Le FIDLab est un espace de travail autour de projets de films sélectionnés en réponse à un appel international. Chaque année, une douzaine de projets sont sélectionnés, sans critères de format, de durée, de sujet, que ce soient des fictions, des documentaires, des animations ou des séries, au stade de l’écriture, du développement ou de la postproduction.
La plateforme a été créée pour offrir aux porteurs de projets l’opportunité de rencontres dynamiques avec des producteurs, fonds de soutien, diffuseurs, distributeurs, vendeurs, TV… Le FIDLab se positionne à la fois comme un espace défricheur de talents et un écrin en termes de diversité accueillie, et est devenu un label reconnu dans le monde.
La 14e édition du FIDLab s’est déroulée le 7 et 8 juillet durant la 33ème édition du FIDMarseille.
Parmi plus de 415 candidatures en provenance du monde entier, le FIDLab, plateforme de coproduction internationale du FIDMarseille, a sélectionné 11 projets, reflétant la production de 9 pays : Allemagne, Canada, Espagne, États-Unis, France, Japon, Pays-Bas, Portugal, Roumanie.
Depuis sa création, le FIDLab propose aux porteurs de projets sélectionnés une occasion privilégiée de visibilité, de rencontres et d’engagements. Producteurs, distributeurs, fonds de soutien, vendeurs internationaux et programmateurs, sont invités chaque année à découvrir la sélection FIDLab, et entrer en contact avec les réalisateurs et producteurs sélectionnés.
Bruno Deloye (directeur de Cine+ Classic et Club), Virginie Devesa (ventes internationales, Alpha Violet) et Tania El Khoury (productrice, Les films de l’Altaï et Khamsin Films), sont les membres du jury de cette 14e édition. A l’issue de riches échanges et rencontres, ils viennent de décerner les 11 prix, des dotations fournies par les partenaires du FIDLab. Grâce à un tel soutien, le FIDLab consolide sa mission d’accompagnement et son engagement auprès des projets en leur offrant des ressources techniques et logistiques de qualité.
produit par Insufficient Funds NSF / Etats-Unis
Le lauréat recevra un billet long-courrier d’Air France.
produit par 5A7 Films / France
La Casa de Velázquez, centre de création artistique et de recherche installé à Madrid offrira au réalisateur ou réalisatrice primé une résidence de deux mois. L’ECAM, École de Cinéma et d’Audiovisuel de la Communauté de Madrid, mettra à disposition des equipements de post-production dans le cadre de son programme OPEN ECAM.
produit par Longride / Japon
Prix doté par Commune Image, pôle cinématographique proposant entre autres des services de post-production. Ce prix consiste en 8 semaines de montage pour un projet produit ou coproduit par une société de production européenne.
produit par Acephale Inc / Canada
Ce nouveau prix, doté par Culori à un projet européen, offre un laboratoire en post-production dans une résidence d’artistes dans le sud de la Corse pour une durée de 15 jours, pour effectuer un travail d’étalonnage sur un moniteur 4K avec (ou sans) techniciens.
produit par Lejos Lejos / Espagne et Sumendi / Espagne
Prix doté par la Fondation Camargo, lieu de résidence d’artistes, de chercheurs et de penseurs, basé à Cassis, qui accueillera la.le réalisatrice.teur primé de 4 à 8 semaines.
Ce prix consiste en la dotation de bobines de films par Kodak et leur développement par Silverway Paris à un projet européen
produit par Shellac Sud / France
Prix doté par le studio de post-production son Mactari à un projet produit ou coproduit par une société de production européeenne. Ce prix d’une valeur de 15 000€ comprend la mise à disposition d’un auditorium de mixage et/ou d’une salle de montage son, sans technicien.
produit par Mandragora / Roumanie
Doté par la société de post-production Micro Climat, qui offrira des travaux de post-production (montage image, montage son, étalonnage, conformation, à choisir par le lauréat) à un projet.
produit par Muyi Film / Pays-Bas
Ce nouveau prix comprend la mise à disposition d’un lieu d’écriture et de résidence durant un mois en Corse sur le terrain de Providenza en présence d’artistes internationaux en résidence ou en ateliers (artistes, philosophes, musiciens, cinéastes, écrivains).
produit par Norte Productions / France et O Som e a Fúria / Portugal
Prix doté par la société de sous-titrage Sublimages, qui offrira la traduction / adaptation et repérage des sous-titres du film primé vers l’anglais, l’espagnol ou le français.
produit par Schuldenberg Films / Allemagne et Rmad / Allemagne
Travaux d’étalonnage (7 jours de studio sans technicien) et création d’un DCP. Tarif préférentiel pour la création de DCP à tous les projets sélectionnés.
produit par Norte Productions / France et O Som e a Fúria / Portugal
Doc Alliance s’engage à doter un nouveau prix en distribution de 5000€ à l’un des projets FIDLab sélectionnés et s’engage à soutenir en communication et marketing le film.
produit par Shellac Sud / France
Nebulae / Doclisboa à l’issue de cette édition sélectionnera un des projets français qui intégrera leur propre sélection en 2022.
Dans le cadre de la Saison France-Portugal 2022, et en complicité avec l’Instituto do Cinema e do Audiovisual, ICA, une délégation de productrices et producteurs est invitée à prendre part à cette édition du FIDLab.
CONTACT
Office : +351 218 446 102
Mobile : +351 918 719 591
Mobile : +49 1736 4032 18
crim.filmes@gmail.com
www.crim-productions.com
A recognized haven for innovative filmmaking, * C.R.I.M. produces short and feature fiction films, creative documentaries, television programs and visual arts projects. * C.R.I.M.’s portfolio includes films by Ana Moreira, André Gil Mata, Aya Korezky, Carlos Conceição, Carlos Gomes, Christine Reeh, David Bonneville, Frederico Mesquita, Inês Gil, Inês Oliveira, Jeanne Waltz, Joaquim Pinto, Jorge Cramez, Leonor Noivo, Marcelo Felix, Marta Mateus, Miguel Clara Vasconcelos, Nathalie Mansoux, Philippe Costantini, Raquel Castro, Rita Azevedo Gomes, Sofia Marques, Tatiana Macedo, Teresa Garcia, Vasco Araújo.
Isabel Machado works as producer of films and artistic projects at *C.R.I.M. (www.crim-productions.com) since 2005 where she is responsible for the development, production and distribution of both documentary and fiction films, as well as of visual arts projects. She has a degree in Communication Design from the Lisbon University. Studied Visual Arts at Maumaus School of Photography and Aesthetics and Philosophy of Art at the Lisbon University. Finalist of the workshops EAVE 2005 and EURODOC 2008, she is currently developing her PhD on Arts (Performing and Moving Image Arts) at the Lisbon University. She was also a lecturer at Portuguese Film School ESTC and makes part of the board of Apordoc – Portuguese Documentary Association.
Christine Reeh-Peters is filmmaker and holds a PhD in philosophy. She is a co-founder of C.R.I.M. where she worked for 15 years as director and producer. Since 2019 she has been junior professor for artistic research at the Filmuniversität Babelsberg KONRAD WOLF in Potsdam, Germany, focusing in film and philosophy. She publishes regularly in the field of film philosophy and leads the project www.fabulationforfuture.net. Filmography as author and director includes Waiting for Europe (2006), Mother Fátima (2009), Kinotel (2009) and The Chronicles of Polyaris (2015).
Fiction / 90’ / Project status: script and development / Production: *C.R.I.M. (Portugal) / Budget: 900 000 € / Acquired budget: 0 €
A story about love, madness and death in the contemporary world of digital technology. Can we decide to go mad? Can madness be contagious? Or is reality inconsistent and dependent on our perception? Can we survive without others? Two university students, Ana and Mário, want to test their relationship with reality by entering a voluntary strange experience of self-confinement. Surrounded by a deep forest and focusing entirely on a computer strategy game, reality blurs with fantasy and slowly they experience spheres that have not been visible before.
80’ / Project status: script and development / Production: * C.R.I.M. (Portugal) / Budget: 300 000 € / Acquired budget: 0 €
A reflective film essay, a machine of though, presented in tableau-form, composed by digital postcards on video format. Inspired by Donna Haraway the film is about a future of response-ability to inhabit the n-dimensional niche space called Earth or Terrapolis. We look for “real stories that are also speculative fabulations and speculative realisms. (…) stories in which multispecies players, who are enmeshed in partial and flawed translations across difference, redo ways of living and dying attuned to still possible finite flourishing, still possible recuperation.”
90’ / Project status: production / Production: * C.R.I.M. (Portugal) / Budget: 150 000 € / Acquired budget: 99 000€
In the 11th century, there was a powerful and sensitive man, Al-Mu’tamid Ibn Abbad, whose personality became mythological. His life took place in the territory today divided by Portugal, Spain and Morocco. In the 21st century, a contemporary man undertakes the journey through this territory in search of the myth. As the journey unfolds, the traveler embodies the figure and personality of the poet king dialoguing with those he meets on the way, assimilating the issues that he struggled with, the feelings and contradictions he lived, questioning himself. Time is made of cycles. So are we.
CONTACT
Mobile : + 351 9165 8888 9
pedro@primeira-idade.pt
PRIMEIRA IDADE is an independent film production structure founded in Portugal in 2014 out of the wish to provide each film its own unique and unrepeatable mode of production. It produced the most internationally acclaimed Portuguese feature documentary of 2020: The Metamorphosis of Birds, written and directed by Catarina Vasconcelos, distinguished with more than 40 international film prizes, among them the FIPRESCI award for Best Film at the Berlinale’s Encounters program, the Zabaltegi-Tabakalera prize for best film at San Sebastian IFF, the Grand Prix of the New Horizons Film Festival in Poland, the Best Film Award of the Vilnius IFF, the Special Jury Prize of the Taipei Film Festival, the Golden Apricot at Yerevan IFF, the Best International Documentary at Victoria Film Festival, or Best Film at Dokufest, among others. It was voted Portugal’s official entry for the Oscars in 2021. Commercially distributed in China, Portugal, Spain, Italy, the United Kingdom, Poland, USA, among others, it was sold for streaming worldwide to Netflix. Other documentary productions by Primeira Idade have been screened at FID Marseille, Visions du Réel, Jihlava IDFF, DocLisboa, and fiction-short film productions premiered in Rotterdam, Berlinale and Cannes.
90’/ Project status: in financing / Production: Dvein Films (Spain), Filmika Galaika (Galicia) / Budget: 988 478 € / Adcquired budget: 182 535 €
António (16) is always very aware of everything Jota (17) says and does. One very cold winter afternoon, the two of them cross the border into Spain with their friends in search of some ancient Roman baths. At nightfall, when there is no trace of our contemporary world, António dares to tell Jota he is afraid that soon they will no longer be friends and that he will be alone. It is then that we discover there are other boys bathing, they are the Roman soldiers who built the baths 2000 years before. Aurelius (19 years old), Pompey (21 years old) and their colleagues are all celebrating their last night before leaving for the war front in Dacia.
75’ / Project status: partially shot and looking for additional financing / Production: Primeira Idade (Portugal) / Budget: 120 000 € / Adcquired budget: 35 000 €
In 1972, haunted by dictatorship, a young Portuguese man wants to disappear and come back to life under a new identity. He joins the French Foreign Legion, and starts his instruction in Corsica. He is a good legionnaire. He feels he’ll lose his mind and escapes after 11 months. He wrote a letter to his mother every week. Somewhere in the 2000’s, a young boy plays in the garden of his dead grandfather. His mother plays with him, but she’s behind the camera. They discover the distance of time growing between them – everything changes. They discover the letters of the young man.
90’ / Project status: development and financing stage / Production: Primeira Idade (Portugal), Joel Benson Multimedia Studios (Nigeria) / Budget: 320 000 € / Adcquired budget: 145 000 €
Capitalocene. From above, the abstract monumentality of the Niger Delta (Nigeria), redefined by human ambition into environmental catastrophe. Existential fable. Another no-man’s-land, where the blackness or the psychopathology of (Frantz) Fanon’s colonization (and other African philosophers) seems now like an empty sound, and scholar debates, that understand neocolonialism, echo distant and misfit. In the war for oil, we find the resentment of a region forgotten and cursed by its resources.
CONTACT
Office: +351 211 913 524
patricia@umapedranosapato.com
www.umapedranosapato.com
Uma pedra no sapato (a stone in the shoe) is based in Lisbon, founded by filmmaker Filipa Reis in 2008 with the aim of making films that become part of Portuguese film history, with an impact across borders and cultures, through strong relationships with directors and rich creative production processes. UPNS films’ premiere in major festivals, followed by theatrical release, TV broadcast and VoD distribution.
The company is currently producing international coproduction features by award-winning Portuguese directors Miguel Gomes, Margarida Cardoso, Pedro Pinho, Marco Martins, Filipa Reis and João Miller Guerra, José Filipe Costa and Paulo Abreu and developing debut features by young talent Leonor Teles (Golden Bear Berlinale Shorts 2016), Maureen Fazendeiro, Duarte Coimbra, Sofia Bost, Ágata Pinho, Aya Koretzky and Takashi Sugimoto. The company produces episodic content and non-fiction programs for TV through its brand VENDE-SE FILMES. Filipa Reis is a member of EAVE, Eurodoc and Emerging Producers networks. Patrícia Faria collaborates with the company as development producer since 2014.
90’ / Project status: development / Production : Uma Pedra no Sapato (Portugal) / Budget: 860 000 € / Acquired budget : 30 000 €
1997. Vera is an introverted ten year old that lives with her mother Luísa in Lisbon. Christian, her estranged French father, only visits once a year. But this summer he invites Vera to come to his house in France. Vera hesitates, realising she doesn’t really know Christian. They don’t even have a common language. Will Vera finally connect with her father? What are the effects of fatherlessness in one’s life?
80’ / Project status: early development / Production: Uma Pedra no Sapato (Portugal) / Budget: 800 000 € / Acquired budget: 30 000 €
In imperial Russia, Pjotr goes to civil war at the age of 15 to defend the Tsar. While the bolsheviks gain ground he deserts on horseback, leaving behind his mother and brothers. After three years without news from her son, his mother thinks Pjotr is dead until she receives a letter from him. On exhile, Pjotr reads his mother’s letters while he tries to detach from former motherland. This family is revisited through the eyes of Pjotr’s granddaughter, Aya, intertwining facts and dreams, times and generations.
110’ / Project status: development / Production: Uma Pedra no Sapato (Portugal) / Budget: 810 000 € / Acquired budget : 30 000 €
Beijinhos Infinitos / The XOXOs goes through many forms of love. In 2022, young adults search for a place in the city and in cinema. In 2005, adventurous teenagers become entangled in an enchanted medieval-era plot that dares to ask: «What if João César Monteiro directed a teen soap opera?
