{"id":24617,"date":"2020-10-21T11:01:11","date_gmt":"2020-10-21T09:01:11","guid":{"rendered":"https:\/\/archive.camerimage.pl\/?p=24617"},"modified":"2020-11-11T18:19:30","modified_gmt":"2020-11-11T17:19:30","slug":"sklad-konkursu-debiutow-rezyserskich-2020","status":"publish","type":"post","link":"https:\/\/archive.camerimage.pl\/en\/sklad-konkursu-debiutow-rezyserskich-2020\/","title":{"rendered":"DIRECTORS\u2019 DEBUTS COMPETITION 2020 LINE-UP!"},"content":{"rendered":"

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Directors\u2019 Debuts Competition<\/strong> was initiated in 2010 due to the Festival\u2019s increasing openness to the noteworthy artists and the new film phenomena they create. The idea of creating additional competition sections was a natural consequence of our previous activities. For years we have been promoting innovative projects that combine intellectual freedom, remarkable insight into world affairs and a desire to inspire other artists of the screen.<\/div>\n
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Directors\u2019 Debuts Competition<\/strong> brings new discoveries: great movies of high artistic value and great filmmakers whose new ventures surprise not only the Jury members but all audiences around the world as well.<\/div>\n<\/div>\n
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Competition is under the patronage of Polish Filmmakers Association<\/strong>.<\/p>\n

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25 YEARS OF INNOCENCE<\/span>
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\"\"<\/a>Photo by Robert Palka<\/em><\/div>\n
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This story should not have happened in real life, and yet it did. Despite the fact that the evidence against him was largely circumstantial and he had an airtight alibi, the then-23-year-old Tomasz Komenda was sentenced to 25 years in prison for the rape and murder of a 15-year-old girl. He was released after serving 18 years, when his case was re-opened by a group of qualified lawyers who proved without a shadow of a doubt the gross negligence of numerous people involved in putting Komenda in jail. The film presents the physical and psychological hell the poor man went through before he was finally given back what should not have been taken from him: freedom. The film also emphasises the relationship between the increasingly desperate Komenda and his mother who stood beside him for all those years, giving him strength to live through another day. This story should not have happened in real life, and yet it did. Not one hundred years ago, not fifty, but at the turn of the twenty-first century. Tomasz Komenda became a free man in 2018.<\/div>\n
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Original title: <\/strong>25 lat niewinno\u015bci
\n Director:<\/strong> Jan Holoubek
\n Cinematographer: <\/strong>Bart\u0142omiej Kaczmarek
\n <\/strong><\/div>\n
Produced by: <\/strong>TVN Discovery Group
\n Polish distributor:<\/strong> Kino \u015awiat<\/strong>
\n Country and year:<\/strong> Poland, 2020<\/div>\n
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DATING AMBER<\/span>
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In the mid-1990s, small-town Ireland was a place without virtual connections and social media, when you literally had to meet someone face to face to get in their face or start a vicious rumour that would circulate through the school\u2019s bloodstream. Eddie is a terribly shy lad who, despite always appearing sick, dreams of following in his father\u2019s severe military footsteps. On the other hand, Amber is a stereotypical fatherless rebel with a penchant for The Clash\u2019s punk ethos and a plan to leave for London and establish an anarchist bookshop. Oh, right, they are also both gay but not yet ready to come out of the closet. The truth is, some days they are not even prepared to admit it to themselves. And, well, the Christian sex-ed programmes they have to watch at school don\u2019t help \u2013 neither do their sex-obsessed peers. That is why, one day, Eddie and Amber begin to pretend they are a heterosexual couple, which might work in theory, but will provoke a series of unexpected complications.
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Director: <\/strong>David Freyne
\n Cinematographer: <\/strong>Ruair\u00ed O’Brien
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Produced by: <\/strong>ATOMIC 80, Savage Productions
\n Country and year: <\/strong>Ireland, 2020<\/div>\n
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HIGH GROUND<\/span>
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In 1919, Arnhem Land, a region of Australia\u2019s Northern Territory, is permanently soaked with the blood of murdered Aboriginal people. One particular massacre provoked by white aggressors sees several peaceful indigenous Australians ruthlessly shot to death. The incident is silenced, while the only survivor, a small boy named Gutjuk, is sent to be educated and assimilated by nearby Christian missionaries. During the subsequent twelve years, white police officers force their vision of stability onto the northern lands. Suddenly, a group of Aboriginal guerrilla fighters begins to introduce the idea of violence to settlers\u2019 lives. Their leader is Gutjuk\u2019s uncle, a desperate man who had lost almost all of his family in the massacre. The British send a small unit led by Travis, an experienced sniper who witnessed the events of 1919, watching helplessly as his colleagues slaughtered the innocent. Travis saved the boy, and now, trying to make amends for the past sins, he makes him his tracker and takes on a mission. Will this be enough?<\/div>\n
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Director: <\/strong>Stephen Johnson<\/strong>
\n Cinematographer: <\/strong>Andrew Commis
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Produced by:\u00a0<\/strong>High Ground Pictures<\/div>\n
Country and year:<\/strong> Australia, 2020<\/div>\n
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LAST VERMEER, THE<\/span>
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FILM UNAVAILABLE ONLINE<\/span><\/strong><\/span><\/p>\n<\/div>\n

The end of World War II was the beginning of a long and painful healing process that included justice via finding and putting war criminals on trial. Jewish officer Joseph Piller is one of the cogs of this well-oiled machine, but one day he is put in charge of a case that will change his perspective on many things. Han van Meegeren is a Dutch painter who made a small fortune during the war by selling Johannes Vermeer\u2019s paintings to the Nazis, including Hermann G\u00f6ring. However, van Meegeren insists that he would never trade the originals and instead sold his own forgeries. Piller\u2019s superiors find it hard to believe because of the many scientific analyses conducted by some of the best specialists available. Besides, admitting that this was a masterful forgery would make van Meegeren a national hero of sorts. Piller is inclined to believe the accused painter, but he must put his whole career at stake to prove it. Is van Meegeren worth that sacrifice?<\/div>\n
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Director: <\/strong>Dan Friedkin
\n Cinematographer: <\/strong>Remi Adefarasin
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Produced by:\u00a0<\/strong>Imperative Entertainment, NL Film<\/div>\n
Country and year: <\/strong>USA, 2019<\/div>\n
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MAGNESIUM<\/span>
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\"\"<\/a>Photo by Anna W\u0142och<\/em><\/div>\n
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The Polish-Soviet borderland was a wild and dangerous place to live during the interwar period \u2013 after Poland gained independence as a result of World War I, and before it was deprived of its future during World War II. The film\u2019s borderland is a place filled with vicious bandits and shrewd profiteers with no interest in human life \u2013 people who either made their fortunes by force or were forced to die, forgotten. The Levenfish clan, ruled by three vigorous sisters who recently freed themselves from their father\u2019s burdensome patriarchy, is responsible for a lot of pain in this peculiar world. This is a world of unforgiving villains, gun-blazing bastards, degenerate junkies, strange codes of honour, and treasures that make normal people do bad things. A world in which one can find conjoined twins dreaming of money and fame and divergent sexual perversions that leave people perplexed. The film begins with the borderland ruled by tough women with guns, but it is entirely unknown who will rule it when the end credits roll.<\/div>\n
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Director: <\/strong>Maciek Bochniak
\n Cinematographer: <\/strong>Pawe\u0142 Chorz\u0119pa
\n Produced by:\u00a0<\/strong>Aurum Film
\n Polish distributor:<\/strong> Kino \u015awiat<\/div>\n

Country and year: <\/strong>Poland, 2020<\/div>\n<\/div>\n
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MOSQUITO<\/span>
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An idealistic seventeen-year-old boy enlists in the Portuguese army to serve his country during the trials of the Great War, bring some glory to his family\u2019s name, and, well, see the world a bit. Instead of fighting on bloody European battlefields, Zacarias finds himself on a ship to Mozambique, at the far end of Portugal\u2019s crumbling colonial empire. On his way to Africa, the boy soaks up stories of inhuman black warriors, ridiculous rituals, and ants and snakes as a white person\u2019s greatest nightmare. When he arrives and accidentally loses his unit, Zacarias starts to notice the overwhelming beauty of the \u2018Dark Continent\u2019. Thus, he decides to travel across Mozambique and catch up with the army but finds only a series of cruel manifestations of Portugal\u2019s decaying outposts. At the same time, his malaria-infused odyssey makes him question the reality of what he sees. Will Zacarias learn to appreciate the surrounding world, or will he return from Mozambique as yet another colonial oppressor? Assuming he leaves this place at all\u2026<\/p>\n

Director: <\/strong>Jo\u00e3o Nuno Pinto
\n Cinematographer: <\/strong>Adolpho Veloso
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Produced by:<\/strong> Alfama Films
\n Country and year: <\/strong>Portugal, 2019<\/div>\n
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SERVANTS<\/span>
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Czechoslovakia, the early 1980s \u2013 a car stops under a railway bridge, and two shady men open the trunk and reflect on the corpse lying there. Who was killed? Why were they killed? Who was the killer? A few months earlier, a group of young men start their spiritual journey at a restrictive Catholic seminary. They try to live by the rules that have governed previous generations but are constantly torn between the ideals of the faith they have chosen to represent and the Communist government\u2019s increasingly invasive ideological indoctrination. The youths try to kill time with curiosity and sport. At the same time, their superiors listen in terror to how the Vatican urges through Radio Free Europe not to collaborate with any organisations with decidedly political agendas. When provocative flyers start circulating in the seminary, the government begins an investigation that will change everything and everyone. And so, who shall kill? Who shall be killed? Why kill in the first place? And, will the killer be able to look themselves in the mirror ever again?<\/p>\n

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Original title:\u00a0<\/strong>Slu\u017eobn\u00edci<\/div>\n

Polish title:<\/strong> S\u0142udzy
\n Director: <\/strong>Ivan Ostrochovsk\u00fd
\n Cinematographer: <\/strong>Juraj Chlp\u00edk
\n Produced by: <\/strong>Film And Music Entertainment Ltd, Hai Hui Entertainement, Libra Film Productions, Point Film, Punkchart Films, Rozhlas a telev\u00edzia Slovenska (RTVS), Sentimentalfilm
\n <\/strong>Polish distributor:<\/strong> New Horizons Association<\/div>\n
Country and year:<\/strong> Slovakia, Romania, Czech Republic, Ireland, 2020<\/div>\n
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SYMPATHY FOR THE DEVIL<\/span>
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It is 1992, and the Siege of Sarajevo is the longest and worst city siege since World War II. Paul Marchand, an experienced war radio reporter and journalist, tries to elicit a reaction from the West to the civilian slaughter happening within the tormented city. Every day, he and his friends pass Sarajevo\u2019s streets filled with crying, shouting, and endless agony. Every day, they see mutilated people who they cannot help. Every day, they risk their lives to tell the world what is happening in the most intense parts of the city. They spend their mornings in morgues, counting the growing number of victims, and in the evenings, they try to wash the blood off their clothes and forget reality under the spell of gambling and alcohol. During the day, when Paul is not speeding through the infamous Sniper Alley or talking with agitated soldiers from both sides of the reasonless conflict, he wonders when this tragedy will end and whether he will make it through as an active reporter or human wreck.<\/div>\n
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\n Original title: <\/strong>Sympathie pour le diable
\n Director: <\/strong>Guillaume De Fontenay
\n Cinematographer: <\/strong>Pierre A\u00efm
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Produced by: <\/strong>Tim Belda, Frederic Fiore, Gilles Daoust, Nicole Robert, Jean-Yves Roubin, Marc Stanimirovic
\n Country and year:<\/strong> France, Canada, Belgium, 2019<\/div>\n
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TWO OF US<\/span>
\n <\/strong><\/span><\/h1>\n
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Two little girls play hide and seek in the park. One of them hides so well that her friend is not able to find her. Cut. Two older women, Mado and Nina, have a tender conversation in an apartment. It is obvious that they are connected by something more than just a simple friendship, that they have found in each other emotional fulfilment and support in daily struggles with the world\u2019s indifference. There is something that divides them, as well: Mado, always afraid of what other people would say if they knew, decided years ago to start a family. She continued this lie with a man whom she could never love. Nina, on the other hand, wants to shout the truth so loudly that everybody will hear and leave them alone, but she knows she must wait for the right moment. One accidental quarrel puts their ambitious plans \u2013 including moving abroad \u2013 into question. Will these two girls, hiding in the bodies of older women, be able to find each other once more, or will their decades-long connection break this time?<\/div>\n
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Original title:<\/strong> Deux
\n Polish title: <\/strong>My dwie
\n Director: <\/strong>Filippo Meneghetti
\n Cinematographer: <\/strong>Aur\u00e9lien Marra
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Produced by: <\/strong>Paprika Films
\n Polish distributor:<\/strong> Tongariro Releasing
\n Country and year:<\/strong> France, Luxembourg, Belgium, 2019<\/div>\n
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VALLEY OF SOULS<\/span>
\n <\/strong><\/span><\/h1>\n
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It is 2002. The far-right paramilitary organisation The United Self-Defences of Colombia\u2019s reign of terror continues with brutal executions of left-wing insurgents and innocent people who are in the wrong place at the wrong time. Despite these hardships, poor farmers and fishermen try to live normal lives. One night, Jos\u00e9, returning to his home after a day of fishing on the Magdalena River, encounters a paramilitary roadblock. He stays in hiding and goes back in the morning, only to realise that his two sons were abducted and probably killed. Left without any other option, Jos\u00e9 takes his small boat on a journey that will confront him with the transience of life and with different images of his beautiful Colombian homeland dying from the wounds of the people who know no better. Jos\u00e9 meets many people along the way \u2013 some advise him to forget his sons, while others treat him as a madman. The truth is, Jos\u00e9 no longer knows who he is. He is only certain that he must find his children, or at least their bodies.<\/div>\n
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\n Original title:<\/strong> Tantas Almas
\n Director: <\/strong>Nicolas Rincon Gille
\n Cinematographer: <\/strong>Juan Sarmiento G
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Produced by: <\/strong>Medio De Contencion Producciones
\n Country and year:<\/strong> Colombia, Belgium, Brazil, France, 2019<\/div>\n<\/div>\n

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