International Debut Feature Film Competition

International Debut Feature Film Competition

»TO THOSE OF US IN THE INDUSTRY WHO ARE STILL FOOLISHLY CLINGING TO THE IDEA THAT FEMALE FILMS WITH WOMEN AT THE CENTRE ARE NICHE EXPERIENCES. THEY ARE NOT. AUDIENCES WANT TO SEE THEM AND, IN FACT, THEY EARN MONEY. THE WORLD IS ROUND, PEOPLE.«
CATE BLANCHETT AT THE OSCARS 2014

Th e Cologne-based International Debut Feature Film Competition has for years now off ered a highly acclaimed platform for the next generation of world-renowned women fi lm directors. Th is year, eight exceptional debut feature fi lms will again be on display, having been shortlisted from over 120 international fi lm debuts of the last two years. Of that eight, the festival proudly presents fi ve of them as fi rsts for Germany – including, as the opening fi lm, the award-winning tragicomedy The Amazing Catfish from Mexico. Th e other nominees come from Austria, Chile, France, Romania, Russia, Senegal and Spain. Th e directors tell stories of childhood and family, identity and belonging, often against the backdrop of the global economic crisis, with stunning visuals and, surprisingly often, with pleasing brevity.
Th e Senegalese-French production Under the Starry Sky by Dyana Gaye retraces the migration experiences of three members of a Senegalese-born family. As a viewer, you palpably feel the complications and huge demands of life in migration, with the characters not losing their resilience. In The Amazing Catfish, Claudia, a lonely young woman, becomes the nurse and confi dante of Martha, the seriously ill but strong mother of four children. Claudia Sainte-Luce’s autobiographically tinged debut is a joyous and moving tragicomedy. Similarly, The Magnetic Tree by director Isabel Ayguavives narrates poetically and humorously of both the security and the confi nement that family relationships entail. A family reunion in the country acts as a farewell to the beloved holiday home – a magical place which evokes many fond memories and now to be sold. The third Spanish-language entry, The Plague uses the short-cuts principle to accompany fi ve fascinating protagonists who live on the outskirts of Barcelona. It’s a hot summer and a plague of insects is ruining the harvest. In an impressive hybrid pitched between documentary and fi ction, Neus Ballús observes in meticulous detail the routines put in by amateur actors while saying a lot about Spain and, ultimately, Europe.
Th e story of the aff air behind Sense of Humour marks the directing debut of French actress Marilyne Canto, also seen here in the lead role of Elise. Th e museum worker lives alone with 10-year-old son Leo, and her aff air with Paul is somehow stuck in chaos. She veers between an attraction to Paul and the need to dump him. With clarity and concision, Ms Canto shows the diffi culties of creating a relationship when one is no longer twenty.
Three of the women directors deliberately place children at the centre of their films. Inspired by a true encounter, Eva Pervolovici tells the story of Marussia and her mother Lucia. Since they arrived in Paris from Moscow, they have been wandering with their rolling suitcases through the city. But Lucia is determined not to let things get her down. Meanwhile, the 11-year-old Matei in the Romanian entry Matei Child Miner has no safe haven either. He lives with his grandfather because the parents are away working in Italy. After an argument, he drops out of school and runs away. Alexandra Gulea finds beautiful, tranquil images and humour even in the darkest moments. Unsentimentally, she tells Matei’s story as representative for many children in Romania who grow up without parents due to the force of circumstances.
Talea is the Austrian debut of Haneke student Katharina Mückstein. It is the story of an awkward rapprochement between the teenager Talea and her mother Eva who is attempting to get back on the rails after serving a prison sentence. And so, in order to nourish her insatiable longing for closeness, Talea brings on a weekend break with Eva.