TIFF NEWS
Submited DocuTIFF 2017 » SUBMISSIONS DOCUTIFF 2017 TIFF web 350 films 117 shorts 82 mid-length + 152 feature) FilmFreeWay 2061 films 1333 shorts 351 mid-length + 377 feature) Festhome 206 films 111 shorts 35 mid-length + 60 feature) FilmFestivalLife 92 films 51 shorts 17 mid-length + 24 feature) Click4Festivals 110 films 56 shorts 24 mid-length + 30 feature) Movibeta 89 films 51 shorts 17 mid-length + 21 feature) Distributor 80 films 22 shorts 8 mid-length + 49 feature) _____... SPECIAL PROGRAM » SPECIAL PROGRAM 3rd edition DocuTIFF 2017   PANORAMA 1. André Villers, a Lifetime in Images by Marketa Tomanova | 2015 | Czech Republic, France | 62' 2. Born of Stone by Emilio Bellu | 2016 | Italy, Czech Republic | 15' 3. Cab Elvis by Andrew Franks | 2016 | USA | 11' 4. Korida by Siniša Vidović | 2016 | Austria | 87' 5. Offshore by Werner Schweizer | 2016 | Switzerland | 102' 6. Operation Wedding by Anat Zalmanson-Kuznetsov | 2016 | Israel | 62' 7. The Most Important Boy in the Wor... OFFICIAL SELECTION DocuTIFF 2017 » OFFICIAL SELECTION 3rd edition DocuTIFF 2017     FEATURE 1. Next Stop-Utopia by Apostolos Karakasis | 2016 | Greece | 91' 2. Pavlensky – Man and Might by Irene Langemann | 2016 | Germany | 99' 3. Radio Kobani by Reber Dosky | 2016 | Netherlands | 72' 4. Shingal, Where Are You? by Angelos Rallis | 2016 | Greece, Belgium | 103' 5. Stranger in Paradise by Guido Hendrikx | 2016 | Netherlands | 72' 6. Swagger by Olivier Babinet | 2016 | France | 85' 7. Tempestad by Tatiana Huezo | 2016 |... FESTIVAL RULES & REGULATIONS DocuTIFF 2017 » Entries of documentary films are invited to take part in competition in all formats of video and digital. All running times, topics, style and production technologies can be submitted. The director/producer with the submission of his/her application accepts the terms of the Festival and has no objection to the submission process, screening, and election of prizes. The director/producer with the submission of the film affirms that he/she has all the copyrights of audio, video, images and music ... DocuTIFF 2017 » 3rd edition DocuTIFF 2017 TIRANA INTERNATIONAL DOCUMENTARY FILM FESTIVAL DocuTIFF is exited inviting filmmakers to submit their films in the third edition of 2017 festival, which will take place in Tirana, May, 10-17, 2017. DocuTIFF invites all documentaries from established and debut filmmakers alike to apply their feature, mid length and short films in International Competition and In Albanian Competition. DocuTIFF aims to encouraging documentary film production in Albania and to give... Awards Docutiff »   FEATURE JURY composed by Rada Šešic (Croatia), Agostino Ferrente (Italy) and Nikola Vukcevic (Montenegro) awards:   BEST FEATURE FILM Tempestad by Tatiana Huezo | 2016 | Mexico | 105'   The director who takes the audience on a contemplative and cinematically superb, poetic journey of exploring fear, corruption, social injustice and above all - the human strength to deal with and overcome misfortune of someone's destiny.   Regjisori, i cili e çon audiencën në një udhëtim kinematogr...
Tuesday, 23 May 2017
News 2014
DocuTIFF is excited to open submissions for the 2015 festival
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DocuTIFF is excited to open submissions for the 2015 festival, which will take place for the first year in Tirana, this coming May, 9–13, 2015.

The need of this New Festival creation was born after large application number sent during the 12th edition of TIFF 2014. There were about 5,400 films in all categories. It was impossible to show all these qualitative films at TIFF and that is the reason why we thought to devide and create every year new competition for each category such as DocuTIFF, AnimaTIFF, ExpoTIFF, for documentary film, animated and experimental one.

 

We choose to begin with documentary film as need of favorable climate creation in Albania and wider in region for development and cooperation of such productions.

 

DocuTIFF aims to encouraging documentary film production in Albania and to give more chances to our filmmakers finding cooperation and enabling mutual contacts with their colleagues in our region.

 

This edition of DocuTIFF is organized by Tirana Film Institute, Adriapol and Albania Art institute under the auspices of the Albanian National Center of Cinematography (QKK) and with the support of the Ministry of Culture of Albania.

 
Awards 2014
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BEST AUDIENCE

CROSSING by Amos Ezra Katz | Fiction | Singapore

 

 

INTERNET VOTE

BEST FEATURE - TERMITARIA by Joseph Israel Laban | Philippines

BEST SHORT FICTION - CHILD K by Roberto De Feo & Vito Palumbo | Italy

BEST SHORT ANIMATION - WHAT REMAINS by Liv Scharbatke | Germany

BEST SHORT DOCUMENTARY - SILENT CHAMPIONS by Lulzim Sula | Albania

BEST SHORT EXPERIMENTAL - HAPPY THOUGHTS by Layke Anderson | UK

BEST FILM IN ALBANIAN - THE DIARY OF DREAMS by Xhulio Joka | Fiction

 

 

MEDIA AWARD

The Jury composed by Jonida Shehu, Rezear Xhaxhiu and Albert Dumani

 

”VRASJA E NJË FEMIJE VRET GJITHË FËMIJËT E BOTËS “

Një dramë familjare që rrëfen me gjithë fuqinë e saj, se si ajo u kthye në dramën e një kombi, kur ngjarja i shërbeu regjimit hitlerian për atë që më pas do të shndërrohej në fushatën më tragjike të njerëzimit: shfarosjen e fëmijëve të sapolindur me aftësi të kufizuara që konsideroheshin si të padenjë për racën ariane.

Çmenduria e një babai që donte domosdoshmërisht një djalë të fuqishëm për të projektuar të ardhmen e familjes së tij ngacmoi çmendurinë pa limit të një lideri si Hitleri, i cili më pas do ta kthente në obsesion idenë për një komb dhe racë superiore.

Përmes kësaj ngjarjeje të vërtetë del në pah ironia e historisë në vetvete, se ngjarje që kanë ndryshuar rrjedhën e fatit të miliona njerëzve kane nisur nga një ide e çmendur dhe banale, e një personi të panjohur në një vend të humbur .

Ky film nxjerr në sipërfaqe faktin se ngjarjet e mëdha dhe tronditëse të një kombi nganjëherë dhe jo rastësisht e kane zanafillën nga çmenduritë dhe pasionet e vogla të njerëzve të zakonshëm. E gjithë kjo ironi e dhimbshme historike vjen te “CHILD K” përmes një gjuhë të thjeshtë filmike në pjesën e parë, por që tregon qartë jetën e zakonshme të një fshatari gjerman , për të kaluar me pas në një tjetër dimension, që shkon paralel me përmasat dramatike qe merr historia e fshatarit Richard Kretschkopf.

Dhe ky çmim shkon për:

CHILD K by Roberto De Feo & Vito Palumbo | Fiction | Italy

 

‘‘THE MURDER OF A CHILD, KILLS ALL THE CHILDRENS OF THE WORLD“

One family drama which recounts with all power how it returned to the drama of a nation, when the event served the Hitler regime for what would become the most tragic humanity campaign: the annihilation of the newborn children’s with disabilities, perceived as ignoble of the Aryan race. The madness of a father who definitely wanted a son potent enough to project the future of his family, urged the madness of a leader like Hitler who later would turn this idea in an obsession, the idea of a superior nation and race. Through this real event emerges the irony of the history itself that events that had changed the course of the fate of millions of people, have started from the crazy and banal idea of an unknown person in an unknown country. This movie brings to the surface the fact that large and shocking events of a nation and not coincidentally sometimes originate from the small passions of ordinary people. Throughout this painful historical irony comes in "child k" through the use of a simple language but that clearly shows the usual life of a German peasant, switched to another dimension that runs simultaneously with the dramatic story of the peasant Richard Kretschkopf.

And this award goes to:

CHILD K by Roberto De Feo & Vito Palumbo | Fiction | Italy

 

 

BEST FILM IN ALBANIAN

The Jury composed by Odeta Çunaj, Sonila Demi dhe Kamuran Goranci

 

Për gjetjen e strukturës dhe stilit vizual krejtësisht origjinal dhe koherent në shprehjen e një revolte komplekse dhe abstrakte brenda individit, duke e bërë këtë të kuptueshme e të prekshme në të gjitha kohërat. Ky çmim shkon për:

PASIGURIA nga Lediona Kasapi | Experimental

 

For finding a structure and visual style both original and coherent in expressing a complex and abstract inner revolt, making it comprehensible and touchable always.

INSECURITY by Lediona Kasapi | Experimental

 

 

BEST FIRST FILM RON HOLLOWAY

By the organizers

 

Film fluid me një ritëm dhe temp të shkëlqyer, një rrëfim që rrjedh natyrshëm dhe arrin ta bëjë secilin shikues të lidhet me ngjarjen dhe të përjetojë te gjitha ndryshimet emocionale që përjeton personazhi kryesor. Një mënyrë tejet e sofistikuar dhe inteligjente e paraqitjes së “ngrohtësisë“ së nevojave emotive të njeriut që i kundërvihet “ftohtësisë“ burokratike të sistemit. Ky çmim i jepet:

GROUNDED by Alexis Michalik | Fiction | France

 

Fluid film with an excellent rhythm and pace, a naturally flowing narrative that manages to create a connection between each viewer with the story so that he can experience the emotional changes the main character experiences. A highly sophisticated and intelligent presentation of emotional "warmth" that human needs that opposes the "coldness" bureaucratic system. This award goes to:

GROUNDED by Alexis Michalik | Fiction | France

 

 

 

BEST BALKAN FILM

Curated by AltCine and Elektra Venaki

 

 

Për  saktësinë e tij në përshkrimin e realitetit në lidhje me problematikat adoleshenciale, për skenarin, stilin e narracionit dhe ritmin duke marrë parasysh kushtet në të cilat produksionet multi-ballkanike realizohen. Çmimi i Filmit më të mirë Ballkanik i shkon filmit:

HOLIDAY AT THE SEASIDE nga Cristina Grosan | Fiction | Bosnia- Herzegovina

i prodhuar nga “Qyteti i Sarajevos” me një grup xhirimi boshnjak dhe regjisore rumune.

 

For its accuracy in depicting the reality and the concerns of the adolescence, for the scenery, narrative style and pace in addition to the multi-Balkan conditions of production, the Balkan Best film award goes to:

HOLIDAY AT THE SEASIDE by Cristina Grosan | Fiction | Bosnia- Herzegovina

produced by City of Sarajevo, with Bosnian crew and Romanian Director

 

 

INTERNATIONAL SHORT CATEGORY

The Jury composed by Sasho Pavlovski, Daniele Greco and Kushtrim Bekteshi

 

 

BEST SHORT EXPERIMENTAL

Duke përdorur metoda eksperimentale, nëpërmjet një stili të pasur ekspresiv, autori mrekullisht ia del të nxjerrë në pah të gjitha gjërat e vogla që nganjëherë na duken të parëndësishme. Përmes jetës së një çifti të dashuruar, ne mund të kapim të gjitha detajet, emocionet, afeksionin, lëvizjet, qe i japin kuptim më të thellë ëndrrave të tyre.

Ky çmim shkon për:

y2o {i distiluar} by Dominique T. Skoltz | Kanada

 

Using experimental tools, with a rich expressive style, the author marvelously succeeds to point out all the small things that sometimes we think are not important. Through the life of a loving couple, we are able to see all the detailed touches, emotions, affections, movements that give deeper meaning to their dreams.

y2o {distilled} by Dominique T. Skoltz | Canada

 

 

BEST SHORT ANIMATION

 

Çdo individ është unik në këtë botë. Ne jemi të gjithë një mrekulli e papërsëritshme. Të shkurtër apo të gjatë, të dobët apo të fortë, të bukur apo më pak të bukur, ne vimë në këtë botë si fitimtarë të një gare të gjatë dhe të mundimshme, mes miliona spermatozoidësh. Ja pse ne duhet t’i gezohemi kësaj jete të bukur. Kjo histori e shkëlqyer dhe optimiste, e krijuar nga një autor fantastik, përcillet tek audienca nëpërmjet animacionit mbresëlenës 3D. Ky çmim shkon për:

JETA ËSHTË E BUKUR NGA Ben Brand | Animation | Hollandë

 

Every individual is unique in this world. We are all one unprecedented miracle. Short or tall, weak or strong, beautiful or less beautiful, we came to this world as winners of long and tough race of million of sperms. That is why we should enjoy this beautiful life. This wonderful and optimistic story is transferred to the audience by an excellent author, through an impressive 3D animation.This award goes to:

LIFE IS BEAUTIFUL by Ben Brand | Netherlands

 

 

 

BEST SHORT DOCUMENTARY

 

Autori i këtij filmi dokumentar në një mënyrë të shkëlqyer ka arritur të na paraqesë një histori të thellë emotive nëpërmjet poezisë së imazheve, në heshtje, pa përdorur fjalë, por duke arritur efektin e klithjes. Filmi reflekton mrekullinë e aktit të faljes përmes personazhit, i cili pas gjithë atyre torturave të tmerrshme që ka përjetuar, në vend të hakmarrjes dhe urrejtjes ai zgjedh jetën dhe dashurinë. Dokumentari më i mirë shkon për:

VRAGËT E KAMBOXHIAS nga Alexandre Liebert | Francë

The author of this documentary film, succeeds in an extraordinary way, through a poetry of picture, to expose one deep and emotional story, without words, in silence, but louder than any scream. The film reflects the greatness of the act of forgiveness, through a character, which besides all of the horrible tortures conducted on him, chooses life and love instead of revenge and hatred.  The best documentary goes to:

SCARS OF CAMBODIA by Alexandre Liebert | France

 

 

 

BEST SHORT FICTION

 

Trajtim i guximshëm dhe kreativ i temës së racizmit, ksenofobisë, agresionit, intolerancës dhe paragjykimit… Ato duken sikur janë pesë gishtat e një dore të mbledhur grusht, që godet fuqishëm publikun duke e ballafaquar me këto probleme aktuale që po shqetësojnë shoqërinë moderne në të gjithë globin. Individi i vënë nën presionin e këtyre rrethanave nuk është në gjendje për të bëre një zgjedhje racionale, kështuqë fati tragjik i tij është i pashmangshëm.

RED HULK nga Asimina Proedrou | Greqi

 

 

Brave and creative treatment of themes like racism, xenophobia, aggression, intolerance and prejudice… they look like five fingers of one hand enclosed into a fist which blows a strong hit to the audience and confronts it to the actual problem which disturbs the modern society in the whole world. The individual who is pressed by these circumstances is not in condition to make a rational choice, so its tragic destiny is predicted.

RED HULK by Asimina Proedrou | Greece

 

 

FEATURE CATEGORY

The Jury composed by Elma Tataragic, Regina Longo and Gabor Pinter

 

BEST EDITING “LUC BARNIER”

Kërkimi i dashurisë dhe i punës mund të jetë paralizues, por në duart e sigurta të kësaj historie mund të jetë plot me energji kinetike, që fton spektatorin të mbajë ritmin me zhvillimin filozofik të protagonistes. Për reflektimin e hollësishëm të studiuar mirë, çmimi për montazhin më të mirë i shkon:

Daniel Stephan

Për filmin  LOVE ME (Dashuromë) nga Philipp Eiccholtz | Fiction | Germany

 

 

The search for love and employment can be paralyzing, but in the right hands this type of story can be full of kinetic energy that invites the viewer to keep pace with the philosophical development of the protagonist. For its fresh take on the bildungsroman, the award for best editing goes to:

 

Daniel Stephan

for the film LOVE ME (Liebe Mich) by  Philipp Eiccholtz | Fiction | Germany

 

 

 

BEST CINEMATOGRAPHY

 

Për përqasjen e mençur dhe intriguese, në perceptimin e frymëzimit të marrë nga pikturat e së shkuarës në një mënyrë unike të të parit boten, çmimi Fotografia më e mirë në Festivalin e Filmit të Tiranes i shkon:

drejtorit të fotografisë Jimmy Gimferrer

për filmin FALLING STAR

 

For the mature and intriguing approach to transposing the inspiration offered by period paintings into a unique visual world,  The Best Cinematography Award of the Tirana Film Festival goes to:

Cinematographer Jimmy Gimferrer

for the film FALLING STAR | Fiction | Spain

 

 

 

BEST SCREENPLAY

 

Çmimi i skenarit më të mirë i jepet filmit që sjell një histori të rëndësishme për shoqërinë tonë gjithmonë e përkushtuar drejt suksesit dhe fitimprurjes materiale. Ky skenar është i përpunuar, i thellë, me një ekuilibër ndërmjet jetës profesionale dhe personale të personazhit kryesor, që na ve në tension të ndjeshëm në çdo fushë të jetës, ndërkohë që ai vetë zhytet në dëshpërim. Çmimi i shkon për:

Antonio Morabito, Michele Pellegrini dhe Amedeo Pagani

Për filmin SHITËSI I ILAÇEVE

 

The Best Script Award is given to the film, which brings an important story for our societies preoccupied with material gain and success. This screenplay is elaborate, deep, with a nice balance of character's professional and personal life, building palpable tension in each sector as he shifts to desperation. The Award goes to:

 

Antonio Morabito, Michele Pellegrini, Amedeo Pagani

for the film THE MEDICINE SELLER (IL VENDITORE DI MEDICINA) | Fiction | Italy

 

 

 

BEST DIRECTOR

 

 

Për përdorimin e rafinuar të simboleve dhe ironisë në përshkrimin e vetmisë dhe izolimit në një film historik, çmimi për regjinë më të mirë në Tirana Film Festival shkon për:

Luis Miñarro

për filmin e tij FALLING STAR

 

 

For the refined use of symbols and irony  in depicting solitude and isolation in a period drama the best directing award of the Tirana Film Festival goes to:

 

Luis Miñarro

for his film FALLING STAR | Fiction | Spain

 

 

BEST FEATURE FILM

 

Çmimi për Filmin më të mirë i shkon filmit që jo vetëm është i realizuar mirë, plot stil dhe me një histori emocionuese, por reflekton një portret social të shoqërisë së korruptuar në të cilën përfitimi vendoset mbi dekadencën njerëzore. Ky film është një portret i hidhur iI korrupsionit të ndërmarrjeve i mbështetur nga një lojë shumë e mirë aktorësh, skenar të shkruar me kujdes dhe mbi të gjitha me mesazhe të qarta. Çmimi shkon për:

SHITËSI I ILAÇEVE

prodhuar nga Amedeo Pagani me Regji nga Antonio Morabito

 

 

The Best Film Award goes to the film which is not only a well made, stylish and exciting drama, but also a socially engaged portrayal of a corrupt society in which profit is put above human decency. This film is a bitter portrait of corporate corruption, backed by outstanding performances, well-written script and above all important message. The award goes to:

 

THE MEDICINE SELLER (IL VENDITORE DI MEDICINA)

produced by Amedeo Pagani & directed by Antonio Morabito

 

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Opening speech - TIFF 2014 (12'th edition)
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"MAY WE BE AS ORIGINAL, INNOVATIVE, AND CLOSE TO YOU, OUR AUDIENCE, AS POSSIBLE"!!

 

Javier Angulo, the director of one of the oldest film festivals in the world, the Valladolid Festival, has not only launched a substantial amount of cinematic careers but has masterfully combined fantastic screenwriting with fresh new talents to produce wonderful work. It is only fitting, therefore, that I quote his words below:

 

“If the nature of great cinematic masterpieces is cyclical, then so it is with film festivals worldwide.”

 

That is exactly what I would like to do today, to repeat something I’ve written years ago when I returned to work on TIFF, just as I returned to it now following the professional exit of my colleague, Butka, who is lending his talents elsewhere for the time being. And what does all this leave us with? Well, with a lot of time, a lot of change, a lot of years. And yet, one thing will always remain the same and that is this wonderful film festival.

 

To paraphrase our slogan: think differently, see alike. This makes sense in the context of this festival, as our directions may change, but TIFF does not.

 

While we can’t keep track of this festival in terms of days, the years since its inception are not yet overwhelming, even as the number of our supporters and friends inflates substantially.

 

TIFF: In 2003, I witnessed its creation, amid the enthusiasm and love that typically surrounds a birth, even as its longevity was already being questioned.

 

As all living and breathing entities, TIFF has gradually journeyed towards maturity, with all the highs and lows that that entails, and with a desire to emulate the best, but carrying the weight of its legacy and responsibility.

 

Although it has been susceptible to all sorts of viruses, metaphorically speaking, TIFF has managed to weaponize its passion for breathing life into those who wish to think differently, but see alike.

 

It is these very people who, every year, reciprocate this passion by ensuring that TIFF continues the journey it started 12 years ago.

 

TIFF has a mission and its mission is clear: to fan the inextinguishable flame of our collective creative energies, now and always.

 

It gives me great pleasure to see that this edition of TIFF has not lost its league of loyal followers that bring such intensity and enthusiasm to our efforts.

 

The winner of last year’s edition, Simone Salvemini, who also competed in the very first edition of TIFF and is currently in the process of directing his first feature film, is a wonderful example of the impact that a film festival can have in a young artist’s career.

 

Today, TIFF celebrates its 12th anniversary. It may sound like a long time, but compared to its counterparts, such as the 70-year old Cannes or Venice film festivals, we still have a lot of work to do.

 

However, it is worth stating that its longevity or its finances should not determine a film festival’s integrity. Even the aforementioned international festivals are not to be exhibited or ranked hierarchically based on their logos.

 

In its beginnings, TIFF had only a tentative hold on survival, as it attempted to attract a large audience regionally and internationally, a target that has been successfully reached in the past couple of years. This year, TIFF welcomes five thousand four hundred and sixty four candidates from 107 nations. Imagine what this means: that from these 107 places worldwide, amid hundreds of better and better financed offers, they chose our festival as this ultimate destination to receive their cinematic evaluations.

 

We would only be too glad to offer these candidates larger budgets, to finance and enable their work, not just in the context of this festival but also in that of our wonderful city and the colossal development that it has undergone in the past 2 years.

 

However, after more than a decade, it is essential that the value of such an international film festival is not measured merely quantitatively or statistically; we must also take pride in the directorial debuts TIFF has helped launch and the affirmation it has received from so many wonderful artists that have seen and continue to see TIFF’s potential as a forum for innovative ideas and experimental cinema.

 

Today, globalization has unified directors worldwide in the themes they choose to explore through their cinematic efforts, while revolutionizing our modes of artistic expression.

 

This collision of grand themes within brisk, intelligent cinematic pieces is very well represented this year.

 

Henceforth, TIFF 2014 is officially upon us! May we be as original, innovative, and close to you, our audience, as possible!!

 

Sincerely,

Mr. Agron Domi

Director of the Festival

Read more...
 
EXPERIMENTAL Category - INTERNATIONAL SHORT COMPETITION
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1. Among The Innocent by Louis Mansfield | Experimental | USA | 7’

2. Cracks by Alex Pachón | Experimental | Spain | 4’

3. Happy Thoughts by Layke Anderson | Experimental | UK | 14’

4. Ingredients by Norika Sefa | Experimental | Kosova | 8’

5. Lesson by Mehdi Boostani | Experimental | Iran | 15’

6. Night Light by Choukrallah Noha | Experimental | Belgium | 13’

7. Our Skin Is Going To Gray by Ivan Bakrač| Experimental | Serbia | 12’32’’

8. Pillow Girl by Ronnie Cramer | Experimental | USA | 6’

9. R1138 by Sebastian Natto | Experimental | Germany | 8’

10. Y2o {distilled} by Dominique T. Skoltz | Experimental | Canada | 11’

 

 
ANIMATION Category - INTERNATIONAL SHORT COMPETITION
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1. Clockwork Heart by Manuel Sumberac | Animation | Croatia | 9’

2. First Fish by Veronika Göttlichová | Animation | Czech Republic | 13’25’’

3. Framed by Evgenia Gostrer | Animation | Germany | 5’

4. Life Is Beautiful by Ben Brand | Animation | Netherlands | 8’37’’

5. Love And Vehicles by Drasko Ivezic | Animation | Croatia | 14’

6. Mr. Plastimime by Daniel Greaves | Animation | UK | 9’42’’

7. Photo by Mashaallah Mohammadi | Animation | Iran | 3’

8. Swan by Oleksandr Danylenko | Animation | Ucraine | 4’

9. The Day Of The Bleeding Gums by Dimitar Dimitrov | Animation | Bulgaria | 4’50’’

10. What Remains by Liv Scharbatke | Animation | Germany | 5’12’’

 
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