marries it to a dreamy but always-men- acing drama. “The attention to the aesthetic was
very important — it was almost there before the film,” Belo explains. Working with an all-female crew, in
particular writer Ingeborg Topsoe (with whom she continues to collaborate), cinematographer Chloe Thompson and production designer Laura Tarrant- Brown, Belo believes in “building a world and finding the story within it”. She adds: “The best things I’ve done have been from a feeling or an image.” The results, which also include the
NFTS’s first 3D film Thea, have been arresting enough to draw Film4 as col- laborators on developing Volume into a feature. She is also writing a thriller with Topsoe called Stockholm, and is in talks on various other projects. A graduate of London’s Central Saint
Martins (Fine Art 4D), Belo came into directing through the art department before moving to the NFTS and is an experienced animator. The 30-year-old says she has “an off-the-wall back- ground — but everything has really helped me get this far”.
Contact Roxana Adle, Independent Talent Group
+44 (0) 20 7636 6565
roxana@independenttalent.com
FYZAL BOULIFA (PICTURED PREVIOUS PAGE) Writer-director In The Curse, Fyzal Boulifa’s latest short film (supported by Film4 and the BFI Film Fund) which shot in Morocco and took the top short-film prize at Directors’ Fortnight in Cannes, a young village girl is watched by a local boy as she lies with her older lover. What happens next deals mostly with power and destiny. He describes it as a “pitch-black fairy tale” but Boulifa’s approach is clean, simple and haunting. Preferring to use non- actors, this largely self-taught Leicester native (of Moroccan descent) has dealt largely with issues of cultural and sexual alienation and identity in shorts from Afternoon (2007) to Whore (2009) and Burn My Body (2010). “I have felt a bit in limbo, caught in
between cultures, growing up in the Midlands,” he explains. “The characters in my films are often the same way.” Now, with The Curse just finished,
28-year-old Boulifa says he is ready to make the leap into feature films — ini-
n 36 Screen International June-July 2012
tially to be set in the UK, but he also has ideas for Morocco and the wider Middle East. “I am not officially in development yet, but I’m close,” he says.
Contact
fyzalboulifa@gmail.com
ANNEMARIE LEAN-VERCOE Cinematographer The lush vistas of UK thriller Wreckers saw cinematographer Annemarie Lean- Vercoe move into dramatic feature lens- ing last year to universal acclaim. A 2003 graduate of the NFTS, Lean-Ver- coe will now shoot her second feature, supernatural thriller The Girl In The Corn, for director Laura Smith and pro- ducer Kwesi Dickson this autumn. She is also helping prep This Family, the new film from Wreckers director DR Hood. The talented Lean-Vercoe is also working on a documentary about Lon- don-based charity Kids Company for Humane Pictures, with Mat Whitecross. The two previously worked together on the 2010 documentary Moving To Mars. A graduate of Central Saint Martins’
foundation art course with a degree from the London College of Printing before entering the NFTS, Lean-Vercoe served an apprenticeship as trainee camera assistant on features including Tomb Raider, where she recalls “making a lot of tea for the cameraman and run- ning around with boxes”. Being a female cinematographer in a
male-dominated field has its advan- tages, she says. “I look at reality with a slightly different, lyrical perspective,” she suggests. “And with documentaries, I’ve been sensitively and discreetly able to build trust with people, to go into their lives and see things that would normally be behind closed doors.”
Contact
leanvercoe@hotmail.com
STUART EARL Composer The first film composer to feature in Stars of Tomorrow, South London-born Stuart Earl comes from a non-musical background. He explains he started out playing the
clarinet at school, and only picked up the guitar to “woo girls”. But he became serious about music as a teenager. Very serious. Earl studied music theory at Oxford University where he encoun- tered the work of George Fenton, whose daughter attended the same college. “Naively, I left uni thinking, ‘Oh maybe I’ll try my hand at that’,” recalls
www.screendaily.com
Photographed in the Terrace Garden at The Langham, London
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