at the Cannes International Film Festival 2011
João Trabulo Portugal
selected by ICA I.P. / Portugal
Periferia Filmes Lisbon, Portugal cell +351 91 780 2431
trabulo@periferiafilmes.com www.periferiafilmes.com
João started working with the producer Paulo Branco on films by such directors as Manoel de Oliveira and Pedro Costa. In 2004, he founded the production company Periferia Filmes, producing works by João Canijo and Filipa César, among
others.In 2010, João produced Canijo‘s Lusitanian Illusion and his own No Company and also co-produced A History of Mutual Respect by Gabriel Abrantes and Daniel Schmidt.
What kind of films and genres are you interested in? I believe in Bresson‘s idea when he states that every film should be a single object, rare and unique. All genres seduce me: fiction, experimental film, documentaries, etc. I like the idea that cinema can be the exception that proves the rule. It‘s in this vast and without limits territory I like to work.
What do you want to get out of PRODUCERS ON THE MOVE and Cannes this year? I am working on several projects right now with a big international dimension. Partnerships are useful, necessary, essential in the contemporary production panorama.
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 the European industry is currently going through an impasse climate in their production. In Portugal, where I work, the national production is almost stagnant and it is increasingly difficult to get private and public funding for films. We must diversify the offers, attract new audiences for the quality European films, and invest in training and education.
with the support of the EU MEDIA Programme EFP is supported by
Treasure Entertainment Dublin, Ireland cell +353 87 7925 683
rebecca@treasure.ie
In 2004, Rebecca established Rubicon Films, which partnered with Treasure Entertainment, of which she is also now a director. Since then, she has produced the short Right Now Ladies and Gents and the IFTA-winning TV series “The Running Mate”. In 2008, she executive produced Conor McPherson‘s feature film The Eclipse which won the IFTA for Best Feature Film in 2009. She followed this by producing Paul Fraser‘s My Brothers.
What kind of films and genres are you interested in? I am always looking for the emotional truth in the script and have a strong tendency towards hopeful and positive world views. For the most part, I back away from overly nihilistic approaches to humanity and the world.
What do you want to get out of PRODUCERS ON THE MOVE and Cannes this year? Cannes is always a great place to connect with European producers and explore the opportunities that may exist to work together creatively and financially. PRODUCERS ON THE MOVE provides a great opportunity to do this in a focused and accessible way.
What do you think are the main challenges facing the European film industry over the next five years - and how can we meet them? Finance and distribution! The stories and filmmaking expertise emerging from Europe is ever-improving. But, at the same time, budgets are shrinking and conventional distribution channels are harder than ever to access. This means that European partnerships are more crucial than ever.
– part IV May 17
Rebecca O‘Flanagan Ireland
selected by Irish Film Board
Justin Taurand France
selected by Unifrance
Les films du belier Paris, France cell +33 6 7716 9837
justin@lesfilmsdubelier.fr
In 2003, Justin founded the production company Les films du bélier which, to date, has produced around 30 films, including three feature films: Jean-Pascal Hattu‘s 7 Years, Katell Quillévéré‘s Love Like Poison, and Christophe Honoré‘s Man at Bath. Justin has close ties to four directors – Katell Quillévéré, Hélier Cisterne, Frank Beauvais and Pascal Rambert – producing almost all of their shorts and now their debut features.
What kind of films and genres are you interested in? I like all kind of films from comedy to thriller or drama. What counts for me is to feel that an author has a vision of the contemporary world and to meet on a project. I hope I‘ll have “visited“ all genres in a few years.
What do you want to get out of PRODUCERS ON THE MOVE and Cannes this year? Several projects of my line-up naturally take on a European dimension and I‘m interested in meeting new directors from all over Europe. I look forward to meeting European producers for these immediate projects, but also as a first step towards a longer process.
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 production model is moving a lot, which makes the period unstable, but also very interesting. That can sometimes weaken some kinds of films. European co-production is a way to strengthen those films that can no longer find a consensus in their own country. Keep moving, eyes wide open, don‘t get stuck into habits.
financial partner
project partners
w w w. e f p - o n l i n e . c o m
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