31ST EUROPEAN FILM AWARDS - European Film Academy
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
31ST
EUROPEAN
FILM AWARDS
SEVILLA
1
31ST
EUROPEAN
FILM AWARDS
SEVILLA
European Film Academy e.V. EFA Productions gGmbH
EUROPEAN FILM ACADEMY e.V.
Kurfürstendamm 225 Kurfürstendamm 225
Editor: Pascal Edelmann
10719 Berlin 10719 Berlin
Graphic design: Pedro Delgado &
GERMANY GERMANY
Andrés Castoldi
tel. +49 30 887 167-0 tel. +49 30 887 167-0
www.europeanfilmacademy.org www.efa-productions.com Unless otherwise indicated, all
pictures appear courtesy of the
Amtsgericht Charlottenburg Amtsgericht Charlottenburg respective production/ distribution
14236 Nz HRB 99369 companies.
THE 31st EUROPEAN FILM AWARDS
THE 31st EUROPEAN FILM AWARDS
NOMINATIONS
European Film .................................................................... 28
WELCOMES European Comedy ............................................................. 30
Wim Wenders .................................................................... 2 European Discovery - Prix FIPRESCI ................................ 32
President European Film Academy European Documentary .................................................... 34
Agnieszka Holland ............................................................ 4 European Animated Feature Film ..................................... 36
Chairwoman EFA Board European Short Film .......................................................... 38
Juan Espadas .................................................................... 6 European Director .............................................................. 44
Mayor of Seville European Screenwriter ...................................................... 44
Mariya Gabriel ................................................................... 8 European Actress .............................................................. 46
EU Commissioner for Digital Economy and Society European Actor .................................................................. 47
Help us to Help Oleg Sentsov ........................................... 10 AWARDS 2018
The Jury ............................................................................. 48
THE EFA PATRONS ............................................................ 12 European Cinematographer – Prix Carlo di Palma ......... 49
European Editor ................................................................. 49
THE AWARD CEREMONY .................................................. 21 European Production Design ............................................ 50
European Costume Design ............................................... 50
VISUAL DICTIONARY ......................................................... 26 European Hair & Make-up Artist ....................................... 52
European Composer ......................................................... 52
EUROPEAN CINEMA ......................................................... 74 European Sound Designer ................................................ 53
European Visual Effect Supervisor ................................... 53
CREDITS ............................................................................. 77 European Co-Production Award - Prix EURIMAGES ........ 54
EFA Lifetime Achievement Award .................................... 56
THANKS ............................................................................. 79 European Achievement in World Cinema ......................... 60
European Honorary Award ................................................ 64
EFA Young Audience Award ............................................. 68
EFA People’s Choice Award .............................................. 70
WELCOME
Dear friends and colleagues,
Welcome to the 31st European Film
Awards!
We are happy to celebrate European
cinema and this year’s awards here in
the gorgeous city of Seville that has
welcomed us for 14 years already to
announce the EFA Nominations in
early November.
And now, finally, we can be here for
real and say thank you by presenting
the award ceremony itself at the mag-
nificent Teatro de la Maestranza!
Among the many cultural highlights
Wim Wenders Seville has to offer, there is the Seville
President European Film Festival that each year
European Film Academy brings together its cinema-loving resi-
dents and the visiting cineastes from
across the continent for a week of cel-
ebrating European movies.
Seville is also one of our partners for
the EFA Young Audience Award. Now
in its seventh edition, it involved kids
from 34 countries and 43 cities across
2
WELCOME
Europe. They had an exciting experi- I would like to thank our Spanish part-
ence watching three nominated films, ners who have made it possible for us
discussing them and finally voting for to be here: The Ayuntamiento de Se-
the winner, all of their theatres con- villa, Casa Fabiola, Extenda Agencia
nected live in a video conference. Andaluza de Promoción Exterior and
Spanish broadcaster RTVE.
In another initiative, together with the
Filmfest Hamburg, we invited uni- I also thank the Creative Europe ME-
versity students from 23 universities DIA Sub-Programme of the EU, FFA
across Europe to see five nominated German Federal Film Board, the Ger-
films and to decide on the winner of man State Minister for Culture and the
the European University Film Award Media, the LOTTO Foundation Berlin
(EUFA). and Medienboard Berlin-Brandenburg
for all their continued support.
Our biggest task next to defending
European cinema, to celebrating its Thank you all very much for making
past and presence, and to defending the 31st European Film Awards pos-
its future, is certainly to pass on an ap- sible!
preciation for Europe itself. We believe
Have a great and memorable evening!
in the power that lies in its glorious di-
versity!
We hope that our films continue to
have a vital function in defending that
wealth and that tradition, so that Eu-
rope stays our strong common roof
and European cinema remains rel-
evant for tomorrow’s audiences.
3
WELCOME of our continent’s films and their creators. to portray: We are proud and happy about
But we also get together as a group of dedi- our long-term co-operation with the Crea-
cated Europeans who try to identify what tive Europe MEDIA Sub-Programme of the
values we share, stand up for and defend EU which allows us to execute a Europe-
– we exchange our views and experiences, wide PR campaign. Their national Creative
identify where current fears and frustra- Europe Desks also again have initiated an
tions are coming from, what our hopes and international competition which brings ten
aspirations are, and what the future is that winners to Seville to attend our ceremony
we want ourselves and our children to live and experience Europe at its best. Thanks
in together and fight for. go also to our various partners across
Europe who broadcast or stream the cer-
In 2018 this has again included our com- emony live, some as part of local cinema
mitment for the Ukrainian filmmaker Oleg events. In addition to the actual ceremony,
Sentsov, who has been incarcerated in our own awards website features a moder-
Russia for over four years and survived ated live programme including the keynote
a 150-day hunger strike this year. Still, he discussion, and live interviews from our red
remains in prison and we have to continue carpet studio. Our social media channels
to draw international attention to his fate keep film fans world-wide updated on the
(see p10). 2018 also meant addressing EFA Weekend and Ceremony.
gender equality and how we can make the
European film industry a fairer and better Finally, I’d like to take this opportunity to
Agnieszka environment for all to work in. It is also in
this spirit that we will conclude this year’s
thank all our friends and partners who
helped us to realise all this. Special thanks
Holland EFA General Assembly with the EFA Key- go to the patrons of the European Film
Chairwoman EFA Board note & Debate “Gender Equality is THE Way Academy, film institutions and companies
Forward”, held by Anna Serner, director of from all over Europe who support our work
I welcome all of you to the 31st European the Swedish Film Institute and the leading not only financially, but also with their in-
Film Awards, and to the Andalusian capital woman in the gender debate of our indus- formed input and presence at the awards
of Seville in Spain! try. ceremony (you will find a detailed list of
them from p12 on). I wish all of you a great
Throughout the past years, with all the po- So, while this publication summarises this evening!
litical and social turmoil they brought along, year’s EFA Nominations and portraits the
the European Film Awards have grown into honorary award recipients, it also includes
a gathering that surpasses their original introductions to some of the ideas and
function of presenting awards to the great- people behind the European Film Awards.
est achievements in European film. Yes, we Allow me to also mention some of the as-
still celebrate the diversity and excellence pects which this publication has no room
4
The EUROPEAN FILM ACADEMY e.V. EFA Secretariat
President .................................. Wim Wenders Director ........................................... Marion Döring
Chairwoman ............................ Agnieszka Holland Finances & Administration ............ Rainer Pyls
Deputy Chairmen ..................... Mike Downey Head of Press & PR ........................ Pascal Edelmann
EFA Team
.................................................... Antonio Saura Awarding Procedures
Members of the Board ............ Graziella Bildesheim feature films ................................... Bettina Schwarz
.................................................... Francis Boespflug † Awarding Procedures
.................................................... Àngela Bosch Rius animated feature films,
.................................................... Tilde Corsi documentaries & short films ......... Christoph Bovermann
.................................................... Angeles Gonzáles-Sinde, Accounting & Membership
.................................................... Mike Goodridge Administration ................................ Yvonne Apt
.................................................... Vanessa Henneman Assistant to Director &
.................................................... Henning Kamm Membership Relations ................... Viviane Gajewski
.................................................... Baltasar Kormákur
.................................................... Rebecca O’Brien
.................................................... Ewa Puszczynska EFA Productions gGmbH
.................................................... Katriel Schory
.................................................... Ada Solomon Managing Directors ........................ Marion Döring
.................................................... Joanna Szymańska .......................................................... Jürgen Biesinger
.................................................... Béatrice Thiriet Event Manager & Sponsoring ........ Nikola Joetze
.................................................... Ira von Gienanth Business Manager ......................... Rainer Pyls
Honorary Members of the Production Co-ordinator European
Board ........................................ Sir Ben Kingsley Film Awards .................................... Heidi Frankl
.................................................... Dušan Makavejev Team Assistance ........................... Karolina Randerath
.................................................... István Szabó
Official tabulator for the European Film Awards:
Dr Manuel Heide/Luther Law Firm
Official tabulator for the People’s Choice Award:
Ernst & Young GmbH
5
I am particularly honoured by the con- of cinema; today, we can say we have
WELCOME
fidence vested in us by the European achieved it. Our European Film Festi-
Film Academy. This Gala clearly rep- val is now an international reference
resents our longstanding relationship: point for the finest auteur cinema, and
a friendship and alliance which has the city has become a much sought
been strengthened thanks to the city’s after setting for a large number of
European Film Festival. In 2018 we are productions. We are attracting numer-
celebrating fifteen years of announc- ous types of shoots by offering a wide
ing the European Film Awards nomi- variety of locations and profession-
nations, and finally, the EFA Awards als for both national and international
Gala is here in Seville, one of its nu- films and TV series.
merous homes.
Hosting the European Film Awards
Seville has become a city which em- does not only involve the organisation
braces culture in all its varied aspects of the Awards Ceremony itself, but is
and throughout the year. Encompass- also giving us the opportunity to offer
ing both more traditional events and a series of activities, seminars, talks
the most daring avant-garde, we are and meetings to promote and foster
taking culture to every corner of the mutual understanding and knowledge
Juan Espadas city through medium and small-scale between the local and European film
projects, as well as several large industry as well as today’s students,
Mayor of Seville events, which involve the whole popu- who, in the near future, will help shape
Good Evening, and welcome to Seville! lation. This ongoing engagement with the European identity through their
culture has enabled us to offer an at- work.
The city has eagerly been awaiting this tractive agenda for people from far
opportunity to host the European Film I sincerely hope you will enjoy the
and wide, whilst also being a source
Awards, one of the most important Gala, and I am sure it will be a historic
of satisfaction and pride for all Sevil-
events of the year. It demonstrates edition of the European Film Awards:
lians. Cinema is undoubtedly an out-
our commitment to the promotion of Seville never fails to celebrate art and
standing example of this.
cultural heritage and, more specifi- talent. May the show begin!
cally, to the Seville European Film Fes- There was a time, not so very long
tival. ago, when Seville was merely dream-
ing of becoming one of the capitals
6
Hungarian National Film Fund
congratulates
A WOMEN CAPTURED ONE DAY
by Bernadett Tuza-Ritter by Zsófi Szilágyi
nominated for nominated for
Best European Documentary European Discovery - Prix Fipresci
I am delighted to welcome you all to This, together with other initiatives
WELCOME
the 31st ceremony of the European under our #Digital4Culture strategy,
Film Awards. Last year we used the will exploit the fruitful collaboration
major anniversary of the awards to between digital technologies and cul-
celebrate the successful experience ture.
of the European Film Academy in pro-
The European Film Academy and you
moting European film culture. One
– participants, nominees and winners
year later, we can be proud of an even
of the European Film Awards – are the
greater performance not only in build-
best ambassadors of European cin-
ing a bridge between creativity and the
ema and their power to convey diver-
industry, but also in bringing European
sity, culture and passion.
cinema closer to citizens.
Do not ever stop sharing your stories,
We have to make sure that this trend
because with them you contribute to
of increasing the visibility of European
enriching a unique common European
works is maintained and, by the same
identity to which each of us can relate.
token, we have to ensure that Euro-
pean works enjoy the audience that I wish you a wonderful awards cer-
they deserve. The digital transforma- emony.
Mariya Gabriel tion has the potential to re-inforce the
EU Commissioner for Digital positive impact of culture, including
Economy and Society cinema, at economic and societal lev-
els. In this vein, the launch of a direc-
tory of European films will boost the
visibility and the access to European
film across the EU.
The directory, funded by the Creative
Europe MEDIA programme, will help
professionals, the public authorities
and citizens to find information about
European films and their availabil-
ity on-line in video-on-demand (VOD).
8WELCOME
LET’S NOT FORGET OLEG SENTSOV!
Oleg Sentsov has been in prison since May 2014
In an effort to help Oleg Sentsov, the
European Film Academy has opened a
bank account to collect donations for
the coverage of legal expenses and to
support his young children. All dona-
tions are welcome – any amount will
help!
Thank you!
DONATIONS:
The filmmaker, a Crimean native European Film Academy e.V.
who opposed the annexation IBAN: DE69 1005 0000 0190 3335 70
of Crimea by Russia, is serving BIC/SWIFT: BELADEBEXXX
a 20-year prison term in Russia Reference: Donation for Oleg Sentsov
after being convicted of terrorism For bank transfers from countries out-
at the end of what Amnesty side the single euro payments area
International described as “an (SEPA):
unfair trial in a military court”. Berliner Sparkasse / LBB Landesbank
Berlin AG. Address: Alexanderplatz 2,
He ended a 145-day hunger strike 10178 Berlin, Germany
earlier this year, saying he had PLEASE NOTE: EFA cannot issue do-
to do so to avoid being force- nation receipts in this special case
fed by the prison authorities. due to German tax rules!
10Photo: Adolfo Luján
TAKE INJUSTICE PERSONALLY.The EFA Patrons
are national
institutions of film
and/or culture as
CATALAN INSTITUTE FOR CULTURAL CENTRE DU CINEMA OF THE
well as companies COMPANIES FROM THE MINISTRY FEDERATION WALLONIA BRUSSELS
OF CULTURE OF CATALONIA
involved in the Miquel Curanta i Girona
Jeanne Brunfaut
Director General
production, Director
At Centre du Cinéma, we believe that cin-
distribution and The Catalan Institute for Cultural Com-
panies, the agency within the Ministry of
ema is a major factor for deepening the Eu-
ropean identity. We are proud and happy to
exhibition of Culture of Catalonia, which helps and pro-
motes cultural companies and has been
support the European Film Academy which
remains a great window for the image of
European cinema supporting the European Film Academy
with the firm belief that it is essential to
European films world-wide. We also believe
that EFA will be an effective tool and help
which support the be part of an organisation, which not only
promotes and gives visibility to European
European decision makers understand the
role of European cinema in the preserva-
European Film cinematography but also provides tools for
its development.
tion of cultural diversity.
EFA PATRONS
Awards, some of
them for the 21st
time already
12CENTRE NATIONAL DU CINEMA DANISH FILM INSTITUTE EURIMAGES
ET DE L'IMAGE ANIMEE (CNC)
Claus Ladegaard Roberto Olla
Frédérique Bredin CEO & Head of Film Funding Executive Director
President of the CNC
(picture: Nikolai Østergaard) For almost 30 years Eurimages has sup-
(picture: Christian Kettinger) We are living in times of great change. ported a wealth of international co-produc-
France has successfully created an ambi- The film industry, too, is characterised by tions and has made a major contribution
tious public policy based on cultural diver- fundamental game changers. European to promoting cultural diversity through cin-
sity. With 56 co-production agreements cultural politicians and institutions must ema. The fund has a rigorous selection pro-
and programs for supporting film direc- relate to the new reality for content produc- cess and encourages producers to strive
tors wherever they come from, France is tion within a globalised and digitised me- for excellence in independent cinema. We
a friend of all cinema world-wide. Seventy dia world, where mega companies like Fa- are proud to be associated with the Euro-
years after it was founded, the CNC con- cebook, Netflix and Google are setting the pean Film Awards and to be able to honour
tinues to consolidate its role as an original agenda. This makes it even more impor- highly talented producers who are passion-
ecosystem, envied and even imitated in tant to maintain the strength and quality ate about independent cinema with the Eu-
many countries. Its aim is to fund the most of cinematic narratives which take a local rimages Co-production Award.
singular French and international artists, starting point to tell universal stories that
to regulate the film and audiovisual mar- are touching, challenging and entertaining.
kets, and also to maintain and promote the EFA celebrates these very qualities, and the
memory of the cinema of the past. Through Danish Film Institute is delighted to be a
its partnership with the European Film part of that celebration.
Awards, the CNC is re-affirming its cultural
ambition, that of a fraternal Europe, driven
by culture. This Europe is a wonderful idea
because it is a message of hope and of
dialogue between cultures that resounds
world-wide.
13FILM FINANCES SCANDINAVIA AB FILM FUND LUXEMBOURG FILM I VÄST
Maritha Norstedt Guy Daleiden Mikael Fellenius
Managing Director CEO
Film Finances are proud to be associated
with the European Film Awards. Film Fi- Luxembourg is a small country at the heart (picture: Ola Kjelbye)
nances is the world leader in completion of Europe for whom being part of a Euro- Film i Väst is one of Europe’s leading re-
guarantees. We help movies get to the big pean film family is essential. Our filmmak- gional film funds, located on the Swedish
screen. We provide financiers with a ser- ers benefit enormously from working and west coast in Västra Götaland. Film i Väst
vice that gives them an assurance that the networking with their European peers, and is active as co-producer and investor in
film will be delivered on time and that the our stories live and travel thanks to Euro- international and Swedish film and TV-dra-
over-budget costs will not be the financier's pean co-production partners and our films ma. Film i Väst is a proud patron to Euro-
responsibility. are first and foremost European films. The pean Film Academy´s support and profiling
EFA gives us the opportunity to participate Luxembourg Film Fund is therefore a proud of European film. A task and mission which
in the future of European films. patron to the European Film Academy. Eve- will be even more important in the future.
ry year, the European Film Awards cham-
pion and celebrate the best in European tal-
EFA PATRONS
ent and in European co-productions. They
are a window to the strength, the diversity
and the vibrancy of European cinema, and
year after year, they serve as a reminder of
how great films can enrich our lives – as
cinephiles, as individuals and as Europe-
ans.
Film Fund Luxembourg is a public fund-
ing body. It manages the programme and
mechanisms through which the Luxem-
bourg government provides financial sup-
port to audiovisual works.
14FINNISH FILM FOUNDATION FLANDERS AUDIOVISUAL FUND (VAF) ICELANDIC FILM CENTRE
Lasse Saarinen Erwin Provoost Laufey Guðjónsdóttir
Managing Director Director
European films tell us something about
Finland proudly supports diverse European who we are and where we come from. They The Icelandic Film Centre supports the de-
cinema and the European Film Academy! also contribute to the cultural, social and velopment, production and distribution of
The Finnish Film Foundation supports and democratic values of the society in which Icelandic films and promotes film culture in
promotes the Finnish film industry by al- we live today. European cinema can in- Iceland. One of our most important tasks is
locating public funding for professional crease the visibility of Europe in the world, to encourage strong ties between Icelandic
film production, exhibition and distribution. and be a perfect ambassador for promot- filmmakers and the international film com-
The Foundation is also responsible for ing these values. We are therefore excited munity. In recent years we have welcomed
the festival distribution and international to be among the European Film Academy’s many European productions to our shores,
promotion of Finnish films and it provides patrons. and our own films and filmmakers have
statistics and information about the film in- benefited enormously from collaborations
dustry in Finland. The Foundation was set with our European partners. We are proud
up in 1969 and it operates under the super- to be a patron of the European Film Acad-
vision of the Finnish Ministry of Education emy and we look forward to a strong and
and Culture. fruitful relationship well into the future.
15INSTITUTO DO CINEMA E INTERNATIONAL SAMI FILM IRISH FILM BOARD
DO AUDIOVISUAL (ICA) INSTITUTE (ISFI)
James Hickey
Luís Chaby Vaz Anne Lajla Utsi Chief Executive
President Managing Director
Supporting Irish creative talent in film is
ICA – Instituto do Cinema e do Audio- The International Sami Film Institute (ISFI) the main thrust of the policy of Bord Scan-
visual – was created in 2007, succeeding is located in the heart of Sápmi, in the North nán na hÉireann/the Irish Film Board. We
ICAM (Instituto do Cinema, Audiovisual e of Norway, and was founded in 2009. The are delighted to join with our European col-
Multimedia). Responsible to the Ministry aim is to support and strengthen Sami film leagues on supporting the European Film
of Culture, ICA's main tasks are to support production. The Sami people are Europe´s Academy and in particular its awards cer-
production, distribution, exhibition and only indigenous peoples. emony which recognises European crea-
promotion of Portuguese cinema and au- tive talent in film. Major challenges face
diovisual products, within the country and ISFI has fostered a new generation of Sami European film in the years ahead. In be-
abroad. filmmakers, and the production of Sami coming a patron of EFA, we see this as an
Providing ongoing financial support for films has increased with almost 50% since opportunity to participate in the dialogue
independent production, ICA seeks to con- the establishment of ISFI. We have also about the future of European film where the
EFA PATRONS
tribute to the construction of a solid and supported the award winning SAMIBLOOD focus is on the strength and diversity of Eu-
integrated industry in Portugal. of director Amanda Kernell. And we also ropean creative film output. Ireland has a
ICA also supports the promotion of Portu- have a leading role in the Arctic Indigenous long history of contribution to and vigorous
guese cinema and audio-visual media in film industry. In 2018 ISFI initiated the es- engagement with all aspects of European
all international film festivals, as well as tablishment of the Arctic Indigenous Film Culture.
providing assistance to help to ensure the Fund with partners in the whole circumpo-
presence of producers at various events. lar Arctic.
ICA is glad to support the European Film
Academy and we strongly believe this is an
important opportunity to promote Europe-
an film among ourselves as well as outside
European borders.
16ISTITUTO LUCE CINECITTÀ KOSOVO CINEMATOGRAPHY CENTER LITHUANIAN FILM CENTRE Roberto Cicutto Arben Zharku Rolandas Kvietkauskas President & CEO Director Director lstituto Luce Cinecittà is the state-owned The Kosovo Cinematography Center is a The Lithuanian Film Centre is proud to be company whose main shareholder is the public film fund of the youngest country among the European Film Awards’ patrons. Italian Ministry for Culture, subsidising its in Europe aiming to rebuild the historically Representing our small film community, activities on an annual basis. interrupted film tradition and giving space which has a strong artistic tradition and We hold one of the most important film to accumulate filmmaking talents. Being passion for co-production, we feel that it is and photographic archives. It is a large col- part of EFA is an honour for us, and a great essential to contribute to the celebration of lection concerning the history of the 20th opportunity to network with other Euro- European film culture. century, and it has also been inscribed by pean fellow bodies in developing the film The European Film Awards are a power- UNESCO in the registry "Memory of the industry. ful embodiment of creativity and diversity World". in cinema, which our talented artists and Institutional work includes promoting Ital- skilled producers will share with the audi- ian cinema, both classical and contem- ence through their own stories. We look porary, at home and abroad by means of forward to the new discoveries ahead of projects that are presented in collaboration us. with the most relevant cultural institutions of the world. Since July 2017, Istituto Luce Cinecittà is in charge of managing the legendary Ci- necittà Studios and post-production labs, founded in 1937. Luce Cinecittà is proud to be one of the pa- trons of the European Film Academy, since our mission cannot be successful without such a strong network as EFA 17
LUX FILM PRIZE MACEDONIAN FILM AGENCY MINISTRY OF EDUCATION AND CULTURE
OF CYPRUS (CULTURAL SERVICES)
Doris Pack Gorjan Tozija
Co-ordinator Director Kostas Champiaouris
Minister of Education and Culture
Culture and cinema are unique means to The Macedonian Film Agency as a legal of the Republic of Cyprus
unlock dialogue between communities be- successor of the Macedonian Film Fund
cause they constitute the common ground will continue to be a patron of the European Cyprus’ Ministry of Education and Culture
to understand each other, to overcome bor- Film Academy. Being associated with the is pleased to be associated with an organi-
ders, and above all to share and exchange European Film Academy gives us a won- sation, having as its central aim to promote
opinions, ideas, values. We, representing derful opportunity to affirm our orientation Europe’s film culture. I strongly believe that,
the Lux Film Prize of the European Parlia- for the equal treatment and support of na- by supporting the European Film Academy,
ment, proudly share with the European Film tional and international co-productions as we support European excellence in cin-
Academy the idea that culture and films a way of providing international distribu- ematographic works, communicate Euro-
are ideal tools to address stereotypes, prej- tion, recognition and promotion of Euro- pean values, as well as strengthening dia-
udices, to pave the way for an intercultural pean films. In that way, the European Film logue between different countries.
dialogue and to propose answers to some Awards are a celebration of the annual film
EFA PATRONS
of the challenges faced by our societies. creativity and a great tool for the promotion
We need to stand side by side to react to of European films and filmmakers!
the dangerous radicalisation of Europe. We
need storytellers to find other words and
to tell with the power of emotions a new
narrative for Europe. We need authors, di-
rectors and representatives of the cultural
and cinema endeavour to raise their voices
with us and to get involved on the ground
for the European Elections 2019. Too much
is at stake and it is about the future of each
of us!
18THE NETHERLANDS FILM FUND POLISH FILM INSTITUTE SEVILLE EUROPEAN FILM FESTIVAL
Doreen Boonekamp Radosław ´Smigulski Antonio Muñoz
CEO General Director Delegate for Urban Habitat, Culture
and Tourism for Seville City Council
Dutch arthouse films, documentaries, ani- The Polish Film Institute (PISF) has the aim
mation and especially children and family to support the national film industry. Its Seville’s City Council through its Institute of
films enjoy increasing international suc- comprehensive system enables support Culture and Arts organises each November
cess at major international film festivals for film projects at all stages of film pro- the Seville European Film Festival. Nowa-
world-wide. For a small country with a duction and helps promote Polish films in days, European filmmaking is showing an
limited language area it is extremely im- Poland and abroad. With a budget of €34m extraordinary creative strength, full of new,
portant to belong to a strong and vibrant it subsidies around 45 feature films per different proposals to be explored and dis-
European film culture with its own values year, including minority co-productions. covered. It is no exaggeration to say that
and distinct character. Dutch filmmakers The Polish parliament has adopted a new new blood is running underground and
are extending their focus to other Europe- law introducing an automatic funding above the surface in the old continent. Our
an countries and beyond. They are actively scheme in form of a cash rebate in amount festival is committed, through the fresh im-
participating in both majority and minority of up to €50m. The new incentive will be petus of its director, José Luis Cienfuegos,
Dutch co-productions in order to exchange administrated by the Polish Film Institute to promote and encourage both the long
knowledge and creativity to raise the artis- and should be operational in Spring 2019. creative tradition of renowned veteran film-
tic level of productions and to stimulate the Among recent projects supported by PISF makers and the eagerness of the new tal-
circulation of films across borders. We feel are: COLD WAR by Paweł Pawlikowski ents - a goal that we proudly share with the
strongly connected to the European Film (Cannes 2018), MUG by Małgorzata Szu- EFA which honours our city and festival by
Academy which plays a vital role in pre- mowska (Berlinale 2018), ANOTHER DAY announcing in Seville the nominees for the
senting and warding European talent glob- OF LIFE (Cannes 2018) by Damian Nenow European Film Awards.
ally and we are honoured to be a patron. and Raul de la Fuente, LOVING VINCENT
(EFAs 2017, Oscar Nominee 2017, Annecy
2017) by Dorota Kobiela and Hugh Welch-
man, and GARETH JONES by Agnieszka
Holland.
19SWEDISH FILM INSTITUTE SWISS FILMS
Anna Serner Catherine Ann Berger
CEO Managing Director
Film is essential for a democracy. Without The promotion agency Swiss Films with of-
it, many voices would never be heard, and fices in Zurich and Geneva is dedicated to
all kinds of stories never be told. Thanks to promoting Swiss cinema abroad and sup-
the EFA, we are given a chance to see the ports Swiss films and talents at festivals
fantastic diversity in Europe and share our and markets around the world.
realities, creating an understanding across Swiss Films is partner to Swiss produc-
the borders. My colleagues and I at the ers and filmmakers to develop interna-
Swedish Film Institute are very proud to be tional strategies and to establish contacts
one of the patrons of the EFA and present with festival delegates, sales agents and
our Swedish films, just as much as we are distributors. We advise buyers and festi-
looking forward to discovering other im- val delegates on Swiss release support
portant stories from all over Europe. schemes. With a database of almost 6,000
EFA PATRONS
films, the agency also provides an essen-
tial source of information for international
film professionals and trade publications.
Swiss Films is funded by the Swiss Federal
Office of Culture.
We are proud to be one of the European
Film Academy’s patrons and honored to
contribute to Europe’s divers cinematic
voices.
20THE CEREMONY
THE CEREMONY
by Marion Döring and Jürgen Biesinger
Welcome to the 31st EFAs!
¡Bienvenidos a Sevilla!
Like every second year, the EFAs – and that a 36-hr. journey through the
and the people who work for them – snow of central Europe can be quite
travel. And, a bit like a travelling circus, a consolidating group experience.
we arrive in another part of Europe, Above all, we learn a lot about Europe
put up our tents and throw saw dust and that the European film world
into the ring. We eat pierogi and quickly starts to feel like a family.
smørrebrød, we try pastis, limoncello
We want to use this opportunity to
and, this year, tapas and Rioja. But we
shed a spotlight on some members
also learn that a Spanish afternoon
of this family, some new, some have
doesn’t end before 21.00 by which
accompanied us through parts of the
time most Copenhagen offices will
past 30 years:
be dark and deserted, that the London
fog is nothing compared to Warsaw
21THE CEREMONY
Maria von Heland Bode Brodmüller Kriton Klingler-Ioannides
The script and stage direction is again The set design you’re looking at was Berlin-based musician, composer and
in the hands of Maria von Heland created by German art director Bode sound designer Kriton Klingler-Ioan-
who – together with her writing team Brodmüller who turned tonight's stage nides created the music concept for
Marlene Melchior and Timm Kröger – into a typical Seville location. tonight’s show.
keeps surprising us with a seemingly
endless capacity to react in good hu-
mour to changing realities with a flow
of creative ideas, all the while remain-
ing true to EFA's ideals.
22Picture: Alain Scherer
THE MUSIC
Andrés Marín Rocío Márquez
Live musical performances bring great Andalusian perform- Connected to flamenco since her childhood, Rocío Márquez
ers onto our stage: Taking it from its classical environment, has long been a celebrated flamenco star. With the release
Sevillian choreographer and dancer Andrés Marín regards of “El Niño” (2014) and "Firmamento" (2017) she has
flamenco as an art form that can grow, change and inte- transcended the traditional flamenco circuit and become
grate other forms of expression without ever losing its es- a shining example of how tradition meets modernity – with
sence. Working with various other artists, he keeps bring- firm political beliefs.
ing innovation and provocation to the world of flamenco.
23THE CEREMONY
Picture: Ximena & Sergio
Rossy de Palma
To represent Originally a singer and dancer, Rossy my’s Goya Awards, BROKEN EMBRAC-
de Palma is an artist discovered as ES (2009) and JULIETA (2016). She
Europe’s diversity, an actress by Pedro Almodóvar with worked with Robert Altman in PRET-A-
whom she worked together in a mul- PORTER (1994) and in Terry Gilliam’s
this year’s EFA titude of his films. She immediately THE MAN WHO KILLED DON QUIXOTE
Ceremony sees six reached cult status for her perfor-
mance as Marisa in WOMEN ON THE
(2018). In 1998 she received a Special
Prize at the Locarno Film Festival for
actresses and actors VERGE OF A NERVOUS BREAKDOWN,
the 1988 EFA Winner for European
her performance as Concepcion in
HORS JEU by Karim Dridi. Rossy also
leading through the Young Film. Her collaboration with works as a theatre actress, writer, cos-
Almodóvar also includes KIKA (1993) tume designer, singer, model, plastic
evening. Please meet and THE FLOWER OF MY SECRET artist and is charity spokesperson for
(1995), both of which she was nomi- the Ghanaian Charity OrphanAid Afri-
your hosts: nated for at the Spanish Film Acade- ca, among other humanitarian causes.
24THE HOSTS
Picture: Nicolas Manel
Ashraf Barhom Amira Casar Anamaria Marinca
A Christian Israeli-Arab actor, Ashraf Born in London, Amira Casar grew up Anamaria Marinca is a Romanian
Barhom appeared in PARADISE NOW in England, Ireland and France. She stage and screen actress who has
(2005) by EFA Winner Hany Abu-As- has appeared in many prestigious in- appeared in diverse award-winning
sad, in AGORA (2009) by EFA Winner ternational film, TV, and theatre pro- television and film productions
Alejandro Amenábar, and in LEBA- ductions, acting in French, English, such as Sex Traffic (2005) and
NON (2009) by EFA Winner Samuel German, Italian and Spanish. Among 4 Months, 3 Weeks and 2 Days
Maoz. He got a lot of attention for the notable filmmakers Casar has (2007). Throughout her career, she
his performance as Colonel Faris Al teamed with are: Catherine Breillat has moved effortlessly between au-
Ghazi in THE KINGDOM (2007) by Pe- (ANATOMY OF HELL and THE LAST teur films (Boogie by Radu Muntean,
ter Berg, as Cassius in CORIOLANUS MISTRESS), Carlos Saura (BUÑUEL Storm by Hans Christian Schmid or
(2011) by Ralph Fiennes, tonight’s AND KING SOLOMON’S TABLE), The NICO, 1988 by Suzanna Nicchiarelli),
recipient of the EFA’s European Quay Brothers (THE PIANO TUNER tv series (The Missing, Mars and
Achievement in World Cinema award, OF EARTHQUAKES), Bertrand Bonello most recently Tin Star) and Holly-
and as Radi in THE CURVE (2015) by (SAINT LAURENT), Luca Guadagnino wood productions: after playing Irma
Rifqi Assaf. (CALL ME BY YOUR NAME). Lately, in David Ayer’s Fury in 2014, her
she was acclaimed for her perfor- latest big screen appearance was in
He is also known for his role as Jamal
mance in Arthur Honneger’s oratorio, Ghost in the Shell in 2017. She
Al-Fayeed in the American TV series
“Jeanne au Bûcher” with the London currently lives and works in the UK.
TYRANT.
Symphonic Orchestra at the Barbican
Center in London.
25THE CEREMONY
Picture:
André Rohner
Ivan Shvedoff Tom Wlaschiha
Born in Leningrad (now Saint Peters- Internationally, the German actor Tom
burg), Ivan Shvedoff lives in Prague Wlaschiha is most known for his part
and works across Europe. He made his as convict and assassin Jaqen H'ghar
debut in RIN (1992) by Rodoh Seji and in the HBO fantasy series GAME OF
has appeared in several blockbusters THRONES and as police officer Sebas-
such as ENEMY AT THE GATES, THE tian Berger in the crime series CROSS-
BOURNE SUPREMACY and MISSION: ING LINES. His impressive career in
IMPOSSIBLE – GHOST PROTOCOL. theatre, TV and film includes appear-
Shvedoff was the lead Valeri Sikorski ances in BRISDESHEAD REVISITED
in ENGLAND (2000) by Achim von (2008) by Julian Jarrold, RESISTANCE
Borries, and Kolya in DISTANT LIGHTS (2011) by Amit Gupta and MR. TURN-
(2003) by Hans-Christian Schmid. He ER (2014) by Mike Leigh. Most recent-
also played Igor in THE BONEMAN ly, Tom was Hagen Forster in the WWII
(2009) by Wolfgang Murnberger, series DAS BOOT and he just finished
Slatko in THE ALBANIAN (2010) by shooting the second season of the
Johannes Naber and Igor in the TV Amazon series JACK RYAN. A truly
series BEAT by Marco Kreuzpaintner. multi-lingual European, Tom speaks
And, of course, he is also known as also English, French and Spanish and
Alexei Kardakov in the sensational TV has repeatedly been part of the EFA
series BERLIN BABYLON. Ceremony.
26EFA 2018: picks up and plays with, bringing to live
Picture by Gzzz
such a restaurant on stage as one of
THE LOOK the venues of the ceremony. Artistical-
VISUAL DICTIONARY
ly, the depiction of inanimate objects
Getting more and more people to join in so-called bodegones has a long
our European family, we wanted to tradition in Sevillian Baroque painters
find a graphic designer who would such as Francisco de Zurbarán, mod-
give the 2018 EFAs a distinct, Seville- ern artists such as Carmen Laffón and
driven look. We found Pedro Delgado their contemporary colleagues like
and we loved not only his ideas but Federico Guzmán.
also what’s behind them. Look at his Light Bulbs
visual dictionary that stands behind
the EFA2018 design: Seville is a city of many celebrations,
a lot of them take place at night when
the summer heat has subsided and
thousands of light bulbs shine in
courtyards and streets. The annual
Feria de Abril is kicked off by switch-
ing on a gigantic arch, especially built
of thousands of light bulbs.
Scale and Environment
Picture by deniman
The combination of objects not usu-
The Sevillian Chair: Silla de enea ally found together, or their depiction
in an unusual or distorted scale, adds
A special Sevillian kind of chair, the something unexpected to a composi-
frame made of wood, the seat of bul- tion. It might be inspired by Surrealist
rush. You are likely to sit on this kind of poets like Luis Cernuda and Vicente
chair when visiting the city for Semana Aleixandre (both from Seville) or art-
Santa and you will see it in a lot of fla- Forks and the Still Life. ists like Salvador Dalí and Luis Bu-
menco shows. Generally, in cinema, a ñuel and their mutual masterpiece
chair connects two people, the direc- Many evenings in Seville will include
UN CHIEN ANDALOU (1929), with its
tor and the spectator. entering a tapas bar at some point –
reference to somewhere in Andalusia.
a reality that the EFA set design also
27EUROPEAN FILM
BORDER COLD WAR
GRÄNS ZIMNA WOJNA
Directed by Ali Abbasi Written & Directed by Paweł Pawlikowski
Written by Ali Abbasi, Isabella Eklöf & Produced by Ewa Puszczyńska &
John Ajvide Lindqvist Tanya Seghatchian
Produced by Nina Bisgaard, Piodor
Gustafsson & Petra Jönsson Poland, UK, France
NOMINATIONS
Sweden, Denmark A passionate love story between a man
and a woman who meet in the ruins of
Border guard Tina is extraordinarily good post-war Poland. With different back-
at spotting smugglers. One day, a sus- grounds and temperaments, they are
picious-looking man steps off the ferry. fatally mismatched and yet fatefully con-
Unable to identify what he’s hiding, she demned to each other. Set against the
becomes obsessed with him and the dis- background of the Cold War in the 1950s
turbing aura he exudes. Her investigation in Poland, Berlin, Yugoslavia and Paris, the
reveals much more than expected, and couple are separated by politics, charac-
she is soon forced to confront terrifying ter flaws and unfortunate twists of fate
revelations about herself and humankind. – an impossible love story in impossible
times.
28EUROPEAN FILM
EUROPEAN FILM
DOGMAN GIRL HAPPY AS LAZZARO
Directed by Matteo Garrone Directed by Lukas Dhont LAZZARO FELICE
Written by Matteo Garrone, Ugo Chiti & Written by Lukas Dhont & Angelo
Massimo Gaudioso Tijssens Written & Directed by Alice Rohrwacher
Produced by Matteo Garrone, Jean Produced by Dirk Impens Produced by Carlo Cresto-Dina, Tiziana
Labadie, Jeremy Thomas & Paolo Del Soudani, Alexandra Henochsberg,
Brocco Belgium, Netherlands Grégory Gajos, Arthur Hallereau, Pierre-
François Piet, Michel Merkt, Michael
Italy, France Determined 15-year-old Lara is commit- Weber & Viola Fügen
ted to becoming a professional ballerina.
An Italian suburb somewhere between With the support of her father, she throws Italy, France, Germany, Switzerland
metropolis and wild nature: Marcello, a herself into this quest for the absolute at
small and gentle dog groomer, finds him- a new school. Lara’s adolescent frustra- The story of Lazzaro, a peasant still shy
self involved in a dangerous relationship tions and impatience are heightened as of 20 and so good he appears stupid, and
of subjugation with Simone, a former vio- she realises her body does not bend so Tancredi, a young man of the same age
lent boxer who terrorises the entire neigh- easily to the strict discipline because she but spoilt by his own imagination, is the
borhood. In an effort to re-affirm his digni- was assigned male at birth. story of a friendship. It’s a friendship that
ty, Marcello will submit to an unexpected begins genuinely amid a flurry of secret
act of vengeance. schemes and lies. Full of light and youth-
ful enthusiasm, it’s the first friendship
Lazzaro has ever had. And it subsequently
survives the passing of time.
29EUROPEAN COMEDY
C'EST LA VIE!
LE SENS DE LA FETE
Written & Directed by Eric Toledano & Olivier Nakache
Produced by Yann Zenou, Nicolas Duval Adassovsky, Laurent
Zeitoun & Sidonie Dumas
NOMINATIONS
France
Max has been a caterer for 30 years. He has organized hundreds
of events, and is probably pretty close to throwing in the towel.
Today there will be a magnificent reception in a 17th century châ-
teau: one more wedding, Pierre and Helena’s.
As usual, Max has taken care of everything: recruited his
wait staff, cooks, and dishwashers. He has recommended a
photographer, reserved an orchestra, and arranged for the floral
decorations: in short, all the ingredients to make the reception a
success …
30EUROPEAN COMEDY
EUROPEAN COMEDY
DIAMANTINO THE DEATH OF STALIN
Written & Directed by Gabriel Abrantes & Daniel Schmidt LA MORT DE STALINE
Produced by Maria João Mayer, Justin Taurand & Daniel van
Hoogstraten Directed by Armando Iannucci
Written by Armando Iannucci, David Schneider, Ian Martin &
Portugal, France, Brazil Peter Fellows
Produced by Yann Zenou, Laurent Zeitoun, Nicolas Duval
Diamantino, the world’s premiere soccer star, loses his spe- Adassovsky, Kevin Loader & Sidonie Dumas
cial touch and ends his career in disgrace. Searching for a new
purpose, the international icon sets out on a delirious odyssey France, UK, Belgium
where he confronts neo-fascism, the refugee crisis, genetic
modi cation, and the hunt for the source of genius. On the night of 2 March 1953, a man is dying. A terrible stroke is
wracking his entire body. He is drooling. He is pissing himself.
He is about to kick the bucket and if you play your cards right, his
job is yours for the taking. The man is Joseph Stalin – dictator,
tyrant, butcher, as well as Secretary General of the USSR.
31EUROPEAN DISCOVERY PRIX FIPRESCI
GIRL ONE DAY SCARY MOTHER
Directed by Lukas Dhont EGY NAP SASHISHI DEDA
Written by Lukas Dhont & Angelo
Tijssens Written & Directed by Zsófia Szilágyi Written & Directed by Ana Urushadze
Produced by Dirk Impens Produced by Ágnes Pataki & Edina Produced by Lasha Khalvashi & Tinatin
Kenesei Kajrishvili
Belgium, Netherlands
Hungary Georgia, Estonia
A portrait of gender, identity and perse-
NOMINATIONS
verance. Born as a boy, 15-year-old Lara Anna is 40. She is always in a rush. She A 50-year-old housewife, Manana, strug-
is committed to becoming a professional has three children, a husband, a job and gles with her dilemma – she has to choose
ballerina. With the support of her father, financial stress. Anna meets deadlines, between her family life and her passion,
she throws herself into this quest at her makes promises, takes care of things, writing, which she had repressed for years
new school. Lara’s adolescent frustra- brings stuff home and remembers every- – she decides to follow her passion and
tions and impatience are heightened as thing. But she never catches up with her plunges herself into writing, sacrificing to
she realises that her body does not bend husband. She’d like to talk to him. She it mentally and physically.
so easily to the strict discipline because feels she is losing him. And she feels she
she was assigned male at birth. can’t always evade what comes next. A
clash between the everyday, the unbear-
ably monotonous and the fragile and
unique.
32EUROPEAN DISCOVERY PRIX FIPRESCI
EUROPEAN DISCOVERY
PRIX FIPRESCI
THE GUILTY THOSE WHO ARE FINE TOUCH ME NOT
DEN SKYLDIGE DENE WOS GUET GEIT Written & Directed by Adina Pintilie
Produced by Bianca Oana, Philippe Avril
Directed by Gustav Möller Written & Directed by Cyril Schäublin & Adina Pintilie
Written by Gustav Möller & Emil Nygaard Produced by Silvan Hillmann, Lara
Albertsen Hacisalihzade, Ralph Rutishauser & Cyril Romania, Germany, Czech Republic,
Produced by Lina Flint Schäublin Bulgaria, France
Denmark Switzerland
Tell me how you loved me, so I understand
how to love.
Alarm dispatcher and former police of- Using her skills of selling internet and
Together, a filmmaker and her characters
ficer, Asger Holm, answers an emergency insurance deals, young call center em-
venture into a personal research about in-
call from a kidnapped woman. When the ployee Alice calls up elderly strangers and
timacy. On the fluid border between real-
call is suddenly disconnected, the search pretends to be their granddaughter in ur-
ity and fiction, TOUCH ME NOT follows the
for the woman and her kidnapper begins. gent need of money. As this trick quickly
emotional journeys of Laura, Tomas and
With the phone as his only tool, Asger en- makes her rich, the film observes people
Christian, offering a deeply empathic in-
ters a race against time to save the endan- and places in Zurich, all mysteriously con-
sight into their lives. Craving for intimacy
gered woman. But soon he realises that nected to Alice’s business.
yet also deeply afraid of it, they work to
he is dealing with a crime that is far bigger
overcome old patterns, defense mecha-
than he first thought.
nisms and taboos, to cut the cord and fi-
nally be free.
33EUROPEAN DOCUMENTARY
A WOMAN CAPTURED BERGMAN – A YEAR IN
Directed by Bernadett Tuza-Ritter A LIFE
Produced by Julianna Ugrin &
Viki Réka Kiss
BERGMAN – ETT ÅR, ETT
LIV
Hungary, Germany
Directed by Jane Magnusson
Marish has been exploited and abused Produced by Cecilia Nessen, Fredrik
for more than 10 years by the woman for Heinig & Mattias Nohrborg
NOMINATIONS
whom she toils as a housekeeper — en- Sweden, Germany
tirely unpaid. She even has to hand over
the money she earns with an extra job as The year 1957 was one of the most pro-
a cleaner in a factory. She's forbidden to lific for Bergman, when he shot two films,
do anything without permission. Marish’s opened two films, produced four plays
18-year-old daughter couldn’t stand it any- and a TV movie – all while juggling with a
more and ran away a couple of years ago, complicated private life.
but Marish lives with too much fear in her The film reveals previously untold stories
heart. and information about Ingmar Bergman’s
life and character.
34EUROPEAN DOCUMENTARY
EUROPEAN DOCUMENTARY
OF FATHERS AND SONS THE DISTANT THE SILENCE OF
Directed by Talal Derki BARKING OF DOGS OTHERS
Produced by Tobias Siebert, Ansgar Directed by Simon Lereng Wilmont Directed & Produced by Almudena
Frerich, Eva Kemme & Hans Robert Produced by Monica Hellström, Tobias Carracedo & Robert Bahar
Eisenhauer Janson & Sami Jahnukainen
Spain, USA
Germany, Syria, Lebanon, Qatar Denmark, Finland, Sweden
The victims of Spain’s 40-year dictator-
For more than two years, Talal Derki lives In Eastern Ukraine on the frontline of the ship under General Franco go through an
with the family of Abu Osama, an Al-Nus- war, 10-year-old Oleg lives with his belov- urgent and ongoing struggle continuing
ra fighter in a small village in northern ed grandmother, Alexandra, in the small to seek justice to this day. Filmed over six
Syria, focusing his camera mainly on the village of Hnutove. They stay as others years, the film follows victims and survi-
children. From a young age, the boys are leave and life becomes increasingly diffi- vors as they organise the ground-breaking
trained to follow in their father’s footsteps cult. In this now half-deserted village Oleg “Argentine Lawsuit” and fight a state-im-
and become soldiers of God. The horrors and Alexandra are the only true constants posed amnesia of crimes against human-
of war and the intimacy of family life are in each other’s lives. ity, in a country still divided four decades
never far from one another. At the nearby into democracy.
battlefront Abu Osama fights against the
enemy, while at home he cuddles with the
boys and dreams of the caliphate.
35EUROPEAN ANIMATED FEATURE FILM
ANOTHER DAY OF LIFE EARLY MAN
Directed by Raul de la Fuente & Damian Nenow Directed by Nick Park
Written by Raul de la Fuente, Amaia Remirez, David Weber, Niall Written by Nick Park, Mark Burton & James Higginson
Johnson & Damian Nenow Produced by Carla Shelley, Richard Beek, David Sproxton, Peter
Produced by Jarosław Sawko, Amaia Remirez, Ole Wendorff- Lord & Nick Park
Østergaard, Stefan Schubert & Eric Goossens Animation Loyd Price
NOMINATIONS
Animation Rafał Wojtunik, Rafał Kidziński & Dominik
Wawrzyniak UK
Poland, Spain, Belgium, Germany, Hungary Set at the dawn of time, when prehistoric creatures and woolly
mammoths roamed the earth, EARLY MAN tells the story of how
Warsaw, 1975. Ryszard Kapuściński (43) is a brilliant veteran plucky caveman Dug, along with sidekick Hognob, unites his
journalist, an idealist and a friend of lost causes and revolutions. tribe against the mighty Bronze Age in a battle to beat them at
At the Polish Press Agency, he convinces his boss to send him to their own game.
Angola where a bloody civil war has broken out on the eve of the
country’s independence. He embarks on a seemingly suicidal
road trip into the heart of the civil war. There, he witnesses once
again the dirty reality of war and discovers a sense of helpless-
ness previously unknown to him. Angola will change him forever:
it was a reporter that left Poland, but it was a writer that returned.
36You can also read
