Open Season

With all 350 participants in this year’s Berlinale Talent Campus safely installed in Berlin, it’s time to ask what exactly they all are looking to achieve during the coming week. A sampling of opinions in the hostels and the three HAU locations south of Potsdamer Platz yielded the following responses, among others: “Sharing problems and finding solutions,” “Watching films,” “Meeting people from other countries who share my interests,” “Exchanging ideas,” “Making contacts for the future,” “Meeting producers interested in my work,” or “Meeting film-makers with interesting projects to produce.” Zara Hayes came from London with an unusual idea for a documentary-essay film. She is planning to “update” George Orwell’s “The Road to Wigan Pier”. That is, she wants to follow the same path taken by the British writer 70 years ago. What happened to the industrial north of England which Orwell depicted and analysed in 1937?

Moreover, what happened to the concept of “working class”? How has it changed over the years? Zara arrived two days ago and has already participated in the Concept Development Day, where she along with many others presented her projects and ideas. Everyone enrolled in the Script & Doc Station will have a chance to get feedback from other Talents, mentors and experts, and to discuss styles, methods and ideas. And, of course, to talk about their projects with producers. Projects at the Campus are in various stages of production. Some Talents come to Berlin with just an idea, some with a script, while others have already begun shooting. Sabrina Moreno, an Argentine filmmaker, is planning to shoot a road movie about the break-up of a family.

In the Script Station of the Campus she will have the chance to polish and improve her screenplay along with her mentor and other experts. Not everyone, however, comes to Berlin with an idea or a script for a film. Some come to... make one on the spot! Neveen Shalaby, an Egyptian editor, is participating in the Garage Studio of the Campus. She will have to make, along with her team, a five-minute film in one day. And if one day for five minutes seems a very short time, let’s not forget that Edgar G. Ulmer made a full-length feature film, THE DETOUR (1945) in seven days. So Neveen should be able to cope with the challenge. A week from now, we shall know if everyone’s goals and expectations were fulfilled. Let the show begin.

by Ezequiel Schmoller