The Woman with the Movie Camera

The festival opens a new tradition of professional workshops held by prominent and estimated filmmakers in the international industry. We are interested in revealing artistic perceptions and experiences of film creators around the world - not only directors, but also cinematographers, editors, actresses and designers.

In the last Cannes Festival, director Jane Campion called women to untie the “net of men” covering the international film industry, as only 6% of all fiction directors are women. When it comes to cinematography, which is considered even more “masculine” and closed than directing, the statistics drop lower, only 2% of cinematographers in the international film industry are women.

*****We regret to notify that the cinematographer Natasha Braier had to cancel her arrival in the festival and therefore the master class will not take place*****

This year we will focus on cinematographers and will host the wonderful Argentinian-born British cinematographer Natasha Braier; The Milk of Sorrow, filmed by her, has recently won the most important prize in the prestigious Berlin Festival.

Braier is considered a rising star in the film world. The movies she filmed are stunningly beautiful and are characterized with meticulous and poetic style; among which: The Milk of Sorrow (Peru/Spain 2009) that won many prizes, including in Berlin Festival, Somers Town (UK 2008) that won the Best British Film in the Edinburgh Festival, XXY (Argentina/Spain 2007) that won three awards at the Cannes Festival, and In the City of Sylvia (France/Spain 2007) that was screened at the Venice Festival and others.

During the festival we will screen the film The Milk of Sorrow; the screening will be followed by a discussion with her.


Natahsa Braier on the set of "The Milk of Sorrow"

We will also screen the documentary Shooting Women. The director, Prof. Alexis Krasilovsky follows cinematographers in her book “Women Behind the Camera”, and in the documentary she created following the book, she tries to ask through them:
What are the reasons the film industry is still unequal towards women-cinematographers?
How can women that want to be cinematographers break the glass ceiling?
What are the experiences of women-cinematographers on a set that is known to be a clear masculine zone?
And how will the film world look when the vision and point of view of women would be expressed in a more complete manner?


Natasha Braier - Selected Filmography
The Milk of Sorrow (Peru-Spain 2009)
Somers Town (UK 2008)
XXY (Argentina/Spain 2007)
Glue (Argentina/UK 2006)
In the City of Sylvia (France/Spain 2007)
Red Means Go (US/UK 2005