14th edition, and an edition back in the tropical garden where the premises of the festival are. Happy to see you again in the flesh, for long and fascinating moments of exchange amplified during evenings of complicity when we debate, dissect and analyse films. A FIDLab made up of shared images and sounds just like words and dreams, collectively, with exchanges thought to be long-lasting, with multiple layers to fully express a thought, a vision of cinema around the films of tomorrow.
Before announcing this year’s selection, here is a reminder, since FIDLab’s last edition in July 2021, of the world premieres of completed FIDLab projects. Ghost Song by Nicolas Peduzzi (FIDLab 2018) opened ACID 2021, A Night of Knowing Nothing by Payal Kapadia (FIDLab 2021) and The Parent’s Room by Diego Marcon (FIDLab 2019), selected at the Director’s Fortnight in Cannes 2021, The River by Ghassan Salhab (FIDLab 2018) at Locarno Film Festival 2021, Atlantide by Yuri Ancarani (FIDLab 2017), at Venice Int. Film Festival and Far Away Eyes received the NETPAC Award at Taipei Golden Horse Film Festival. In 2022, Ollin Blood by Elise Florenty and Marcel Türkowsky was presented at Visions du Réel, in Burning Lights competition. Afterwater by Dane Komljen (FIDLab 2018) had its world premiere at Berlinale together with Unrest by Cyril Schäublin (FIDLab 2019), where he was awarded Encounters best director’s award; Kafka for Kids by Roee Rosen (FIDLab 2017) was presented at Rotterdam Film Festival in Tiger competition just like Silver Bird and Rainbow Fish by Lei Lei (FIDLab 2020).
What about the selection? Picked among 415 applications, 11 projects from 14 countries: Canada, France, Germany, Iran, Ireland, Laos, Lebanon, Japan, the Netherlands, Portugal, Romania, Spain, the United States and Venezuela. Highly diversified geographically and singular in their writing, this selection energetically and facetiously combines sensitivity and impetus, beauties and surprises, political, environmental, historical, queer, utopian and artistic motifs. They include humour, seriousness and displacement: from essayist or fictional historical reconstruction, to realistic fantasy or contemporary intimate satire, or even archives, be it family or history-related, including updated reminiscences of the past. In short, a generous and open programme that echoes an ever curious, lively, restless and intelligent contemporary cinema.
Happy also to highlight Portuguese production in collaboration with ICA, Instituto do Cinema e do Audiovisual. A delegation of Portuguese producers under the Focus Portugal banner will present works in progress, as a way of further reinforcing our relationship with European producers involved in international coproduction.
We would like to thank the invaluable and renewed support of our institutional partners without whom this adventure could not take place, Région Sud Provence-Alpes-Côte d’Azur, the City of Marseille, the Département des Bouches-du Rhône
as well as CNC. And also our partners who give out awards, Air France, Sublimages, Vidéo de Poche, Commune Image, Mactari, Fondation Camargo, Micro Climat, Kodak and Silverway Paris, la Casa de Velázquez and Madrid Film School. And our two new partners who will offer residencies: Culori / Laburatoriu in Sotta and Providenza.
These prizes will be awarded by the international jury made up of three eminent professionals: Bruno Deloye, Ciné+ channels manager, Virginie Devesa, CEO of Alpha Violet world sales and Tania El Khoury, producer (Khamsin Films, Les Films de l’Altaï). I am delighted by their participation and would like to thank them, as I am convinced that their professional expertise will be beneficial to all the projects, beyond the award winners.
I cannot wait for you to find out about all these film gestures which will be food for thought as from July. I hope you will discover them with the same pleasure we had when selecting them.
A few new things to highlight: Bringing together the producers association from Région Sud, LPA and the FIDLab will allow local actors to be more connected with the wide and diverse coproduction propositions offered by the FIDLab, and I’m delighted about that.
Also, the bond with Nebulae/Doc Lisboa, which, at the end this edition, will select and integrate to their own 2022 program one of the French selected projects.
Finaly, Doc Alliance has committed to endowing a new 5 000€ distribution prize to one of the FIDLab selected projects, and to provide marketing and communication support to the film.
And something new, the development of FIDLab during a second session on line, 6 months after the event, in early December when a second evolution of the projects will be debated during online one-to-one meetings. To be continued then…
Fabienne Moris, FIDLab Director
The 14th edition of FIDLab took place on July 7th and 8th.
Out of more than 415 international applications. FIDMarseille’s international co-production platform, FIDLab, selected 11 projects from 9 countries: Canada, France, Germany, Japan, Spain, Portugal, Romania, the Netherlands, and the United States.
Since its creation, FIDLab has offered selected projects a privileged opportunity for visibility, meetings and industry commitments. Every year, producers, distributors, funders, international sales agents, and programmers are invited to discover FIDLab projects and to make contact with chosen directors and producers.
Bruno Deloye (Director of Cine+ Classic & Club), Virginie Devesa (CEO of Alpha Violet international sales) and Tania El Khoury (Producer at Les films de l’Altaï and Khamsin Films) are the jury for this 14th edition.
Thanks to their insights and commitment, 11 in-kind prizes, provided by longtime FIDLab partners, are awarded to winning projects, offering valuable, high quality technical and logistical resources.
produced by Insufficient Funds NSF / United States
The laureate will receive 1 long-haul flight ticket from Air France.
produced by 5A7 Films / France
La Casa de Velázquez, a center for artistic creation and research based in Madrid, will offer a two-month residency to the award-winning director. ECAM, the School of Cinematography and Audiovisual of the Community of Madrid, will make its post-production equipment available to the winner as part of its OPEN ECAM program.
produced by Longride / Japan
This prize is offered by Commune Image, a cinematographic pole offering post-production services, among others. This prize consists of 8 weeks of editing for a project.
produced by Acephale Inc / Canada
This new award endowed by Culori to an european project, post-production laboratory, will offer a residence in South Corsica for a maximum of 15 days, to carry out color grading work on a 4K monitor with (or without) dedicated technician.
produced by Lejos Lejos / Spain and Sumendi / Spain
The Camargo Foundation, which offers residencies in Cassis for international artists, scholars and thinkers, based in Cassis, will welcome the awarded director for 4 to 8 weeks.
This prize includes celluloid reels offered by Kodak, and development services from Silverway Paris, to be awarded to a European project.
produced by Shellac Sud / France
This prize will be provided by the sound post-production studio MACTARI to a project produced or coproduced by an european company. This prize worth € 15,000 includes the provision of a mixing auditorium and / or a sound editing room, without a technician
produced by Mandragora / Romania
Prize awarded by the post-production company Micro Climat, which will offer post-production services (image editing, sound editing, calibration, conformation, to be chosen by the laureate) to a project produced or coproduced by an european company.
produced by Muyi Film / The Netherlands
This new award offers a writing residency for a month in Corsica on the Providenza field in the presence of international artists in residence or workshops (artists, philosophers, musicians, filmmakers, writers).
produced by Norte Productions / France and O Som e a Fúria / Portugal
The subtitling company Sublimages endows the prize winning project with the translation of subtitles into English, French or Spanish, as well as their adaptation and localization.
produced by Schuldenberg Films / Germany and Rmad / Germany
Color grading (7 days of studio without technician) and creation of DCP. Special rates for the creation of DCP to all the selected projects.
produced by Norte Productions / France and O Som e a Fúria / Portugal
The subtitling company Sublimages endows the prize winning project with the translation of subtitles into English, French or Spanish, as well as their adaptation and localization.
produced by Shellac Sud / France
This prize will be provided by the sound post-production studio MACTARI to a project produced or coproduced by an european company. This prize worth € 15,000 includes the provision of a mixing auditorium and / or a sound editing room, without a technician.
As part of the 2022 France-Portugal Season, and in collaboration with the Instituto do Cinema e do Audiovisual, ICA, a delegation of portuguese producers is invited to take part in the upcoming FIDLab edition.
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?
