{"id":28924,"date":"2021-10-20T21:39:34","date_gmt":"2021-10-20T19:39:34","guid":{"rendered":"https:\/\/archive.camerimage.pl\/?p=28924"},"modified":"2021-10-21T10:02:12","modified_gmt":"2021-10-21T08:02:12","slug":"sklad-konkursu-debiutow-rezyserskich-2021","status":"publish","type":"post","link":"https:\/\/archive.camerimage.pl\/en\/sklad-konkursu-debiutow-rezyserskich-2021\/","title":{"rendered":"DIRECTORS\u2019 DEBUTS COMPETITION 2021 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 selection committee nominates first or second non-documentary feature films made by young directors and cinematographers. 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.\n <\/div>\n
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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200 METR\u00d3W<\/span>
\n <\/strong><\/span><\/h1>\n
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People love to put up walls \u2013 both mental ones, which let them believe they are not responsible for their fellow citizens\u2019 actions, and the physical ones, protecting them from all kinds of dangers, real and fictional. As walls go, there aren\u2019t many as notorious as the one dividing the Israelis from the Palestinians in the occupied West Bank. Mustafa is a construction worker who crosses it at one of the many checkpoints practically every day. He lives with his mother on the Palestinian side, but his wife and children reside in Israel. Their houses stand 200 metres apart, but they seem to exist in two radically different realities. Mustafa wants to live with his family, but he considers himself a man of honour and feels residing in Israel would mean that he recognises the legitimacy of the shameful wall. And although his wife is tired of not having her husband around, it all works out rather well. This changes the day Mustafa\u2019s permit expires and he cannot enter Israel. It\u2019s the weekend, this will not be taken care of until Monday. That very same day Mustafa is informed that his son has been taken to hospital, so he turns for help to a man who smuggles people illegally out of the West Bank.<\/p>\n<\/div>\n

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Original title:<\/strong> 200 Meters
\n Director:<\/strong> Ameen Nayfeh
\n Cinematographer: <\/strong>Elin Kirschfink
\n <\/strong><\/div>\n
Produced by: <\/strong>MeMo Films, Odeh Films
\n Country and year:<\/strong> Palestine, Jordan, Qatar, Italy, Sweden, 2020<\/div>\n
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GETAWAY KING, THE<\/span>
\n <\/strong><\/span><\/h1>\n
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The communist era of the Polish People\u2019s Republic is famous for the dullness and mundanity of life. In that country everyone felt as if they were in prison, shops were permanently short of goods, and only films and TV series from the mythical West – or at least those that were allowed to be screened in Poland – brought the desired escape only for a short moment. But what if we changed the way we think about that time and talk about the joys and sorrows of the PPR from the point of view of a man who did not trouble himself with any arbitrary limitations, and just lived as if there were none? A man who lied, cheated and was notorious for showing the authorities the middle finger, but who never resorted to violence and had managed to preserve his respect for human life? A man who showed off whenever he could, liked to have fun, and who was able to escape from any prison or a well-guarded court room? Yes, there really was such a man, his name was Zdzis\u0142aw Najmrodzki, and he was known as the local prince of thieves and master of escapes, while his misdemeanours went down in history. And this is his (largely) true story.<\/p>\n<\/div>\n

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Original title:<\/strong> Najmro. Kocha, kradnie, szanuje
\n Director:<\/strong> Mateusz Rakowicz
\n Cinematographer: <\/strong>Jacek Podg\u00f3rski
\n <\/strong><\/div>\n

Produced by: <\/strong>TFP
\n Polish distributor: <\/strong>Dystrybucja M\u00f3wi Serwis<\/div>\n
Country and year: <\/strong>Poland, 2021<\/div>\n<\/div>\n
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GOODBYE SOVIET UNION<\/span>
\n <\/strong><\/span><\/h1>\n
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The 1980s are slowly coming to an end. Despite the cocky promises and reassurances, the Soviet Union is clearly in decline. Yet for most people the future without it is still quite unthinkable, and not many are prepared for the emotional, social and political chaos that will engulf the post-Soviet republics in the 1990s. The matter is deadly serious, however, young Johannes has more important things on his mind. The boy was born prematurely by a woman not ready to be a mother, and his father\u2019s identity is unknown. He lives in Leningrad 3, a closed city of hushed-down radioactive mining, and then moves to the city of Tallinn, a place that gradually matures into its future independence. Johannes tries to be hopeful, yet he soon realises that the kind of freedom he and his compatriots have achieved brings more bitterness than sweetness, and that some things will have to stay buried in the past. The boy experiences his initial friendships and romantic relationships in a world of first encounters with the exotic bananas and Western technology. And he tries to have fun while he is at it.<\/p>\n


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Original title:<\/strong> H\u00fcvasti, NSVL
\n Director:<\/strong> Lauri Randla
\n Cinematographer: <\/strong>Elen Lotman
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Produced by: <\/strong>Exitfilm
\n Country and year: <\/strong>Estonia, 2020<\/div>\n
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GREAT FREEDOM<\/span>
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The year is 1945. Hans miraculously survived the concentration camp and did not lose his joy of living, yet the authorities of the Federal Republic of Germany decide that they cannot tolerate him and his kind. Hans is a homosexual and the infamous paragraph 175 of the German Criminal Code, that also existed during the Third Reich, states that gay people should be jailed for the perverse crime of who they are. As a result, for more than 20 years Hans is being imprisoned again and again. While serving his time he meets Viktor, a homophobe who was sentenced for murder. With every new sentencing, his relationship with Viktor is radically changing, from initial hostility to a real connection. After nearly a quarter of a century of regaining and losing his freedom the Republic\u2019s authorities ease up on the disgraceful paragraph and decide to treat homosexuals\u2026 well, as people, with some rights at least… Will Hans be able to survive in this new reality in which, at least theoretically, he should not need to continually watch his back?<\/p>\n<\/div>\n

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\n Director: <\/strong>Sebastian Meise
\n Cinematographer: <\/strong>Crystel Fournier
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Produced by: <\/strong>FreibeuterFilm, Rohfilm
\n Polish distributor:<\/strong> Tongariro Releasing
\n Country and year:<\/strong> Austria, Germany, 2021<\/div>\n<\/div>\n<\/div>\n
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KILL PINOCHET<\/span>
\n <\/strong><\/span><\/h1>\n
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On one of the many regular September days of 1986 a group of young and furious Chileans made a daring attempt to assassinate general Augusto Pinochet, Chile\u2019s ruthless dictator since the first half of the 1970s when he organised a grisly coup d\u2019\u00e9tat and changed the country\u2019s future for ever. Pinochet\u2019s hellish rule broke the lives of millions of people, many of whom were brutally silenced or murdered in cold blood. Among the rebels who tried to end his theoretically impenetrable reign are Tamara, an affluent psychologist with everything to lose; Ramiro, a physical education teacher who does not want to live in a world ruled by Pinochet, and Sasha, a poor soccer player fan who had tasted living on the streets. The film tells two stories \u2013 of the events that led the characters to deceive Pinochet\u2019s security guards in an endeavour to kill the general, and of what happened after the assassination attempt. How this simple extremist idea had shaped Chile in the years to follow and how it affected the subsequent generation of freedom fighters.<\/div>\n
\n Original title:<\/strong> Matar a Pinochet
\n Director:<\/strong> Juan Ignacio Sabatini<\/div>\n

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<\/strong>Cinematographer: <\/strong>Enrique Stindt
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Produced by: <\/strong>Villano<\/div>\n
Country and year:<\/strong> Chile, 2020<\/div>\n
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NEIGHBOURS<\/span>
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It is the beginning of the 1980s. Life is peaceful and predictable in a small multicultural village located on the Syrian and Turkish border. Neighbours quarrel, obviously, but that does not mean they do not respect one another. While the surrounding world is becoming increasingly radical, the village\u2019s inhabitants try to exist in harmony above the arbitrary religious dogmas and harsh ideologies. It is quite difficult, as one might expect, but not impossible, especially for the children, na\u00efve and lively with imaginations that are the best possible defence from the waves of nationalism and viciously toxic patriarchy. For why does a six-year-old need to know who, or what, those \u201cevil Zionists\u201d are, and how the \u201cwicked imperialists\u201d conspire against their people and race? Are they some kind of outlandish monsters with sharp claws? How could they be defeated? In the end, the fact that there is a call for arms to destroy Jews does not mean that we cannot play cops and robbers with them. The truth is the kids will eventually grow up and let themselves be swept by the adults\u2019 ideas of the world, but for now they are doing just fine.<\/p>\n<\/div>\n

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Original title:<\/strong> Nachbarn
\n Polish title: <\/strong>S\u0105siedzi
\n Director: <\/strong>Mano Khalil
\n Cinematographer: <\/strong>St\u00e9phane Kuthy
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Produced by: <\/strong>Frame Film
\n Country and year:<\/strong> Switzerland, Kurdistan, 2021<\/div>\n
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PASSING<\/span>
\n <\/strong><\/span><\/h1>\n
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New York in the 1920s, times of the Prohibition, ever-changing economic and social roles of women, and the increasingly disastrous abyss of class disparity. Irene lives in Harlem and seems to have everything a woman of her stature needs: wonderful children, understanding husband, something to live for with her activism in the local community. She does not feel comfortable near white people, as she believes they treat her as someone inferior. Irene tries to live like that was never a problem until she accidently bumps into her childhood friend, Clare. The woman not only has disassociated herself from the black community but who also, for many years, through modern trickery and dying her hair blond, poses as a white woman and lives in Chicago with her racist husband who is never to know her true identity. The meeting is shocking for Irene, but as she observes Clare\u2019s vivacity, she begins to wonder if she herself would not be fuller and happier if she managed to live such a complicated lie.<\/p>\n<\/div>\n

Original title:<\/strong> Passing
\n Director:<\/strong> Rebecca Hall
\n Cinematographer: <\/strong>Eduard Grau
\n Produced by: <\/strong>Flat Five Productions, Forest Whitaker’s Significant Productions, Picture Films<\/div>\n

Country and year: <\/strong>USA, 2021<\/div>\n<\/div>\n
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RIVAL<\/span>
\n <\/strong><\/span><\/h1>\n
\"\"<\/a> photo by Mila Teshaieva<\/em><\/div>\n

Roman is only nine years old but he had plenty of opportunities to realise life is and always will be hard. The boy lives with his grandmother in a small and bleak Ukrainian village. He does not have many friends, the identity of his father remains a mystery, and his mother left for Germany two years ago for illegal work. When Roman\u2019s grandmother suddenly dies, he decides to risk it all and journeys into the unknown in attempt to reconcile with his mother in the beautiful and affluent Western Europe. Which makes it even more shocking when he realises that his mother, Oksana, still an illegal worker, lives happily with the husband of an elderly woman she was taking care of. Gert seems to be a good man, he even tries to earn Roman\u2019s trust, but the boy is jealous and treats him as a rival for Oksana\u2019s affection. Especially when Gert forbids him to go out, afraid that the truth of his concubine\u2019s identity will come out. The clash ends when Oksana falls ill and is taken to a hospital. Will Roman and Gert be able to overcome their differences and get closer to one another?<\/p>\n

\n Original title:<\/strong> Rivale
\n Director:<\/strong> Marcus Lenz
\n Cinematographer: <\/strong>Frank Amann
\n <\/strong><\/div>\n

Produced by:<\/strong> BelkaStrelka, Hanfgarn & Ufer Film und TV Produktion
\n Country and year: <\/strong>Germany, Ukraine, 2020<\/div>\n
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TED K<\/span>
\n <\/strong><\/span><\/h1>\n
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Ted Kaczynski was a brilliant young mathematician who started to study at Harvard when he was only sixteen years old. Although his life was not kind to him, he had proven his true potential on a number of occasions \u2013 but far from the positive meaning. Throughout the years he has changed and ultimately was remembered not for his beautiful mind but rather his domestic terrorism. At one time Kaczynski, the notorious Unabomber, was at the top of FBI\u2019s most wanted list. You see, as a way of protesting the human inclination to destroy the natural world, as well as the growing addiction of mankind to the impersonal technology, he started to mail home-made bombs to a variety of people. In the film, we observe how this brilliant mathematician gradually turns his back on society and becomes a bearded sociopath, fixated on the mission he has set up for himself. The film does not try to justify nor condemn him, it is merely recreating some of the events that had possibly transformed Kaczynski into a psychopath. The interpretation is left open for each and every viewer.<\/p>\n

\n <\/strong> Director: <\/strong>Tony Stone
\n Cinematographer: <\/strong>Nathan Corbin
\n Produced by: <\/strong>Heathen Films, Hideout Pictures, In Your Face Entertainment<\/strong><\/div>\n

Country and year:<\/strong> USA, 2021<\/div>\n
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TITANE<\/span>
\n <\/strong><\/span><\/h1>\n
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This is one of those stories that simply could not happen in the real world. A girl called Alexia was a victim of a car crash, the result of which is a titanium plate implanted in her head. Years pass by and she is now a young woman, who uses her alluring body to excite toxic men, by rubbing herself on sporty cars. Something is definitely wrong with her, she is broken in a place hidden from the human eye, and the games she plays with drooling men usually end with violence. One day she goes too far in her desire to cross every possible frontier and maybe find her true self beyond. Alexia has to run off to another world and then try to recreate herself from scratch \u2013 and the titanium plate somehow helps her with that. The girl decides to pose as a long-lost son of a firemen\u2019s brigade captain, thus entering a deal that suits them both \u2013 she has a new home, and he an illusion that he recovered a part of him, that died many years before. Will these two broken people be able to make each other happy?<\/div>\n
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\n Director: <\/strong>Julia Ducournau
\n Cinematographer: <\/strong>Ruben Impens
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Produced by: <\/strong>Kazak Productions
\n Polish distributor: <\/strong>Stowarzyszenie Nowe Horyzonty
\n Country and year:<\/strong> France, Belgium, 2021<\/div>\n
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