{"id":8153,"date":"2016-10-17T11:40:02","date_gmt":"2016-10-17T09:40:02","guid":{"rendered":"http:\/\/camernew.klienci.052b.com\/sklad-konkursu-debiutow-rezyserskich-2016\/"},"modified":"2016-10-17T11:40:02","modified_gmt":"2016-10-17T09:40:02","slug":"sklad-konkursu-debiutow-rezyserskich-2016","status":"publish","type":"post","link":"https:\/\/archive.camerimage.pl\/en\/sklad-konkursu-debiutow-rezyserskich-2016\/","title":{"rendered":"DIRECTORS' DEBUTS COMPETITION 2016 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
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. <\/p>\n<\/div>\n
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Competition is under the patronage of Polish Filmmakers Association<\/strong>.<\/p>\n

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Agony
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A twenty-something student murders his girlfriend without any apparent reason, then cuts her into pieces and throws her into a dumpster. A fourteen-year-old girl attacks her mother with a knife just because she was not allowed to use the internet. These crimes presented by the film were very specific and yet undefined, undoubtedly for myriads of reasons that get lost in the mundanity of everyday life. Agony<\/em><\/span> tells two parallel stories of young men who are forced by adult life to negotiate their dreams and desires with an indifferent world. Can their souls be tainted by evil too? On the one hand, they are very similar: neither has the support of a father figure; neither knows how to vent their sexual tensions. On the other hand, they come from completely different worlds and seem to be driven by entirely different things. This is a film about them, and their generation, as well as \u2013 quite simply \u2013 about the human nature.<\/div>\n
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Original title: Agonie<\/strong>
Director: David Clay Diaz<\/strong>
Cinematographer: Julian Krubasik<\/strong><\/div>\n
Produced by: Bayerischer Rundfunk (BR), Hochschule f\u00fcr Fernsehen und Film M\u00fcnchen – University of Television and Film Munich (HFF M\u00fcnchen)<\/strong>
Austria, Germany, 2016<\/strong><\/div>\n
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All We Had
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An unemployed alcoholic who can\u2019t seem to find her place in the world escapes with her teenage daughter from the umpteenth man to mistreat them badly. As they look for the next town and a different version of the same old story, Rita and Ruthie go on yet another odyssey of petty theft and exploitation of the kindness shown by those who naively try to help them. They sleep in their car, dreaming of a better future, and support each other in every challenging situation. Mother and daughter against the world. But eventually Rita and Ruthie are forced to face the music and stand before the very people they were trying to con, which could \u2013 but may not \u2013 become their new beginning. All We Had<\/em><\/span> is the story of an unbreakable bond between mother and daughter, and at the same time a tale of good people who get lost and forget who they were, waiting for something that will never come \u2013 at least not in the shape they hope for.<\/div>\n
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Original title: All We Had<\/strong>
Director: Katie Holmes<\/strong>
Cinematographer: Brett Pawlak
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Produced by: Mustard & Co<\/strong>
USA, 2016<\/strong><\/div>\n
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Aloys
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Aloys Adorn is a private detective who has lost his will to live after his father\u2019s death. He tries to fill the existential void with a series of repetitive actions and gestures, as well as a voyeuristic streak that his job demands of him, while living in permanent emotional and physical isolation. But then, one day Aloys unexpectedly meets a woman who wants to change his way of thinking. Well, he meets Vera over the phone when she invites him to participate in a game of imagination called \u2018phone walking\u2019. It goes like this: one person opens the other\u2019s mind through the power of voice and verbal suggestion, thus establishing a connection, devoid of imperfect physicality, which will enable both of them to go on exciting virtual adventures and become better versions of themselves. Aloys<\/em><\/span> is an innovative drama that poses a series of questions about the limitations of the human psyche and the power of imagination to both build bridges of understanding and walls of ignorance.<\/div>\n
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Original title: Aloys<\/strong>
Director: Tobias N\u00f6lle<\/strong>
Cinematographer: Simon Guy F\u00e4ssler<\/strong><\/div>\n

Produced by: Hugofilm Productions GmbH<\/strong><\/div>\n
Polish distributor: Solopan Sp. z o. o.<\/strong>
Switzerland, France, 2016<\/strong><\/div>\n
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Apprentice
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Aiman and Suhaila are siblings staying in a modest housing estate in Singapore, living most of their lives in the shadow of the crimes committed by their father. When he was a teenager, Aiman fell in with a bad crowd and it was only the discipline of the military that helped him to conquer his inner demons. In the beginning of the film, he starts working as a correctional officer in a maximum security prison. He could easily have become one of the convicts in his youth, so he hopes to help those who have repented their sins and wish to change. Aiman begins to develop a relationship with Rahim, the prison\u2019s long-time executioner who has been hanging people for a few decades now, as Singapore\u2019s law still permits the death penalty. After a while he begins to help Rahim with his job. Apprentice<\/em><\/span> is not a story of the penal system, nor a sharp political accusation, but a film about people who live with death every single day, trying to give it a bit of dignity. <\/p>\n
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Original title: Apprentice<\/strong>
Director: Boo Junfeng<\/strong>
Cinematographer: Beno\u00eet Soler<\/strong><\/div>\n

Produced by: Zhao wei Films, Augenschein Filmproduktion GmbH, Akanga Film Productions, Cin\u00e9madefacto, Peanut Pictures<\/strong><\/div>\n
Polish distributor: Aurora Films<\/strong>
Singapore, Germany, France, 2016<\/strong><\/div>\n
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Between Sea and Land
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Colombia\u2019s northern coast, on the edge of the Caribbean Sea. A row of open-air shacks stand on piles driven into the water. The poor who can\u2019t afford to live in the city reside here. Alberto is a young man who as a child was diagnosed with dystonia, a neurological movement disorder that leads to the atrophy of muscles in the whole body. The man is forever confined to his bed, constant accompanied by a life-support machine. His only way to see the outside world is through a mirror on a stick he holds in his mouth, thus making him painfully aware he is so close to the sea, and yet so far from it. His whole world revolves around his loving mother, who does her best to make her son\u2019s life bearable. However, Alberto is also often visited by his attractive childhood friend, Giselle, who constantly reminds him of the physical prison he lives in and will never leave. Despite all of this, Between Sea and Land<\/em><\/span> is a tale of hope and boundless love between mother and son.<\/div>\n
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Original title: La Cienaga – Entre el Mar y la Tierra<\/strong>
Director: Manolo Cruz, Carlos Del Castillo<\/strong>
Cinematography: Robespierre Rodriguez<\/strong>
Produced by: Mago Films
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Colombia, 2016<\/strong><\/div>\n<\/div>\n
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Delivery
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Delivery <\/em>invites the viewer on a journey into the depths of the endless Colombian forests, whose cyclical nature hides many secrets. This is a place which is modern and ancient at the same time; it has existed practically unchanged for centuries, out of the reach of the human species, which seems to insist on destroying the planet. Among the trees\u2019 greens and bronzes, and the navy blues of the nearby river, which has been running its course for thousands of years, there stands a small house. It is modest, it leaks here and there, and it is the only proof of human existence for hundreds of kilometres around. The group of people who live here, at the very heart of the Colombian forest, make ends meet by fishing, harvesting corn, and living in symbiosis with nature. They are still strangers there, though they could not imagine living anywhere else. The film\u2019s protagonist is Helena, who awaits the birth of her child, an event that will mark the continuation of the endless circle of life.<\/span><\/span><\/p>\n
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Original title: Nacimiento<\/strong>
Director: Martin Mejia Rugeles<\/strong>
Cinematographer: Nicolas Canniccioni<\/strong><\/div>\n

Produced by: Martin Mejia Rugeles, Yoreinare Producciones<\/strong>
Colombia, 2015<\/strong><\/div>\n
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Demons, The
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Montreal\u2019s suburbs, seemingly tranquil, idyllic even, though pulsating with restless, often negative, energy within the houses it encompasses \u2013 the kind of energy that cannot find a vent in mundane everydayness. The place, which is exactly the same as hundreds of other suburbs, is full of more or less satisfied families, aggressively maturing teenagers, and kids only beginning to recognise the hardships of life. Among them is F\u00e9lix, the film\u2019s ten-year-old protagonist, a kind and helpful, though oversensitive, boy who sometimes reacts with cruelty to family or school problems, but in other ways is as normal as his peers. However, he is constantly exposed to the workings of external forces he does not understand, but which make the world he lives in go round. The Demons<\/em><\/span> is a precise exploration of all the evil and imperfections hidden in the human soul that are being passed from one generation to the other, imposed by a society upon an individual, transferred from parents to children.<\/div>\n
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Original title: Les d\u00e9mons<\/strong>
Director: Philippe Lesage<\/strong>
Cinematographer: Nicolas Canniccioni<\/strong><\/div>\n

Produced by: Productions l’unit\u00e9 centrale, Les Films de l’Autre<\/strong>
Canada, 2015<\/strong><\/div>\n
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Lady Macbeth
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Nineteenth-century Great Britain. Katherine is a young woman who is married to an older, wealthy land owner, though she becomes a lady in name only. For her fate is to live in a world of men who treat her purely as a pretty decoration. Something pleasurable to look at, or be turned on by, or to brag about once in a while, but devoid of any signs of free will. Not to mention ambitions, desires, or dreams. Bored to death with her meaningless existence in her husband\u2019s suffocatingly bland house, Katherine uses every opportunity to take a breath of some freedom on the nearby moors. With each subsequent day she succumbs to emotional stagnation and despair. Lady Macbeth<\/em><\/span> is not, however, a tale of submission to patriarchy. When Katherine meets Sebastian, her husband\u2019s audacious, provocative new worker who does not shy away from showing off his masculinity, the woman\u2019s transformation begins. Gradually, with each irretrievable decision, she earns the titular comparison.
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Original title: Lady Macbeth<\/strong>
Director: William Oldroyd<\/strong>
Cinematographer: Ari Wegner
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Produced by: iFeatures, Sixty Six Pictures<\/strong>
UK, 2016<\/strong><\/div>\n
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Last Family, The
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Warsaw, 1977. Tomek Beksi\u0144ski, a popular music critic and film translator, moves to a new flat. Nearby, in the same housing estate, live his parents \u2013 his mother Zofia, who is concerned about her son\u2019s oversensitivity and eccentricity, and his father Zdzis\u0142aw, an outstanding painter with a remarkable personality. The film shows the dramatic life of the family, which also includes Zofia\u2019s and Zdzis\u0142aw\u2019s mothers.<\/div>\n
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Polish title: Ostatnia rodzina<\/strong>
Director: Jan P. Matuszy\u0144ski<\/strong>
Cinematographer: Kacper Fertacz
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Produced by: Aurum Film Bodzak Hickinbotham Sp. j.<\/strong><\/div>\n
Polish distributor: KINO \u015aWIAT Sp. z o. o.<\/strong>
Poland, 2016<\/strong><\/div>\n
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Miles Ahead
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A cinematic impression, breaking most of the rules for by-the-book biopics, of the legendary jazz musician Miles Davis, narrated through multiple time frames and toying with the endless possibilities of genre cinema. A tale in which nothing is for certain, and in which one does not know what was based on facts from Davis\u2019s life and what was created within the bounds of the filmmakers\u2019 imagination. Most of Miles Ahead<\/em><\/span> takes place in 1979, at the very end of a five-year period of silence in the musician\u2019s professional life. But the film also switches fluently between different decades, mixing numerous characters and events from Davis\u2019s life, and adding some completely fictional ones. Jazz sessions are supplemented with car chases, drug-fuelled visions intertwine with gun-blazing, and the non-linear narrative accentuates the influence of Davis\u2019s failed marriage on his artistic identity. The film is a creative interpretation of facts and myths about different sides of Miles Davis. <\/p>\n
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Original title: Miles Ahead<\/strong>
Director: Don Cheadle<\/strong>
Cinematographer: Roberto Schaefer<\/strong>
Produced by: Sobini Films, Crescendo Productions, Naked City Films, BiFRost Pictures<\/strong><\/div>\n

Polish distributor: United International Pictures Sp. z o. o. (UIP Poland)<\/strong><\/div>\n
USA, 2015<\/strong><\/div>\n
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Directors\u2019 Debuts Competition was initiated in 2010 due to the Festival\u2019s increasing openness to the noteworthy artists and the new…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[142],"tags":[],"class_list":["post-8153","post","type-post","status-publish","format-standard","hentry","category-wiadomosci-camerimage-2016"],"acf":[],"_links":{"self":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/8153"}],"collection":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/comments?post=8153"}],"version-history":[{"count":0,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/8153\/revisions"}],"wp:attachment":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/media?parent=8153"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/categories?post=8153"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/tags?post=8153"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}