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FEATURE


admits the FFA’s Dinges of shooting in Russia. “But we’re in a learning process right now.” Russia certainly embraced a raft of interna-


tional initiatives throughout 2011. In March, the country became a member of Eurimages, and for the first time three Russian producers gained entry to the European Producers Club last year. Last July, the RCF unveiled the Moscow and


Paris-based French-Russian Film Academy, dedicated to organising seminars and work- shops to increase opportunities for Franco-Rus- sian co-productions and to support emerging talent in both countries. In November, the Academy announced the


first two projects eligible for grants of $52,750 (¤40,000) each: Rémi Chayé’s Longway North (Tout En Haut Du Monde), produced by Sacreb- leu Productions, and Alexei Popogrebsky’s Lost Rooms, produced by Koktebel. Both are looking for international co-production partners. The next session of the board will be held in Russia. Over summer 2011, the Cinema Fund sent 10


Russian scriptwriters to participate in work- shops at the New York Film Academy, which became an official partner of the RCF. The fund intends to sign long-term agreements with US and European film schools and is in talks with the MPA about the first-ever US co-production treaty. UK producer Chris Curling of Zephyr Films shot The Last Station as a Germany-Russia-UK


co-production in 2009 and is developing a fur- ther Russian co-production. He is cheered by the progress being made by the RCF. “A lot of the production firms in Russia are


led by directors, so that makes them very appealing to work with,” he says. “There is a good level of private equity. Things are evolving


Chris Gorsk’s The Darkest Hour recently shot in Russia


— Russia will become a stronger market for English-language films. It is going to become easier to work with Russian partners. “As a European producer I have just as strong


ties with Russia as France, Germany and Spain. After all, we are closer to Moscow than Los Angeles.” n


s 2011 INTERNATIONAL CO-PRO PROJECTS BACKED BY RCF Have you seen


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n 40 Screen International at the Berlinale February 9, 2012 Pavel Lungin


ELEMENTARY LOVE Family comedy Countries Italy (60%), Russia (40%) Production companies Centro Sperimentale film school, Zori Film Producer Ulyana Kovaleva Director Sergio Basso Budget $2.2m (RUB70m) RCF support $621,000 (RUB19.6m)


ETERNITY WATER Tragicomedy Countries Germany (49%), Russia (35%), Israel (16%) Production companies X Filme Creative Pool, Studio FAF, Evanstone Films Director Arik Kaplun Budget $4.4m (RUB139m) RCF support $887,000 (RUB28m)


FRIENDS FROM FRANCE Adventure drama Countries France (47%), Germany (30%), Russia (13%), Israel (10%)


Sergio Basso


Production companies Films du Poisson, Vandertastic Films, Studio Rock, Pie Films Directors Anne Weil, Philippe Kotlarsky Budget $4.1m (RUB129m) RCF support $380,000 (RUB12m)


THE QUEEN OF SPADES Thriller Countries Russia, TBC Production company Lungin Studio Director Pavel Lungin Budget $9.5m (RUB300m) RCF support $887,000 (RUB28m)


THE STROLL Melodrama Countries Italy (70%), Russia (30%) Production companies Vivo Film, Studio Rock Producers Gregorio Paonessa, Alexei Uchitel, Kira Saxaganskaya Director TBA Budget $950,000 (RUB30m) RCF support $199,000 (RUB6.3m)


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