The Industry Department of the San Sebastian Festival has been organising its Focus On since 2014. Under the initiative, a group of professionals from a country, region or territory comes to the San Sebastian Festival to expand its contact network and participate in the Industry activities.

This year, thanks to the collaboration with the Film Center Serbia (, six Serbian producers  (namely:  Marija Stojanović, Nikolina Vučetić, Miloš Ivanović, Filip Marttinović, Miroslav Mogorović, Marko Jocić) will have the opportunity to meet partners for their projects in San Sebastian and to increase their co-production opportunities with other European and Latin American regions and countries.

El camino del sur, by Juan Batista Stagnora, was the first co-production between Serbia and Argentina in 1988. Almost 35 years down the line, the Film Center Serbia will present its programmes of tax incentives and production grants to potential partners in Latin America with a view to relaunching these co-productions. In this respect, the institution will give an award coming with 3,000 euros to one of the projects presented at the Forum.  

In 2016, Serbia introduced a series of incentives for audiovisual production thanks to which fiction, non-fiction, animation, television and commercial productions shot in Serbia have the option to receive rebates of up to 25% of their grant-eligible expenditure (20% in some cases). In addition, when the expenditure is greater than €5M, the incentives increase to 30% of the grant-eligible expenditure.

The presence of Serbian co-productions has been a constant at the latest editions of the San Sebastian Festival: this year, the Croatia-Serbia co-production Garbura / Carbide, by Josip Žuvan, will compete in New Directors; in 2020 Sutemose / In the Dusk, by Sharunas Bartas participated in the Official Selection; as did Soldatii. Poveste din Ferentari / Soldiers, Story from Ferentari, by Ivana Mladenovic in 2017, amongst others. Furthermore, in 2004 the Serbian director Goran Paskaljevic won the Special Jury Prize with San zimske noci / Midwinter Night’s Dream.

The initiative was launched in 2014 with the Focus on Canada, thanks to the collaboration with Telefilm Canada, a territory with which the Focus on was repeated in 2015 in view of its success. In 2016, in collaboration with the film institutes of Denmark, Iceland and Norway, the initiative celebrated the Focus on Nordic Glocal, dedicated in 2018 to the Baltic countries; in 2019, thanks to collaboration of the Polish Film Institute, the Focus on Poland; and, in 2021, the Focus on Georgia, with the collaboration of the Georgian National Film Center.

Due to severe financial problems, caused by unexpected cut of financing from Government, the management of the film festival starts a fundraising campaign (with hashtag - #letsmakeBIAFFtogether) to support the #BIAFF festival. 

#BIAFF film festival was founded in 2006 and during these 16 years, it established itself as a visit card of BATUMI city and the most important international event for film lovers. BIAFF was visited by many famous foreign and Georgian cinematographers. In addition to promoting the Art-house cinema it also plays a significant role in development of film sector in Georgia via its industry platform, training programs etc.   

This year, Batumi Film Festival faces the most difficult situation in its history. All government sponsors - the Ministry of Culture of Georgia, the National Film Center of Georgia, Ministry of Culture of Adjara and Batumi City Hall, refused to finance BIAFF film festival without any clear and logical arguments, regardless the fact that BIAFF provided all necessary documentations (as it was done in previous years too).  It somehow is in line with current repressive cultural policy in Georgia.

BIAFF festival management succeeded to secure some financing from several embassies as well as to negotiate with film producers and sales companies to get films for free. But to held the festival it is important to have some minimum budget (to cover cinema rent, logistics etc).

Accordingly, BIAFF management started FUNDRAISING campaign supporting the #BIAFF film festival – and it address international Film community and festival circle, to provide support to independent film festival which each year manages to create the festive platform for all cinema lovers in Batumi and promotes independent filmmakers,

#let's make BIAFF together -   We are sure that we will be able to collect necessary minimum budget (at least 10,000-15,000 EUR) from the audience, our festival friends and cinema lovers from around the world

Information on how you can help #BIAFF

To donate money for support the #BIAFF Film Festival, any of the following methods: 

  1. Online Fundraising platform GOFUNDME –– here you can make donation easily by VISA/MASTERCARD  
  1. Online Fundraising platform –– here you can do registration via FACEBOOK account in few seconds and make donation easily by VISA/MASTERCARD  (issued by any country) 
  1. PAYPAL transfer – This email address is being protected from spambots. You need JavaScript enabled to view it.
  1. Bank account
    Bank of Georgia, SWIFT: BAGAGE22; 29a Gagarin street, Tbilisi 0160, Georgia
    Beneficiary – Batumi Art-house ARGANI
    Account Number - GE50BG0000000340922900
    - Be sure to write "donation" in payment subject
  1. Crypto / crypto account - you can use one of the options to transfer crypto:
    USDT - TS4peK914jrCeV41tgbq1wDzLx81TYFRSP
    MATIC - 0x44fa17ee7a5ffb15fd9e5450437aeaa7e7a8997d

More information on the situation surrounding #BIAFF (in Georgian):

#BIAFF Contact:
Tel: 599482181
Email: This email address is being protected from spambots. You need JavaScript enabled to view it.

Malta’s Planning Authority unanimously approved the plans for the construction of Malta’s first sound-stage - a long-awaited and historic moment for all those working in the local film and television industry.

Malta’s first sound-stage will be built on an area of 4,000 square metres at the Malta Film Studios, adjacent to the deep water tank facility. The sound-stage will be the first of its kind, boasting an interior 2,000 square metre water tank overlooking the Mediterranean Sea.

Minister for Tourism Clayton Bartolo highlighted the sound-stage’s approval as a crucial step in the development of Malta’s film infrastructure, which will result in the creation of quality jobs together with further opportunities in the industry. “With the construction of Malta’s first sound-stage, we will continue to maximise the potential for our local industry and cement it as a key economic motor for our country” stated Minister Bartolo.

He emphasised on how this project will continue to attract more international productions for a longer period of time and will provide the necessary opportunities for local crew to continue developing their skills.

Malta Film Commissioner Johann Grech reflected on how “the success of our industry reflects Malta’s economy - a resilient one. We are experiencing a record number of locals working in the film industry as well as an unprecedented level of investment from both the Government and the private sector.”

He highlighted that the construction of Malta’s first sound-stage has been discussed time and again throughout the years.

“For long years, almost 60 years, we’ve been hearing that sound-stages were going to be built in Malta. Today - we are writing our history” said Grech. He concluded by stating that this project, which forms part of a €35 million masterplan for the regeneration of the Malta Film Studios, will earmark the start of a new future for Malta’s film industry. “We will build ‘world-class’ sound-stages because we want the best for our country, and for the generations to come.


After 13 years, Tsitsi initiates a reunion of his former classmates with a seemingly harmless cause: they haven't seen each other since graduation and the reason for the gathering is to remember school and have a drink. However, Tsitsi has a secret motivation: he wants to punish his former classmate, Guga, who used to make life difficult for the entire class at school. Several male classmates gather at the school to drink and talk; as their time together progresses, Tsitsi gets drunk and tries to accomplish his goal.

Biography of the director

Writer and director David Pirtskhalava was born in 1987 in Tbilisi, Georgia. In 2011 he graduated from The Shota Rustaveli Theatre and Film Georgia State University, with a Master’s Degree in Film and Television Dramaturgy. In 2016, he graduated from Temur Chkheidze’s Contemporary Theatrical Art Development Centre at the Royal District Theater, where he specialized in Theatre Dramaturgy. Davit is the author of several full-length and short film scripts. As a director, David has shot two short films: In 2015 his short film MAMA / FATHER won the Golden Pardino at the Locarno International Film Festival. In 2018, David shot a short fiction film SASHLELI / ERASER, which also premiered at the Locarno International Film Festival. In total, both films have been selected for over 50 film festivals and achieved some notable success.

Director's Statement

School serves as the first space for people to engage in social interaction. The school age is also the time when certain life episodes become long-lasting memories, which may unknowingly have a profound effect on one’s future life.

 I was born and raised in the suburbs of Tbilisi, where I also went to school, where bullying, abuse, beating and ridicule of people was almost the daily norm. I've thought a lot about my mistakes in regard to my classmates or schoolmates. On many occasions, I found myself to have been a victim, and many times - in the shoes of a bully. This was of course unintended, the environment offered us certain conditions to us as children, and we unconsciously accepted them, with all their ugly and ruthless manifestations.

After a couple of years of thinking about school, I came up with this idea: What if former classmates were to meet each other after a long break, as if for a harmless reason, to remember their childhood and party; even if none of them have any good to remember. What if the victim were to invite the bully and orchestrate a process similar to a court trial ruled by the thirst for vengeance?

The idea is that no matter how much you are hurt, ridiculed or embarrassed, the important thing in adult life is to view all of this from a spiritual perspective, to gain experience from it, and not to become caught up in your tough past, which can make you bitter. The emphasis on Christianity is not accidental, as it teaches forgiveness, repentance, and tolerance. John the Baptist, the forerunner of Jesus Christ, preached repentance before the appearance of Jesus, without him the reception of Christ would be implausible.

I believe that the problem is relevant worldwide. I have no such ambition that people will change after watching this film. It is however possible, that some may start thinking and analyzing; remembering that we are all guilty of one another, as Dostoevsky says. The key is to acknowledge the wrongdoings with ourselves, not let them make us bitter and to live in the present, with faith for a better future and God.

Production Info:
Feature debut, Drama
 Year of Production: 2022 Colour, DCP
Length: 110 min.
Country of Production: Georgia
Locations: Georgia Language: Georgian
Festivals: Toronto International Film Festival: TIFF, Discovery Section (World Premiere)
English Title: A Long Break
Original title: Didi Shesveneba
Director: Davit Pirtskhalava
Georgia, 2022
Production Company: MILLIMETER FILM
 Executive Producer: Tedo Dolidze, Davit Ujmajuridze
Producer: Suliko Tsulukidze, Tiko Nadirashvili, Tedo Dolidze
Screenplay: Davit Pirtskhalava
Cinematographer: Shalva Sokurashvili
Editor: Nodar Nozadze
Production Designer: Berdia Arabuli, Guram Navrozashvili
Sound: Nika Paniashvili
Original Score: Nika Paniashvili
Principal Cast: Shako Mirianashvili, Giorgi Sharvashidze, Sandro Kalandadze Cast: Mariam Pirtskhalava, Goga Shishinashvili, Goga Kobalia , Davit Chitaia , Giorgi Mazavrishvili, Gigi Rekhviashvili, Bidzina Nijaradze , Zviad Pirtskhalava International
Sales Agent: Syndicado Film Sales LLC

10 A Sandro Akhmeteli Street 0159 Tbilisi, Georgia
Contact: Tiko Nadirashvili
Tel: +995 595 39 24 18
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121 Beaconsfield Avenue, #300
 Toronto, ON Canada M6J 3J5
 +1 416-533-1743 (c)
 +1 (725) 222-9383
Contact: Aleksandar Govedarica
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Unmistakable handwriting, bold themes and captivating images that oscillate between dream and nightmare. The work of the French-Bosnian director, screenwriter and producer Lucile Hadžihalilović offers truly exceptional film experiences, which Slovak viewers can now look forward to thanks to Cinematik. The festival will present a retrospective of the award-winning filmmaker's films as part of its 17th edition, which will start in Piešťany on September 13, 2022.

Lucile Hadžihalilović was born on May 7, 1961 in Lyon, France, but her roots go back to Sarajevo in today's Bosnia and Herzegovina. She studied filmmaking in Paris and during her career tried almost all film trades, from editing to production to scriptwriting and directing.

Lucile Hadžihalilović's filmography is not extensive in terms of quantity, but each of her works is intense and memorable, for example thanks to a unique visual atmosphere. According to her, the visual aspect of the film is one of the most important for the director, because it is closest to the language and poetics of our dreams.

Hadzihalilović handles the images delicately and patiently, he does not rush anywhere and does not reveal more than necessary. The main themes of her films include childhood and the mystery of adolescence, which she always captures in an original, but often frightening way. At Cinematika, viewers will be able to see almost all of her previous films.ucile Hadžihalilović's directorial debut was the 1996 film La bouche de Jean-Pierre (Jean-Pierre's mouth) - a disturbing drama about little Mimi, who is taken in by her aunt after her mother's suicide attempt. However, in her apartment, she meets Jean-Pierre, who has a rather inappropriate interest in Mimi. The film was shown for the first time at the Cannes festival in the Un Certain Regard section.

The director also dedicated the film Innocence (Innocence, 2004) to female heroines. This time, however, it takes us to a mysterious school, where a group of female students balances between orders, prohibitions and a new experience of growing up. The film based on Frank Wedekind's book, in which Marion Cotillard also starred, won the award for Best New Director at the San Sebastián festival.

Probably Lucile Hadžihalilović's most successful film to date is Évolution (Evolution, 2015), a chilling story from a sleepy coastal town where little Nicolas spends his days diving. However, one day he sees something under the surface that does not let him sleep - the boy's body, which then disappears. Nicolas suddenly discovers that something is wrong with the people around him. The film triumphed again in San Sebastián, where it won the Special Jury Award and the Award for Best Cinematography. However, he was also awarded at the Sundance independent film festival (NHK Prize for Filmmakers).

Last year in Toronto, the director presented her latest film called Earwig (Ucholak, 2021). Again, it brings a child heroine and a surreal atmosphere full of ambiguities, which the viewer must answer for himself. Ten-year-old Mia (Romane Hemelaers) has a prosthesis made of ice in her mouth, and her elderly carer Albert (Paul Hilton) has to change it several times a day. But when he receives an instruction over the phone that it's time to go, a new phase of his work begins: Preparing the girl to leave the house that was her only refuge. The film awarded in San Sebastián with the Special Jury Prize will have its Slovak premiere at Cinematik.
In the Respect: Lucile Hadžihalilović section, festival visitors will also be able to see several short films. Nectar (Nektár, 2014) is a mystical parable from a flower garden, where a group of women performs a special ritual around their queen. De Natura (2018) again begins with an innocent walk of a pair of female friends in nature. However, it gradually acquires a bitter aftertaste.

In addition to films from Lucile Hadžihalilović's work, Cinematik will also show a pair of films that she chose herself and considers essential and exceptional from the viewer's point of view. One of them is Valerie and the Week of Wonders (1970), a fantastic horror film by Jaromil Jireš based on the prose of the same name by Vítězslav Nezval. Its main character grows up in an old house with a strict grandmother and faces terrifying visits from a vampire.

The director's second choice is El espíritu de la colmena (Spirit of the Hive, 1973). In the magical drama, filmmaker Víctor Erice captured the inner world of seven-year-old Anna, who encounters death for the first time in the desolate Spanish countryside at the time of the waning civil war.

Lucile Hadžihalilović also participated as an editor, co-author or producer in several films by the Argentinian-French director Gaspar Noé (including the hypnotic Enter the Void / Vojdi do váktu from 2009). In the Cinematik program, you can enjoy at least part of her work once again, in the form of Noé's new film Vortex (2022), which she co-produced. The festival will screen the film in the Paths of Glory section.

The seventeenth edition of the Cinematik International Film Festival will take place from September 13 to 18, 2022. Accreditations are available until the end of August at a discounted pre-sale price on


Bucharest International Dance Film Festival invites filmmakers, dance artists, animators, visual artists and digital art makers to submit their works for the International and Romanian Short Film Competitions of the festival. The final deadline for submissions is Friday, July 23rd!

Through the (un)safe zones theme, the eighth edition of BIDFF (September 8-11, 2022) invites artists and audiences alike to witness art redefining its shapes in a world in crisis. The artistic formats undergo mandatory mutations: the film leaves the cinema, the dance leaves the stage, the stage becomes a space open to debates, and the reality is radically transformed by imaginative artistic manifestations. 

BIDFF #8 questions the future’s safety in the face of current events and wonders what forms of art we are heading towards. What molds will movies accede to? What topics will gain relevance as we are forced to be more aware of national, bodily, and inner boundaries? 


► We are looking for short dance films that were produced in the last two yearsdo not exceed 20 minutes in length and have a minimum quality of Full HD (1080p).

► The films must be submitted through FilmFreeway - . Before submitting, please check the fee related to your category.

► The final deadline for submissions is July 23rd . All applicants will be informed about the outcome of their application by August 1.

The board will take into consideration fiction, documentary and animation films that either use movement to explore an idea or speak about issues related to the body and the world of dance and performance. We also highly encourage you to apply if you have a short film that explores the power of art to change societies, questioning issues related to the ethics of collaboration, communication, and co-existence.

BIDFF celebrates excellence, novelty and courage in filmmaking by offering money awards for the Best International Film and Best Romanian Film.

You can read more about the submission process here, on our website ( ).

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