2018
-
Program

9.30am – 11am
Sala Grande

Oltrecorto – Pitch part 1
Hana’s Last Day by Ines Moldavsky
Avanos by Panagiotis Charamis
Casablanca by Adriano Valerio

 

11am – 11.30am
Sala Filosofi

Coffee break Piemonte Lounge

 

11.30am – 1pm
Sala Grande

Oltrecorto – Pitch part 2
Sabine by Sylvain Robineau
Lesire de urgenta (Emergency Exit) by Bogdan Muresanu
Babylon by Keith Deligero

 

1pm – 2.30pm
Sala Gioco

Lunch
by invitation only

 

3pm – 5.30pm
Sala Lettura/Salotto Cinese

Oltrecorto One-to-one meetings
pitchers & Oltrecorto’s decision makers only

 

3pm – 4pm
Sala Grande

Sydney Sibilia’s Master Class
In collaboration with SNGCI – Sindacato Nazionale Giornalisti Cinematografici Italiani

 

5.30pm – 6.30pm
Sala Grande

Balkan Focus
Presentation of the Balkan Film Market by Andamion Murataj & Ilir Butka

 

6.30pm – 8pm
Sala Gioco

Oltrecorto Cocktail
by invitation only

9.45am – 7pm 
Sala Musica

Access is free for accredited guests on a first-come first-served basis. It is possible only at the changeover times listed in the current program. Guests holding “buyer” passes will have priority access to the theater.

 

9.45am
Aperitivo Spritz (90’)

Je sors acheter des cigarettes (I’m going out for cigarettes) by Osman Cerfon, France, 2018, 14’
Gosal (Fault line) by Soheil Amirsharifi, Iran, 2018, 15’
Skip Day by Patrick Bresnan, Ivete Lucas, USA / UK, 2018, 17’
Avanos by Panagiotis Charamis, Greece, 2018, 20’
Dia by Hamza Bangash, Pakistan, 2018, 24’

 

11.30am
Aperitivo Prosecco (88’)

Unfolded by Cristina Picchi, Italy, 2018, 15’
La Mala Fe (Bad faith) by Marina Paumé, Eva Pauné, Elena Pauné, Spain, 2018, 19’
Titanyum by Gokce Erdem, Turkey / Canada, 2018, 15’
Instinto (The instinct) by Esteban Garita Varela, Costa Rica, 2018, 16’
Entschuldigung, Ich suche den Tischtennisraum un meine Freundin (Excuse me, I’m looking for the ping-pong room and my girlfriend) by Bernhard Wenger, Germany / Austria, 2018, 23’

 

1.15pm
Prix Unifrance (56’)

Les Indes Galantes (The amourous Indies) by Clément Cogitore, France, 2017, 5’
Artem Silendi by Frank Ychou, France, 2018, 7’
Master of the classe by Hakim Zouhani, Carine May, France, 2017, 25’
Grain de poussière (Speck of dust) by Kraus Lépold, France, 2017, 19’

 

2.30pm
Distributors Meet Buyers prog. 1 (79’)

A double life by Job, Joris & Marieke, The Netherlands, 2018,3’
Dolfin Megumi (Rubber Dolphin) by Ori Aharon, Israel, 2018, 29’
On the border by Wei Shujun, China, 2018, 15’
Third kind by Yorgos Zois, Greece / Croatia, 2018, 32’

 

4.15pm
Distributors Meet Buyers prog. 2 (77’)

La Bête (The Beast) by Filippo Meneghetti, France, 2018, 17’
La giornata (Day labor) by Pippo Mezzapesa, Italy, 2017, 12’
Apollo ou la vie sauvage (Apollo or the wild life) by Léo Favier, France, 2018, 18’
Etreintes (Embraced) by Justine Vuylsteker, France / Canada, 2018, 5’
Imperial Valley (cultivated run-off) by Lukas Marxt, Austria, 2018, 14’
Yek haefteh ba Azar (A week with Azar) by Tara Najd Ahmadi, Iran / Slovenia / USA, 2018, 11’

 

5.45pm
Distributors Meet Buyers prog. 3 (62’)

Lunar-Orbit Rendez vous by Mélanie Charbonneau, Canada, 2018, 15’
Shirley Temple by Audrey Nantel-Gagnon, Canada, 2018, 16’
Tomorrow by Andrew Tarbet, Spain, 2018, 15’
El circulo (The circle) by Daniel González, Spain, 2018, 16’

9.30am – 6.30pm
Sala Artisti

Guests can go directly to the desk and request entry to the VR showcase. If all the viewers are busy, you can reserve a seat at a later time. Guests holding “buyer” passes will have priority access to the VR viewers.

 

VR Immersive Area

Vestige by Aaron Bradbury, UK / USA / France, 2018, 11’
結婚指輪物語 (Tales of Wedding Rings) by Kaei Sou, Japan, 2017, 27’
After Solitary by Cassandra Herrman, Lauren Mucciolo, USA, 2017, 10’

 

VR Theatre Prog. 1

全能元神宮改造王 (Your Spiritual Temple Sucks) by Jhon Hsu, Taiwan, 2017, 12’
Sun Ladies by Céline Tricart, Christian Stephen, USA, 2017, 7’

 

VR Theatre Prog. 2

Reframe Saudi by Matteo Lonardi, Italy / UK, 2018, 14’
My Brother’s Keeper by Connor Hair, Alex Meader, USA, 2017, 11’

 

VR Theatre Prog. 3

Archi Vrai (The real thing) by Benoît Felici, Mathias Chelebourg, France, 2018, 16’
Extravaganza by Ethan Shaftel, USA, 2017, 6’

9.30am – 6.30pm 
Sala Artisti

All you need do is go directly to the desk and request access to the Video Library. If all the stations are busy, you can reserve a seat at a later time. Guests holding “buyer” passes will have priority access to the Video Library.

 

The video library of the Torino Short Film Market offers some hundreds of short films, selected by Massimiliano Nardulli and Enrico Vannucci during the course of the year with this event in mind. The selection was geared towards products which could best meet the expectations of the market operators who have been invited and are present here.

The video library, in addition to being an in-house research engine through which users can carry out personalized research, provides various theme programs compiled by art directors, which last – about one hour and a half – like a quality short films festival but also seeking out products which suit other platforms and media. Lastly, our video library hosts and promotes the most up-to-date catalogues of various European and international distributors.

2.30pm – 6.30pm
Palazzo Cisterna (Via Maria Vittoria, 12)

 

Boosting Your Film Festival

This workshop is curated by CED MEDIA Torino.
Registration by 12th of November HERE.

 

AUDIENCE DESIGN
held by Riema Reybrouck

There isn’t only one way, place and group age to communicate to about your festival. There’s a big difference between traditional film marketing and audience design in terms of approach, timing, collaborations and channels. Creating audience awareness and an understanding of how to use audience engagement in the promotion of your festival are an important part of the exhibition landscape. Reaching and communicating with possible audiences is an aspect that benefits from being explored within a multi-angle approach. Audience design aims at sharing insights into steps that help build a concrete strategy to support a growing community and audience of your festival.

 

THE WHY (OH WHY) OF INDUSTRY EVENTS
held by Wim Vanacker

In recent years, industry events in the context of film festivals have been popping up like wild flowers. From a distance, it seems easy to justify that decision, but is there truly an added value or are we merely jumping on bandwagons? A need for industry events there sure is, but is the approach we have now the most valuable one?

The main goal of this workshop is to delve deeper into our intentions associated with those industry events we stand for and the responsibility we carry as representatives of the film industry. Are we truly catering to a need and if so, what’s the best approach to get as much as possible out of those events? Topics we’ll tackle in an intimate context resembling that of a self help group for like minded festival representatives who’re eager and willing to get honest with themselves and the industry.