NICOLE KIDMAN, UN GOODWILL AMBASSADOR to support battle against violence on women

One over three women is a victim of violence. This alarming figure is the base for a serious UN commitment to solve the problem. Within a structural framework of initiatives pro women, the UN launches a web campaign called Say NO to Violence against Women to raise the issue and push ever more people to take action. The voice and face of the campaign is an exceptional movie star: Nicole Kidman.

As UN Goodwill Ambassador, Kidman puts a good deal of effort to support the cause along with UNIFEM, the UN agency providing financial and technical assistance to innovative programmes and strategies to foster women’s empowerment and gender equality; since 1976 the agency fights women poverty, AIDS/HIV infection among women and girls, violence against women and promotes the establishment of equal opportunities in all countries.

The Say NO to Violence against Women campaign aims at collecting signatures and funds, not only with the help of Nicole Kidman, but also by spreading a promotional video and addressing calls through the internet, as well as distributing Women on the Frontline a serie of 7 documentaries that was broadcast the 18th of April on BBC world. Narrated by Annie Lennox, the film first highlights the cross-national and trans-social dimension of the phenomenon and goes on by investigating the situation in 7 countries: Austria, Colombia, Congo, Mauritania, Morocco, Nepal and Turkey.

Say NO to Violence against Women initiative continues until 25 November 2008, the internationally recognized day to eliminate violence against women, when UNIFEM will hand over the signatures to UN Secretary-General Ban Ki-moon in support of UNITE his global multi-years campaign.

to support the initiative: www.saynotoviolence.org

the UN programmes for gender equality: www.un.org/womenwatch

following:
The SAY NO AGAINST VIOLENCE teaser and Nicole Kidman's call for participation

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IO, ISA WORLD CONNECTIONS: FOCUS ON JENNIFER BAICHWAL AT HOT DOCS FEST IN TORONTO

Toronto's Hot Docs Festival pays tribute to the work of Jennifer Baichwal, director of the beautiful Manufactured Landscapes, which as national premiere at IO, ISABELLA IFW 2007 stirred the admiration of Italian audiences. The Canadian director enters the crew of the many excellent Canadian non-fiction filmmakers (Mark Achbar, Peter Winthonick, etc.) that in recent years brought us wonderful pieces of work. With each new film Baichwal has expanded her considerable skills as a filmmaker, with Manufactured Landscapes (2006) widely considered among the finest international documentaries of 2007.

Focus On Jennifer Baichwal opens Saturday, April 19 at 11:00 AM with THE TRUE MEANING OF PICTURES: SHELBY LEE ADAMS' APPALACHIA at the SCENE Screening Room at the Isabel Bader Theatre in Toronto.

Hot Docs is on from April 17 to 27.

Manufactured Landscapes - the trailer

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IO, ISABELLA's DIRECTORS CONQUER THE WORLD: Lauren Greenfield's THIN nominated for Emmy Award!

It's Awards' time in the USA and, as custumary, the EMMYs will open the season. Reaching their 59th edition, the prestigious awards of the Academy of Television Arts & Sciences often are, like in the case of Documentary films, a safety-net for the Oscar's flaws. Documentaries often exist in that strange world between the big screen and the small screen. Challenging nonfiction films often require funding from TV networks like PBS or HBO to be produced - though they might later earn theatrical runs or tour the film festivals' circuit –. Such films are ineligible for the limited documentary Oscar nomination. Thankfully, the Emmys make up for the Academy Awards' shortcomings. This was true last year for Martin Scorsese's Bob Dylan: No Direction Home and it's even more so looking at this year's nominations listing Spike Lee's Hurricane Katrina opus When The Leaves Broke: A Requiem in Four Acts and IO, ISABELLA's 2007 Competition title Thin by Lauren Greenfield.

Produced by broadcasters' helmer HBO, Thin is a poignant account on anorexia in pure Vérité style. Lauren Greenfield's passage from the Olympus of Photography to her first steps in Filmmaking could not be better assesed and rewarded. Greenfield and her DOP Amanda Micheli tip-toe their way in Florida's Renfrew Centre for eating disorders and into the inner lives of 4 patients – Brittany, Shelly, Alisa and Polly – struggling with the disease. The filmmakers built such an incredible bond of trust with their characters that they are able to access the most intimate moments in the lives of these women, who's eating disorder is exposed down to the crudest details; not for the sake of chasing the spectacular, but to offer – and successfully so – "an experiential and emotional journey through the world of eating disorders to, ultimately, provide a greater understanding of their complexity". Greenfield manages what only the gretest non-fiction filmmakers managed before her: she materialises emotions by empathising with the subjects and by mean of skillful filmaking gramar.

Thin might not be half as spectacular as a one-sided Michael Moore's multi-billion growsing film, but its simple fly-on-the-wall approach delivers both a stunning and unprecedented portrayal of eating disorders, not forgetting a few more major corollaries; this alone makes this incredible debut film a well picked candidate for the Emmy and a must-buy for any good international commisioning editor.

The 59th Emmys Cerimony will be televised by the FOX Television Network from the Los Angeles Shrine Auditorium on Sunday, September 16 at 8:00 pm (ET/PT).

THIN by Lauren Greenfield (trailer)

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ANTONIONI NON-FICTION FILMMAKER

Very few are aware of the fact or even imagine that Michelangelo Antonioni was a fine and original Non-Fiction filmmaker, in fact throughtout his long carreer he shot 17 documentaries. Chung kuo - Cina, his best known non-fiction film, is a work of incredible value, not only because just to be admitted with a film crew in 1972 China was already an exceptional achievement (rumors has it that the Italian Communist Party had to negotiate a political deal with the Peoples' Republic to allow Antonioni and his crew to enter the country), but especially because of its superbe quality in cinematic terms and the unique nature of the footage. An extraordinary film for which Antonioni leaves behind the metaphisical enchantments of his fiction works and adopts an intimate gaze, on a more human/e scale, to enter the daily life of a Nation known for its absolute closure towards the strangers' eyes and its political adversion for any outside world's intrusion. The same careful and intimate look marks all of Antonioni's documentaries, first of all L'amorosa menzogna (1949), an original film on the popular phenomenon of "picture stories", a theme that Federico Fellini will develop later on in his film Lo Sceicco Bianco (1952).

In a time when most media commemorates the italian Master for his "major" works, common heritage without shade of dubt, we like not to neglect his sublime Non-Fiction production, which is little represented and celebrated, but not less worthwhile and important.

Thus, we like to point out the screening of Sette Canne e un Vestito (1949) on August 14 at the Lagunamovies in Grado (Italy); the film, of which Antonioni is also writer and editor, follows the renewal of the activities of Snia Viscosa, a factory in the North-East of Italy, after the WWII bombings of 1944 and 1945.

We further like to remind that Chung kuo - Cina has been recently released on DVD by Feltrinelli

And, least but not last, we like to publish the list of Antonioni's documentaries. We know they are very hard to find, but just in case someone might get the chance to see any of them we like to hear everything about it:

* Gente del Po, finished in 1947 (1943)
* N. U. - Nettezza urbana (1948)
* Oltre l'oblio (1948)
* Roma-Montevideo (1948)
* L'amorosa menzogna (1949)
* Sette canne e un vestito, restaured by Cineteca del Friuli in 1995 (1949)
* Bomarzo (1949)
* Ragazze in bianco (1949)
* Superstizione (1949)
* La villa dei mostri (1950)
* La funivia del Faloria (1950)
* Chung-Kuo, Cina (1972)
* Ritorno a Lisca Bianca (1983)
* Fotoromanza, music video for Gianna Nannini (1984)
* 12 registi per 12 città: Roma (promotional video for "Italia '90" World Cup) (1990)
* Noto, Mandorli, Vulcano, Stromboli, Carnevale (1992)
* Lo sguardo di Michelangelo (2004)

Here is the beginning of Chung Kuo - Cina by Michelangelo Antonioni


LINKS: Eco and Sontag comment on the Chung Kuo - Cina case

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AND THE WINNERS ARE...

Saturday 28th July, at 20.30h in P.zza del Gesù (Fiumicello) during the award cerimony Provincia di Potenza and the Municipality of Maratea gave the prizes of the III edition of IO, ISABELLA INTERNATIONAL FILM WEEK, an international jury indicated the winners of the Golden Wave 2007:

1. Golden Wave for the section SHE’S HOT, CHE BAMBOLA! DONNE IN CONCORSO to:

STORM OF EMOTIONS by Yael Klopman
(Israel, 2006. Documentary, 82’ italian premiere)

Synopsis: The 1982 peace agreement with Egypt obliged thousands of people to leave their homes in the Sinai desert. From the options they were given by the Israeli government, many chose "Gush Katif" in the Gaza Strip as their new home. To progress the peace process, the Israeli government ordered the evacuation of the Gaza Strip on August 2005. This decision created political and social turmoil. The evacuation was to be the most complex and sensitive mission ever to be undertaken by the police forces. This movie is about emotions, beliefs, conscience and true brotherly love, It is a story of humanity in its finest hour

Motivations: “brave non-fiction film, that offers a unique testimony following step by step the 2005 evacuation of the Gaza Strip. A film that, using the tools and language of documentary in a precise and effective way, manages without intrusion or rethorics to tip into the most humane aspects of the story it tells. In doing so the director gives to the world an amazing document that shows aspects of the Middle East's question like none has ever had the courage to do before! Yael Klopman shows all of her skills in putting into images, without taking a stand, a painful passage in the history of a Nation”.


2. The Golden Wave Provincia di Potenza for the section THE DISCREET CHARM OF DOCUMENTARY, goes to

THE GREAT GLOBAL WARMING SWINDLE by Martin Durkin
(Uk, 2007. Documentary, 74’)
Synopsis: The definitive response to Al Gore’s AN INCONVENIENT TRUTH. This film shatters all common theories about men-made Globa Warming with the support of scientists and academics, the documentary goes as far as highlighting how politically driven campaigns against CO2 emissions will hurt the development of the Third World.

Motivation: “balanced documentary in which the director does not fear to challenge the "big guys", with excellent technics and argumentations, without forgetting a noble display of humour, the winning ingredient that keeps audiences' attention alive all the way to the end”.


3. For the section PRIMIZIE: SHE’S HOT FIRSTLING EDITION, the prize for best first film goes to:

TAKE YOUR LIFE (Nimm Dir Dein Leben) by Sabine Michel
(Germany, 2005. Fiction, 100’ italian premiere)
Synopsis: Surrealistic feature film that weaves together the life of a strange village with that of a mysterious girl who, looking for her vanished fianceé, finds instead a very special boy.

Motivation: “the film stands out for its originality, both in the script that in the directorial choices; the young director uses at best the resources she has to realise this surreal piece of work, which balances excellently all cinematic tools and devices”.

4. SPECIAL MENTIONS A:

- Anna Biller for her amazing talent and the originality of her work.
“Biller shows a talent out of the ordinary in her aesthetical research and cinematic style. A 360 degrees artist like worldwide Cinema has not seen in a very long time”.

- Maria Victoria Andino for “El Secreto de la Sangre”
“Argentinian talent of which we hope to hear more in the future; in her graduation film she shows great care for the fundamental aspects of the cinematic medium, first of all the photography”.

- Karen Gehres per “Begging Naked”
“The director follows an incredible human story, managing without flaws to transalte it into a universal tale and a beautiful documentary”.

The ending titles roll over this Third Edition of IO, ISABELLA INTERNATIONAL FILM WEEK in a colorful trail of visions and meetings of different cultures that share real emotions lived on and off the silver screen.

See you in 2008!

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CANNES LOVES MOORE

This is the chronicle of a long-lived love story, that between the Cannes Film Festival and controversial documentary director Michael Moore. Today at the Press preview Moore's new film Sicko (see previous post on the film) triggered a long applause on the foreground of its ending titles rolling on screen. Since Bowling for Columbine (which was the first non-fiction film screened at the Festival in 40-plus years) Cannes has been Moore's best stage, and Moore has used it to full advantage, moving his circus of controversy and commotion all the way to the French Riviera. Already in 2004 Fahrenheit 9/11 shook the jury led by Tarantino that year, who decided to award the Golden Palm to the film (only another documentary in the history of the Festival ever got so far, it was The Silent World by the famed French oceanographer Jacques-Yves Cousteau and a young Louis Malle), and it generated an unprecedented trail of political commotion for its release right before the U.S. 2004 elections. Three years later, Moore arrives to Cannes with an army of lawyers fully armed for the battle. In the press conference the Canadian director announced that he was forced to bring in Cannes a copy of the film, fearing that the original (which is hidden in a safe place) would be confiscated by American authorities, and continued to say that on Tuesday he might be arrested, because "that is the deadline for the ultimatum the Bush administration declared" for his entering Cuba without permission.

With Sicko the director touches the delicate note of privatised Health Care System in the United States (the HMO is a powerful political lobby in U.S.) and it gives it the Michael Moore treatment, that is to say he puts in the picture a few willingly provocative twists and turns, that this time are summarised in a trip to Cuba to supply the needed medical treatments to those 9/11 volunteers, who saw the HMOs denying them cures to their serious illnesses caused by the toxic wastes of Ground Zero. The aim was to bring the 9/11 heroes to the American territory of Guantanamo to have them get the same excellent care and treatments Guantanamo terrorists get; not succeeding in his effort, Moore got side-tracked into going to a Cuban public hospital, where (arguably, i dare say) the care is shown to be of better standards than the American one. In one precise blow Moore did what Moore is best at: igniting the fuse of controversy.

On the critics' side, besides any comments on the merits of the film and the obvious political battles, one must note that Moore does not get much sympathy from the very non-fiction community he belongs to, many directors (among which the founding fathers of non-fiction filmmaking) feel outraged by his improper use of the non-fiction tools to push his own personal goals and political ideas. A few indicators of this tendency are to be found in Moore's habit to always appear in his own work (in fact he even figures in all of his film posters) as main carrier of the narrative, interviewer and voice-over, which defies all laws of good non-fiction practice. Cannes might love "troublemaker" Moore, but his informed peers are critical of his "un-orthodox" methods; besides, I dare any journalist, on and off La Croisette, to not have doubt that bringing up the story of the Governmental treats almost 20 days after the letter informing Moore of the investigation was issued, might be a smart "publicity" stunt to promote the film among distributors and avoid it to be confiscated (just like it happened with Fahrenheit 9/11).

Forgetting all comments and doubts, the truth of the matter is that Michael Moore is an awfully good filmmaker, who's able to twist and bend the boundaries of documentary to his own will. Even though criticism is correct in ditching his work as one-sided, nevertheless watching his films is still a good (and effective) cinematic experience. All is left to do is to wait and see if also Sicko will make it to the Cinemas.

related links: Moore's website - CNN article praising Sicko - Entertainment Weekly interview on Sicko - video interview to Jacques Cousteau in Cannes 1956

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Bush vs. Michael Moore part 2: Sicko violated U.S. trade embargo on Cuba

Not yet released and already the new Michael Moore documentary stirs controversy. The canadian filmmaker, known for Bowling for Columbine and Fahrenheit 9/11 (which sequel is in pre-production) is the object of a U.S. federal investigation on infringement of the Cuban trade embargo, In March Moore took 9/11 rescue workers to Cuba for a segment in his upcoming health-care documentary. Allegedly the workers were given medical treatment in Cuba to demonstrate how they were neglected by the american health-care/health insurance institutions. Traveling to Cuba turns out to be a crime according to American laws. [Which is fair enough, but then why Spielberg and Charlize Theron were allowed what they deny to Moore?]

Sicko – this is the title of the film, not a reference to Moore's addiction to generate commotion around his work – features a dissection of the U.S. health-care system; the film was inspired by a segment on Moore's TV show The Awful Truth, in which he staged a mock funeral outside a health-maintenance organization that had declined a pancreas transplant for a diabetic man. At last September's Toronto International Film Festival, Moore previewed footage shot for Sicko, presenting stories of personal health-care nightmares. One scene showed a woman who was denied payment for an ambulance ride after a head-on collision because it was not pre-approved.

Moore labels the investigation as an abuse motivated by political agenda: I believe that the decision to conduct this investigation represents the latest example of the Bush Administration abusing the federal government for raw, crass, political purposes.

The timing of the investigation is reminiscent of the firestorm that preceded the Cannes debut of Fahrenheit 9/11, which won the festival's top prize in 2004. The Walt Disney Co. refused to let subsidiary Miramax release the film because of its political content, prompting Miramax bosses Harvey and Bob Weinstein to release Fahrenheit 9/11 on their own. The Weinsteins later left Miramax to form the Weinstein Co., which is releasing Sicko.

Sicko premieres May 19 at the Cannes Film Festival and debuts in U.S. theaters June 29.

Here is what CNN and ABC news have to say on the matter:


related links: Michael Moore's website - video: The Awful Truth (mock funeral)

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BETWEEN SORROW AND JOY: "We Are Together" wins Tribeca's Audience Award

Between sorrow an joy, We Are Together (Thina Simunye) by british director Paul Taylor goes right to one's heart...and wins the 2007 Cadillac Award at Tribeca Film Festival. Paul Taylor and producer Teddy Leifer will dedicate the $25,000 cash prize to school fees for the Agape children through their RISE Foundation.

Filmed over three years by Paul Taylor and his crew, We Are Together (Thina Simunye) tells the story of a very special choir, that of the Agape Orphanage in KwaZulu Natal, a home for children, many of whom have lost their parents to AIDS. The film is a heartfelt story about sorrow, joy and the strength of the human spirit, or as the director puts it: ...it also sums up this duality between sorrow and joy, and the capacity of the human spirit to deal with suffering with humor, dignity and strength...

"Singing makes me think of my home because that was where I learnt to sing," states Slindile Moya – a young 12 year old girl in South Africa. She lives at the Agape Orphanage and together with the other children from the orphanage form a choir which becomes their greatest source of comfort and hope. Meanwhile Slindile makes regular visits to her former home, where her parents taught her to sing as a child, and where her brother Sifiso is now unwell. It's unclear what is wrong with him, but Slindile's worst fears are confirmed by the hospice. He has HIV. Sifiso must face the inevitable, but the family still has the strength to sing. Back at the orphanage, despite the hardship the children have been through, they too continue to sing, which takes them on a journey they could only dream of. For children like Slindile and her friends at Agape, life has not been easy, but their voices continue to ring loud and clear. As they come to terms with a series of painful setbacks, including the loss of loved ones to AIDS, their spirit stays strong and their singing takes them to places they have never been before.

Filmmaker Paul Taylor spent three months in KwaZulu Natal (South Africa) in 2003 volunteering at the Agape Orphanage. He was profoundly affected by his experiences there, the children’s personalities and, in particular, their beautiful singing. He returned with Teddy Leifer (producer) and Pauline von Moltke (associate producer) to make a film and help facilitate the production of the CD that would eventually bring the children to the attention of the world. We Are Together (Thina Simunye) has been more than three years in the making and has involved editors Masahiro Hirakubo (Eragon, Trainspotting, The Beach, A Life Less Ordinary) and composer Dario Marianelli (Pride & Prejudice, Shooting Dogs, V for Vendetta).

We Are Together had its world premiere at the 2006 International Documentary Film Festival Amsterdam (IDFA) where it won two prizes: First Appearance Award and the prestigious Audience Award, receiving the highest score in the festival’s history. It has now played in four festivals and won five awards.
Worldwide theatrical rights for the film are currently available and profits from the documentary will be donated to benefit The Agape Orphanage and other HIV/AIDS projects.

We Are Together is directed by Paul Taylor and written by Slindile Moya and Paul Taylor. It is produced by Teddy Leifer and Paul Taylor, with Annie Roney and Pauline Von Moltke as associate producers and Leigh Blake, Sheila Nevins and Jess Search executive producers. The film is a Rise Films Production in association with The Channel 4 British Documentary Film Foundation and HBO Documentary Films.

related links: keep a child alive - tribeca film festival - help the Agape Orphanage children

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IDFA TIME IT'S A GOOD TIME

Here in Amsterdam it's IDFA time. Almost a week into the hypest bo-chic event on Planet Documentary and Io, Isabella decides to skip for a moment any comment on random films fattening the already fat Festival programme, and devote all the attention, heart and soul, to our many friends showing their work on the world's most prestigious Documentary screens. First and foremost the newest SUBMARINE productions.

Jungle Rudy, The Chronicle of a Family by Rob Smits. The film has already won the Golden Kalf at the Nederlands Film Festival and now keeps on harvasting consesus at the IDFA. The Documentary tells the amazing story of Rudolf Truffino, son of a rich banker from Den Haag, who, shortly after WWII, builds an exotic holiday camp in the middle of the Rain Forest in Venezuela.

Bloot (Naked) by Mischa Kamp (in the picture). The serie of mini-documentaries in rotoscope has finally got out of the bubble (we already screened the first episode at Io, Isabella 2005) and it's ready to hit the road. 5 episodes of 6 minutes each describe, or better "draw" the small dramas of puberty: the first menstruation, boobs growing out of control, the shaping of a sexual identity. The director of Het Paard van Sinterklaas pushes the boundaries of Non-fiction filmmaking. Bloot is a little treat for each Documentary and Film lover.

A sparkling diamond pops out the magician's hat of producer San Fu Maltha (he just released the latest Paul Verhoeven's film Black Book), it's 4 Elements by Jiska Rickels; the film opened the Festival on November 23rd. Maltha "kidnapped" this incredibly talented young director right out of the Nederlandse Film en Televisie Academie and his intuition prooved right: the film is a rare gem, an epic tale of the human struggle against Nature.

Among usual suspects and less known faces IDFA goes on till December 3rd...hence, look out for more juicy reviews.

One last tip: to keep informed on IDFA's and Shadow Festival's Culinary films, we suggest to click by Culiblog edited by our friend and Food Royalty Debra Solomon

related links IDFA – Idfa daily – food-related films at idfa – Jungle Rudy trailer (dutch) – Jungle Rudy the book – Jungle Rudy's Ucaima camp in Venezuela – who is Sinterklaas? – Sinterklaas on wikipedia

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GUZZANI GOES DUTCH!

November 25th. It’s my birthday and instead of celebrating with a breakfast with my Italian friends in Firenze and a dinner with my Dutch friends in Amsterdam (that’s one of the things I simply adore about living in Europe where everything is so close and airports serves almost every major city as if they were metro stations!) I board a train to Roma at six in the morning (!) to finally, after a four weeks chase, meet Sabina Guzzanti.

Sabina is busy lately, very busy. No wonder, since she brought to life the most impressive and important Italian documentary to date.
It started small and quietly, until the buzz about her new film, in one single blow, broke all expectations: an Italian documentary that sells throughout the world! (distributed by Wild Bunch, the same of Fahrenheit 9/11) It's like a mythological oddity, it's like nothing seen before; while national Cinema lives in perpetual anguish, Sabina Guzzanti makes an award winning Documentary.

Hailed as the Italian Michael Moore, Guzzanti titled her reel Viva Zapatero! (watch trailer) in praise of Spanish Prime Minister's liberal reforms. The film is, first and foremost, a rare pearl for Italy, still non-fiction filmmaking virgin-ground. Apart from being a stroke in the chest of the Berlusconi government and his control over the country's mediated media, Guzzanti’s virtuoso excursion in Documentary-Land is a well constructed, brave little work of genius. A little thing of beauty which masters filmmaking best tradition and potentials to tell a personal story that turns to be a perfect polaroid of the Italian current political predicament, and goes all the way to spring into a universal tale, which simple language makes it accessible to just about everybody. Accounting for Italy’s lost freedom of speech and information, Viva Zapatero! triggers laughter and anger, it brings out sorrow and irony, starts with misery and ends up with hope, and does exactly what good films do: it shakes you right in your blood, it stirs your consciousness, bestows awareness and inspires the masses, all this while providing top class entertainment.

Personally, I was shocked by the fact that such an anti-establishment reel could even get a distribution deal in Berlusconi’s Italy, a supposedly democratic country where the dejà-odd Prime Minister can and does “fire” (among many others) Enzo Biagi, a mythical figure in journalists’ circles: a man with the longest and most brilliant career in his field was suddenly “purged” out of public television guilty of interviewing Oscar winning director/comedian Roberto Benigni during the 2001 Electoral Campaign. A few years later, in 2003, brilliant comedy queen Sabina Guzzanti shares the same fate: her satirical program RAIOT, weapons of mass distraction broadcast on public television gets cancelled after the first hugely successful episode. Why? The answer lays in the simple fact that regimes dislike comedians, because they are like children: they cannot help to tell the truth.

Viva Zapatero! tells the truth about Guzzanti’s unfair dismissal with disarming simplicity, and in doing so the film unveils the devastation of a western-capitalist political system going sour, a noiseless catastrophe in which every single individual is involved without even being fully aware of the extends of their drama.

I wanted to give evidence on how a Democracy turns into something else, right under everyone’s nose Says Sabina who at the beginning of the film describes herself as just a jester, one that makes governments shudder in fear!

The film won a buck-full of prizes around the world and will be screened at the coming International Film Festival Rotterdam, worldwide home to best independent films.

related links:
video RAIOT, weapons of mass distraction (in italian) – Viva Zapatero! on wikipedia – article in VARIETY – article in INDIEWIRE – RIOT on wikipedia (in italian)

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