Program

LOVERS GOES INDUSTRY

SABATO 27 APRILE 2019, ORE 10:00-20:00 @ IL CIRCOLO DEI LETTORI, VIA BOGINO 9, TORINO

 

Sulla scia del successo ottenuto lo scorso anno, il Lovers Film Festival - Torino LGBTQI Visions promuove, insieme all'Associazione Culturale Drugantis e con il supporto di Compagnia di San Paolo, la seconda edizione di Lovers goes Industry: il primo spazio di incontro e di confronto dedicato all'industria cinematografica LGBTQI in seno a un festival.

Il Lovers Film Festival diventa così crocevia irrinunciabile per l'Industry LGBTQI: produttori, distributori, esercenti e Filmmaker saranno invitati a partecipare ad una giornata di networking. L'evento includerà discussioni, pitching e incontri one to one alla fine della giornata. 

L'obiettivo è quello di facilitare il networking tra professionisti dell'industry del settore con particolare attenzione alla distribuzione di prodotti cinematografici LGBTQI.

La giornata è organizzata in collaborazione con Film Commission Torino Piemonte, Torino Film Lab, Fondazione Circolo dei Lettori, Arci Torino e UCCA.



CASE STUDY
NORMAL by
Adele Tulli and ZEN - SUL GHIACCIO SOTTILE by Margherita Ferri

10:00 – 11:00 am

 

Intervengono/Speakers

Adele Tulli (Regista), Margherita Ferri (Regista), Marlon Pellegrini (Istituto Luce Cinecittà), Manuela Buono (Slingshot Films)

                                            

 

PANEL
INDUSTRY TALKS!

11:00 – 12:00

 

Intervengono/Speakers

Ira Sachs (Regista), Paolo Manera (Film Commission Torino Piemonte), Franck Finance-Madureira (Queer Palm)

 

 

PANEL
INTERNATIONAL DISTRIBUTORS

12:00 – 1:00 pm

 

Cosimo Santoro – The Open Reel (Italy)

 

Björn Koll – Salzgeber & Co. Medien GmbH (Germany)

 

 

PITCHING SESSION

ONE TO ONE MEETINGS

3:00 – 5:20 pm

 

 

LOVERS GOES INDUSTRY 2019

 

GLI ANNI AMARI (Bitter Years)

A Feature Film by Andrea Adriatico

Pitched by Saverio Peschechera

Production L'ALTRA SOC. COOP. CINEMARE con PAVAROTTI INTERNATIONAL 23 E RAI CINEMA

Budget: 865,000

Status: In Production

Date Of Release: Summer/Autumn 2019

Synopsis

The film traces the life and places of Mario Mieli, one of the founders of the homosexual homosexual movement. Born in Milan in 1952 and tragically suicide in 1983, before the age of 31, Mario was an intellectual, writer, activist, performer, provocateur, but above all a forgotten thinker and innovator.

The film follows his steps starting from adolescence at the high school in Milan. The youth and the wild nightlife in gay clubs, when homosexuality was still synonymous with mental disorder; the trip to London and the fundamental meeting with the English activism of the Gay Revolution Front; the return home and the birht of the "Fuori!", the first association of the Italian homosexual liberation movement; the publication of the essay "Elements of Homosexual Criticism"; media celebrity and also mental disorders...

Mario is the absolute protagonist, around which names gravitate and faces of friends and companions who changed the history, like Corrado Levi (architect, teacher, artist), Piero Fassoni (painter), Ivan Cattaneo (singer), Angelo Pezzana (founder of the first Italian homosexual movement), Fernanda Pivano (writer and translator), Milo De Angelis (poet), Francesco Siniscalchi (freemason), Umberto Pasti, his young last and passionate lover.

Director's Profile

Born in L'Aquila in 1966, Andrea Adriatico lives and works in Bologna. He worked for a long time in theatre, developing an open-mind style of genre cross-over, facing complex authors and topics with cinematographic visual and narrative inspiration. Among the authors he staged: Beckett, Koltès, Pasolini, Mishima, Cocteau, Copi, Jelinek. His shows were presented in theatres and festival in Italy and around Europe (France, Germany, Hungary, Slovenia, Macedonia). In 1991 in Bologna, he founded the international center Teatri di Vita.

In 2000-2002 he shoots three short movies, presented and awarded in many international festivals (like Venice Film Festival). In 2004 he shoots his first feature film "Il vento, di sera" (The Wind, in the Evening), invited at the Berlin International Film Festival, in the "Forum" section. Later on, the film is hosted in more than twenty international festivals around the world. "Il vento, di sera" wins the Roseto Opera Prima Film Festival and has been positively reviewed on the press ("a powerful sign of a strengthened italian cinema", Robert Koehler - Variety).

Following film is "All'amore assente" (Andres And Me), presented at London International Film Festival, Jury Award at Annecy Cinéma Italien Festival. After two feature films, Adriatico committed himself in documentary, with two movies about Aids in Italy (awarded at the Abruzzo Documentary Festival) and about the history of Italian gay movement.

Director's Intention Note

"It is not just the proud story of a season of struggle for LGBT rights, there is a look on a boy who can't accept the homologation, both the - as he would say - "heteronormative" homologation, and the homosexual homologation of a movement looking for normalization after its first revolutionary acts. "

An intense and introspective film. A journey into a man, that is also a travel in a historical era, to rediscover places, names, faces protagonists of the revolutionary impetus and spirit of the 70s. But above all, a tribute and a last farewell to that "poetic creature" who was and is Mario Mieli.


 

 

HOLY CRAFT

A Documentary Film by Joseph Mangat

Pitched by Joseph Mangat

Production

Budget: 280,000 $ (production)

Status: In Post Production

Date Of Release: August 2019

Synopsis

During Pope Francis's 2015 Papal visit to the Philippines, he mentioned offhand the spiritual power of the Sleeping Saint Joseph. TML, a Catholic handicrafts factory, quickly began replicating the figurine and, in the span of a year, over a million Sleeping Saint Joseph's were made. The blessing - and advertisement - from the Pope saved the factory and its workers financially and spiritually. But at what cost? Holy Craft presents an unconventional yet intimate glimpse into the lives of the workers at TML. Blending various documentary styles from observational to experimental, the film chronicles the sudden success of the factory while offering a unique look at the paradoxical role of religion and commerce in the daily struggles of many of its LGBTQ+ workers.

Director's Profile

Joseph Mangat is a Filipino-American filmmaker based in Brooklyn, New York. He has written, directed and edited short films that garnered awards and screened at various festivals. He was the recipient of the Uniondocs and Rockefeller Editing fellowship. Mentored by filmmaker Jean-Pierre Gorin, he holds an MA in TV, Film and New Media where he graduated with honors while receiving the Student Emmy Award, Kathleen Kennedy Fellowship, Fotekem Scholarship and Focal Press Best Student Film Award. He has worked for non-profit groups including Pacarts as a programmer and instructor and Tribeca Film Institute as producer and director of video content.

Director's Intention Note

As a Filipino, Catholicism is deeply rooted in our culture—its doctrines are part of law, its rituals are part of people's daily routine and its images can be found everywhere. Depictions of Jesus and the mother Mary are stamped across cars, houses and store fronts. Even the most mundane objects from blankets to air fresheners are marked with Jesus's image. Although these items hold meaning to the people buying them they are not considered sacred to the Catholic Church. But what makes these objects different from crucifixes, rosaries, saint statues and other objects made for worship? Who makes these objects sacred? Aren't they manufactured and distributed as well? I was curious to know where these sacred items come from. More importantly how do they become sacred? These are the questions that became the impetus for Holy Craft. I wanted to explore commercialism in Religion and in some part uncover the irony of manufacturing and selling religious items for profit questioning some of Catholicism's hypocrisy and biases.

The film takes an experimental approach to documentary filmmaking combining observational, participatory and reflexive modes while subverting its normal tropes. Visually the camera remains static to immerse the audience in both the space and the mundanity of the work. the film will be quiet, lyrical look into the lives of the workers. It will deal with the underlying concerns of money, religion, and sexuality but it will be seen rather than explicitly told.

 


IRA

A Feature Film by Gary Jaffe & Katie Ennis

Pitched by Emily McCann Lesser (Producer)

Production Monarch Kaleidoscope (Us)

Budget 1,5 Mln €

Status Development

Date of Release TBD

Synopsis

Summer 1991, Croton, NY. Openly gay IRA FRANKS (40) is dying from AIDS and moves from Manhattan to his childhood home to live out his remaining weeks under the care of his disapproving mother MADGE FRANKS (68), his pragmatic sister RACHEL ROSEN (44), and his closeted nephew DANIEL ROSEN (16). Daniel and Ira used to be close, but after Ira outed Daniel at Daniel's Bar Mitzvah, Daniel became estranged from Ira. Daniel now attempts normalcy by being physically romantic with his best friend PHOEBE ALESSI (16). When the two start to spend time with their formerly close friend JEREMIAH REILLY (16), Daniel and Jeremiah begin a budding romance. Meanwhile, Ira's condition worsens, and his husband ANDRÉ BONSEIGNEUR (48) moves in. A dinner with the Reilly and Franks/Rosen families results in the abrupt end of Jeremiah and Daniel's courtship. Daniel blames Ira and runs away to his father BILL ROSEN (45). Upon his return, he finds Ira has died. They had been planning a surprise birthday party for Rachel. Daniel decides to turn the party into a celebration of Ira's life. At the party, Daniel is radiant. He accidentally acknowledges his sexuality, and his future with Jeremiah is left open-ended.

Director's Profile

Gary Jaffe 

Hailing originally from Austin TX, Gary is a Brooklyn-based writer/director of film and theatre. He has penned the scripts for three produced short films: NEXT LEVEL SHIT, DESERT WALK, and SUNSET, the last of which premiered at the prestigious Palm Springs International ShortFest and has now played in over 35 festivals around the world. Sunset has received several awards, including the Audience Award for Best LGBTQ Film at Rhode Island International Film Festival, Best Short Film at the East Village Queer Film Festival and Best in Show at the Fargo-Moorhead LGBT Film Festival will make its premiere in 2019. His theatre work has appeared on stages around NYC, including his plays Diaspora TX, Song to the Moon, and numerous short plays. His new musical At First Sight premiered at the Mountain Playhouse in 2017. In Austin, he was Artistic Director of Tutto Theatre Company, during which time he received the B. Iden Payne Award for Outstanding Director of a Comedy for THE DUDLEYS: A FAMILY GAME and the Austin Critics' Table Award for Best Drama for SPIRITS TO ENFORCE.  Gary received his bachelor's degree in theatre from Yale University.

Katie Ennis 

Katie is a NYC-based filmmaker and member of the Motion Picture Editors' Guild. Her work has screened in wide release, film festivals, prime time television and major streaming outlets. Katie is currently editing on season two of the STARZ drama SWEETBITTER. Past credits include seasons 3-6 of the FX prestige drama THE AMERICANS and the independent film SISTER AIMEE starring Michael Mosley and Anna Margaret Hollyman, which premiered at the 2019 Sundance film festival. In between editorial projects, Katie has pursued her love of writing and directing. SUNSET, her third short film, had its premiere at the 2017 Palm Springs International Shortsfest, screened in over forty festivals worldwide and won a number of awards including an  audience award for Best LGBTQ film at the Rhode Island International Film Festival. A feature script inspired by the short, entitled PETER AND THE WAR, was a second-round finalist in the 2018 Sundance Screenwriters' Lab, semi-finalist in the Script Pipeline competition, and won Best Unproduced Screenplay at the Hollywood Reel Independent Film Festival. 

Director's Intention Note

In the summer of 1991 when I was 3, my Uncle Barry died of complications from HIV/AIDS. Although I was too young to remember him, throughout my childhood and adolescence, the specter of my dead gay uncle haunted me, particularly as I struggled to come to terms with my own sexuality. I didn't know him but I hated him. I wanted nothing to do with him. I was afraid of becoming him.

In the years since, I've recognized that the resentment I felt toward my uncle had everything to do with my own self-resentment for being gay. I had the most tolerant and accepting family imaginable, but I had a tough time getting to self-acceptance. Even after coming out, I still looked at Barry's life as one to be avoided. I could be gay, but I couldn't be like him. All I could see was the darkness of his death, not the brightness of his life.

More recently, I find myself mourning the opportunity that could have been, had Uncle Barry lived. Imagining the possibility of a queer family member — someone to look up to as a mentor and as a friend, someone to guide me into the community and give me a sense of history — feels so powerful.

With Ira, Daniel has the opportunity to know his gay uncle, to adore him as a child and to hate him as an adolescent. Then, faced with the sudden reality of his uncle's imminent death, Daniel knows he must find peace and acceptance in their relationship before it's too late.

 


DOI BOY

A Feature Film by Nontawat Numbenchapol

Pitched by Supatcha Thipsena

Production Anti-Archive (Cambodia), Mobile Lab Project (Thailand)

Budget 777.000,00 €

Status: Development

Date of Release: Early 2021

Synopsis

Sorn is a 21-year-old undocumented ethnic Shan refugee who works in a Chiang Mai spa, performing sexual favors for male and female clients. He

supports the education of his little brother, Lod, but they face oppression,

being 'invisible' to the government and unable to travel. To cope, Sorn

projects himself into the stories of his clients to dream of another life.

When Sorn and his Shan friend unsuccessfully try to buy black market

passports and the spa shuts down, Lod presses to return to the

'doi' (mountain), but Sorn strongly refuses, reminding him of their past,

forced into the military. After a relationship with Bee, a Shan girl, Sorn

meets a French film director and follows him to Paris to act in a film about

his own life. One day, Lod abruptly returns to the Shan State, leaving Sorn

shattered. His dream was to give his brother a future that he could not

have, so despite transforming his projected fantasies into reality, he

remains flightless, dreaming of his past with Lod.

Director's Profile

Nontawat Numbenchapol was born in 1983 and grew up in Bangkok. He is a Thai film director and television screenwriter who is widely recognized for his documentary work. He graduated from the Visual Communication Design Department, Faculty of Art and Design, Rangsit University. In 2013, Numbenchapol completed his first documentary film, BOUNDARY, premiering in Forum at the Berlinale, and winning the Young Filmmaker award from the Bangkok Critics Assembly. In the same year, Numbenchapol completed his second documentary, BY THE RIVER, the first Thai film to receive the Special Mention award at Locarno. In 2016, he created a hybrid docu-fiction, #BKKY, which premiered at Busan and received the Jury Award at the Hamburg International Queer Film Festival. His fourth documentary, SOIL WITHOUT LAND, premiered at the 2019 Visions du Réel in competition, and features the same Shan subject matter as in DOI BOY.

Director's Intention Note

When I began interviewing real "doi boy" sex workers in Chiang Mai, I

realized that dreaming of the future, as we often do, was extraneous to

their life experience. I began to imagine myself as them. DOI BOY was

born out of a simple question: What is it like to live without a dream? I

developed DOI BOY from the true stories of refugees to tell a narrative

through a realistic approach. I will shoot the day-to-day life of Sorn using

natural lighting and authentic colors, and cast real Shan "doi boys" to

play themselves in the film, but surround them with well known Thai and

foreign actors as their clients. But as Sorn begins to dream, he begins a

journey that layers and mixes his present reality, past memories, and

projected fantasies. Just as we often confuse dreams for memories, DOI

BOY provides multiple interpretations of time and space. Even Sorn's life

story is used to fulfill others' dreams. This is where I break from the

film's naturalism and enter a magic realism. When Sorn projects himself

in his clients' lives, oversaturated colors and fluid camera movements

evoke the feeling of objects appearing in dreams, familiar yet unnatural.

When he recalls the past, the visuals become tender and intimate, with

handheld closeups prioritizing feelings over actuality. The height of this

expression peaks when Sorn transforms into a creature from Southeast

Asian mythology, as a metaphor for his desire for freedom.

Although the stories of these "doi boys" fascinate me, they

simultaneously elicit a deep sadness. The "doi boys" come from

Myanmar, which was ruled by a military government, while Thailand used

to be ruled by a democratic government. But now the situation has

reversed. I worry about my loved ones who potentially face this kind of

situation and whose futures might become stuck like those of the "doi

boys". I want to express myself but I cannot criticize my country directly,

in fear of being jailed. This film voices these frustrations and reflects on them in a critical but gentle way.



 

SAVOIA

A Feature Film by Beatrice Surano, Dunja Lavecchia, Morena Terranova

Pitched by Beatrice Surano

Production n/a

Budget 90.000 €

Status In production

Date of Release June 2020

Synopsis

Following the footsteps of a New York subculture started in the 80s from the desire for redemption of the Latin and Afro-American LGBTQI community, the ball culture is now spreading in Italy. In Turin it finds its genuine expression in the Kiki House of Savoia, a group of friends who consider themselves as a family, overcoming those stereotypes of gender, identity and sexuality that Italy is still struggling to discuss and accept. Savoia is a film that talks about a great friendship involved in a process of identity reappropriation, in a context in which the body becomes political.
Director's Profile
Beatrice Surano, Dunja Lavecchia and Morena Terranova after several years of friendship decided to found in Turin a video collective named "elvira". They work together since 2017 with a huge and yet very precise purpose: to discover, explore and document social projects, cultural phenomena and peculiar artistic expressions within the Italian context. Following this intention, they realized different kind of documentary shorts and Savoia is their first documentary feature film project.

Director's Note

When we met the Kiki House of Savoia for the first time, we had no knowledge regarding the ball culture phenomenon. An hour after this very first meeting, we decided to realize a film on it. This happened because, on the one hand, we had been completely captivated by the aesthetic and power of this particular subculture; on the other hand, we had clearly perceived the incredible political strength that this culture inherently possesses. Bringing to the screen the everyday life of the Kiki House of Savoia responds to our desire to deal with a much bigger issue: the need for a deconstruction of stereotypes related to the body, sexuality and gender identity. Each of the characters brings personal instances of redemption and self expression, which, however, take on a universal value in a social context in which belonging to the LGBTQI community is considered a negative and debilitating thing. We want to introduce the spectators to the everyday life of the house's members and to their ways of taking on an active role in the development of the Italian ball culture. This will allow the viewers to understand and deal with the importance of these delicate issues. But we also want the spectators to be fascinated as we are by this powerful and peculiar performative art: we want this film not only to reach their consciousness but all their senses, making them feel the thrill that we experience every time that we attend a ball, that same thrill that makes us consider this form of expression not only as art but as a matter of being/existence.

 

 

 

THE UGLY MANDARINE

A Feature Film by Piaoyu Xie

Pitched by Piaoyu Xie

Production Veronika Kührová

Budget 650.000 €

Status Script

Date of Release May 2021

Synopsis

Making a foreign land home somehow is less hard than staying there legally as a third-world citizen, freshly graduated from school, 26-year-old Chinese sculptor Yiou has to leave if she couldn't figure out a "purpose" of staying. At this very moment, she falls in love, but with someone who is leaving. On the other hand, a young Slovak doctor Greta has fallen in love with Yiou and is ready to stand in for the spouse visa which could help Yiou to stay. This time, freedom and love are standing on the opposite sides.

Director's Note

The Ugly Mandarine is beyond a fictional story to me. It has bits and pieces of my emotional journey, after five years of living in Prague which I believe has brought me a new perspective of freedom. What the city has given to me are so much more than I've ever expected on both emotional and professional aspects. Same with a lot of people around me, coming from a third-world country, moved to Prague to study but later on found it home. But by the time the study finishes, the struggles start. Few people manage to stay because of works. And for the ones who are in a relationship with an EU citizen could apply for the spouse visa. The visa application seems to be nothing more than piles of forms and documents. Experiencing it myself and also hearing other people's experience make me realize that just by putting yourself through it and defining the "purpose of staying" in order to legally stay in a place where you've already called home opening up so many different topics. The ideas of freedom, home as well as love are being re-examined. I was and still am curious about how the political system and bureaucracy dictate someone's personal life: specifically, how the permit, which is merely a thin piece of paper influences a person psychologically, and how globalization has an impact on one's cultural identities. To Yiou, the main character of The Ugly Mandarine, home exists between two lands, while love and freedom oppose to each other. Is it selfish and wrong to fight for the so-called freedom over anything else? This is the question which I hope to find the answer to it through this atypical love story.

Director's Profile
Piaoyu Xie

Piaoyu (or Pju) was born and raised in China, Piaoyu . She moved to Prague after completing a bachelor's degree in film at Hong Kong Baptist University. She finished and pursued her MFA in directing at FAMU in 2018. Piaoyu's short films ON THE OTHER SIDE (2014), ALL OF ME (2015) and the documentary KATERINA 4392 (2014) were screened at numerous festivals and on Czech TV. Her short film THE NETTLE (2017), a coming-of-age queer drama, premiered at BFI Flare and was selected into many other festivals and shortlisted for the prestigious Iris Prize. Piaoyu is working on the post-production of her new short film CICADA, a drama ofabout two littleyoung brothers. THE UGLY MANDARINE is Piaoyu's first feature film project. It tells the story of a Chinese-Slovak lesbian couple and their battle for the future life in Prague, Czech Republic. The project has been developed with Midpoint Feature Launch, where it was awarded by Connecting Cottbus Award and supported by Czech Film Fund for a script development.

Veronika Kührová

Veronika is a graduate of Film Studies at MUni (2008) and Production Department at FAMU in Prague. Her graduate project DAVID (2015, dir. Jan Těšitel) was screened at more than 25 international festivals, receiving several prizes. During her studies, she worked on student films of a Hungarian director György Kristóf or a Montenegrin director Ivan Marinović. Her experience was received on school projects (where she has produced more than 50 short films) and working at Axman Production or Bionaut Films. She took part in Producer's Workshop 2015 in Cannes,, EURODOC 2017, IDFAcademy 2017 and Midpoint Feature Launch 2018, became an Emerging Producer 2018 and Berlinale Talent 2018. She received an APA Prize (Producers' Association CZ) in 2015 for her film DAVID. In 2016 she co-founded a production company Analog Vision, which became a member of Producer's association in 2018.

 

 

 

MINORS IRRITATIONS

A Feature Film by Sam Peter Jackson

Pitched by Sam Peter Jackson

Production n/a

Budget n/a

Status Script

Date of Release n/a

Synopsis

Minor Irritations is a romantic comedy about former boyfriends Ben and Jay, who struggle with the age-old question "Can exes ever be friends?" When a film made by Jay about their failed relationship gets shock-nominated for an Academy Award, neurotic Ben from London is strong-armed into joining the publicity campaign during LA's award season. In the process, the two men are forced to re-examine the cold carcass of their former love, whilst reminiscing, bickering and sometimes hankering for what they might have lost.

Director's Profile

Screenwriter and director Sam Peter Jackson specialises in directing short films. His short films have been acclaimed by critics, and have won many awards. They have been presented at festivals all around the world and nominated at the BAFTA Awards and at the BFI Festival. He has recently worked as Mocap Performance Director in Breaking Fourth's VR Film Lucid, which was presented at the Venice Film Festival in 2018.

Director's Note

This screenplay is based on my play of the same name, which was awarded the Pleasance Theatre's Charlie Hartill Special Reserve in 2005 and premiered at the Edinburgh Fringe. It received a nomination for the Oscar Wilde Award for Writing at the 2006 International Dublin Gay Theatre Festival and starred Luke Evans as Jay in its original London production. I am very passionate about telling LGBTQ+ stories with positivity, humour and happy endings. Growing up with the great romantic comedies of the 80s and 90s, I often wondered when cinema would finally offer me the "When Harry Met Salvatore" type experience I was looking for. In recent years minority voices have finally started breaking into the mainstream, which inspired me to revisit and update this story in the hope that it might give the gay romcom a much-needed Black Panther moment.



 

NORMAL LOVE

A Feature Film by Kanchi Wichmann

Pitched by Kanchi Wichmann

Production Independent

Budget £250.000

Status Script-Development

Date of Release 2020

Synopsis

Queer underground video artist RAY returns to the UK to attend the London premiere of her highly autobiographical Deviant Love trilogy. Hip, confident, successful, Ray is at the top of her game career-wise, though seemingly less so in her private life; when Ray phones her girlfriend back in Los Angeles, she discovers that they'd broken up without Ray even realising it.

Ray decides against inviting her attention-seeking mother ANNIE to the screening, but Annie shows up anyway and is distressed to find that the films include voice-over taken directly from Annie's shockingly abusive emails to her daughter. Annie walks out, distraught, and is injured in a car accident whilst Ray is out partying with her friends. Consumed by guilt and the knowledge that Annie has alienated all other potential carers, Ray cancels her flight home and heads back to Annie's house and the rundown seaside town she thought she'd escaped ten years before.

As Ray struggles to care for her increasingly difficult mother, she learns to accept the woman she could previously only approach through her art. Finally Ray understands that the relationship Annie is offering her might not be normal, but it is most definitely love.

Director's Note

NORMAL LOVE is a darkly comic tale of mother-daughter love gone wrong.

When Ray comes back to the UK to screen her provocative new work, doesn't she secretly hope her mother might care enough to show up to the premiere? When Annie attends the screening, isn't she secretly hoping her daughter will finally make her the star of her films?

Normal Love creates a compelling vision of two women struggling to love each other without losing themselves. It asks the question: "How can an already fraught relationship possibly find resolution when one of the women goes public about their dysfunction?"

Through trying to find the answer Ray comes face to face with the woman she has long avoided in life whilst simultaneously immortalising her through her art. Gradually Ray learns to accept her mother and through her acceptance of the terms of their relationship, Ray is finally able to commit to her own adult life.

Normal Love features two strong female leads, both unconventional and multi-layered characters who at times test our ability to sympathise, whilst nonetheless remaining engaging and believable.  Through the casting process and workshopping around the script the actors and I will create naturalistic portrayals of two larger-than-life characters. The supporting characters are positioned as believable human beings caught in the crossfire of Annie and Ray's symbiotic power-struggle. The look of the film is inspired by its locations - London is fast, noisy, dark and dirty with bursts of coloured light blurring past the taxi windows whilst Sheerness (Ray's hometown and where Annie still lives), is frighteningly rundown; a ghost town suspended in muted greys, with pockets of weathered seaside cheer (e.g the amusements where Ray's friend Margie works). My intention with Normal Love, as with all my films, is to create narrative drama that communicates an emotional authenticity and exposes characters and worlds often not shown in (British) cinema. My characters and their relationships transcend class and race boundaries and inhabit queer identities lacking in most mainstream LGBT cinema. My work aims for an artistic documentary style; familiar settings are naturalistic yet strangely beautiful. The irreverent humour renders potentially serious subject matter uncomfortably funny yet still allows audiences to engage with the unflinching drama.

Director's Profile

Kanchi Wichmann (b. 1974) is an English/German writer/director originally from London currently living in Berlin. Kanchi's short film TRAVELLING LIGHT (1999, 26 mins) came second for best film at the BBC British Short Film Festival and was shortlisted for a BAFTA. Her short I DON'T EXIST (2004, 29mins) premiered at BFI Flare in London and played at festivals worldwide. In 2000 she was selected for the BBC/BFI Insight scheme to write and direct her first feature. In 2002 the scheme folded and the films were not produced.

Her debut feature film BREAK MY FALL (2011, 104 mins), a lesbian

arthouse drama set in London, was released theatrically in Germany (Pro-

Fun Media) and the UK (Peccadillo Pictures) and sold to over 20

territories via Paris-based sales agent Reel Suspects. Break My Fall is

available online through all usual web platforms worldwide and on DVDin

English and German-speaking territories.

Kanchi was a participant in the London Film School/ BFI feature

screenwriting lab Hothouse in 2010-2012 and the Babylon Europe feature

screenwriting lab in 2012.

Kanchi's 10-episode comedy web series, MIXED MESSAGES (2017, 75 mins

total) is released by Peccadillo Pictures (English-speaking territories) and

Pro-Fun Media (German-speaking territories) and the Canadian-based

web platform tello Films worldwide. She is currently finalising a Russian

online deal. Kanchi's most recent project is a comedy musical called VANILLA (DAS

MUSICAL) (2018, 8 mins), which she made as part of the Berlin 48 hour

film challenge. The film will be released in April 2019 online by

Peccadillo Pictures.




GIULIO

A Feature Film by Roberto Cuzzillo

Pitched by Roberto Cuzzillo

Production Enzimi Sutdio

Budget n/a

Status Script

Date of Release n/a

Synopsis

Fear and HIV are the elements which Giulio has after knowing the status of his boyfriend Luca. Luca is HIV positive.

Giulio before to know his status, decide to begin his private journey towards remember of his family and a meeting with his old gay uncle that he never met in his life.

Director's Note

"I born in 1983 during the AIDS epidemic, in all this years many things are changed and today be positive doesn't mean die. I decide to tell this story for compare two different gay generations: Giulio and his uncle, and about what means be gay and hiv-positive today."

Director's Profile

In 2005 Roberto Cuzzillo established the Enzimistudio production company and made several movies: in 2008 he produced and directed his first feature film "Senza Fine". The film, shown at several international festivals, and won awards in many festivals. In 2011 Roberto directed his second feature film entitled "Camminando Verso" released for TV on Sundance Channel. His short film "Polaroid" is one of five segments of the feature film "A Quintet", made together with other alumni of the 2012 Berlinale Talent Campus received an Honourable Mention at the Chelsea Film Festival. In 2014 he made "Non accettare i sogni dagli sconosciuti" distributed in DVD in Canada, USA, France, UK, Germany and in VOD in Mexico, Spain and Italy.

 

 

 

FANTASY

A Feature Film by Katarina Rešek

Pitched by Katarina Rešek and Barbara Daljavec

Production A Atalanta/Barbara Daljavec

Budget around 1 million €

Status Script

Date of Release 2022

Synopsis

Sina, Mihrije and Jasna are best friends in their early twenties. Coming from very traditional families, they are far from traditional themselves – they live by their own rules, behave and dress like tomboys, train martial arts and ride small old motorbikes around town. Their lifestyle often leads them into conflicts with the boys in the neighbourhood who perceive them as a threat. When they meet Fantasy, a young transgender woman who just moved in their hood, a new, unknown world opens to them. Fantasy fascinates them, her life story and her »version of femininity« open new questions inside the girls. By hanging out with Fantasy girls are experiencing very profound changes and begin to be estranged from one another, which brings about frustrations. Despite strong opinions against love relationships Sina becomes romantically entangled with her boxing coach. Jasna, who is increasingly getting fed up with working in a night club and living with a frustrated mother, decides to take a job on a cruise ship in France. And Mihrije, whose parents are preparing prearranged marriage for her, experiences her first love - she falls in love with Fantasy. At Jasna's farewell the tension breaks and girls get into a physical fight. On the way home Mihrije stops at Fantasy's apartment only to find out that Fantasy has died. Jasna is gone, Sina spends all the time with her boyfriend and Mihrije mourns and feels lost. Will she return to her family tradition and set up for a prearranged marriage?

Director's Profile

Katarina Rešek, 1991, Brežice, Slovenia, is a film director and musician. She graduated in Film and Television Arts at the Academy of Theatre, Radio, Film and Television in 2014. Her short films have been shown at several International film festivals. Fantasy is her first feature film.

Director's Note

The film Fantasy gives voice to the modern day "sworn virgins", women who had to take on a role in the society, particularly in the Balkans, where the world is densely sown with seeds of the male views of women. The film also speaks to those who do not identify with the gender they were born into and do not accept roles assigned by the society on the grounds of the genitals they were born with.

By getting to know Fantasy and by losing her, girls spring from an "Orlando"-like experience, develop each in their own individual way, experience becoming different and become their own version of a woman. They create their own woman, they create themselves.

The subject of gender roles, gender identity, gender fluidity and non-determination has always been a fascination of mine. It began by researching women's roles in rigid religious groups and continued by researching the topic of women in correctional facilities. By encountering the queer culture of large Western European cities, I detected huge difference in perception of gender there and at home in Slovenia, where the patriarchal mentality of the Balkans remains very much present. Nevertheless, I suddenly got an insight into many parallels between both worlds, particularly between the phenomena of sworn virgins and transgender persons. I started wondering what would happen if a sworn virgin and a transgender woman or man met? Are sworn virgins like transgender men? Are the Balkans in a sense an environment which actually accepts the appearance of gender fluidity except it is not been called that way?

 

 

 

EUNUCH

A Feature Film by Udita Bhargava

Pitched by Udita Bhargava

Production Schiwago Film

Budget 1,000,000 €

Status Script Development

Date of Release 2021

Synopsis

When Eunuch, half man/ half woman, discovers that her lover has taken a wife, her rage knows no reason. A brutal murder follows. But what revenge is enough for not being loved enough? She sings in order to cure her rage.

Director's Note

I have been researching and shooting with Hijra community in India. The Hijra community in India lives at the margins of a suffocating patriarchal system. Within this system, a community and/or individuals who offer an alternative narrative of identity and freedom are precious. Their strong sense of community and the powerful act of standing up against the forces of patriarchy make the Hijras symbols of hope. It is a hope that Arundhati Roy invests in her transgender characters in her latest fictional offering 'The ministry of Utmost Happiness'. I wish to cast a non-actor transgender to play the main character, moving away from representations of transgender persons in India as either victims without agency or eroticized fetishized beings existing behind a veil of myths.Though set in India, Eunuch speaks an international audience. The recent repealment of the Section 377 of the Indian Penal code (decriminalizing homosexuality) and the ongoing gender debate in India and the west, give us the apt opportunity to re-examine gender and tear down narratives that divide and persecute.

Director's Profile

DUSTUdita Bhargava's first feature film premiered at the 69th Berlinale. Her short films have screened at film festivals across the world. Her last short film, IMRAAN, C/O CARROM CLUB (2014) won the 3SAT award at the Oberhausen Film Festival and was acquired by Germany's ZDF/3sat. Udita has studied film directing at Film University Babelsberg Konrad Wolf and worked as a camera assistant, stills photographer and post-production assistant on several international productions including Danny Boyle's SLUMDOG MILLIONAIRE (2008), Lars von Trier's ANTICHRIST (2009) and Mira Nair's THE MIGRATION (2008). She holds a Master's Degree in mass communication and a Bachelor's Degree in English literature. She is an alumni of Berlinale Talents and of the Into the Wild Mentoring Programme. 

 

 

THE HEART OF THE NIGHT

A Feature Film by Carlotta Cerquetti

Pitched by Carlotta Cerquetti

Production: Far Out Films

Budget: 250.000

Status: Script Developing

Date of Release: n/a

Synopsis

At the end of the 19th century, seventeen-year-old Sybille and her father Albert live in a castle in the mountains. Sybille's isolated and protected life is suddenly unsettled by the unexpected advent of the fascinating Carmilla, a young and mysterious creature. While violent and inexplicable events occur in the nearby village, Carmilla, a free and cultivated woman, becomes for Sybille the stimulus to leave her childhood behind, as well as her father's control, in order to understand what she wants and who she is. The complicity between the two girls evolves into a dangerous love story, and each of them is forced to confront their origin and their deeper nature.

Director's Profile

Director, filmmaker and photographer, Carlotta Cerquetti studied photography in Rome (IED) and then moved to New York City where she became assistant photographer at Hiro's Studio, working on set for magazines such as Rolling Stone, Harper's Bazaar, Vogue. After a few years of freelance photography, she followed a film class at New York University. She became a filmmaker and director of documentaries and short films. Her works obtained two nominations at David di Donatello Awards, and with her documentary Harry's Bar she attended Venice Days in 2015 (the doc won the Open Prize in Venice, a Special Mention at Nastri D'Argento and was screened by Canale 5, Sky Arte, Netflix Italia)

Director's Intention Note

An enthrolling adventure with vampire implications, a story of freedom and growth that reveals the dark and wild side hidden in each of us. Freely inspired by "Carmilla" (1872), a story by J.S. Le Fanu.

 


PORTRAIT

A Feature Film by Ben Mankoff

Pitched by Ben Mankoff

Production Vanessa Incognita, LLC

Budget 10 million $

Status Script, Development

Date of Release Fall 2021

Synopsis

Late October, 1987. Annie is a has-been rock star poet in New York City's era of grime and

gold, the daughter of an even more famous poet, Ruth Slonim. The market has crashed

leaving her husband Elliot financially ruined and Annie under pressure to write a new

bestseller. She finds inspiration in one of her mother students, Vanessa, a promising but

troubled young artist in her own right whom Ruth has recently left heartbroken. Annie

heads West to write her new book from the road, bringing with her Vanessa and her

boyfriend Tom. Envy, lust, distrust, and dishonesty travel with them.

At first the group maintains a playful tension as they get to know one another. But the

shadow of Ruth looms large and hidden loyalties emerge that threaten the artist-muse

relationship. Elliot's past as a plagiarist is revealed, casting him as a pariah that the other

three must drag along with them. While in a small town in Tennessee that seems to be run

by a cult, Tom exhibits a violence that changes the dynamic of these four characters

forever, all of whom are more fragile than they first appeared. The settings for Annie's

portraits become more and more surreal until, in a final epic desert, the group stands

surrounded by marauders from a nearby hedonist festival, Ruth among them. Fidelities

frayed to nothing, Vanessa and Tom abandon Annie and Elliot and join the revelers,

leaving the older couple to continue on their journey without purpose.

Director's Note

I don't think I could put into words the questions I want to ask about sex and sexuality in

my film. Something to do with sex and art and sex through art and if art is something

through which sex is mediated, is the nature of the latter changed at all by its journey?

Annie's sexuality (in fact, the sexuality of every character in the film) is never discussed,

but I conceived of her as a heterosexual woman who has an erotic, sexual relationship with

Vanessa through art. Perhaps the film is questioning if this construct is possible, and if so,

does it tell us anything about the nature of sexuality? Of course, the particularities of the

relationship must be considered. One could say that the arts as media for sex include

advertisements that use sex to sell to consumers. One might also consider pornography

art-mediated sex. Annie and Vanessa are engaged in the creation of art, as artist and

subject—distinctions which also warrant interrogation but for now will have to lay

undisturbed. I have been saying to myself and others, in a phrasing which is so vague that

it irritates me and at the same time its vagueness feels right, that Annie and Vanessa's

relationship is "not sexual, but not not sexual." So how do we describe Annie's sexuality if

she is a heterosexual woman whose relationship with another woman is characterized as

"not sexual, but not not sexual?" Do we need to describe it or is that task better left for the

theorists? It might be enough for the artist to portray these characters in such a way that

no one comes away thinking "well Annie's obviously a closeted lesbian," but instead leave

the theater wondering if such distinctions make any sense at all.

Director's Profile

Ben Mankoff is an American film director, actor, screenwriter, and producer. He stars in

and produced Christine Pfister's upcoming feature film, Mamamoon , and produced the

short films Daniel.Noah. and Stationary for Bruce Goldberg. He co-directed and co-wrote

the short films Like Fine Silk and Miracle Fruit with Sandra Manzanares. His next projects

include Monarch , a historical television series set in San Francisco, and Portrait , a feature

film about a love quadrangle, poetry, and murder.

 

 

 

 

 

 

 

 

LOVERS GOES INDUSTRY 2019

Project Manager: Flavio Armone, Salvo Cutaia

Guest Manager: Elisa Liani

Project Administrator & Digital Supervisor: Valerio Filardo

Moderator: Alessandro Uccelli & Greta Fornari

 

Lovers Goes Industry is co-organized with Drugantis association and the contribution of Compagnia di San Paolo, the support of Film Commission Torino Piemonte, Torino Film Lab, ARCI Torino, Ucca, Circolo dei Lettori and Queer Palm.