Competition
There isn’t one single theme for all the films in the Competition Program this year. In fact, the films vary quite a lot: some are mature, others are still young, some talk in whisper, some shout out loud, some are soothing, some are painful, some of them are meant to tease. Among them are new films by Athina Rachel Tsangari (“Chevalier”), by Isabelle Stever (“Das Wetter in geschlossenen Räumen”), that work with both comic and tragic personal conflicts derived from restricted environment. Chloe Zhao’s “Songs My Brothers Taught Me” and Gabriel Mascaro’s “Neon Bull” use poetic language to tell the stories of cowboys’ daily life in the West of the US and in the North of Brazil. There is a visually impressive long-expected comeback of Lucile Hadžihalilović with her “Evolution” at the edge of body-horror as well as the second film of a young Austrian director and musician Peter Brunner “Those Who Fall Have Wings”. A docu-fiction hybrid from Ivan Ostrochovsky “Koza” offers a raw look at the story of a real Olympic athlete. “Little Bird” by Russian film director Vladimir Beck explores a theme of how first love accommodates coming of age. Life is still a major co-author of the motion pictures: most of the films make use of the directors or actors life stories, or even of their personal names. There are four male and four female participants in the Competition. Total equality. Each one tells us something the other one couldn’t have told.

Curator: Anna Melikova
Chevalier, dir. Athina Rachel Tsangari, Greece, 99 min, 2015
In the middle of the Aegean sea, in a luxurious yacht, after diving and fishing to one’s heart’s content to pass the time before reaching the coast, six men decide to play the game Who is best at everything: who looks best asleep, who eats most properly, whose hard-on is the longest, and whose teeth are the cleanest. The contests are being made up along the way, the comments are taken down in notebooks, and the points are being scored. The winner of this ”Olympic competition” will be awarded with Chevalier ring. The notorious men-friendship falls down under the pressure of competition where every single man wants to demonstrate his perfection. In her new film, Athina Rachel Tsangari sticks to the best traditions of the “Greek Weird Wave, however, this is the first time she explores masculine world. Like her fellow director Yorgos Lanthimos, Tsangari makes up a bizarre story, locking men up in a confined space to proceed with her fascinating cinematic experimental anthropology where size always matters.

Das Wetter in geschlossenen Räumen / The Weather Inside, dir. Isabelle Stever, Germany, 100 min, 2015
The action takes place at present day somewhere in the Arab conflict zone. German development aid worker Dorothea has to wait an escalation of an armed conflict through in a 5-star hotel, an island of exuberant luxury set against the background of poverty and devastation. Dorothea makes use of flattery and feminine charms at charity receptions and gala dinners to successfully raise money for her project, an English scholarship for young refugee women. However, who does she do it for? Who is a “real refugee” in this situation? Alcohol, cocaine, sex – what could possibly be the other means to escape from a confined space of one’s own loneliness in a cynical world wrapped up in glamour and “noble” intentions? Dorothea embarks on an affair with a much younger Alec, who seems to be just an Arab drifter, and this relationship is about to bring her dangerously close to losing control. Isabelle Stever’s film was conceived back in 2006, but the context of modern times has made it more controversial than ever. Who do we see as the addressee of our message when we try to impose our values upon others, stretching out a well-groomed hand to them?

Koza / Goat, dir. Ivan Ostrochovský, Slovakia/Czech republic, 75 min, 2015
Peter Baláž, nicknamed Koza (Goat), is a former Olympic champion boxer. But who would remember that now? These days a few push-ups exhaust him, and he watches boxing on TV. Having learned about his girlfriend’s pregnancy, Koza decides to go back to boxing since he needs 400 euros to pay for the abortion. However, he would be happy to earn a bit more to make his lady keep the baby. Together with his manager Zvonko, Peter travels across the country: from one city to another, from one defeat to another, hoping that his desire to win is stronger than reality. Is it a true story? Almost. Is it a fictional one? Partially. The docu master Ivan Ostrochovský first intended to make a documentary about a real ex-boxer Peter Baláž, but later, Ostrochovský transformed it into a feature film featuring Peter as himself in the story almost similar to his biography. The director opts for a detached look, filming long shots with a static camera to avoid exuberant sentimentality and clichés of the sport drama genre, and creates minimalistic form to narrate a small everyday tragedy of a once successful sportsman.

Ptichka / Little Bird, dir. Vladimir Bek, Russia, 90 min, 2015
In a summer camp, while other children are on holiday far from their parents and their school troubles, two young camp attendants and two teenagers are constructing a complicated network of feelings. The two of the quartet live their lives, the other ones watch them do that; the two of them try to ignore everyone, the other ones try to attract attention. There comes the time when fun and games are over followed by pensiveness and gloomy looks. Somewhere afar birds are chirping and children are blathering, setting the background for timid dialogues on first love and first disappointments that lead to the end of childhood. Little Bird, is the second feature film by a young director Vladimir Bekh. The motion picture was filmed on demand of “KID.club” company that is responsible for children camps support worldwide. Bekh refused to film a remake of Soviet hit Adventures of Petrov and Vasechkin right away and created a sensitive film on coming-of-age in the spirit of American independent cinema.

Boi neon / Neon Bull, dir. Gabriel Mascaro, Brazil/Uruguay/Netherlands, 101 min, 2015
The story unfolds within the world of Brazilian vaquejada, a traditional exhibition sport where cowboys on a horseback try to pull bulls to the ground by their tails. However, the director Gabriel Mascaro is interested not in the tradition, but rather in the people who take care of animals, and Iremar, a “cowboy of style”, is one of them. His job is to take the bull not by the horns, but by the tail, and chalk it for rodeo. Whenever Iremar has free time, he looks at naked women in magazines, not for sexual arousing, but for creating clothes for them. When he is off work, Iremar designs sexy outfits for a weird performance his co-worker Galega does. She also drives the truck, transporting animals from city to city, from rodeo to rodeo. The camera follows white muscular bull and human bodies in awe. Mascaro worships men and beasts, the masculine and the feminine alike, without drawing any difference between them. Combining documentary of the quotidian with the pastoral landscape beauty of the poetic, sensitivity with conceptuality, the natural with the cinematic, Mascaro creates a visual reflection on gender, the everyday life of rustic people and their neon dreams.

Songs My Brothers Taught Me, dir. Chloé Zhao, USA, 98 min, 2015
13-year-old Jashaun, her big brother Johnny, and their single mother live in Pine Ridge Indian reservation, among cowboys and horses. This movie shows how Native Americans struggle with poverty, unemployment, and the worst of woes – alcoholism on a mass scale. After his father’s death, Johnny becomes even more aware that he doesn’t belong to this place. However, in case he leaves for Los-Angeles together with his girlfriend, his little sister Jashaun will face all the problems of their house. Although shabby and run-down, this house is so dear to their heart. Chloé Zhao’s motion picture was four years in development. The director immersed into locals’ daily life, studied their faces, tried to understand them, and searched for real people who would act in her film. What makes this motion picture go beyond the limits of ethnographical and social research is Zhao’s attention to human characters, meticulous study of brother-sister relationship, and incredible landscape shots. Chloé calls her film a poem, declaring her love to the wild and beautiful part of Western America.

Jeder, der fällt, hat Flügel \ Those Who Fall Have Wings, dir. Peter Brunner, Austria, 93 min, 2015
An elderly woman lives in a country house together with her granddaughters Kati and Pia. 15-year-old Kati suffers from asthma attacks. However, this is not the air she cannot take into her lungs, but the idea of a future where she will no longer have her beloved grandmother in this life. Kati covers herself with a mud of pigsty, imagines her body humiliated and broken into pieces, and hides in the dark corners to get away from the necessity of saying last goodbyes. Little Pia watches Kati suffer, and it’s not clear if Kati is her sister in the end. Images parade in free associative order, rejecting any type of chronology or plot: is grandmother’s death coming or has it already happened; it is sneaking up over the threshold or is it already retreating? Peter Brunner with his Those Who Fall Have Wings makes a very personal kind of statement, addressing people and things that are already gone: his own childhood, his grandmother (played by the director’s mother in the film), his past. Brunner makes a visionary drama out of deeply intimate experience of losing a close person. And this drama is unbelievably enthralling, terrifying, beautiful, sensitive, and painful.

Evolution, dir. Lucile Hadžihalilović, France/Belgium/Spain, 81 min, 2015
11-year-old Nicholas lives with his mother on a remote island inhabited solely by young boys and their mothers. While exploring the sea, Nicholas finds a dead body, or was it a starfish, after all? Has he made the dead body story up? Every day Nicholas goes more doubtful and suspicious on the things he sees. Meanwhile, all the boys are placed in a green-walled hospital and are subjected to a mysterious medical treatment. Could it be that this treatment is the women’s way to get rid of their motherhood? Evolution goes to where one could hardly have imagined. Blue water, white houses, yellow light… these are the breathtakingly beautiful images we see on the screen. However, these images are overlapped by the pictures of the needles stinging the skin, blood running down from noses, and the bodies that go through mutations… Lucile Hadžihalilović’s last film Innocence, one of the most striking debuts of the 2000s, metaphorically told the story of girls coming of age. After a 12 years’ pause, the director makes a comeback with her fictional body-horror film to continue her studies on the same subject of a different gender.

Gala Screenings
The hits of Gala Screenings perfectly match the general mood of the IX “2morrow/Zavtra” Festival. They represent the idea of being in-between the boundaries of genres and cultures, epochs and territories, voice and silence. Thus, the festival is symbolically opened with the hybrid Franco-German motion picture by Russian film director Alexander Sokurov. Mr Sokurov has absorbed European culture and is still one of its greatest fans. Pablo Trapero (Clan) and Jia Zhangke (Mountains May Depart) in quite different ways narrate about the change of epochs. The main characters in Samuel Bechentrit’s Asphalte try to find a soulmate in someone who has fallen from the sky and speaks foreign language. In Luca Guadagnino’s A Bigger Splash (the Closing Film) the Anglo-Saxon quartet seems to be unable to explain themselves either to the Italians or to themselves.
Francofonia, directed by Alexander Sokurov, France, Germany, The Netherlands, 2015, 88 min. The Opening Film
In the summer of 1940 Wehrmacht forces enter Paris and not only take over the cultural capital of the world but also over its heart – The Louvre. Count Franz Wolff-Metternich, the head of the German Comission responsible for art protection, together with Jacques Jaujard, director of the Musées de France at the time prevent exporting the greatest Louvre collection out of the country. This is a history of the Louvre during the Nazi occupation. Apropos, the State Hermitage was quite a different story in those times, and the price for saving it was way higher.
These are the major topics that Alexander Sokurov is reflecting upon in his Franco-German film Francofonia. This motion picture escapes any rough definitions or limits. It is a documentary, a historical drama, a slow walk through the museum halls, a video-diary full of doubts, a political and cultural statement on art as a characteristic of power and history. And all these different semantic layers work together simultaneously. Humor and sadness, times and spaces, modes of narration – they all mix up in Sokurov’s film. As Napoleon walks the halls of the Louvre, he is proud of his trophies, so is Hitler who contemplates the Eiffel Tower. The narrator in the film calls for Tolstoy and Chekhov, but after a while goes for a skype call with the Captain of a Dutch Ship transporting art masterpieces through bad weather. There are as many sea storms as History hurricanes, but “The Ark” keeps floating full of people and art masterpieces on board. What is it supposed to get rid of first if it starts sinking – people or paintings? What price one could and must pay for saving culture?

Shan he gu ren / Mountains May Depart, directed by Jia Zhangke, China, France, Japan, 2015, 131 min.
It’s 1999 in one of Chinese provinces. A bunch of young people dancing to the Pet Shop Boys’ Go West, and as the new century and millennium dawns, the movie shows China aimed at going West, embracing capitalism and beginning to worship consumer goods as status symbols. Tao, a young woman, is dreaming of a new epoch together with her country. She is courted by two men: by a coal-miner and by one of China’s new breed of pushy entrepreneurs. Tao marries the businessman, as he is a living embodiment of the future epoch. They later have a child grotesquely named “Dollar”. The second part of the film takes place in 2014. Tao and her husband have divorced, and Tao’s son is living with her ex in Shanghai. They all meet quite seldom and on unpleasant occasions. The time of the narrative in the third part leaps into the near future, and it’s 2025. This near future is incarnated in the form of Dollar who lives in Australia and appears to have forgotten his mother, his mother tongue, and his mother country. Thus, the economic growth in the course of 25 years blurs the boundaries between countries and cultures, but sets the new ones within families. Intimacy and mutual understanding become the victims of capitalist progress. The epic narrative from Jia Zhangke is a movement through time, continents, and our dreams that mostly never come true.

El Clan / The Clan, directed by Pablo Trapero, Argentina, 2015, 110 min.
Argentina in the 80-s. Democracy returns to the country after military dictatorship has fallen down. However, this seems to be a story for the history text book rather than reality. Arquímedes Puccio, the patriarch of the family who worked for the state’s intelligence services, a man with angelic blue eyes and noble grey hair, starts kidnapping people and demanding ransoms, targeting wealthy families. He does “the business” with his sons. His house is exemplary idyllic: peaceful family dinners with a glass of wine and well-cooked meals. However, sometimes the cries and moans could be heard from the house cellar where the Puccios keep their hostages. Then, the Puccios make the music play louder, and a nice evening doesn’t get spoiled. In 2015 Pablo Trapero put aghast the Venice Film Festival with the true story of an Argentinian Clan, the dynamic thriller about family ties that become the follow-up in the tradition of state violence.

A Bigger Splash, directed by Luca Guadagnino, Italy, France, 2015, 124 min. The Closing Film
A famous rock star (Tilda Swinton) and her boyfriend who is a filmmaker (Mattias Schoenaerts) are vacationing and recovering on the South of Italy. Their idyllic island rest is disrupted by the unexpected visit of a Miriam’s ex-lover and his daughter (Ralph Fiennes and Dakota Johnson) – creating a whirlwind of jealousy, passion and, ultimately, danger for everyone involved. A Bigger Splash is a new interpretation of Alain Pages text since the previous one was La Piscine with Alain Delon and Romy Schneider. An intense erotic thriller is quite a view created by the unique duo of Guadagnino and Swinton.

TOMORROW
Tshitay, thitay \ Read, Read, dir. Evgeniy Koryakovskiy, Russia, 97 min, 2015
Ten young actors, graduates of Yaroslavl drama school, move to Moscow, looking for better personal and professional life. They confess their failures and gains, traumas and joys, aspirations and fears to the movie camera. Later on these confessions are passed on to contemporary Russian writers, so that they could read the actors’ minds and write out their hypothetic future destinies. Each writer sticks to the genre they mostly work in: dystopia, social drama, minimalism, and ruminations on the fate of homeland. The actors experience all kinds of feelings when they read fictions with them as protagonists. Some of them laugh while others feel embarrassed, puzzled, or irritated. Some of them go for unexpected confessions, memories, or actions. Some perceive the texts as prophecies while others cast them away like annoying flies. However, their glances at the camera don’t lie: each one of them (even if deep down inside) believes that there’s a piece of truth in the fictions. This daring experiment by Evgeniy Koryakovskiy defies any genre definitions. It exists in-between the boundaries of performance and documentary, cinema and reading process, just like the truth about the Self always exists in-between the way one sees oneself and the way one is seen by others.

Deux Rémi, deux / Two Rémis, Two, dir. Pierre Léon, France, 66 min, 2015
30-year-old Rémi works for a company belonging to the father of a girl he is timidly in love with. Nice and shy, he never goes out for drinks; he is a guy of no communal spirit, a “suspicious” loner. However, his real problems begin with the arrival of another Rémi. This new Remi is overbearing, active, sociable, and he easily gets along with everyone. Remi the Second, the antipode of Rémi the First, is trying to take his place. Which one of Rémis is the real one? Which one of them does this name and this life belong to? Pierre Léon offers his personal interpretation – light-hearted and humorous – of an early Dostoevsky’s novella The Double. After shooting his version of The Idiot, the director goes back to the Russian classic writer. Unlike The Idiot with its black-and-white images, Two Rémis, Two is brightly-colored, and Pierre Léon seems to be admiring the rich color range. It turns out Dostoevsky could feel like a doppelgänger story unfolding in the coloful streets of a contemporary small French town. One could lose their identity and get lost in the play of the doubles anywhere, not only in the grey gloomy streets of the 19th century Saint Petersburg. Getting to know one’s double would always feel like an absurd and outrageous encounter, regardless of time and place.

O Futebol / On Football, dir. Sergio Oksman, Spain, 68 min, 2015
It’s been 20 years since the father and his son last met. Now they get together to watch all the 2014 FIFA World Cup soccer matches in São Paulo. However, they go to a stadium just once, and it happens right before the game. For the rest of the time, they only talk about soccer, which helps shorten the two decades’ distance between them. Making up the concept of the film, the director Sergio Oksman thought that the reality could be played up. Nevertheless, it turned out to be stronger than game or fiction. While the director was meticulously working on film composition, life broke into the realm of fiction and made some corrections. Brazil, the country of soccer, turned into a major failure in the World Cup Series of 2014. Sergio’s life at the time was also full of losses. When shooting, he had no idea that the film would turn out to be about the absence: about the crossword squares that stay unfilled, and about the most important life events that stay unscreened. A smartly-structured On Football is one of the most interesting examples of last year’s docu-fictions. An autobiographical story is narrated in third person here, allowing Sergio Oksman convey personal trauma together with the national one in an estranged manner, cold and humorous, as if it was about someone else.

Risttuules / In the Crosswind, dir. Martti Helde, Estonia, 90 min, 2014
On the night of June 14, 1941, 40.000 of inhabitants of Latvia, Lithuania, and Estonia — identified as “anti-Soviet elements” by the USSR — were forced onto trains and sent to the remotest outposts of Siberia. A young Estonian woman Erna and her little daughter were among those “elements”. In Siberia Erna writes: “I can’t understand what we, simple people, have possibly done to the giant Russia?” She addresses her question to her husband Heldur who was imprisoned in Stalin’s camps. In her letters to him, she narrates on what she sees, things engraved in her memory for good. They both agree to get together one day where the winds, but not people, meet. An acute language of love breaks through the atmosphere of inhumanity and growing misery. Drawing from the diary kept by the real-life Erna throughout her displacement, Helde renders her memories in striking black-and-white “tableaux vivants”. Each of the 13 tableaux, inspired largely by paintings by Jean-François Millet and Caspar David Friedrich, required two to six months of preparation and only one day of shooting. This technique shows best that for Erna, who is far from home, from her husband, and from human attitudes, time stands still since she was left out of it on that day in June.

Videofilia (y otros síndromes virales) / Videophilia (and Other Viral Syndromes), dir. Juan Daniel F. Molero, Peru, 112 min, 2015.
The end of the world was announced, but never happened. There start off series of congratulations on television and the Internet, together with the promises of new spiritual epoch. Junior also senses something new is coming. He spends his days hanging about in the internet-café, playing games, and watching porn. However, he would like to become a porn movie director rather than merely be an observer. His new on-line friend Luz could help him do that: she enjoys entertainment and sex no less than Junior, and would like to be filmed in a homemade porn video. There is as much mess in their heads as on their PC desktops. The attack of visual images and sounds gets more and more intensive on the screen: video and music files, news, avatars, pop-up messages, open tabs, animated gifs, memes… Viruses infect gadgets while gadgets infect us. Reality turns into a gadget screen, pixelated and fragmented. When watching the movie, one’s hand would eagerly stretch out for an invisible mouse to clean an infected film with antivirus software with one click. There are already quite a few films about virtual images taking the silver screen. Videophilia by a young Peruvian director Juan Daniel F. Molero, like Joyce’s Ulysses, represents this virtual-to-screen topic at its best, while “best” most certainly stands for closure here. The closure should lead to the end for something new to begin. New times are for new syndromes.

Il gesto delle mani / Hand Gestures, dir. Francesco Clerici, Italy, 77 min, 2015
The action is set at a bronze foundry in Milan. Over the centuries, many technological innovations have come about in art. Yet, even today, in order to create a sculpture in bronze, it is necessary to take the same steps taken at the Bronze Age. Hand gestures are of great importance in this art: they make a form, pour out the melt, emboss, and polish the art piece. The story of the process follows the birth of a dog sculpture made by the Italian artist Velasco Vitali. This dog is merely one representative of a whole family of dog sculptures scattered all over Italy. Each one of them has a name and a soul. The camera lets the audience witness the birth of an art object that at the final scene would become so persuasively almost-alive. The debut film of an art critic Francesco Clerici, who has been working as Velasco Vitali’s assistant for a few years, shares a professional secret with the audience while preserving the sacredness of the process itself.

La tierra y la sombra / Land and Shade, dir. César Augusto Acevedo, Columbia/France/Netherlands/Chili/Brazil, 97 min, 2015
The farmer Alfonso Gerardo is an old man when he returns to his home after an absence of nearly 17 years. Many things have changed here, but some have stayed the same. The house is still surrounded by sugarcane plantations while it’s not Alfonso’s son who works there, but his wife and daughter-in-law. As sugarcane burns, the ash falls down on the ground and gets into sick Gerardo’s lungs. Alfonso tries to save his family and take it away from this gloomy ashy land. However, some family members don’t want to leave their home, and others are already not able to. The family reunites to say their goodbyes. César Augusto Acevedo’s apocalyptic drama feature debut, premiered during this year’s Critics’ Week at the Cannes festival, where it took two awards. The images in the film are visually perfect, which definitely adds up to their critical appreciation. Meticulously constructed movie shots together with the ashy-brown color palette resemble both the paintings of the French “peasant” artist Jean-François Millet and the American realist Andrew Wyeth.

By Our Selves, dir. Andrew Kötting, UK, 83 min, 2015
“John Clare was a melancholic nature poet who went mad”, this BBC voiceover sounds like a refrain in the film By Our Selves. This film is a close-reading of the minor Romantic poet’s world of insanity rather than the representation of his biography. In this world of madness the storyline follows the disturbingly vivid characters of John Clare, a straw bear, and some creatures wearing goat and owl masks. The audience is haunted by weird whispers and tunes, shadows and silhouettes, lines from diaries, essays and poems. A central event in John Clare’s biography was his escape from an Essex asylum and four-day walk in search of his first great love, Mary, who had been long dead by that time (though quite alive in Clare’s imagination). He ate grass, slept wherever he could, lost his way as well as his identity to become someone else while he kept walking on and on. He traveled 140 kilometers in 4 days, and came up with many lines and reflections. 150 years later, director Andrew Kötting, writer Iain Sinclair, the Jones (father and son) actors, and a comic book author Alan Moor try to reconstruct this 4-day journey to try to understand Clare’s poetry together with his aspirations in life, and his disease.

I Am Another
Contemporary world is full of conflicts. The map of the world is constantly getting covered with the scars of confrontation and misunderstanding. The inability to solve problems globally urges us to try to address them at a local level. Thus, the thematic core of this years’ 2morrow festival is the Program called “I Am Another”. This is a dedication to the Other as to a different social, national, sexual, and existential identity. On one hand, “ I am another” is a slightly re-interpreted reference to the famous Arthur Rimbaud’s line “Je est un Autre”, on the other hand, the phrase “I am” (Je suis) has acquired new political and ethical meanings these days. One group of people uses the phrase (je suis) to truly show compassion with the Other, while another one takes it on as a stylish cliché, there are also people who find this phrase deeply ironic. We ask what it means to be Another/the Other nowadays, and what it used to mean in the past. We wonder if there are any possible boundaries for non-acceptance as well as for desire to eliminate someone or something radically different. All of us construct and measure our identity by means of the Other. We may either share values and opinions of the Other, or deny them. This denial could go as far as the Other’s rules, way of life, physical appearance. Nevertheless, the Other was, is, and will always be a solid part of each one of us as well as of any (no matter how conservative) society.
Right before the screenings of the films in this section we will show short HUMRA cartoons. HUMRA (Human Rights Animation) is an international cultural and educational project. The major purpose of the project is to introduce young people to the problem of human rights by means of a modern bright language of animation. A famous comics and cartoons animator Hicus is working on cartoon series for HUMRA. There is a number of animation workshops, talks, interactive seminars held within the framework of the project trying to find answers to human rights issues and those ones about respect for human dignity. HUMRA is a three-year long project supported by the EU and cooperating with the partners from Russia, Ukraine, Georgia, and Belarus.
The Iron Ministry, directed by J.P. Sniadecki, USA, China, 2014, 82 min.
Filmed over three years on what will soon be the world’s largest railway network, ‘The Iron Ministry’ traces the vast interiors of Chinese railway carriages. The polyphony of human voices, the different social worlds with their talks on politics, nation, and rights is followed by flesh and metal, clangs and squeals of the trains. Endless motion becomes the metaphor for the country that is always in active movement on the way to social and economic changes.

Desde allá / From Afar, directed by Lorenzo Vigas, Venezuela, Mexico, 2015, 93 min.
Armando, who is fifty, seems to earn a comfortable living as a denture technician. He cruises the streets of Caracas in search of young men, and then he brings them home, pays them, and orders to undress. However, Armando always keeps distance from them as well as the movie camera always keeps part of the shot out of focus. One of many Armando’s “guests” – Elder, beats him up, and steals his money, and a relationship of strange dependency and attraction evolves between them. They come from different worlds, they are of different age, they represent different social and cultural background. Nevertheless, they are united by a common child trauma from the past, and this trauma is there to lead them to their tragic end. The movie is based on a story by Guillermo Arriaga (the writer for Iñárritu’s Amores Perros, 21 Grams, and Babel). Mr Vigas’ feature film debut was quite a sensation at the Venice Film Festival as the movie won the first prize, the fact that is still widely discussed in the world of cinema.

Peace to Us in Our Dreams, directed by Sharunas Bartas, 2015, 107 min.
A young violinist unexpectedly quits her performances and goes away from the city, the audience, and art to a remote country house. She is accompanied by her lover, and his 16 year-old daughter. However, they don’t find peace over there as well. The relationship doesn’t work, and the feelings are not spoken through. The conversations lead to misunderstanding, isolation, and loneliness. Quite distant from each other, the characters walk their own paths. The daughter looks for support in a village guy who ends up stealing a gun… This movie with its long landscape scenes together with the all-absorbing silence reminds of Bartas’ early films. It is less metaphoric compared to The Corridor or to The House, though it is more autobiographic. Apart from him, and his daughter Ina-Maria, on the screen there appears Ina-Maria’s mother Katerina Golubeva who departed this life 4 years ago. It seems difficult to talk to the living we care about while one always wants to talk to the dead ones we love.

Tangerine, directed by Sean Baker, USA, 2015, 88 min.
It’s Christmas Eve in Tinseltown and Sin-Dee is back on the block. Upon hearing that her pimp boyfriend hasn’t been faithful during the 28 days she was locked up, the working girl transgender and her best friend, Alexandra, embark on a mission to get to the bottom of the scandalous rumor. Their rip-roaring odyssey leads them through various subcultures of Los Angeles, including an Armenian family dealing with their own repercussions of infidelity. Dynamic and sunny the film film is full of radioactive colors, it is as eccentric as its heroes. Sean Baker says that his movie is hybrid of pop-culture and “cinéma vérité”. The director has already shot movies about the representatives of different sub-cultures and minorities opressed by society and cinema. The mind-blowing success of Tangerine not in the least owes to the innovational techniques of shooting: it was filmed on iPhone 5s with color filters and uses the music from SoundCloud.

Karski i wladcy ludzkosci / Karski and the Lords of Humanity, directed by Slawomir Grünberg, USA, Poland, Russia, 2015, 75 min.
In 1942 thousands of Polish jews were sent to extermination camps. The world refused to know about it. The representative of Polish resistance Jan Karski sets off to Warsaw ghetto to see how jews are killed on a large scale. Having experienced the horros of the camp, Karski tries to draw attention of the West to the problem of Holocaust. His public report becomes the turning point in understanding the tragedy of Polish jews. Thus, Karski helps to save thousands of jews not only in Poland, but in Hungary and Romania as well. “It’s been 35 years since the war is over, and I’ not going back to it” says Jan Karski in an epic film Shoah by Claude Lanzmann. Lanzmann’s motion picture was the first one to publicly tell the story of Jan Karski at the times of World War II. Slawomir Grünberg borrows some of the archive documentary shooting from Lanzmann’s movie as well as from other sources, he adds up animation and the interviews with experts to retell the story of Jan Karski once again. The story of a modern Righteous of the world.

Les chevaliers blancs / The White Knights, dir. Joachim Lafosse, Belgium/France, 112 min, 2015
The film begins with the pictures of desert, unbearable heat, misery, and the outbreaks of armed conflicts. There arrive French adoption-agency workers masquerading as an NGO called “Move for Kids.” They claim that they will house, feed, and educate orphans in a safe compound until the children are eighteen years old. The local villagers, though somewhat puzzled by the foreigners’ definition of “orphan,” are seduced by the idea of giving their children a better life. But what the villagers don’t know — though the audience does — is that these French “NGO” workers have no intention of staying. In fact, the truth is the future “parents” are waiting for these African children in France, having paid considerable sums of money to get them. The head of the NGO (recent Cannes prizewinner Vincent Lindon) tries to unite his employees who doubt their mission (is it rescue or kidnapping?). These doubts gradually lead to the team break-up. The NGO’s image is based on a real-life Zoé’s Ark “charitable” organization. In his film Joachim Lafosse provocatively questions the “chivalry” of white people’s behavior in conflict zones around the world. Which phrasing would be more accurate: a charitable form contains dubious content, or, on the contrary, good intentions get gradually covered with an armour of cynicism?

We Come as Friends, dir. Hubert Sauper, France/Austria, 110 min, 2014
For the Austrian director Hubert Sauper, Africa is a permanent subject of reflections. We Come as Friends is his third movie filmed on the African continent. This time Sauper focuses on a recent history of a war-ravaged South Sudan that claims independence from North Sudan with the help of other continents like Asia, America, and Europe. All these continents have their interests in Africa: they all come with peace, but there’s always war when they depart. While lobbying their interests and promoting their ideologies, the representatives of other continents have managed to impose an unfamiliar notion of “nationalism” on African people, divide the Black Continent into parts, call them “free nations”, and cause hostilities among them. Hubert Sauper “falls from the sky”: he arrives to South Sudan not on a UN cargo plane, but on a tiny aircraft that he helped to build. He believes such an arrival would help him to better understand the locals and their government. Sauper doesn’t want to be in the position of a white conqueror, but rather in the position of a European in need of assistance. The director owes the possibility of an insider’s look to this risky experiment. He shows all the beauty and horror of Africa, where the “postcolonial” world keeps exercising its colonial powers.

Last Summer, dir. Leonardo Guerra Seràgnoli, Italy, 94 min, 2014
A beautiful Japanese woman Naomi (Japanese star Rinko Kikuchi) appears on the deck of an expensive yacht. Later on, a little boy of Asian-European look, who refuses to talk to Naomi, joins her there. She calls him Kenzaburo, but for others he is Ken. Naomi tries to pass a small part of Japan on him, so he could take it to his Western world. Naomi tries desperately to connect with her son, knowing that after their four days together she’ll lose visitation rights, however, it is quite difficult to do that under suspicious surveillance of her ex-husband’s yacht crew. Silent resentment and strict yacht rules keep the barriers between mother and son untouched. Naomi by all means needs to find a common language with her son, be it English or Japanese, so he would remember her for good. Filmed by an international crew, the Italian-British director Leonardo Guerra Seràgnoli film debut narrates a touching story of the clash of cultures and relationships in a small familial space on the verge of its dissolution.

OFFSIDE
This year’s “Offside” fror the first time goes back to the participants of the previous festival edition. It involved two new films by independent directors Mikhail Lukachevsky and Vladimir Kozlov. Both films are quite different fro the debut ones. Independent filmmakers explore new territories. Mikhail Lukachevsky, after his first mystic and gloomy film, now is telling a biography of Yakut rock star Stepan Semenov. This is a rather unusual cinematic portrait of a lonely hero living n a cold world of superstitions. A writer Vladimir Kozlov, who came into directing by adapting his novel “Desyatka” (Ten), continues with the adaptation of his literary works into cinema. This time he chooses a romantic story that contrasts with a previous harsh city suburbs narrative. Independent directors are quite bold, and yet another proof of that is Siberian hunter Sergei Dyatlov’s “Khozyaeva” (The Hosts). Dyatlov uses his camera as a tool of documenting his personal, intimate experience of Taiga. If anyone doubts that cinema is a way of learning the world and oneself – they should look no further than Offside.

Curators: Maria Kuvshinova, Ivan Chuviliayev.
Kozha / Skin, directed by Vladimir Kozlov, Tolyatti-Samara, 2015, 70 min.
Vladimir Kozlov, a writer famous for his books Gopniks, School etc. made his cinema debut as a director two years ago. In a far-away Chelyabinsk he shot the film Ten based on his own short story. After that, Kozlov made experiments in documentary and shot the biopic of Siberian punk-rock Traces in the Snow. Now he makes a comeback to the feature film with his new motion picture Skin that was shot on the Volga River. And once again the film plot is based on Kozlov’s expressively harsh prose. Literary critics used to say that Kozlov in his books gave voice to province; to the sharp merciless language city suburbs speak. Kozlov sticks to his methods in Skin. Once again he’s looking for a chance to tell a contemporary urban story.

Nerazgadannaya Lubov / Undeciphered Love, directed by Mikhail Lukachevsky, Sakha Republic (Yakutia), 2015, 91 min.
The new film of the “Yakut Wave” author is a documentary, not a feature film. Mikhail Lukachevsky meticulously reconstructs the world of Yakutia, harsh, merciless, full of superstitions and mysticism. Lukachevsky tells a life story of the national hero, a popular rock star, the frontman of Ai-tal rock band, Stepan Semenov. Rock musician departed this life at the peak of his popularity when he was just 28. The film combines the archive footage with the memories of relatives, and the artistic search of Semenov’s daughter Saisara Kuo. Lukachevsky’s movie is not a banal biopic as he manages to create the harsh picture of a weird, unfamiliar, and cold world where the most important thing is to survive and stay warm.

Khozyaeva / The Hosts, directed by Sergey Dyatlov, Siberia, 2015, 75 min.
The Hosts is a film shot by Siberian hunter Sergei Dyatlov. It’s just camera, taiga, and a hero walking through taiga. The film is set in Siberian West Sayan Mountains. A trade hunter sets off to taiga for the night to keep watch over the animals. He has heard from another hunter that the place he’s heading to is “not good”. Since he doesn’t trust rumors, Sergey decides to check on the location personally, taking cinema camera with him. The film is the result of the video footage Sergey managed to do. In front of the amazed public one hunting chronicle is turning into a certain echo-reply to The Blair Witch Project as if it was done by Yuri Mamleev.

FLASHBACK
Ventos de Agosto / August Winds, directed by Gabriel Mascaro, Brazil, 2014, 77 min.
It’s Brazilian small seaside town. Shirley and Jeison have just had sex and are resting now on a huge pile of coconuts. Shirley has left the big city to look after her elderly grandmother, but she feels trapped in the tiny coastal village, so she’s looking for entertainment. Shirley wants to be a tattoo artist and she’s practicing on pigs. August is the time for tropical rains. The water falls from the sky, it comes close from the sides, it ruins houses and cemeteries, it interferes with the living and dead. Death is something easily discussed in this place, and children don’t close their eyes when they see a corpse. Here, people have their memories without regrets, enjoy sex without shame, the winds whisper, and the rocks breathe. Docu helmer and video artist Gabriel Mascaro makes his fiction feature debut with August Winds. One could definitely see that the film makes use of the techniques from Mascaro’s artistic past: non-professional acting (the citizens of the village act in the motion picture), and visualizing artistry (some of the film’s shots could fit into the Museums of Contemporary Art collections). Like Apichatpong Weerasethakul, Mascaro makes the worlds of the living and dead overlap, but in contrast to the Thai master, there isn’t anything mystical about it.

La bouche de Jean-Pierre / The Lips of Jean-Pierre, directed by Lucile Hadžihalilović, France, 1996, 52 min.
Mimi’s mother is sent to a mental hospital as she tries to commit suicide after her lover leaves her. The girl’s aunt who lives with Jean-Pierre receives Mimi. The girl plays her dolls and reads her Little Red Riding Hood book, but Jean-Pierre believes that the girl should get older and he is ready to help her. The Lips of Jean-Pierre is the second film shot by Les Cinémas de la Zone, a company founded by Lucile Hadžihalilović together with her husband Gaspar Noé. Lucile considers this film to be her full-fledged debut in cinema (though the motion picture is still 8 minutes away from the feature film format). However, in The Lips Lucile is still groping on her future modes of narration. In the world of The Lips people still care about the news, the conversations are still down-to-earth, and metaphors together with allegories do not dominate the narrative yet. Here, Lucile locks people up in their apartments, but with the possibility to break free. However, soon enough, in her next films, she will keep reality away from their doors, leaving a tiny slot for them to peep in.

Nectar / Nectar, directed by Lucile Hadžihalilović, France, 2014, 18 min.
Green park, yellow bees. Nectar is pouring down a red head’s body. The red head is a queen of the bees, but also, she is someone’s captive. The buildings look like a hive. People look like bees. A new cycle is already under way. Lucile Hadžihalilović’s Nectar is a link between her Innocence and Evolution, and this film is 18 minutes of pure beauty. Cinematography is done by Belgian camera operator Manuel Dacosse who will later work with Hadžihalilović on her Evolution.

Mein blindes Herz / My Blind Heart, dir. Peter Brunner, Austria, 92 min, 2013
Kurt seems to have stepped right off Egon Schiele’s paintings. He is skinny, lathy, round-shouldered. Moreover, he is almost blind. A rare disease, Marfan syndrome (a genetic disorder of connective tissue, causing heart problems, muscle issues, and blindness) makes his life different from others. He is locked up in the prison of his body. He is both a victim of his disease, and a criminal since he constantly trespasses the ethical norms in the society that rejects him. As he meets other people with a stigma of “defectiveness”, he searches for a soulmate. Taking to the streets, he meets Conny, a 13-year-old runaway from a broken home. She readily participates in Kurt’s protest against his body, not knowing what moves him or into which abyss his journey is leading. Peter Burnner’s debut film combines the elements of German expressionism and Viennese actionism. We see everything through Kurt’s almost blind eyes, therefore we imagine, make use of memories, squint. A convulsive body causes convulsive narration.

Bezkozhi / Skinless, dir. Vladimir Bekh, Russia, 80 min, 2014.
There is an unexpected intimacy outburst that breaks through the crowd of acting department applicants, through the indecipherable ligature of words. She is a girl from a sculptor’s family, locked up in her own illusions and enclosed with plaster casts her father left behind. He is a provincial boy as real as human flesh and soil under her feet. He breaks into her world, drags her in a game where they both lose the sense of boundaries between reality and imagination. A workshop filled with statues becomes an accidental witness to a glowing story of closeness and rejection. This story is a game as naïve and cruel as youth could be; it is a dream, fading as suddenly as it flared up; it is wordless, timeless, and skinless.

Tangerine, directed by Sean Baker, USA, 2015, 88 min.
It’s Christmas Eve in Tinseltown and Sin-Dee is back on the block. Upon hearing that her pimp boyfriend hasn’t been faithful during the 28 days she was locked up, the working girl transgender and her best friend, Alexandra, embark on a mission to get to the bottom of the scandalous rumor. Their rip-roaring odyssey leads them through various subcultures of Los Angeles, including an Armenian family dealing with their own repercussions of infidelity. Dynamic and sunny the film film is full of radioactive colors, it is as eccentric as its heroes. Sean Baker says that his movie is hybrid of pop-culture and “cinéma vérité”. The director has already shot movies about the representatives of different sub-cultures and minorities opressed by society and cinema. The mind-blowing success of Tangerine not in the least owes to the innovational techniques of shooting: it was filmed on iPhone 5s with color filters and uses the music from SoundCloud.

The Slow Business of Going, directed by Athina Rachel Tsangari, USA, Greece, 2000, 101 min.
Petra Going doesn’t know what “home” is. As Global Nomad Project representative she travels the world, generating and transmitting memories through the built-in camera back to the Experience Data Agency. The GNP clients use these memory archives to feel nostalgic about their personal or someone else’s lives. However, the personnel of GNP cannot use the memories, they are supposed to be mere containers of those (to witness, but not to live through). Petra travels to different cities and places, she witnesses, encodes, stores, and downloads… Nevertheless, one day, in defiance to the strict rules, her personal memories break free. Athina Rachel Tsangari’s audacious directorial debut in The Slow Business of Gowing amounts up to 5 years of hard work, to a mix of lyricism and parody, to a patchwork of biographies, geographies, genres, and ideas. Visually, the film is closer to Tsangari’s short film Fit (demonstrated at 2morrow’s Weekend Program), rather than to Attenberg or Chevalier. However, the maniac desire for cataloguing human existence, which now seems to be the major theme of Tsangari’s art, seems to reach its absolution in The Slow Business.

Erste Ehe / Portrait of a Married Couple, directed by Isabelle Stever, Germany, 2002, 92 min.
Dorit and Alex, a young couple, hold a wedding reception and conflicts arise every moment. She is a painter, he is a writer. Since both lack self-confidence, they are quite egoistic. During one night they experience ups and downs of their emotionally bright and destructive relationship. They torture each other in public continuously. Portrait of a Married Couple is an impossible love-story where two people take on every kind of suffering to prove they are still alive.

Requiem für etwas, das sehr klein ist / Requiem for something which is very small, directed by Isabelle Stever, Germany, 1997.
The bourgeois couple Esther and Michael have got themselves caught up in a seemingly ironic game of power, provocation and sexuality. Esther is already on the brink of madness when a young artist arrives. Requiem for something which is very small is a psychological horror-drama, with a cultural-political morale, and musical interludes.
Weekend. Sequel
Within the framework of the Festival this section works as an echo of 2morrow’s Weekend short films. We will screen some memorable short films as an addition to the feature films. Among them are previous works of the directors (Adrian Sitaru’s Best Intentions, Marcus Lindeen’s Glorious Accidents, Matthew Porterfield’s Hamilton), as well newly made films (Ben Rivers’ The Sky Trembles and the Earth Is Afraid and the Two Eyes Are Not Brothers, Miki Polonski’s 1 Building and 40 People Dancing). Nothing comes to a full end, there is always a continuation – to films, to weekends and to the festivals.
1 Building and 40 People Dancing, directed by Miki Polonski, Israel, 2015, 48 min.
Across from the municipal music hall in Bat-Yam, there is a large, run-down concrete building. It was built as part of the public housing project in the 50s, and most of the tenants have been living there since. They tell their stories, but sometimes they keep silent about their losses, they seem normal, but sometimes one can hear the voice of insanity deep down inside them. In his documentary like in his short film Miki Polonski comes from his personal experience and tells a story of the people and the building that became dear to him many years ago.

Asara Rehovot Mea Etsim / Ten Buildings Away, directed by Miki Polonski, Israel, 2015, 24 min.
There are two brothers living in an ordinary house in an ordinary city suburb. Enclosed within the ordinary walls, windows, and family problems, they run away to the places with roads and bridges to take part in dangerous competitions. It is important for them to prove to themselves and to others that even if there is no sense in an ordinary day, at least there takes place a certain adventure. However, one night will be different from the rest of the nights. While rendering his autobiographical story, young Israeli director Miki Polonski draws a harsh and honest picture of city loneliness and masculine coming of age.

Arta / Art, directed by Adrian Sitaru, Romania, 2014., 19 min.
A film director and a camera operator are having auditions with an underage actress. They let the girl’s mother know in detail that there will be a tricky moment in a movie: the girl is supposed to play an underage prostitute. She’ll need to lick a lollypop, kneel on all fours, sway her hips. However, there will be nothing of criminal kind, no direct violence. And all of this is for art’s sake. This is Art. Meanwhile, if the girl is lucky enough, she might go to Cannes or even to the Oscars Ceremony. A finely-made self-ironical short film of Adrian Sitaru makes the audience think of the author’s moral responsibility, and the director’s manipulations, or just makes one enjoy the film and have a good laugh. The short film is strongly recommended for the fans of Romanian New Wave.

Hamilton, directed by Matthew Porterfield, USA, 2006, 65 min.
This motion picture is a chronicle of two summer days in the life of a young recent family. Lena is 17, yesterday she was a child herself, but now she’s become a mother. The child’s father is Joe, and Lena lives with his parents. Joe has rented an apartment in the neighborhood and has two jobs to support Lena and their child with money, but not with his time and presence. Lena tries to get to see him before he leaves Baltimor for a month. It’s a simple, minimalist story for mere contemplation. Long days, summer sun, wet heat in the air, the sounds of birds, insects, cars, and lawn mowers – everything is filled up with summer melancholy. The New Yorker has called Matthew Porterfield’s debut feature film one of the finest recent American independent films.

Take What You Can Carry, directed by Matthew Porterfield, USA, 2015, 30 min.
Take What You Can Carry is a picture of a North American young woman Lilly who lives in Berlin. She thinks neither of her motherland, nor of her future. She moves through the worlds and places that she can’t identify with, she doesn’t stick to locations, or people. She learns to express her feelings and doubts without words, by means of a dancing performance. Matthew Porterfield’s narrative seems to be influenced by Georges Perec’s Species of Spaces and by the Berlin School. This might be the reason why one of the brightest representatives of the Berlin School Angela Schanelec episodically appears on the screen.

The Sky Trembles and the Earth is Afraid and the Two Eyes are not Brothers, directed by Ben Rivers, UK, 2015, 98 min.
This film is an adventure, a hallucination, and a labyrinth at the edge of documentary, fantasy, and a legend. While shooting incredibly beautiful landscapes (from the roughness of the Atlas Mountains to the solitude of Moroccan Sahara), Ben Rivers seems to dig into the illusionary nature of cinema. Rivers interweaves the Paul Bowles text fragments with the shooting scenes of the Olivier Laxe new film to deconstruct our ideas on authorship once again.

“The Sky Trembles and the Earth Is Afraid and the Two Eyes Are Not Brothers” is actually a line taken from “A Distant Episode,” a 1947 short story by Tangiers-based American expat Paul Bowles.

Things, experimental, directed by Ben Rivers, UK, 2015, 20 min.
Ben Rivers who works at the boundaries of cinema and contemporary art and who is otherwise called “the British Apichatpong” has shot many films about the characters isolated from the whole wide world. This time he creates his self-portrait by means of the pictures, objects, books, and sounds that are dear to him and that surround him in his house. The avant-garde director welcomes the audience in his private world and lets them travel around the rooms of his house as if they were the labyrinths of consciousness. We stumble across flares and downfalls of memories, story fragments, and texts. This is another film in the competition program inspired by Georges Perec (here, by his Les Choses in particular) and by Alain Robbe-Grillet’s “chosisme”.

Accidentes Gloriosos / Glorious Accidents, dir. Marcus Lindeen, Mauro Andrizzi, Sweden, Denmark, Argentina 2011; 58 min.
Car crashes are instant art and sculptures made in seconds. At least to a certain Buenos Aires photographer, who spends his nights driving through the city in search of capturing the perfect accident. Meanwhile, another man is trying to find a legendary cock sucker who hides somewhere in the dark rooms of a gay sex club. Accidentes gloriosos tells nine different stories of death and transformation. From the man who undergoes a heart transplant and wakes up with new and strange artistic powers, to the woman who receives a last letter from her husband, written just before he freezes to death in one of history’s most dramatic polar expeditions.

Dear Director, documentary, directed by Marcus Lindeen, Sweden, 2015, 14 min.
In 1980 a jazz pianist Kazzrie Jaxen saw Ingmar Bergman’s From the Life of the Marionettes and had a realization that she is not alone in her body. After that her life has changed completely. She described her metamorphoses in 16 pages and sent those over to the great Ingmar Bergman. 35 years later young director Marcus Lindeen found Kazzrie’s letter in the archives and suggested she should inact it. A hybrid film makes use of the document, reconstruction, and fantasy to tell the audience how one could get to know both oneself and the Other.