at the Cannes International Film Festival 2011


Dan Wechsler Switzerland


selected by Swiss Films


Bord Cadre films Geneva, Switzerland cell +41 79 411 9387 info@bordcadrefilms.com www. bordcadrefilms.com


In 2004, Dan joined forces with film director Laurent Nègre to establish Geneva-based Bord Cadre films. He initially produced a number of shorts, before producing Nègre‘s first feature film fragile. Dan has since served as the Swiss co- producer on Cristi Puiu‘s Aurora and also produced Nègre‘s second feature Opération Casablanca as well as co- producing Isaki Lacuesta‘s Los Pasos Dobles.


What kind of films and genres are you interested in? I am mainly interested in social and politically committed movies: thrillers, dramas and comedies.


What do you want to get out of PRODUCERS ON THE MOVE and Cannes this year? I’m looking forward to expanding my network and building new relationships among the young producers who contribute to the current European film industry. I’m also curious to discover how other European producers develop and finance their next films


What do you think are the main challenges facing the European film industry over the next five years - and how can we meet them? The film audiences are changing their habits every day, consuming more films at home and going less to the cinema. Furthermore, independent European productions have to face strong worldwide competition to get their films into the cinemas. The challenge for the European film industry is to keep producing and distributing original and quality content for the international market as well as to maintain and increase audiences via new distribution schemes and any (technological) means.


with the support of the EU MEDIA Programme


Hlín Jóhannesdóttir Iceland


selected by Icelandic Film Centre


Zik Zak Filmworks Reykjavík, Iceland phone +354 511 2019 hlin@zikzak.is www.zikzak.is


Hlín has worked at Zik Zak Filmworks since 2000 and became a partner in the company in 2006. Her credits include over 20 film projects, ranging from three features by Dagur Kári to Larry Fessenden‘s The Last Winter and Fridrik Thor Fridriksson‘s Niceland. Hlín‘s co- production Volcano by Rúnar Rúnarsson has been selected for the Directors’ Fortnight sidebar in Cannes this year.


What kind of films and genres are you interested in? I‘m simply interested in good filmmaking, regardless of genres. However, I generally tend to prefer films that would be categorised as drama.


What do you want to get out of PRODUCERS ON THE MOVE and Cannes this year? I consider this a very good opportunity to do plenty of networking and get a closer insight into what other upcoming filmmakers are working on and thinking. I hope it will lead to some future working relationships/co-production partners.


What do you think are the main challenges facing the European film industry over the next five years - and how can we meet them? The challenges are always abundant, times are changing really fast these years and the model of financing and producing a film is, too. An important challenge is to maintain and increase the quality in filmmaking, and to make sure there is diversity – so that really strong films that leave something behind get made – and a lot of them. The access to a good film education is crucial and I also believe the funding system we have in Europe is absolutely vital.


Chouchkov Brothers Sofia, Bulgaria phone +359 2 9463 410 office@ch-bros.com www.ch-bros.com


In 2003, Borislav set up Chouchkov Brothers with his brother Viktor and co-produced Ivan Cherkelov‘s feature Crayfish and Liubomir Mladenov‘s Hunting Park. Recently, he produced Viktor‘s feature debut, Tilt, which won three awards at the 2010 Golden Rose Film Festival in Bulgaria. It opened on a record 31 screens in Bulgaria in February 2011, staying at the top of the national box- office for four weeks in a row.


What kind of films and genres are you interested in? In the first place, we look for good films. The “genre“ is not as important as what talent is involved.


What do you want to get out of PRODUCERS ON THE MOVE and Cannes this year? My goal is to meet and network with great colleagues and exchange experience and hopefully work together in the future. In Cannes, I will be looking for distribution partners for our latest film Tilt and co- producers for our next project 18% Gray.


What do you think are the main challenges facing the European film industry over the next five years - and how can we meet them? One main challenge for European film- makers is to convince the people in power how important it is to have the political will to support films. Another one is to strive to have a bigger share on our local markets for domestic films and European productions in general. We can achieve that not only by making good films, but also by being active in the public domain (in a way to be politicians ourselves) and making good PR and distribution campaigns for our films. In general, I am an optimist.


– part III May 16


Borislav Chouchkov Bulgaria


selected by Bulgarian National Film Center


Linda Krukle Latvia


selected by Baltic Films


KrukFilms Riga, Latvia cell +371 220 51060 info@krukfilms.com www.krukfilms.com


Linda founded her own film production and distribution company ART&A in 2006 and completed production on her first feature film Maris Martinsons‘ Loss two years later. In 2009, she returned to Latvia and set up a new company KrukFilms with Martinsons, realising the film project Amaya which was completely shot in Hong Kong. Linda is currently developing a new feature film Tempura with Martinsons.


What kind of films and genres are you interested in? The most important thing for me when choosing the film and genre, is the motive, the target of the story. I‘m interested in different genres - drama, comedy, as well as action.


What do you want to get out of PRODUCERS ON THE MOVE and Cannes this year? Opportunity.


What do you think are the main challenges facing the European film industry over the next five years - and how can we meet them? I think that one of the biggest challenges that the European film industry faces over the next five years is globalisation. I have the feeling that, due to the mixes of cultures, traditions, and nations, we may have changes to the patterns of cinematography. It will change the understanding, imagination, and expectation of what European film means. This might change the demands of the audience, sales, and so on. However, I hope that there won‘t just be talk about integration, but we will also have the opportunity to talk in the cinematic language we want.


EFP is supported by


financial partner


project partners


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