daily tiger en 2009 - 01

Rotterdam’s festival director Rutger Wolfson tells Edward Lawrenson about IFFR’s new format

Rutger Wolfson is strangely grateful to his ailing appendix. Despite suffering the acute discomfort of appendicitis a couple of weeks ago, the IFFR director is relieved it happened when it did. Any earlier and he would have been out of action during the push to confirm Rotterdam’s remaining titles; any later, and he’d have missed the immediate run-up to opening night. As it is, 39-year-old Wolfson is calm – a mea-sure of his confidence in the 2009 line-up. Although Wolfson took over in 2008, this is his first festival since being confirmed as IFFR’s permanent direc-tor. “I was happy with last year, but this year I feel much more comfortable in the sense that it’s as much my festival as that of all the other people who have worked on it”.

SIMPLIFIED STRUCTURE The most noticeable aspect of Wolfson’s tenure-ship is the changes he’s made to the structure of the programme. The format has been simplified into three sections: Bright Future (dedicated to new film-makers); Spectrum (which features works by estab-lished directors); and Signals (IFFR’s selection of

thematic strands). Although the focus is inevitably on feature work (“Rotterdam will always be a film festival”, Wolfson says), the three strands no longer distinguish between shorts, installations, live per-formance and art pieces. The reason for the new format was partly to coun-ter the impression that Rotterdam’s programme had become too complex and unmanageable. But, more importantly, the change reflects the increas-ingly cross-disciplinary nature of film practice today. “It’s obvious that one of the most important developments in film these past ten years is the inte-gration between the cinema screen and other types of screens,” explains Wolfson. It’s a response to the multi-platform realities of the digital age – Wolfson calls the format more “future-proof”.But, he continues, the inclusion of different media in the three strands also responds to emerging aesthetic practices. “Right now, we are seeing the tradition of short film being enriched by live performance; and there are lots of examples of the fading boundaries between feature film-making and installations”, he says, citing film-makers such as Lav Diaz (invited to IFFR to collaborate on the Haunted House, an exhi-bition inspired by Asian ghost films). “Also, the different sections represent what are the most prominent qualities of IFFR,” Wolfson says.

“We have a big reputation for discovering new tal-ent, which is celebrated in Bright Future. We have strong and good taste, which you can see from Spec-trum’s focus on established talent. And the third thing we’re good at is flagging new developments in cinema and asking provocative questions – which is what Signals does.”

OPEN AND ADVENTUROUSWolfson is also keen to launch new distribution ini-tiatives to ensure the IFFR’s stand-out Tiger titles are more widely seen. But that will have to wait till next year – not least because the preparations for 2009 presented their own challenges. Although the credit crunch has yet to make a significant impact – “there are still a lot of industry delegates coming” – Wolf-son admits “we had to look carefully at our spend-ing this year” because of pressure on the festival’s budget surplus. Plus, Wolfson has been spending much of 2008 attending the major festivals for the first time. “What was most striking about traveling to other festivals was realizing how clearly articu-lated Rotterdam’s position is. We have a very strong artistic profile, and our choices aren’t driven by get-ting high-profile premieres. It’s a very open festival, open to new talent and adventurous film-making, and that’s what makes us very special.”

DAILY TIGER

38TH INTERNATIONAL FILM FESTIVAL ROTTERDAM #1 THURSDAY 22 JANUARY 2009

NEDERLANDSEEDITIEZ.O.Z

A SIMPLE PLAN

Changing Faces: Nanouk Leopold and Daan Emmen’s Close-Up, a seven-hour examination of the gradually changing expressions on the faces of three men, is projected giant-size on Rotterdam’s Hofpoortgebouw (see page 3 for the full story).

Rutger Wolfson photo: Bram Belloni

photo: Bram Belloni

338 TH INTERNATIONAL FILM FESTIVAL ROTTERDAMwww.FILMFESTIVALROTTERDAM.cOM

Passers-by in Rotterdam this week may well be startled by huge images project-ed high on the front of three office build-ings in the city centre. These are three films commissioned specially by the fes-tival for outdoor screening as part of its new Signals: Size Matters programme. Geoffrey Macnab reports

In Canadian visionary Guy Maddin’s Send me to ‘Lectric Chair, Isabella Rossellini is electrocuted on a wooden electric chair... and seems to enjoy the experience. She looks like an ecstatic silent movie diva as the jolts run through her; in Dutch direc-tor Nanouk Leopold’s seven-hour Close-Up (made in collaboration with visual artist Daan Emmen), the minutest expressions on three men’s faces are registered in slow motion and on an enormous scale. And in Mexican auteur Carlos Reygadas’ Se-renghetti, the Rotterdam public gets to spectate at a football match with a difference, played by two amateur women’s teams high in an ancient moun-tain range in central Mexico.

ELEcTROcuTING ISAbELLAHis film, Maddin explains, was partly inspired by his love of Bessie Smith’s song Send Me To The Electric Chair. “For some reason, I’ve been thinking about electric chairs a lot lately. I just wanted to put Isabella Rossellini in an electric chair and elec-trocute her. I thought it would be kind of fun.” His film also takes a few sly digs at inventor Thomas

Edison, sometimes credited as the inventor of the electric chair. “He was a ruthless capitalist. That reminded me of Hollywood. I thought, all these things are related to one another. Jean-Luc Godard said all you need to make a movie is a girl and a gun. Well, I have a girl and an electric chair!” Leopold, meanwhile, promises a film that will make viewers feel they too are being watched. “Very small things change. These people had to sit for a very long time. They get tired, or close their eyes for a second. I gave them small assignments, like looking in another way. Every change in what they do makes a narrative.”

FOOTbALL cRAzyReygadas’ Serenghetti will have a special resonance in a football-crazy city like Rotterdam. The teams accept women of all ages, who have decent perso-nal skills, although the tactics are nil. “They use very fair play,” Reygadas says of the two teams of women footballers, who are watched by a small number of spectators (including a horse). The film underlines its director’s continuing fascina-tion with landscape, his lyricism and his sly sur-realism. The three projects – all silent – make up the Urban Screens part of Size Matters, a special program-me in IFFR’s Signals section, and were produced through London-based Illuminations Films, run by Keith Griffiths and former IFFR director Simon Field. “They all entered into it very enthusiastical-ly,” Field notes of the three directors. He describes

his role as producer as “a go-between and an en-courager – the necessary link between the festival and the filmmakers.”

uRbAN ScREENSOverseeing Size Matters is Rotterdam programmer Edwin Carels. He points out that, while three films on such a grand scale are bound to attract attention, these are only part of a rich and varied programme. “They are the alibi for Size Matters,” Carels says. “I am happy in the shadow of these suns to be doing my programme, which I hope offers some more depth and some more context to their projects.” Ca-rels suggests that, in a period when we are watching moving images on everything from I-Pods to Imax screens, this is a fertile time for exploring how we “consume images”. Festival director Rutger Wolfson has commented of the Urban Screens section of Size Matters that “filmmakers are used to making films for a very ge-neric space – the screen in the cinema. There are so many screens nowadays in public spaces, but they all contain information or commercials. I thought it would be very interesting to see what filmmakers can bring to these screens.” Size Matters aims to “infiltrate” all the different types of urban screens in Rotterdam. The films are bound to be seen by a far broader audience than would normally attend ‘avant garde’ screenings at a film festival. The intention is to take work that might otherwise be in the margins of the festival and to place it where it just can’t be missed.

SPLIT ScREENSThis year, IFFR is screening films on a really big screen: the city of Rotterdam

FIRST SIGHTIn the first of our regular columns by festival guests, Amir Muham-mad, Malaysian filmmaker and con-tributor to Hungry Ghosts, IFFR’s season of Asian supernatural chill-ers, shares his fears

The scariest film I ever saw was called Sayang Si Buta. You could translate the title as The Beloved Blind One or Pity the Blind One (the Malay word ‘sayang’ means both ‘love’ and ‘pity’). It was made in 1965, but I saw it on TV sometime in the 1970s. It has never been shown at any international film festival, so you can imagine how good it is! (Wildeans among you might recognise this as my take on Cecily’s “He has never written a single book, so you can imagine how much he knows!” – but I digress.) Unlike the supernatural titles in IFFR’s Hungry Ghosts strand, Sayang Si Buta contains no ghosts. It is, instead, a rather harsh melodrama. Ani starts off as a sweet blind girl. But when her brother-in-law, an eye surgeon, restores her sight, she doesn’t seem so sweet anymore. In fact, she turns into a wild thing! Her mother entreats her, but to no avail. A particularly harrowing scene has this poor old woman huddling under a car all night to escape the tropical rain. Why doesn’t she just go into the house? Because the hard-partying Ani had locked all the doors! Heaven knows what form of debauchery she and her friends are up to in there. And when morning comes, the mother is found dead of pneumonia – which is medical-speak for ‘a broken heart’.The moment of reckoning comes when her sister confronts Ani with her wicked ways. I am paraphrasing, but the words “You were much nicer when you were blind”, are ap-propriate. There is a slap, and blood spurts from Ani’s eyes. The fact that the film is in black and white makes the blood look like liquid tar. Ani is blind again, and screeches to this ef-fect: straight to camera. For years afterwards, this film made me scared of blind people. I would literally cross the road if I saw one of them. Yes, it was not such a politically-correct response. But since when is terror – especially when it evokes such a heart-tugging spectre as an ungrateful child who gets punished – a cor-rect thing?

Amir Mohammad photo: Felix Kalkman

GuEST cOLuMN

Nanouk Leopold photos: Bram BelloniCarlos Reygadas Guy Maddin


BuLLET-PROOF LIBRARy“We’ve got it pretty bullet-proof this year,” IFFR video library czar Rob Duyser told The Daily Tiger’s Nick Cunningham yesterday. “This is the third wave of redeveloping the whole digital interface and the way it works with the industry database. It’s as solid now as it’s ever been.”In the library, industry professionals can view – either via digital streaming or on DVD – the majority of the approximately 540 titles in the festival’s official selection. “The great thing about this system is that you can browse through the whole pro-gramme very quickly,” Duyser continues. “The system is so accessible, and the films can be downloaded immediately. We register on the database who watches which film, and if the viewer has a special interest in a film then he can request additional information about it. This request is then relayed back to the filmmaker or producer.” Approximately half of the films can be ac-cessed digitally, mainly depending on whether or not the filmmaker has granted permission for his/her film to be digitized by the festival. The remaining films are avail-able on DVD. Last year saw an average of 700 views per day – a number Duyser expects to see matched in 2009. This year, the library’s wireless range has been extended to augment the service of-fered to Cinemart attendees. “The Cinemart will offer a separate wi-fi zone to screen the 50 or so past projects to which the attending producers want to refer,” Duyser points out. “This service will be patched down to the Cinemart and sales office through the Ether-net that runs through the whole building.”

Nick cunningham surveys this year’s bumper crop of IFFR films that received support from the Hubert Bals Fund

The Hubert Bals Fund (HBF) oversees an abundant ‘Harvest’ of films at IFFR 2009, with no less than 33 titles selected across the festival’s programme sections; a significant increase on 2008, which saw a total of 23 Fund-backed movies. With €1.2 million per year at its disposal, the fund exists to enable innovative and talented filmmakers from developing countries to develop and complete fea-ture films and feature-length documentaries. Four HBF films will be competing for stripes in the VPRO Tiger Awards Competition this year, while fourteen and ten films respectively screen in the re-structured Bright Future and Spectrum sections. Three HBF-supported Turkish films are profiled in the Young Turkish Cinema sidebar, and the Hungry Ghosts section features two more HBF titles. What’s more, five of this year’s crop are world premieres, and filmmakers from a record 21 countries will enjoy representation in the Fund’s remarkable Harvest.

“These things go in waves,” comments HBF chief Bianca Taal on the eve of the festival. “There is no one particular reason for the increased number in 2009. One year there will be more films finished than in another, and some films just take longer to get made after our support is granted.” Taal points out that both The Dead Girl’s Feast (Matheus Nach-tergaele, Brazil) and The Storm (Kazim Öz, Turkey) received initial script development support from the Fund back in 2003.

cRucIAL FuNDINgThe Fund granted €20,000 digital production funding to three of this year’s Harvest films: Tiger Awards aspirant Floating in Memory (Peng Tao, China) and two other Bright Future selections, Los Herderos (Eugenio Polgovsky, Mexico) and Uruphong Raksasad’s Agrarian Utopia (Thailand). “Usually, these digital films are made for a total budget of no more than €100,000 – the experimen-tal documentary Agrarian Utopia was even made for around €35,000,” Taal points out. “In many cases, the Hubert Bals Fund contribution can be the largest part of the digital film’s budget.”

One of the films world-premiering in the Spectrum section is the Hubert Bals Fund Plus-supported Border (Harutyun Khachatryan, Armenia), a co-production with Amsterdam-based Volya Films. HBF Plus is a joint initiative with the Netherlands Film Fund, which enables Dutch co-producers to become involved in projects that have enjoyed pre-vious HBF support. Annual Plus coffers are filled to the tune of €200,000, with a maximum contri-bution of €50,000 per film. Ravi L. Bharwani’s Jer-mal (Indonesia), a co-production with IDTV/Motel Films and screening in Bright Futures, is another recipient of HBF Plus support.“In some cases, Hubert Bals Fund involvement can mean the difference between whether a film gets the green light or not,” Taal stresses. “And with other films, it will certainly speed up the funding process. Last year, we made an extensive evalua-tion of the Fund and its workings, and this under-lined how our support for a production can really help attract other financiers. We found that our involvement is a real catalyst for other parties to come on board.”

HARVEST FOR THE wORLD

“When you walk across the city of Rotterdam, it’s full of big tigers,” designer Rens Muis warned Nick Cunningham. “And they’re all black and white.” Muis’ Rotterdam-based company 75B is responsible for the new benign – and rather more symmetrical – depiction of the IFFR tiger. “The other tiger logos were more like illustra-tions – very complex and very detailed,” he con-

tinues. “This one is very recognizable, both from far away or when used in print. It is very useful in all kinds of media, and very easy to reproduce. We think it’s a very strong image. After you have seen it once, you will recognize it immediately the second time. It is simple, strong and direct. When you walk through the city, you can experience the power of it.”

In their quest for pure design, Muis and his team set out to expunge the logo of all extraneous fea-tures. “Every line is needed to tell the story, to depict the tiger,” he stresses. “There are no lines too many.” Muis goes on to explain how the new design complements the inherent affection for the fes-tival that he believes abides within the Dutch

public breast. “The festival has a status similar to that of a rock band,” he explains. “Everybody loves it intensely – it’s almost like a movement. And so, as with the peace sign or the U2 logo, we wanted to create a logo that people could recre-ate in two seconds with a marker pen – that was the basic idea.”

NEw TIgER – IT’S gRRRRREAT!

Rob Duyser photo: Bram Belloni

Agrarian utopia

1987 - 1994 1995 - 2008 2009 -


HELL OF A TOwN

Nicholas Monsour tells wendy Mitchell about his feature debut, Oh My Soul

Nicholas Monsour may be living in Los An-geles again, but he has no interest in becom-ing a Hollywood player. “I love the idea that a handful of people who have no ‘official’ involvement in mass media or the film in-dustry can – potentially – create something which can compete with the psychological impact of a major motion picture or televi-sion show.”This is one inspiration behind his debut fea-ture film, Oh My Soul, which was made large-ly with non-professional actors and features artist Catiah Li in the lead role. She plays Abigail, a young woman living temporarily with her aunt in multicultural downtown Chicago. Abigail suffers from insomnia and has trouble distinguishing dreams from re-ality. Living in Chicago was an inspiration for filmmaker/artist/writer/musician/theatre artistic director Monsour. “Chicago is a very unique, heterogeneous and intense city that is constantly reinventing itself and its im-age of itself,” he says. “Chicago is a wonder-ful place to indulge my aesthetic fascination with decay, neglected or abandoned build-ings, and rust.” Shooting on digital video was also an im-portant aspect to the production. “I am very excited by the challenge to make films that have sufficient technical qualities to engage an audience, while using very flexible and low-budget production methods, such as those afforded by some of the newer HD video cameras,” he says. Monsour refers to his work as “experimen-tal”, but grounds it in plenty of research. “I find that research is critically important to any type of project I do, whether the end re-sult ends up being enacted by fictional char-acters, in staged settings or in real life,” he explains. For Oh My Soul, he researched eve-rything from Chinese mythology to health care for illegal immigrants in Chicago. Monsour, who has studied set design, art theory, performance and film, previously worked as a production assistant on Milos Forman’s Man on the Moon and as first assist-ant director on Marianna Palka’s Good Dick. For his personal film work, he likes to explore blurred lines. “I have always felt that the lines between acting and ‘being yourself ’, fiction and non-fiction, drama and comedy, and theatricality and naturalism are illusory – or blurry at best,” he says. Monsour has also recently completed the 35-minute short Time Will Tell, in collabora-tion with artist/choreographer Sarah Joy El-liott. He is now developing a dream-inspired film project about Los Angeles’ inhabitants and their ecological surroundings.

Oh My SOul Nicholas Monsour

Pathé 2 Thu 22 Jan 22:00 Cinerama 7 Fri 23 Jan 12:15 Cinerama 2 Sat 24 Jan 12:00 *Pathé 6 Wed 28 Jan 13:30

* Press and Industry screening

Michael Imperioli, director of The Hun-gry Ghosts, talks to Edward Lawren-son about his directorial debut and this year’s IFFR opener

“Buddhism is something that’s come into my life in the past few years.” So says New York actor Michael Imperioli in advance of the world premiere of his directorial debut The Hungry Ghosts. It’s a little dis-concerting to be discussing spiritual matters with someone best known for playing the murderous mobster Christopher Moltisanti in the HBO series The Sopranos. But the subtle, contemplative pleas-ures of Imperioli’s first film as writer-director are a far remove from the bloody mayhem of the series that made his name. Set over the course the two nights in present-day New York, The Hungry Ghosts is an assured, multi-plotted drama revolving around three characters adrift in the city. Talking to The Daily Tiger from his New York base in advance of his arrival in Rot-terdam, Imperioli explains the film takes its name from a motif in Buddhism that refers to “beings with great big stomachs and very small necks who occupy a hell-like realm, and have a great desire but lack the capacity to satisfy it as quickly or as much as they need to.” This struggle echoes the dilemmas of Imperioli’s main characters. A talk-show host on a late-night radio show, Frank’s gambling and drug habit have caused a rift with his teenage son. Meanwhile, Gus has just been released from a detox programme, and is soon celebrating the end of a period of en-

forced sobriety with a tramp and a bottle of wine in a New York park. Each searching for their own brand of fix, Frank and Gus set off on a nocturnal odyssey, which brings both into contact with Gus’ ex-lover, Nadia.Imperioli’s fellow Sopranos cast member Steven Schirippa is commanding as Frank, and his bruis-ing, combative encounters with his fellow New Yorkers set the film’s presiding mood of emotional volatility. When we first see him, he’s engaged in a blazing row with the croupier of a gambling club, and he only gets more frustrated as the film progresses. New Yorkers, Imperioli suggests, are spiky by nature: “You do have that volatility being in such close quarter with so much craziness in this giant city.” But, referring to the kindness Nadia un-expectedly shows Frank after their pugnacious first meeting, Imperioli says, “New Yorkers have those two things: that volatility on the one hand, the next minute they’re saving your life.” Bringing up the WTC attacks of eight years ago (he lived nearby), Imperioli says “there’s no better example of how the city came together and people really helped one another than after 9/11. [That event] definitely got into my psyche and affected how I look at the world – and I’m sure it’s got something to do with this movie.”Although Imperioli kept improvisation to a mini-mum for The Hungry Ghosts (“We pretty much stuck to the script”), the rehearsal period was cru-cial to the film’s development. “We did a couple of weeks rehearsal for some of the major scenes, and it wouldn’t have gone as smoothly if we hadn’t done

that, because we just saved so much time, knowing that the text worked and flowed. On a low-budget independent the one thing you’re up against is time.” The fact that much of the film required night-shooting only added to the challenge: “We shot in May and June and because it’s mid-summer, we had the least amount of night time: a couple of nights we were really fighting the sunrise.”The May/June shoot was the culmination of a de-velopment process that Imperioli defines as a “cra-zily easy.” Having started writing a first draft in October 2007, Imperioli approached two generous patrons of the theatre he runs in New York for fi-nancing early last year. “They pretty much covered the whole budget,” he says, “the remainder was through a commodities broker who’d just retired and was looking to get into something else.” This, tellingly, was before the credit crunch, and Imperi-oli knows securing funds from such backers would now be unlikely. “If I’d waited till after the crash, there’s no way I could have even asked them.”

The huNgry ghOSTS Michael Imperioli

Cinerama 2 Thu 22 Jan 09:45 *Pathé 4 Fri 23 Jan 10:15 Cinerama 2 Tue 27 Jan 09:45 *Pathé 4 Fri 30 Jan 19:00 Pathé 2 Sat 31 Jan 13:30

* Press and Industry screenings

VPRO Tiger Awards NIGHT AND THE cITy

Garin Nugroho, the Indonesian director at IFFR with Under the Tree (Dibawah Pohon) and the Haunted House installation Transformation, Ghosts in Garin Nugroho’s House, highly recommends Tul-pan – Sergey Dvortsevoy’s debut feature about a no-madic family on the steppes of Kazakhstan.“It’s simple but strong,” Nugroho says. “The direc-tion develops all the characters and atmosphere of the locations in everyday life with a strong ap-proach.”

TulpaN / DIBaWah pOhONSergey Dvortsevoy

Pathé 1 Mon 26 Jan 15:45 Schouwburg Grote Zaal Tue 27 Jan 19:30 Cinerama 3 W ed 28 Jan 16:15 *Pathé 2 Fri 30 Jan 22:00


I’LL bE wATcHING…

The hungry ghosts

Oh My Soul

Tulpan

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Carlos Serrano Azcona’s debut The Tree grew with some help from estab-lished filmmaker friends, Wendy Mitchell reports

For his directorial debut feature, The Tree (El árbol), Spanish director Carlos Serrano Azcona reaped the benefit of some useful behind-the-scenes experi-ence – his other producers were established direc-tors Carlos Reygadas and Jaime Rosales. Serrano Azcona has a longstanding friendship with Mexican director Reygadas, and the pair have worked together before, notably on Reygadas’ 1999 short Maxhumain and 2002’s Japón (which Serrano Azcona edited and co-produced, and which world- premiered at IFFR). The pair met when Serrano Azcona was studying at the London Film School and his girlfriend was studying, with Reygadas, in a London-based international law programme. The friendship flourished further when Reygadas lived in Madrid for eight years. Azcona later met Jaime Rosales through London Film School connections. “It was very good,” Azcona says of the support from his experienced producers. “In the creative part, they just left me alone and supported me. But in practical terms, it was very helpful to learn from their past experience. And Jaime has a company in Madrid, so using his office was very useful.” The plot of The Tree follows a thirty-something man, Santiago, who is newly separated from his wife and children. When he loses his job in a friend’s bar, he roams central Madrid looking for work – or some-thing to give his life new meaning. “Human beings get into constant pain; we go through hard experi-ences and it’s a way of awakening,” the Madrid-based director says. The story isn’t autobiographi-cal, but it does resonate personally. “I’ve had a hard time in my life too, so it’s familiar to me,” Serrano Azcona says. “I know a lot of people with similar experiences.” Serrano Azcona wrote the script in late 1999, and says, “Carlos was always pushing me to make it. So

in 2006, I decided I was ready.” Madrid-based Serra-no has previously directed TV, shorts and commer-cials, “but I always wanted to make films,” he says. Reygadas and Rosales helped to back the low-bud-get film with personal financing, while most of the budget came from Serrano Azcona’s savings, friends and family, and a bank loan. He set up a Ma-drid-based production company, Estar Ahí Cinema, which is also handling sales on the film. A chance encounter at a party in Cannes for Reyga-das’ Battle in Heaven introduced him to his future lead actor, Mexican painter Bosco Sodi. “The way he moved and behaved I thought he could play this character,” Serrano Azcona says. “He was great, he trusted me and was super-professional, but I think

he was suffering during the filming. He says he won’t act again.”The director encouraged improvisation during the three-week Madrid shoot, and says it was a “very loving experience,” working with a lot of non-ac-tors, including friends. This is another sensibility he shares with Reygadas. Serrano Azcona says: “I’ve learned a lot from Carlos in terms of production and working with non-professional actors. We both work with a lot of intuition.” Reygadas also helped with the editing of the film, alongside the director and editor Manuel Muñoz.Both Serrano Azcona’s producers also have films screening at IFFR. Reygadas was commissioned to make Serenghetti as part of the Urban Screens Proj-

ect in the Signals: Size Matters programme. Rosales’ Bullet in the Head (Tiro en la cabeza), an experimental thriller based on the true story of the murders of Spanish policemen, starts screening on January 22 in Spectrum.

The Tree / el árbolCarlos Serrano Azcona

Pathé 2 Thu 22 Jan 19:30 Cinerama 2 Fri 23 Jan 09:45 *Pathé 6 Sat 24 Jan 10:45 Zaal De Unie Mon 26 Jan 19:45


BrAnChing ouT

Carlos Serrano Azcona

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