\n<\/tr>\n
Luuk de Kok<\/td>\nDirector of Photography<\/td>\n<\/tr>\n
Maarten in ‘t Hout<\/td>\nEditor<\/td>\n<\/tr>\n
Kiki Henger<\/td>\nColorist<\/td>\n<\/tr>\n
Elise van Dijk, Ferdi \u00c7elik<\/td>\nFirst AD<\/td>\n<\/tr>\n
Tim Zweistra<\/td>\nScript Supervisor<\/td>\n<\/tr>\n
Jovan Avramoski<\/td>\nFirst AC<\/td>\n<\/tr>\n
Tim Broers<\/td>\nFocus Puller<\/td>\n<\/tr>\n
Tim Broers<\/td>\nFocus Puller<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Rukh<\/h2>

A middle-aged driver, Kazakh Yergalym, who is trying to find the meaning of life in material gain, files for divorce from his childless wife. At this time, a 12-year-old boy, Uyghur Farukh, escapes from the orphanage. Fate unexpectedly brings Yergalym and Farukh together, resulting in both life changing.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Mikhail Plisko<\/td>\nDirector<\/td>\n<\/tr>\n
Mikhail Plisko<\/td>\nWriter<\/td>\n<\/tr>\n
Rustam Abdussalamov<\/td>\nWriter<\/td>\n<\/tr>\n
Rustam Abdussalamov<\/td>\nProducer<\/td>\n<\/tr>\n
Daniyar Taipov, Marat Abay-Dilda, Saniya Erzat, Shynar Askarova, Erbolat Toguzakov, Mirzakhmet Ushurov, Rasul Setvaldiev, <\/td>\nKey Cast<\/td>\n<\/tr>\n
Anton Zhabin<\/td>\nCamera<\/td>\n<\/tr>\n
Leda Semenova<\/td>\nEditor<\/td>\n<\/tr>\n
Anton Semenov<\/td>\nSound Editor<\/td>\n<\/tr>\n
Andrey Vlazyev<\/td>\nSound Editor<\/td>\n<\/tr>\n
Maksim Koshevarov<\/td>\nSound Editor<\/td>\n<\/tr>\n
Beken Narbay<\/td>\nArt Director<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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FARMERS – INDONESIA – EPISODE 1<\/h2>

Ponisih lives a community at the intersection of breaking traditions and keeping a legacy. Born in a village of coconut sugar farmers in Java, she decided to leave her roots and find a new life in a bigger city. Yet, after being there for several years it crystalized she was happier being a coconut sugar farmer and returned home. Ponisih now encourages a decreasing community of farmers to embrace similar choices. Yet, the next generation might have other plans.<\/p>\n

As the pandemic permeated bigger cities, Ponisih’s family felt safe at home in the village of Hargorojo. She was reassured of her choice. But then everything changed. The delta variant of COVID-19 spread suddenly and unexpectedly.<\/p>\n

Ponisih is one of three farmers featured in an unscripted documentary which follows Fairtrade farmers during the global pandemic in different corners of the world. Often forgotten, and yet crucial to our day-to-day, farmers had to carry on working during Covid-19, adjusting to a new reality while still facing other underlying societal challenges.<\/p>\n\n\n\n\n\n\n
Nyimas Laula<\/td>\nDirector<\/td>\n<\/tr>\n
Rizky Rahad<\/td>\nDirector<\/td>\n<\/tr>\n
Tobias Thiele<\/td>\nWriter<\/td>\n<\/tr>\n
Tobias Thiele<\/td>\nProducer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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When I Explode<\/h2>

Chris’ thirtieth Birthday party is turned upside down when he finds out there is a ticking bomb growing in his stomach. Bomb expert Alim is brought in to defuse both the bomb and the tension.<\/p>\n\n\n\n\n\n\n\n
Angelo Raaijmakers<\/td>\nDirector<\/td>\n<\/tr>\n
Angelo Raaijmakers<\/td>\nWriter<\/td>\n<\/tr>\n
Angelo Raaijmakers<\/td>\nProducer<\/td>\n<\/tr>\n
Thomas H\u00f6ppener, Claire Bender, Sabri Saad el Hamus<\/td>\nKey Cast<\/td>\n<\/tr>\n
Joris Bulstra<\/td>\nDirector of Photography<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Brother<\/h2>

Brother (2021) is a short film (drama, fiction) about the impact of psychosis on a family. Brothers Ivo (16) and Tom (18) are very close. One day Ivo notices that Tom is showing unusual behavior. His big brother Ivo has always looked up to is about to lose his mental sanity. When Tom\u2019s behavior is becoming increasingly alarming, Ivo faces a difficult decision. Will he ever get his brother back?<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Lisanne Sweere<\/td>\nDirector<\/td>\n<\/tr>\n
Lisanne Sweere<\/td>\nWriter<\/td>\n<\/tr>\n
Ramon Etman<\/td>\nProducer<\/td>\n<\/tr>\n
Lisanne Sweere<\/td>\nProducer<\/td>\n<\/tr>\n
Melle Schram, Jonas Coppus, Anna Semenov, Steef Cuijpers, Willemijn van der Ree, Dennis Overeem, Nora van der Heide<\/td>\nKey Cast<\/td>\n<\/tr>\n
Gabor Deak<\/td>\nDirector of Photography<\/td>\n<\/tr>\n
Daan Goudswaard, Nina Stankova<\/td>\nProduction Design<\/td>\n<\/tr>\n
Wouter van Gestel<\/td>\nEditor<\/td>\n<\/tr>\n
Herman Witkam<\/td>\nMusic & Sound Design<\/td>\n<\/tr>\n
Ilya van den Berg<\/td>\nCostume<\/td>\n<\/tr>\n
Lisanne Sweere<\/td>\nOriginal song: Brotherhood<\/td>\n<\/tr>\n
Herman Witkam<\/td>\nOriginal song: Brotherhood<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Where Do You Go?<\/h2>

In this music video for Portland-based band MAITA (from the new record ‘I Just Want To Be Wild For You’, via Kill Rock Stars) a dream doctor gives a struggling couple virtual encounters with giant dream monsters, hoping to bring them to a place of common understanding. Things take an unexpected turn when the dream-induction equipment begins to malfunction…
\nMusic video for Portland-based band MAITA, from the new record ‘I Just Want To Be Wild For You’, via Kill Rock Stars.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Luke Borsten<\/td>\nDirector<\/td>\n<\/tr>\n
Maria Maita-Keppeler Maita-Keppeler<\/td>\nProducer<\/td>\n<\/tr>\n
Matthew Zeltzer<\/td>\nProducer<\/td>\n<\/tr>\n
Ashley Mellinger, Shan Macomb, Maria Maita-Keppeler, <\/td>\nKey Cast<\/td>\n<\/tr>\n
Markus Lim<\/td>\nDirector of Photography<\/td>\n<\/tr>\n
Clifton Chandler<\/td>\nProduction Designer<\/td>\n<\/tr>\n
Micaela Works<\/td>\nProduction Coordinator<\/td>\n<\/tr>\n
Jeanette Li<\/td>\nLighting<\/td>\n<\/tr>\n
Ira Pratt<\/td>\nPuppet Designer<\/td>\n<\/tr>\n
Alex Hungerford, Rachel McMillan-Pratt<\/td>\nArt Department Assistant<\/td>\n<\/tr>\n
Nastacia Voisin, John England-Fisher<\/td>\nProduction Assistant<\/td>\n<\/tr>\n
Rose Gonoud<\/td>\nAssistant Puppeteer<\/td>\n<\/tr>\n
Luke Borsten<\/td>\nEditor<\/td>\n<\/tr>\n
Matt Harmon<\/td>\nSound Design<\/td>\n<\/tr>\n
Maria Maita-Keppeler, Matthew Zeltzer<\/td>\nSong written\/performed by<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Conflict<\/h2>

Conflict is about Mohammad Abdullah, a Palestinian prisoner who is being interrogated by Moshe Levi, an Israeli soldier. They both exchange their own point of views in a heated conversation which eventually creates an unpredictable outcome.<\/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
Chozy Aiyub<\/td>\nDirector<\/td>\n<\/tr>\n
Malik J Ali<\/td>\nDirector<\/td>\n<\/tr>\n
Chozy Aiyub<\/td>\nWriter<\/td>\n<\/tr>\n
Chozy Aiyub<\/td>\nProducer<\/td>\n<\/tr>\n
Chozy Aiyub, Chozy Aiyub, <\/td>\nKey Cast<\/td>\n<\/tr>\n
John Cola<\/td>\nDoubles \/ Stand Ins<\/td>\n<\/tr>\n
Matt Roszak<\/td>\nDoubles \/ Stand Ins<\/td>\n<\/tr>\n
Ingrid Jordan, Shonny Sanders<\/td>\nAssistant Directors<\/td>\n<\/tr>\n
David Velick<\/td>\nDirector of Photography<\/td>\n<\/tr>\n
David Velick, David D Haynes II,Myke Wyse<<\/td>\nCam Ops<\/td>\n<\/tr>\n
Maya Backman<\/td>\nScript Supervisor<\/td>\n<\/tr>\n
Cai Curry<\/td>\nSound Mixer \/ Boom Operator<\/td>\n<\/tr>\n
Jonah Cuozzo<\/td>\nGaffer \/ Grip<\/td>\n<\/tr>\n
Erin McCann<\/td>\nMakeup Artist<\/td>\n<\/tr>\n
Tinesha Lynn<\/td>\nCostume Designer<\/td>\n<\/tr>\n
Chozy Aiyub, Ingrid Jordan<\/td>\nCasting<\/td>\n<\/tr>\n
Lexie Scott, Tinesha Lynn<\/td>\nProduction Assistants<\/td>\n<\/tr>\n
Aiden Renardel De Lavlette<\/td>\nBTS Videography \/ Photography<\/td>\n<\/tr>\n
Aiden Renardel De Lavlette, Kevin Miller<\/td>\nBTS Videography \/ Photography<\/td>\n<\/tr>\n
David Arias<\/td>\nEditor \/ VFX \/ Colorist<\/td>\n<\/tr>\n
Ryan Steinbach<\/td>\nMusic Editor \/ Composer \/ Re-recording Mixer
\nDirector Biography – Chozy Aiyub, M<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Chuppah<\/h2>

Cloaked in secrecy for more than a half century, this is a powerful story of profound love in a world of religious persecution.<\/p>\n\n\n\n\n\n\n
Brenda Mary Malley<\/td>\nDirector<\/td>\n<\/tr>\n
Brenda Mary Malley<\/td>\nWriter<\/td>\n<\/tr>\n
Brenda Mary Malley<\/td>\nProducer<\/td>\n<\/tr>\n
Victoria MacLeod<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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NIRVANA<\/h2>

Order of appearance
\nStaircase classic home.
\nmusician play instrument ( kamancheh ).
\ndancer appear ( contemporary dance ).
\ncouple dance.
\nArtists silhouette appears, sing the song.
\ncalligraphy start writing over with video effect<\/p>\n

Song Lyrics<\/p>\n

“”I know not of the maker’s intent,
\nin heaven belong, or to ugly hell sent.
\nCup, lover, and music next to the field
\nexalts more than heaven’s promise”<\/p>\n

“How sweet is mortal Sovranty!”\u2014think some:
\nOthers\u2014”How blest the Paradise to come!”
\nAh, take the Cash in hand and waive the Rest;
\nOh, the brave Music of a distant Drum!<\/p>\n

“before you vanished from this world,
\ndrink, once drunk sparrows are gone”<\/p>\n

Omar Khayyam ”<\/p>\n\n\n\n\n\n
Amir Hossein Nouri<\/td>\nProducer<\/td>\n<\/tr>\n
Amir Hossein Nouri<\/td>\nSinger<\/td>\n<\/tr>\n
Amir Hossein Nouri<\/td>\nSong writer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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MUSE<\/h2>\n\n\n\n\n\n
J\u00f6rgen Scholtens<\/td>\nDirector<\/td>\n<\/tr>\n
Pepijn van Weeren<\/td>\nWriter<\/td>\n<\/tr>\n
Thijs de Neeve<\/td>\nProducer<\/td>\n<\/tr>\n
Juliette van Ardenne, Rian Gerritsen, Rienus Krul<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Dipsas Speaks<\/h2>

Changes are happening in the high Amazon cloud forest, and a snake speaks out.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n
Craig Daniel Leon<\/td>\nDirector<\/td>\n<\/tr>\n
Craig Leon<\/td>\nWriter<\/td>\n<\/tr>\n
Dami\u00e1n S\u00e1nchez<\/td>\nProducer<\/td>\n<\/tr>\n
Craig Daniel Leon<\/td>\nProducer<\/td>\n<\/tr>\n
Laura Donoso<\/td>\nKey Cast<\/td>\n<\/tr>\n
Alexander Leon<\/td>\nMusic composition<\/td>\n<\/tr>\n
Dami\u00e1n S\u00e1nchez<\/td>\nEditor<\/td>\n<\/tr>\n
Katherine Benson<\/td>\nPiano performance<\/td>\n<\/tr>\n
Jaime Culebras, Jaime Palacios<\/td>\nCamera<\/td>\n<\/tr>\n
Daniel El Irlandes Torres, Jaime Palacios<\/td>\nSound<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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The Neighborhood Storyteller<\/h2>

War tragically pushed Asmaa out of her home country, Syria, where her destiny had been written as a wife and mother with only 16 years of age. Asmaa rebuilt her adult identity as the neighborhood storyteller and began using reading aloud to children for fun as a bridge to tackle critical issues in her new community at the Zaatari refugee camp in Jordan.<\/p>\n

Six years later, with Asmaa\u2019s first born daughter reaching adolescence, a flashback of her education deprived past emerges and inspires her to embark on a new read aloud project to empower teenage girls to build a future of opportunities she never had. Despite her complex living situation as a refugee and the community\u2019s conservative mindset, Asmaa is determined to raise a conscious generation of successful women.<\/p>\n

The Neighborhood Storyteller is a documentary feature film that explores human resilience, the transition from child to adult and one’s capacity to turn hardships into an opportunity for self growth.<\/p>\n\n\n\n\n\n\n\n
Alejandra Alcala<\/td>\nDirector<\/td>\n<\/tr>\n
Francisco Alcala<\/td>\nProducer<\/td>\n<\/tr>\n
Home Storytellers<\/td>\nProduction Organization<\/td>\n<\/tr>\n
Alex Garcia<\/td>\nOriginal Score<\/td>\n<\/tr>\n
Takek Abu Ghoush<\/td>\nSound Recordist<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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The Better Angels<\/h2>

A young soldier trying to escape the horrors of war, finds an abandoned house and within its walls the stories of what might have been.<\/p>\n\n\n\n\n\n\n
Michael Cusack<\/td>\nDirector<\/td>\n<\/tr>\n
Michael Cusack<\/td>\nWriter<\/td>\n<\/tr>\n
Richard Chataway<\/td>\nProducer<\/td>\n<\/tr>\n
Samuel Lau<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Italian Chefs<\/h2>

Italian Chefs want to promote Italian cuisine and the territory abroad. Telling the typical features of each region thus offering an overview of the state of the culinary art in Italy. The first series of 5 episodes are set in the Lazio Region. The series aims to extend the episodes to all regions of Italy.<\/p>\n\n\n\n\n\n\n
Leonardo Cinieri Lombroso<\/td>\nDirector<\/td>\n<\/tr>\n
Leonardo Cinieri Lombroso<\/td>\nWriter<\/td>\n<\/tr>\n
Leonardo Cinieri Lombroso<\/td>\nProducer<\/td>\n<\/tr>\n
Daniele Di Pietro<\/td>\nProducer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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More Than Blood<\/h2>

Every six minute a woman dies during childbirth. Using animation, documentary and the filmmaker’s voice, “More Than Blood” addresses the main cause leading to this tragic reality in low-income countries and what an extraordinary man is doing to reduce maternal mortality throughout the world.<\/p>\n\n\n\n\n\n
Rani Khanna<\/td>\nDirector<\/td>\n<\/tr>\n
Rani Khanna<\/td>\nWriter<\/td>\n<\/tr>\n
Rani Khanna<\/td>\nProducer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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UKWATI \/\/ The Wedding<\/h2>

Across the globe, child marriages are still taking place. Girls as young as 10 years old are being stripped of their innocence and thrown into the responsibilities of marriage. Our film, “UKWATI”, which translates to \u201cThe Wedding\u201d, sheds light on the lengths to which a mother must go when living in extreme poverty. With limited opportunity, scarce resources and lack of education, millions of families are faced with this sobering reality. \u201cUKWATI\u201d captures the relationship between a mother and her daughter as they both struggle to survive.<\/p>\n

Watts of Love provides financial literacy training and a solar light which empowers people to raise themselves out of poverty and onto a path of prosperity.<\/p>\n\n\n\n\n
Sean William Economou<\/td>\nDirector<\/td>\n<\/tr>\n
Jayson Burke<\/td>\nDirector of Photography<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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FAIRPLAY<\/h2>

A teenager in search of recognition, a worker ready to do anything to hit the jackpot, a senior executive at the end of his career who wants to prove to himself that he is still alive. Three characters who are losing speed on the competition highway…<\/p>\n\n\n\n\n\n
Zoel Aeschbacher<\/td>\nDirector<\/td>\n<\/tr>\n
Elena Tatti<\/td>\nProducer<\/td>\n<\/tr>\n
Nelson Ghrenassia<\/td>\nProducer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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SHARK<\/h2>

Completing the trilogy of wickedly dark comedy shorts that began with Spider and Bear, Nash Edgerton finds a perfect match in Rose Byrne as Sofie, a woman who loves pranks just as much as Jack, Edgerton\u2019s onscreen alter ego. Alas, the couple\u2019s quest to outdo each other may lead to the most outrageous calamity of all.<\/p>\n\n\n\n\n\n\n\n
Nash Edgerton<\/td>\nDirector<\/td>\n<\/tr>\n
Nash Edgerton<\/td>\nWriter<\/td>\n<\/tr>\n
David Mich\u00f4d<\/td>\nWriter<\/td>\n<\/tr>\n
Michele Bennett<\/td>\nProducer<\/td>\n<\/tr>\n
Nash Edgerton, Rose Byrne<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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CENSOR OF DREAMS<\/h2>

Every night, The Censor and his team moderate Yoko\u2019s dreams. Tonight nothing happens as planned.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Leo Berne<\/td>\nDirector<\/td>\n<\/tr>\n
Rapha\u00ebl Rodriguez<\/td>\nDirector<\/td>\n<\/tr>\n
Leo Berne<\/td>\nWriter<\/td>\n<\/tr>\n
Rapha\u00ebl Rodriguez<\/td>\nWriter<\/td>\n<\/tr>\n
Charles-Marie Anthonioz<\/td>\nProducer<\/td>\n<\/tr>\n
Mourad Belkeddar<\/td>\nProducer<\/td>\n<\/tr>\n
Jean Duhamel<\/td>\nProducer<\/td>\n<\/tr>\n
Nicolas Lhermitte<\/td>\nProducer<\/td>\n<\/tr>\n
Damien Bonnard<\/td>\nKey Cast<\/td>\n<\/tr>\n
Yoko Higashi<\/td>\nKey Cast<\/td>\n<\/tr>\n
Sylvain Katan<\/td>\nKey Cast<\/td>\n<\/tr>\n
Alexis Rodney<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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SPIDER<\/h2>

It\u2019s all fun and games until someone loses an eye.<\/p>\n\n\n\n\n\n\n\n
Nash Edgerton<\/td>\nDirector<\/td>\n<\/tr>\n
Nash Edgerton<\/td>\nWriter<\/td>\n<\/tr>\n
David Mich\u00f4d<\/td>\nWriter<\/td>\n<\/tr>\n
Nicole O\u2019Donohue<\/td>\nProducer<\/td>\n<\/tr>\n
Nash Edgerton, Jill Mirrah Foulkes<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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BEAR<\/h2>

Jack has a new girlfriend, but he’s still up to old tricks.<\/p>\n\n\n\n\n\n\n\n
Nash Edgerton<\/td>\nDirector<\/td>\n<\/tr>\n
Nash Edgerton<\/td>\nWriter<\/td>\n<\/tr>\n
David Mich\u00f4d<\/td>\nWriter<\/td>\n<\/tr>\n
Nicole O\u2019Donohue<\/td>\nProducer<\/td>\n<\/tr>\n
Nash Edgerton, Jill Mirrah Foulkes<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Call Anytime, I’m Not Leaving the House<\/h2>

Two days after the Russian invasion of Ukraine, Lesya Verba, a Brooklyn-based artist and performer, gets through to her older sister in Odessa, Ukraine via FaceTime. Through the frame of this first FaceTime conversation since the day everything changed, Call Anytime, I\u2019m Not Leaving the House is a film about love, memory, national identity, and the (im)permanence of home, as the sisters cling to a call that could be their last.<\/p>\n\n\n\n\n\n
Sanjna Selva<\/td>\nDirector<\/td>\n<\/tr>\n
Sanjna Selva<\/td>\nProducer<\/td>\n<\/tr>\n
Lesya Verba, Yulia Verba<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Capo di Famiglia III<\/h2>

It has been 12 years since Eva, Vincent la Rosa’s wife, passed away. Since then, in addition to caring for his son Daniel, Vincent has taken on the role as godfather to his niece Helena and has been busy maintaining his empire. In fact, Vincent is currently one of the most influential people in the Netherlands and he wants to use his influence, which reaches as far as the Catholic Church, to boost his son’s political career. The moment he seems inviolable and Vincent gets his way in everything, the past catches up with him and his family. Then the opponents come from an unexpected quarter for another person in the la Rosa family.<\/p>\n\n\n\n\n\n\n\n\n
Dirk Gunther Mohr<\/td>\nDirector<\/td>\n<\/tr>\n
Fabienne Leenart<\/td>\nDirector<\/td>\n<\/tr>\n
Dirk Gunther Mohr, Anna van Dijk, Samantha van Tetering, Peter Blankenstein, Anouk Briefjes, Marcel Romeijn, Charlie Curilan<\/td>\nKey Cast<\/td>\n<\/tr>\n
Dirk Gunther Mohr<\/td>\nWriter<\/td>\n<\/tr>\n
Yvonne Kuijn Gerrits<\/td>\nProducer<\/td>\n<\/tr>\n
Yvonne Kuijn Gerrits<\/td>\nProducer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Unsettling Dust<\/h2>

Unsettling Dust, a collaborative short film project, explores the lived, bodily experience of radiation by focusing on the relationship between post-nuclear landscapes, radioactive dust and breathing. It draws attention to Fort de Vaujours, a former nuclear weapon testing site on the outskirts of Paris and asks what it means to be living with the threat of contagion, with doubt cast upon your every single breath.<\/p>\n\n\n\n\n\n\n\n
tineke van veen<\/td>\nDirector<\/td>\n<\/tr>\n
barbara prezelj<\/td>\nDirector<\/td>\n<\/tr>\n
Tineke van veen<\/td>\nProducer<\/td>\n<\/tr>\n
Barbara Prezelj<\/td>\nProducer<\/td>\n<\/tr>\n
tineke van veen<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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F*ck Endo. More than just menstrual pain.<\/h2>

An intimate and vulnerable documentary that follows the daily lives of four women in the Netherlands and Belgium who suffer from endometriosis. Endometriosis is a chronic disorder where tissue, similar to the tissue that normally lines the inside of the uterus, grows outside the uterus. Anthropologist and documentary maker Wilke Geurds tries to understand what it is like to live with an invisible disease that affects one in ten women. Heavy menstrual pain is not normal and can be a sign that there is more going on, as in the case of Devina (28), Daphne (30), Margot (36) and Sanne (43). But the pain is often not visible, which can lead to a lack of understanding among outsiders. Therefore, Wilke also filmed in the women’s homes where an invisible world of pain unfolds before her camera. Sanne will soon undergo a surgery to remove spots of endometriosis on her intestine. Daphne can no longer work because of the pain and receives monthly sick pay. Devina known since last summer that she has adenomyosis, a form of endometriosis, and is searching for a suitable treatment. And single mother Margot combines her own life, which is affected by endometriosis, with the care of her two young children. Playful animations, an interview with a gynecologist, and the images that the women themselves have made, helps Wilke in order to make this disease understandable and also visual.<\/p>\n\n\n\n
Wilke Geurds<\/td>\nDirector<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Between Summits<\/h2>

After a climbing accident Hein Noortman ends up in a five-week coma full of visions. Most of Heins bones are severely broken or shattered, and his face needs to be completely reconstructed. Against all odds he awakes from his coma. Blind and barely breathing a long physical rehab process starts.<\/p>\n

Hein learned to walk, talk and stand on his own two feet. But some things keep nagging. The dependence on his surroundings weigh heavy on him. Despite everything, he does not give up on his dreams, and a big challenge is planned. A film on getting the most out of life.<\/p>\n

A monologe, combined with animation and expository video.<\/p>\n\n\n\n\n\n\n\n\n\n
Roeland Wendel<\/td>\nDirector<\/td>\n<\/tr>\n
Ilse Lavell<\/td>\nDirector<\/td>\n<\/tr>\n
Roeland Wendel<\/td>\nProducer<\/td>\n<\/tr>\n
Roeland Wendel<\/td>\nProducer<\/td>\n<\/tr>\n
Hein Noortman, Mari\u00eblle Noortman<\/td>\nKey Cast<\/td>\n<\/tr>\n
Jan Bexterman<\/td>\nAnimation<\/td>\n<\/tr>\n
Dion van Velzen<\/td>\nSound Design<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Falling<\/h2>

This video depicts an imaginary post-war atmosphere, music is forbidden, army is ruling and repressing any kind of cultural activities. But there is a soldier who cannot suppress his emotions, his dancing, love, despite being one of the ruling kind, as he is probably forced to be a soldier. The band members had their illegal rehearsal and while running away, their singer was captured and symbolically tortured with roses by our soldier. The other band members saved the singer, and soldier unfortunately didn’t got away with it.<\/p>\n\n\n\n\n\n\n\n\n
Filip Grzincic<\/td>\nDirector<\/td>\n<\/tr>\n
Filip Grzincic<\/td>\nWriter<\/td>\n<\/tr>\n
Zoran Badurina<\/td>\nWriter<\/td>\n<\/tr>\n
Sladana Grzincic<\/td>\nWriter<\/td>\n<\/tr>\n
Filip Grzincic<\/td>\nProducer<\/td>\n<\/tr>\n
Toni Flego<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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TWO OPTIONS<\/h2>

In the country of Freedom, Equality and Fraternity, in this new Europe without borders, besieged by fear and intolerance, a polish immigrant will have to face the reality of racism.
\n–
\n“TWO OPTIONS” was written, shot and completely post-produced in 5 days, at an International Filmmakers Laboratory in France.<\/p>\n\n\n\n\n\n\n\n\n\n
Gon Caride<\/td>\nDirector<\/td>\n<\/tr>\n
Gon Caride<\/td>\nWriter<\/td>\n<\/tr>\n
Gon Caride<\/td>\nProducer<\/td>\n<\/tr>\n
Arturo M. Merelo<\/td>\nProducer<\/td>\n<\/tr>\n
Andr\u00e9s Caride<\/td>\nProducer<\/td>\n<\/tr>\n
Diane Malherbe<\/td>\nProducer<\/td>\n<\/tr>\n
Jan Soja, No\u00ebl Faure, Mohanad Diab<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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On the border<\/h2>

In a setting surrounded by constant news of violence, catastrophes and organized crime, good will and fear oppose each other when a woman watches her neighbours suspecting they are into some kind of trouble.<\/p>\n\n\n\n\n\n\n
Arturo M. Merelo<\/td>\nDirector<\/td>\n<\/tr>\n
Juan Sebasti\u00e1n Mariscal Herrera<\/td>\nWriter<\/td>\n<\/tr>\n
Arturo M. Merelo<\/td>\nProducer<\/td>\n<\/tr>\n
Roxana Molinari, Victoria Vera, Juan Sebasti\u00e1n Mariscal, Aiyana Tao Villa<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Akesi and the fight for Independence<\/h2>

Part III of “Akesi and the Congo River”, “Akesi and the Fight for Independence” is the final installation of this series. Rounding off his life lessons with one of hope and strength, Akesi learns about Patrice Lumumba, the first Prime Minister of the independent Democratic Republic of the Congo, and how his resilience led to the independence of his homeland in 1960.<\/p>\n\n\n\n\n\n\n\n\n\n
Curt Fortin<\/td>\nDirector<\/td>\n<\/tr>\n
Sa\u00efd Abitar<\/td>\nDirector<\/td>\n<\/tr>\n
Curt Fortin<\/td>\nWriter<\/td>\n<\/tr>\n
Stefanie Plattner<\/td>\nProducer<\/td>\n<\/tr>\n
Eva Vonk<\/td>\nProducer<\/td>\n<\/tr>\n
Tain\u00e1 Moreno<\/td>\nProducer<\/td>\n<\/tr>\n
Sasheer Zamata<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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What I will not forget<\/h2>

In this documentary we follow Joeri, former copywriter. But unfortunately at the age of 61 he was diagnosed with Lewy Body, a form of dementia that also involves hallucinations and symptoms of Parkinson\u2019s disease. Despite his dementia, he is still known for his creativity, ability to relate and his extraordinary view of the world. He also looks at his dementia from the positive side as much as possible. In his own words, it has given him more freedom in his creative development. Writing and painting are now different than before, as if he has \u201cdiscovered a new language and style\u201d. He wants to show the world what is still possible when you have dementia, how much fun life can still be. But it is not always so cheerful. Sadness and powerlessness play a big role in his environment. His two sons, Abel (23) and Jim (19), are slowly losing their father and Annet her lover. What impact does dementia have on the family dynamic, and what awaits them in the near future?<\/p>\n\n\n\n\n\n\n\n\n\n
Inez Kort<\/td>\nDirector<\/td>\n<\/tr>\n
Eva Dullaart<\/td>\nDirector<\/td>\n<\/tr>\n
Eva Dullaart<\/td>\nWriter<\/td>\n<\/tr>\n
Inez Kort<\/td>\nWriter<\/td>\n<\/tr>\n
Inez Kort<\/td>\nProducer<\/td>\n<\/tr>\n
Eva Dullaart<\/td>\nProducer<\/td>\n<\/tr>\n
Joeri Bakker, Annet Gelink, Abel Bakker, Jim Bakker<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Rice Connections<\/h2>

This documentary is about an artistic journey of Aida Redza, a muslim female contemporary dancer from Malaysia, and how she created a dance performance site by growing the paddy plot from scratch during the COVID-19 pandemic in late October of 2020. She is famous for creating collaborative multidisciplinary works involving rice. Aida and her co-collaborators participated in the different phases of the paddy\u2019s life-cycle and finally created a dance performance out of this process.<\/p>\n\n\n\n\n\n\n
Ee T. Lim<\/td>\nDirector<\/td>\n<\/tr>\n
Ee T. Lim<\/td>\nWriter<\/td>\n<\/tr>\n
Ee T. Lim<\/td>\nProducer<\/td>\n<\/tr>\n
Aida Redza<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Reviving Rivers<\/h2>

Can we revive our rivers and landscapes? Can we bring water back to regions that have been desertified? Yes we can, and this example shows us how.<\/p>\n

Drought and water scarcity are now issues all around the world. Cities are running out of water, landscapes are engulfed in flames, and every year drought, flood and fire become more common and severe. Despite the huge amount of energy and money that has been put into developing elaborate water systems, the distribution and availability of water seems to continue getting worse. The engineered solutions that nations around the world have pursued, while solving our immediate needs, have made the long term outlook even more bleak. The best solutions we\u2019ve found have come from people living close to their landscape, dependent on the health of their land for their own survival.<\/p>\n

In the driest region of India, Doctor Rajendra Singh was up against these enormous challenges. The farmland in his region had turned to desert, water sources had gone dry, and all of the young people from the villages had migrated to the cities for work. While he was treating the remaining elderly villagers for night blindness (due to malnutrition), one village elder showed Rajendra a more powerful way to help the community. He told Rajendra that what the community needed to be healthy was not medicine, but water – Rajendra had to shift his focus to treating the Earth.<\/p>\n\n\n\n\n\n\n\n\n
Christopher J Carter<\/td>\nDirector<\/td>\n<\/tr>\n
Raleigh E Latham<\/td>\nDirector<\/td>\n<\/tr>\n
Raleigh E Latham<\/td>\nWriter<\/td>\n<\/tr>\n
Zachary E Weiss<\/td>\nProducer<\/td>\n<\/tr>\n
Rajendra Singh<\/td>\nKey Cast<\/td>\n<\/tr>\n
Christopher J Carter<\/td>\nDirector of Photography<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Le Pain<\/h2>

‘Le Pain’ is a historical short film that follows a house search during the 2nd World War. A German soldier investigates wether a jewish family is hiding in a dilapidated farmhouse that only seems to be inhabited by a French speaking Belgian girl.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Pepijn Tebrunsvelt<\/td>\nDirector<\/td>\n<\/tr>\n
Pepijn Tebrunvelt<\/td>\nWriter<\/td>\n<\/tr>\n
Louise Buysschaert, Niels Peetjens, <\/td>\nKey Cast<\/td>\n<\/tr>\n
Roy van Kleef, Stacy Nieskens<\/td>\nSupporting Cast<\/td>\n<\/tr>\n
Ruurd M. Fenenga<\/td>\nCinematographer<\/td>\n<\/tr>\n
Leontine Poulussen<\/td>\nHead of Production<\/td>\n<\/tr>\n
Thijs Schnater<\/td>\nProductionleader<\/td>\n<\/tr>\n
Mick Gooren<\/td>\nCamera<\/td>\n<\/tr>\n
Timo Smits<\/td>\nGaffer<\/td>\n<\/tr>\n
Rick Kerkhoff<\/td>\nRunner<\/td>\n<\/tr>\n
Joep van Uden<\/td>\nProduction Assistant<\/td>\n<\/tr>\n
Mick Gooren<\/td>\nGrading<\/td>\n<\/tr>\n
Nora van Laer<\/td>\nMUA<\/td>\n<\/tr>\n
Pepijn Tebrunsvelt<\/td>\nEditor<\/td>\n<\/tr>\n
Mark van Mameren<\/td>\nSounddesigner<\/td>\n<\/tr>\n
Pepijn Tebrunvelt<\/td>\nProducer<\/td>\n<\/tr>\n
Klaas Bies<\/td>\nCo-Producer<\/td>\n<\/tr>\n
Louise Buysschaert<\/td>\nCo-Producer<\/td>\n<\/tr>\n
Catalina Biemans<\/td>\nLanguage Coach<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Worn Out<\/h2>

Moe (Worn Out in English) is a film about surviving in a chaotic household with an alcoholic mother and an emotionally distant father. Or rather, parents that don\u2019t behave like parents. From an early age, Robin has to grow up and effectively take responsibilities a child should not have to take. His emotions are visualized by a red dooming light, which stands for the stress, anger, fear, and exhaustion that lives in his house and himself. A space that should be safe never was. In contrast, he has friends that are free and have the ability to explore their identity and sexuality, while Robin is held back by his house situation. We see him grow up in three stages till adulthood, where he tries to find stability. He comes out of his shell the first time at a gay bar, but that doesn’t mean that the chaos at home has changed…<\/p>\n

The film is spoken in Dutch.<\/p>\n\n\n\n\n\n\n\n\n\n\n
Matt Mazereeuw<\/td>\nDirector<\/td>\n<\/tr>\n
D. Y. de Jonge<\/td>\nWriter<\/td>\n<\/tr>\n
Ita de Hes<\/td>\nProducer<\/td>\n<\/tr>\n
Tom Skidmore<\/td>\nProducer<\/td>\n<\/tr>\n
Matt Mazereeuw<\/td>\nProducer<\/td>\n<\/tr>\n
Devin Hillenius, Yolanda van Gemert, Diederik Schampers, Jost Timmerman, Noa Claassen, Riley Burleson, <\/td>\nKey Cast<\/td>\n<\/tr>\n
Robert Hofman<\/td>\nDirector of Photography<\/td>\n<\/tr>\n
Dickenson Eekman<\/td>\nChief of Sound<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Viva<\/h2>

Desperate to escape Cuba and find freedom, a young ballerina struggles to believe that she has the talent to dance her way off the impoverished island.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Esteban “Steven” Petersen<\/td>\nDirector<\/td>\n<\/tr>\n
Esteban “Steven” Petersen<\/td>\nWriter<\/td>\n<\/tr>\n
Esteban “Steven” Petersen<\/td>\nProducer<\/td>\n<\/tr>\n
Arami Malais\u00e9<\/td>\nProducer<\/td>\n<\/tr>\n
Chloe Malais\u00e9<\/td>\nProducer<\/td>\n<\/tr>\n
Thomas Scott Stanton<\/td>\nProducer<\/td>\n<\/tr>\n
Chad Engle<\/td>\nProducer<\/td>\n<\/tr>\n
Alex Loynaz<\/td>\nProducer<\/td>\n<\/tr>\n
Victor Otero<\/td>\nProducer<\/td>\n<\/tr>\n
Henssy Pichardo<\/td>\nProducer<\/td>\n<\/tr>\n
Arami Malais\u00e9, Alex Loynaz, Gley Viera<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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This is what I’m wearing when I’m dead.<\/h2>

At some point everyone, for better or worse, will have to deal with their own demise. The more years of life you have left behind, the closer death is about to come. In the film “This is what I’m wearing when I’m dead.” the three main characters, over 80, reflect on their thoughts on the inevitable.<\/p>\n\n\n\n\n\n
Marvin Menn\u00e9<\/td>\nDirector<\/td>\n<\/tr>\n
Marvin Menn\u00e9<\/td>\nDirector of Picture<\/td>\n<\/tr>\n
Marvin Menn\u00e9<\/td>\nEditor<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Repentance<\/h2>

Ghostwriter Louisse van der Laan still regrets some wrong decisions from her past and is haunted by memories in her present-day life..<\/p>\n\n\n\n\n\n\n\n\n\n\n\n
Patrick Maijer<\/td>\nDirector<\/td>\n<\/tr>\n
Kiki Henger<\/td>\nDirector<\/td>\n<\/tr>\n
Guido Gerard<\/td>\nWriter<\/td>\n<\/tr>\n
Leonie Minnee<\/td>\nProducer<\/td>\n<\/tr>\n
Arnold Bertens<\/td>\nProducer<\/td>\n<\/tr>\n
Louis Ronday<\/td>\nProducer<\/td>\n<\/tr>\n
Lindy Pommerel<\/td>\nProducer<\/td>\n<\/tr>\n
Iris van der Does<\/td>\nKey Cast<\/td>\n<\/tr>\n
Iris van der Does, Nadine Kamer, Duncan Meijering<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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The House in the Middle of the Sea<\/h2>

After the Germans flooded large parts of The Netherlands towards the end of WWII in a last attempt to stop the Allied advance, the Brouwer family find themselves trapped in their attic surrounded by water.<\/p>\n

With their rations dwindling, the question of whether to stay in the house, or risk going to the Nazi-occupied dry land begins to divide the family.<\/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
Marcel Ruizendaal<\/td>\nDirector<\/td>\n<\/tr>\n
Marcel Ruizendaal<\/td>\nWriter<\/td>\n<\/tr>\n
Isabel Campos Neves<\/td>\nProducer<\/td>\n<\/tr>\n
Anne Marie Marte, Carlo Voogt, Eva Machek, Madelief Schram<\/td>\nKey Cast<\/td>\n<\/tr>\n
Fran Christie<\/td>\nSound Designer<\/td>\n<\/tr>\n
Jonathan Gamble<\/td>\nDirector of Photography<\/td>\n<\/tr>\n
Vivian Feng<\/td>\nEditor<\/td>\n<\/tr>\n
Micaela Carballo<\/td>\nComposer<\/td>\n<\/tr>\n
Max Hayes<\/td>\nSound Recordist<\/td>\n<\/tr>\n
Katerina Schmidova<\/td>\n1st Assistant Director<\/td>\n<\/tr>\n
Kai-Yan Lai<\/td>\n1st Assistant Director<\/td>\n<\/tr>\n
Kai-Yan Lai<\/td>\n1st Assistant Camera<\/td>\n<\/tr>\n
Hon\u00f3rio Miguel Jesus<\/td>\nGaffer<\/td>\n<\/tr>\n
Natalie Tlustosova<\/td>\nAssistant Art Director<\/td>\n<\/tr>\n
Phoebe Kilvington<\/td>\nHair and Make-Up Consultant<\/td>\n<\/tr>\n
Fran Christie<\/td>\nProduction Designer<\/td>\n<\/tr>\n
John Cox<\/td>\nVFX Supervisor<\/td>\n<\/tr>\n
Max Leech<\/td>\nVFX Artist<\/td>\n<\/tr>\n
Carolina L\u00f3pez Del-Nero<\/td>\nCellist<\/td>\n<\/tr>\n
Pieter Bakkum, Jeroen Weesie, Rien Beerens<\/td>\nSet Builders<\/td>\n<\/tr>\n
Dionne Ruizendaal<\/td>\nLifeguard<\/td>\n<\/tr>\n
Leo Ruizendaal<\/td>\nFire Marshall<\/td>\n<\/tr>\n
Katalin Jass\u00f3<\/td>\nCatering<\/td>\n<\/tr>\n
Henk Bakker, Helen Burke, Maria Ogg, Marina Moucho, Dionne Ruizendaal, Alex van der Laan, Tim Burke, Atze Hartog<\/td>\nExecutive Producer<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Non-standard errors<\/h2>

A prominent scientist gets a phone call from a someone calling himself a journalist who wants to interview him about his work. Both hilarity and insight ensue. Starring Sammy Obeid (host of “100 Humans” on Netflix) and Prof. Albert Menkveld (ranked as the #1 economist in The Netherlands) as himself.<\/p>\n\n\n\n\n\n\n\n\n
David Stolin<\/td>\nDirector<\/td>\n<\/tr>\n
Albert Menkveld<\/td>\nWriter<\/td>\n<\/tr>\n
Sammy Obeid<\/td>\nWriter<\/td>\n<\/tr>\n
David Stolin<\/td>\nWriter<\/td>\n<\/tr>\n
David Stolin<\/td>\nProducer<\/td>\n<\/tr>\n
Sammy Obeid, Albert Menkveld<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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“Finance for skeptics”<\/h2>

This is a three-part web series of short humorous educational comedies (“edcoms”) on finance topics. Their goal is both to entertain and to inspire learning. The three edcoms star the comedian Sammy Obeid (host of “100 Humans” on Netflix) and UCLA Distinguished Professor of Finance Ivo Welch.
\nEpisode 1, “Pro Forma and the Profit Prophet” is uploaded, and is also available from https:\/\/youtu.be\/ynlAcc99b4c
\nEpisode 2, “Incomparables”, is available from https:\/\/youtu.be\/WWHrPU2EZ2o
\nEpisode 3, “CAPM Crunched”, is available from https:\/\/youtu.be\/J6X26yFfsF4<\/p>\n\n\n\n\n\n\n\n\n\n\n
Paul Elia<\/td>\nDirector<\/td>\n<\/tr>\n
Richard Anderson<\/td>\nWriter<\/td>\n<\/tr>\n
Dhaya Lakshminarayanan<\/td>\nWriter<\/td>\n<\/tr>\n
Sammy Obeid<\/td>\nWriter<\/td>\n<\/tr>\n
Joseph Paul Penner<\/td>\nWriter<\/td>\n<\/tr>\n
Ivo Welch<\/td>\nWriter<\/td>\n<\/tr>\n
David Stolin<\/td>\nProducer<\/td>\n<\/tr>\n
Sammy Obeid, Ivo Welch, Rachel Ramos, Daniel Dasent<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Making an edcom<\/h2>

A short documentary about the making of an educational comedy (“edcom”) discussing a Nobel-prize-winning economic theory. Filmed at UCLA’s Anderson School of Management with professor Ivo Welch and comedian Sammy Obeid.<\/p>\n\n\n\n\n\n
Steven Suarez<\/td>\nDirector<\/td>\n<\/tr>\n
David Stolin<\/td>\nProducer<\/td>\n<\/tr>\n
Daniel Dasent, Paul Elia, Sammy Obeid, David Stolin, Ivo Welch<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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The box<\/h2>

An introverted girl is looking for a way to escape her insecurities. Her incapability of coping with the external world increases her sense of discomfort. To find some serenity she withdraws into herself more and more and she cuts ties with the outer reality.<\/p>\n\n\n\n\n\n\n
Daniel Maculan<\/td>\nDirector<\/td>\n<\/tr>\n
Daniel Maculan<\/td>\nWriter<\/td>\n<\/tr>\n
Daniel Maculan<\/td>\nProducer<\/td>\n<\/tr>\n
Letizia Maculan<\/td>\nKey Cast<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”20px”][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1749712119710{padding-right: 156px !important;padding-left: 156px !important;}”][vc_column][vc_custom_heading text=”Official Selection Films 2022″ font_container=”tag:h3|text_align:center” use_theme_fonts=”yes”][vc_column_text]<\/p>\n

Note: E-Certificates will be sent by e-mail to the submitters after the event<\/p>\n

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[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_custom_heading text=”Workshops 2022″ font_container=”tag:h3|text_align:center” use_theme_fonts=”yes”][vc_column_text]<\/p>\n

Venue: Studio B Filmhuis<\/h3>\n

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Workshop-1\u00a0 <\/strong><\/i><\/h1>\n

Film Doula: Birthing a Film<\/strong><\/i><\/h1>\n

Looking at the role of a birth doula and how it can be used in the documentary filmmaking process, which is akin to giving birth.
\nReframing the way filmmaking is taught. Exploring the use of intuition, energy, the body, visualisations, and listening as a skill. Using the feminine to support, nurture, and help you go deeper into your motivation, your intentions, your creativity, and your essence. Finding out how to become more authentic, vulnerable, and open as well as for you to connect with, build trust and support the participants in your film. It will be an interactive session involving a few exercises.<\/p>\n

Saturday 12 November 2022 11:00 to 11:45 hours<\/i><\/h4>\n

Speaker: Rani Khanna<\/i><\/h4>\n

Moderator:\u00a0 James Fitzmaurice<\/i><\/h4>\n
\u00a0<\/i><\/div>\n

[\/vc_column_text][vc_row_inner][vc_column_inner width=”1\/4″][vc_single_image image=”7952″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Rani Khanna was born in France of Franco\/Indian parents and lives in London, with one foot in Colombia. She studied fine arts and photography & Arts Plastiques (Sorbonne, Paris), before attending film school and focusing in making documentaries (BA Film & Video, UAL, London). Making films about human rights, social and health issues and the Arts, shot in India, Brazil, USA, Europe, North Africa and Russia; and equally teaching filmmaking and lecturing for a variety of educational organisations and the University of Westminster (MA Diversity & the Media). Twelve years ago, she trained with Michel Odent to become a Birth Doula. It was connected to her own wonderful experiences of giving birth to her two children. This was also the beginning of her working consciously with energy, the natural elements and healing. Her passions are: healing and creativity, indigenous wisdom and knowledge, justice and truth, taking care of Mother Earth, birth and death and bringing harmony between the feminine and masculine energies.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_separator border_width=”2″ css=”.vc_custom_1665732398304{padding-top: 30px !important;padding-bottom: 30px !important;}”][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n

Workshop-2\u00a0 <\/strong><\/i><\/h1>\n

Business and Management in Cinema<\/h1>\n

“Business and management, so central to our civilization, tend to be ignored or caricaturized in film. This is a pity not only because art should avoid clich\u00e9s, but also because of the societal deadweight that results. Millions of people doing important and fulfilling work see it devalued in their own and others\u2019 eyes. Millions of people are steering clear of such work because of cinema\u2019s portrayal of it (or lack thereof). In this workshop we will discuss different ways in which business and management get (mis)represented in film and possible approaches to furnishing more insightful cinematic takes on this fascinating area of life<\/p>\n

Saturday 12 November 2022 12:00 to 12:45 hours<\/h4>\n

Speaker: David Stolin<\/i><\/h4>\n

Co-presenter and moderator : Dr. Emilia Bunea\u00a0<\/i><\/h4>\n
\u00a0<\/i><\/div>\n

[\/vc_column_text][vc_row_inner][vc_column_inner width=”1\/4″][vc_single_image image=”8147″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Dr. Emilia Bunea is a co-founder of Ed.movie Inc. Emilia holds a Ph.D. in management from VU University Amsterdam.\u00a0 Her research interests include the role of \u201dserious leisure\u201d in leadership development. She wrote several scholarly and practitioner articles on this topic, in academic and practitioner publications such as Harvard Business Review, Frontiers in Psychology, London Business School Review, as well as delivered a widely acclaimed TED talk at London Business School.<\/p>\n

Emilia has had a long top executive career with multinational organizations in the finance sector and is now a non-executive director for an asset management company. She has lectured on leadership and organizational behavior in over a dozen countries.<\/p>\n

In 2021 Emilia Bunea co-wrote and produced \u201cCrossroads Life\u201d, the world\u2019s first cinematic management case, based on real events. The movie has received a flurry of film festival awards, including the Jury\u2019s Special Award at the Hague International Film Festival 2021.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner css=”.vc_custom_1667474702631{padding-top: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”7969″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Dr. David Stolin is co-founder of Ed.movie Inc., which seeks to bring the power of cinema and of humor to business education. David was born in Ukraine, and has lived in France, Lithuania, the Netherlands, Romania, the UK and the US. He holds a Ph.D. in Finance from London Business School and has published in leading academic journals such as Journal of Business, Journal of Finance, and Management Science; his research has been profiled in international media ranging from The Financial Times to Frankfurter Allgemeine to Le Monde. For his work on pedagogical innovation, David has received top awards from the Academy of Management, the Association of MBAs, the Financial Management Association and Reimagine Education. David’s passion is collaborating with educators and entertainers to turn complex subject matter into sparkling nuggets of insight.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_separator border_width=”2″ css=”.vc_custom_1665732398304{padding-top: 30px !important;padding-bottom: 30px !important;}”][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n

Workshop-3\u00a0 <\/strong><\/i><\/h1>\n

Show, Don\u2019t Tell in Screenwriting<\/h1>\n

\u201cIt is easy to tell rather than show when writing a screenplay. Two characters engage in brief or extended dialogue, sometimes using witty banter and sometimes the language of deep emotion. They tell what has happened and the plot moves forward. While this system may work for the stage as with the report of Cordelia\u2019s death in Lear, it is almost always better to show rather than tell in a screenplay. In this workshop, we will be looking at a page I wrote that tells the revision in which I show. Workshop members may want to bring along a screenplay page that tells and talk about how they went on to show or about the work they want to accomplish. Finally, are there times when it is good to tell? Perhaps a carefully placed word or two can be a good thing.\u201d<\/p>\n

Sunday 13 November 2022 11:00 to 11:45 hours<\/h4>\n

Speaker: James Fitzmaurice<\/i><\/h4>\n

Moderator: Willemijn Mignot<\/i><\/h4>\n
\u00a0<\/i><\/div>\n

[\/vc_column_text][vc_row_inner][vc_column_inner width=”1\/4″][vc_single_image image=”7745″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]James Fitzmauric is an emeritus professor of English at Northern Arizona University and an Honorary Research Fellow at the University of Sheffield. He has won numerous screenwriting awards at film festivals, and had two scripts produced. He continues to write and edit in the world of academe, as with his co-edited collection for Amsterdam University Press \u2013 Authorizing Early Modern European Women (2022).[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_separator border_width=”2″ css=”.vc_custom_1665732398304{padding-top: 30px !important;padding-bottom: 30px !important;}”][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n

Workshop-4\u00a0 <\/strong><\/i><\/h1>\n

Screenplay Table Read<\/h1>\n

Sunday 13 November 2022 12:00 to 12:45 hours<\/h4>\n

Presenters: James Fitzmaurice, Brenda Malley, Willemijn Mignot, Sarif Tribou, Rogier van Beeck Calkoen and Mike Pasarella.<\/h4>\n

Moderator: Tba<\/i><\/h4>\n
\u00a0<\/i><\/div>\n

[\/vc_column_text][vc_row_inner][vc_column_inner width=”1\/4″][vc_single_image image=”7745″ img_size=”full” style=”vc_box_circle_2″][vc_column_text]<\/p>\n

James Fitzmaurice<\/h4>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_single_image image=”8000″ img_size=”full” style=”vc_box_circle_2″][vc_column_text]<\/p>\n

Brenda Malley<\/h4>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_single_image image=”7707″ img_size=”full” style=”vc_box_circle_2″][vc_column_text]<\/p>\n

Willemijn Mignot<\/h4>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_single_image image=”7717″ img_size=”full” style=”vc_box_circle_2″][vc_column_text]<\/p>\n

Sarif Tribou<\/h4>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner css=”.vc_custom_1665733286230{padding-top: 30px !important;padding-bottom: 30px !important;}”][vc_column_inner width=”1\/4″][vc_single_image image=”7737″ img_size=”full” style=”vc_box_circle_2″][vc_column_text]<\/p>\n

Rogier van Beeck Calkoen<\/h4>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_single_image image=”7999″ img_size=”full” style=”vc_box_circle_2″][vc_column_text]<\/p>\n

Mike Pasarella<\/h4>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_separator border_width=”2″ css=”.vc_custom_1665732398304{padding-top: 30px !important;padding-bottom: 30px !important;}”][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"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=”2022 Award Winner” font_container=”tag:h2|text_align:center” use_theme_fonts=”yes”][vc_row_inner][vc_column_inner][vc_column_text][\/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 2022″ 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] [\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”20px”][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1749712119710{padding-right: […]<\/p>\n","protected":false},"author":1,"featured_media":8156,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-9590","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/iffh.nl\/old-web\/wp-json\/wp\/v2\/pages\/9590","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/iffh.nl\/old-web\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/iffh.nl\/old-web\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/iffh.nl\/old-web\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/iffh.nl\/old-web\/wp-json\/wp\/v2\/comments?post=9590"}],"version-history":[{"count":8,"href":"https:\/\/iffh.nl\/old-web\/wp-json\/wp\/v2\/pages\/9590\/revisions"}],"predecessor-version":[{"id":9598,"href":"https:\/\/iffh.nl\/old-web\/wp-json\/wp\/v2\/pages\/9590\/revisions\/9598"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/iffh.nl\/old-web\/wp-json\/wp\/v2\/media\/8156"}],"wp:attachment":[{"href":"https:\/\/iffh.nl\/old-web\/wp-json\/wp\/v2\/media?parent=9590"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}