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The making of an African Sundance classic

SCREEN AFRICA EXCLUSIVE:

Lemohang Jeremiah Mosese is a self-taught filmmaker and visual artist from Lesotho, now based in Berlin. His film Mother, I am Suffocating. This is My Last Film About You, was selected for Final Cut in Venice in 2018, where it won six awards. The film premiered in the Berlinale Forum in 2019.

Mosese was one of three filmmakers selected for Biennale College Cinema with his feature film This Is Not A Burial, It’s A Resurrection. The film had its international premiere at the 2020 Sundance Film Festival, where it won the Special Jury Award for Visionary Filmmaking in the World Cinema Dramatic competition. Global sales rights have now been picked up by Memento Film’s cinema arthouse label, Artscope.

Set amongst the mountains of land-locked Lesotho, This Is Not A Burial, It’s A Resurrection follows an 80-year-old widow as she winds up her earthly affairs, makes arrangements for her burial and prepares to die. But when her village is threatened with forced resettlement due to the construction of a reservoir, she finds a new will to live and ignites a collective spirit of defiance within her community. In the final dramatic moments of her life, Mantoa’s legend is forged and made eternal.

Screen Africa spoke to Mosese about the making of his Sundance-award-winning film…

Congratulations on This is Not A Burial, It’s A Resurrection premiering and winning at Sundance this year! Did you expect to be getting such recognition for the film?

I was definitely not expecting to get such recognition in general! You do this work, and you just hope that it resonates with people. My work is very personal, it’s all reactionary, it’s not for everyone. It’s kind of a film I would personally seek out in the festival. We had only six months to create this film from scratch. There are many things I wish I would have done differently, but I have come to learn to let go. It’s not mine anymore, it has its own life.

Why is this film so personal to you?

I drew on real-life events for the film, which is set in my native home, Lesotho. Lesotho is a tiny country completely enveloped by South Africa. Its behemoth mountain ranges make up nearly three-quarters of its terrain and these are responsible for the abundance of water in the country, believed to be among the highest quality in the world. Lesotho annually exports an estimated 780 million cubic metres of water to South Africa; this marks Africa’s largest water transfer scheme in history.

As more and more reservoirs are built, thousands of highland villagers are forcibly removed from their land and are relocated to urban living environments, where they not only lose their livestock, crops and way of life, but also their individual and collective identity. Most liken the process of displacement to a death. More and more forests, villages and family relics are being erased in the name of progress. Destroyed and forgotten in a soulless march towards futurity. I am personally not for or against progress. I am more interested in interrogating the psychological, spiritual and social elements that attend it.

When I was a child, my family was evicted from our home. My grandmother’s village is undergoing forced resettlement right now. I still know every texture of her house’s walls, its thatched roof, the smell of oak trees after rain, the stone kraal. Soon this will be razed and flooded and water will be channelled into the heart of South Africa. Let’s just say in every scene and every character there is me; my conflicts, my struggles with faith, my fears, my hopes and dreams.

Can you tell us more about the filmmaking process?

The filmmaking process was definitely challenging. As I said, we had to complete the film in just six months so we had a very packed shooting schedule. The film was shot on location in the remote mountains of Lesotho, where running water and electricity are a scarcity. Equipment, vehicles, crew and other resources were brought into the country from South

Africa. The tiny crew of just fifteen people endured extreme weather conditions while shooting in areas with no road access. Equipment and cast were often transported on horseback and on mules.

Apart from the leads, the cast is made up almost entirely of actual residents from the village where photography took place. It’s really interesting because they knew nothing about cinema: they had never seen something like this in their village before, so they had no preconceived ideas about acting. Everything was really natural and we made sure the set design was always as minimalistic as possible. I didn’t want anyone to feel like they were being watched or under scrutiny.

I come from a visual world. As much as I love language, visuals take precedence in my work. I knew the texture, I knew the composition, pace, tone and the feel I wanted. And I tried to find a playful space on set, to stumble upon things. Pierre de Villiers, my DoP, and I have a synchronised love and passion for beauty. His way of seeing light is just amazing. He comes from the commercial world and it was his first film – it’s incredible. I also trusted him with the choice of camera we used, which was the Sony Venice. It served us best in low light conditions.

What was the decision-making behind editing the film yourself?

As a director, I’m obsessed with how to tell the story through the edit of a film. Editing is the same as writing, it’s so important to really bring all your ideas to the screen. But, of course, sometimes it’s nice to bring someone external in to edit your film – they’ll bring a new perspective to it.

We had some very poignant scenes and my aim was to make sure the edit was paced to reflect those scenes. It was built around them and the framing, so everything was as visual and slow as possible, then got faster around the tension.

What software was used to edit the film and what was the editing process like?

I now use DaVinci Resolve to edit and grade all of my films. I first saw DaVinci Resolve as an NLE solution when Apple brought out Final Cut X. I’d been a Final Cut user but I just didn’t love their redesign, it made everything harder for me. I’m not even a purist! But the UI just didn’t feel very playful to me anymore. I stopped editing completely when they introduced it. Then I bought a Blackmagic camera – one of the old ones – and it came with Resolve. I fell in love with it! The UI is a whole other world; it’s aesthetically pleasing and makes so much sense to me creatively.

It was a tricky process as we were high up in the mountains and it was really remote. My assistant and I acquired a generator for power and set up a temporary edit suite on location using quad core Mac Pros. It was here that we transcoded all of the rushes and assembled a rough cut. The edit was then finalised at Uhuru Productions in Cape Town. The grade was delivered by colourist Nic Apostoli, at nearby Comfort and Fame Studios.

Can you tell us more about the grading process?

Basically, I wanted a 16mm look. I love that look, and I wanted this film to look like this vintage piece that survived, not a new feature. What I love about DaVinci is you can combine both scanned film and digital, and you won’t be able to see the difference. With my last film, Mother, I used 8mm and integrated that perfectly into Resolve. With this film, I wanted to turn it on its head and do a film emulation look. I basically use LUTs, and play with 16 and 35mm emulation LUTs, and work with colourists to build on them. I always play around, there’s no strict template.

What advice would you give to up-and-coming filmmakers?

Keep making films, fail, and succeed. We are so privileged right now to be in a time when you can literally make films with anything. There are cameras all over the place and software programs like Resolve that let you do all of the post-production in one place. All the information is out there, you just need to go and grab it.

Realness Institute celebrates Sundance win and extends call for 2020 applications

The first film produced from the Realness African Screenwriters’ Residency This is Not a Burial, It’s a Resurrection, directed by Lemohang Jeremiah Mosese (Realness 2017) and produced by Urucu Media’s Cait Pansegrouw and Elias Ribeiro, competed in the 2020 Sundance Film Festival’s World Dramatic Competition section to critical review, and was awarded the Special Jury Prize for Visionary Filmmaking at a ceremony on 4 February in Park City, Utah, USA.

“Delicate and strong, this director told a little story of resistance and made it universal,” said the World Dramatic Competition Jury’s citation. “The composition of images, the visual phrase and the story of this film moved us. One of the most beautiful films of our Sundance 2020.”

“Realness Institute has been designed as a platform that caters to the full spectrum of the production line in a way that can push the African film industry forward. Core to the program’s development is the view that African cinema is a central market in the new sphere of the global cultural economy,” says Elias Ribeiro, co-founder of Realness.

The Realness Screenwriter’s Residency is dedicated to providing African film projects with the support and resources needed at the critical development stage of a film. The programme ensures that talent is given the space to mature their work, such that they develop films that can compete in the international film finance market, travel and appeal to international audiences. 

Realness offers a natural environment that allows filmmakers to stretch their creativity and drive their craft under mentorship from industry experts. The residency takes the form of a six-week stay at the Nirox Foundation situated in the scenic Cradle of Humankind in South Africa.

This programme caters for filmmakers with distinct voices and perspectives, who are devoted to their craft and have a steadfast passion for cinema. Filmmakers with feature fiction film treatments and/or scripts that are at least 60% filmed on the African Continent. 

Creative Producer Indaba is a year-long professional development programme, providing emerging producers with the necessary tools and leadership skills to pursue their craft, as well as capacity to operate sustainable businesses at a strategic level.

Creative Producer Indaba is aimed at producers (with and without projects) from Africa; producers from North America and Europe with an interest in co-producing with Africa, 

Film Professionals from other disciplines such as distribution, international sales, funding bodies, institutions, broadcasters and development executives with a stake in the African marketplace.

The deadline for the 2020 Residency and Indaba has been extended to 15 February.

For more information go to realness.institute

Realness Institute announces call for 2020 submissions

The Realness African Screenwriters Residency has developed 20 film projects in 13 African countries its four years running. Lemohang Jeremiah Mosese’s 2017 Realness project, This Is Not a Burial, It’s a Resurrection, premiered at the Venice International Film Festival this year and has secured a North American premiere at a prestigious festival in the first quarter of 2020. Hiwot Adamasu’s 2016 Realness project, A Fool God premiered at this year’s Toronto International Film Festival and will have its European premiere in early 2020.

Creative Producer Indaba

Creative Producer Indaba is a year-long professional development programme that will bring together 15 participants to develop the capacity of producers on the continent and create a pan-African network of producing talent with the ability to bring African projects to the international market.

Creative Producer Indaba aims to empower producers from Africa with industry tools and business strategies for entrepreneurial development. Thereby expanding sustainable infrastructure and bridging the gap between financial support from North America and Europe, and the lack of policies and treaties in place that could catalyze this support.

Creative Producer Indaba is an initiative presented in partnership with EAVE, International Film Festival Rotterdam’s IFFR Pro and Sundance Institute.

Realness Residency

Realness Residency is six-week programme that takes place in the stunning Cradle of Humankind in South Africa, where the residents undergo focused incubation. Writers are given the space and support to refine their projects from a creative perspective, as well as to position their projects to industry partners for potential financing and production.

From the 2019 cohort, the following filmmakers have been granted the following awards by the Realness Institute’s partners: Iman Djionne (Senegal) and Athi-Patra Ruga (South Africa) both attended Locarno Filmmaker’s Academy, Silas Miami’s (Kenya) project and producer, Carol Kioko, were selected for the TorinoFilmLab Meeting Event and Beza Hailu Lemma (Ethiopia) was selected to attend the TIFF Filmmaker Lab.

Over and above their Realness awards, Iman Djionne has been selected for Atlas Workshops taking place in December at the Marrakesh International Film Festival. Both Beza Hailu Lemma and Iman Djionne have also been selected for Produire Au Sud in Nantes.

Realness Institute strives to empower African filmmaker and unearth the wealth of African stories; real stories from the continent, told with an honest and unapologetic point of view by African filmmakers.

Realness Institute is also thrilled to expand its partnership with IFFR Pro form the Creative Producer programme into the Screenwriter’s residency with a scholarship for a Realness producer to attend Rotterdam Lab. Mmabatho Kau, producer of Fanyana Hlabangane’s (South Africa) 2019 Realness Project, has been nominated to attend the Rotterdam Lab in 2020.

Call for Submissions

The call for submissions for both Realness Residency and Creative Producer Indaba will opened on 15 November 2019 and will close on the 31 January 2020. More information and application forms can be found at realness.institute./ (e) submissions@realness.institute

Realness Institute is an initiative by Urucu Media in partnership with: Berlinale Talents, CNC (Le Centre National du Cinéma et de L’image Animée), Cocoon Productions, Deuxieme Ligne Films, Durban FilmMart, The Durban International Film Festival, Durban Talents, EAVE, IEFTA, Institute Français, The French Institute of South Africa, International Film Festival Rotterdam’s IFFR Pro, Toronto International Film Festival, TIFF Filmmaker Lab, Locarno Filmmaker’s Academy, Nirox Foundation, Organisation Internationale de la Francophonie, Robert Bosch Stiftung, Sundance Institute and TorinoFilmLab.

Realness Institute confirms Sundance partnership: Creative Producers Indaba 2020 launched

SCREEN AFRICA EXCLUSIVE:

In an exciting development for African producers, a long-hinted-at collaboration is finally official.

Realness founders and film producers Elias Ribeiro and Bongiwe Selane teased the announcement during the Realness Residency that took place recently at Cannes, but it is now confirmed that Realness Institute, EAVE and the International Film Festival Rotterdam are further partnering with the Sundance Institute to create the Creative Producers Indaba, a professional training programme designed to support emerging African producers on a global stage.

The confirmation of the partnership with the Sundance Institute, which took place at the Durban FilmMart in July, means that North American professionals and networks will now be included in this global professional training and development initiative.

The Creative Producers Indaba will bring together 15 participants to develop the capacity of producers on the continent and to create a global network of producing talent with the ability to bring African projects to the international market, as well as to grow local African creative economies.

Ten of the selected participants will be from Africa – with the organisers selecting five African producers with projects currently in development, who will be joined by five African participants drawn from government, institutions, sales companies and other bodies from across the continent – and five participants will comprise European or North American partners looking to co-produce in Africa.

Ribeiro explained the key aims of the Creative Producers Indaba during the announcement in Durban: “We decided to launch Creative Producers Indaba to make sure we have more producers that understand the international financing game, international distribution,  and who can help…African projects to move closer from the page to the screen.”

Realness Institute has recognised that, despite the recent global festival success and accolades for a number of creative and innovative films by African filmmakers, there is a need for support, specifically when it comes to development financing, infrastructure, distribution and marketing.

Realness is aimed at empowering producers across these various skill-sets not just to see a film through production, but also to become active developers of their local creative economies as both practitioners, policy activists and leaders within their fields.

Unlike many other short-term interventions and workshops, Realness participants work together for a full year in order to emerge as strategic-thinking professionals capable of enabling the entire creative economies of their regions.

As a producer-centric programme, Realness aims for more than simply packaging productions for the international market – although all participants will develop a thorough and marketable package ready to take to market.

Participants will attend a variety of workshops over the year-long period focused on script development, packaging, finance, distribution and ultimately pitching to the marketplace. With sessions led by industry professionals from across Africa, Europe and now North America, participants have an unparalleled opportunity to learn and engage with the global film community.

Realness has a collaborative approach that has successfully created global partnerships with key European institutions such as the International Film Festival Rotterdam and EAVE, the

European Audiovisual Entrepreneurs initiative, a well-established training programme that has been in existence for over 30 years.

The inclusion of the Sundance Institute as a Realness partner brings a number of obvious benefits to the project. The stamp of approval that such a partnership conveys will assist Realness as it continues to secure funding for its various programmes. As an African-based organisation in the film industry, funding is always a challenge, and the inclusion of these new partners will hopefully lead to increased funding opportunities and exposure for the project and its graduates.

Organisations such as Realness, as well as filmmakers themselves, often have to look to the global north, and primarily to Europe, for funding, an ultimately unsustainable approach. Projects like the Creative Producers Indaba will hopefully lead to a more independently sustainable African creative film economy.

Realness’ Elias Ribeiro explains further: “It is our intention to form leaders, producers, activists, who can go back home and engage with local government and institutions, lobbying for better policies for the audiovisual industry as well as implementation of new financial instruments which will enable international and Pan-African cooperation.”

Realness also confirmed that the first call for submissions is expected to be made in October, with a build-up to the first workshop in Kenya in September 2020, followed by a second workshop to take place at the Rotterdam Film Festival in January 2021.

Deadline for the 2019 Realness Residency is fast approaching

The submission deadline – 31 January – for the 2019 Realness Residency is less than a week away. All emerging African filmmakers who wish to apply for this opportunity to develop their scripts in the idyllic setting of the Cradle of Humankind with Nirox Foundation need to submit their applications asap.

Realness alumni have gone on to be selected for the Sundance Directors and Screenwriters labs, Biennale Cinema College and TorinoFilmLab Script Lab among others, while also receiving grants from prestigious funding institutions, such as Hubert Bals.

“Realness has given me the creative freedom and nurturing an artist can sometimes only dream of. It has pushed me forward and in greater depths by precise and brilliant mentoring, tailored to the specific needs of my project. Realness has also given me a trusted network that I can always go back to for advice and support and has already opened multiple doors for me,” Kantarama Gahagiri (Rwanda), 2018 Realness alumnus.

Realness is an initiative by Urucu Media in partnership with Nirox Foundation, Berlinale Talents, Durban FilmMart, The Durban International Film Festival, Durban Talents, Institute Français, The French Institute of South Africa, TorinoFilmLab, EAVE Producer’s Workshop, Locarno Filmmaker’s Academy, CNC (Le Centre National du Cinéma et de L’image Animée), Organisation Internationale de la Francophonie, Toronto International Film Festival, TIFF Filmmaker Lab, Robert Bosch Stiftung, Cocoon Productions and Deuxieme Ligne Films.

 

Realness launches call for submissions for 2019 edition

Now in its 4th year, Realness Pan African Scriptwriters’ Residency is now open for 2019 submissions.

Realness is a pioneering residency initiative conceived by Urucu Media that affords a new generation of filmmakers the opportunity to evolve their talent as authentic voices in African cinema. Over the course of 6 weeks, 5 filmmakers are incubated at Nirox in the Cradle of Humankind where they are furnished with the resources and mentorship that will empower them to create their best work. In the past 3 editions, Realness has hosted writer/directors from 11 countries in Africa.

In 2017 and 2018, the residents collaborated with story consultants Selina Ukwuoma and Mmabatho Kau, who have both worked internationally and continue to believe in the power of a Pan African development platform.

“I love the fact that Africa becomes this truly rich place that has a diversity of voices that I hear when I come and work with Realness. It’s the place I know it to be. I also love the fact that it is an African lab in Africa, for Africa. I think that’s really special.” said Ukwuoma. “Unpacking story with fellow Africans is always exciting and revolutionary.” Kau went on to say.

Realness alumni have gone on to be selected for the Sundance Directors and Screenwriterss labs, Biennale Cinema College and TorinoFilmLab ScriptLab among others, while also receiving grants from prestigious funding institutions, such as Hubert Bals. This continued momentum affirms the residency’s ability to identify and cultivate the next wave of auteurs from the continent.

“Realness is designed to get the best out of each filmmaker in a serene atmosphere with expert guidance. It allowed us to focus our full efforts towards telling our stories. These programmes are really rare worldwide and don’t exist in Africa, except for Realness, which is a much-needed programme and is tailored for African filmmakers.” M. Siam (Egypt), 2018 Realness alumnus.

The call for submissions will be open from the 3rd of December 2018 until the 31st of January 2019. Filmmakers holding an African passport with a narrative treatment, story outline or work-in-progress screenplay are invited to submit their projects for consideration. The 5 chosen residents will be announced at an event hosted by the pavilion Les Cinemas du Monde in Cannes in 2019.

Realness is an initiative by Urucu Media in partnership with Nirox Foundation, Berlinale Talents, Durban FilmMart, The Durban International Film Festival, Durban Talents, Institute Français, The French Institute of South Africa, TorinoFilmLab, EAVE Producer’s Workshop, Locarno Filmmaker’s Academy, CNC (Le Centre National du Cinéma et de L’image Animée), Organisation internationale de la Francophonie, Toronto International Film Festival, TIFF Filmmaker Lab, Robert Bosch Stiftung, Cocoon Productions and Deuxieme Ligne Films.

For any queries email: realness@urucumedia.com

Deadline for submission is 31 January 2019

Realness African Screenwriter’s Residency 2018

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After six weeks in residency at The Nirox Foundation in The Cradle of Humankind, the 2018 Realness residents headed to the Durban International Film Festival (DIFF) to present their projects at Story Junction and take one to one meetings during Durban FilmMart (DFM) with the visiting film professionals. “The Durban FilmMart provided an exciting opportunity for our residents to meet with funders, sales agents and other possible partners for their projects,” said Realness co-founder Cait Pansegrouw. “They were also able to take part in a public pitching session hosted by Talents Durban, attend networking events and watch African films.”

Inke Van Looke, manager of CineMart and Rotterdam Lab, was impressed with the quality of the residents and their projects: “The passion for storytelling and the clearly defined vision of the Realness residents truly resonated. I enjoyed the open and frank conversations, which enticed a deeper dive into their stories and ambitions as a writer/filmmaker. You can notice that the standard is set high by both the residents and consultants, making you excited for more talent to come from the programme!”

Project manager of Sørfond (Norwegian South Film Fund), Per Eirik Gilsvik added; “Realness presented a strong selection this year with a great variety and balance in topics, form and genre. Each of the selected projects caught my interest, not only due to the general quality of the projects but also due to all director’s ability to pitch the projects in a well prepared and engaging manner.”

The residents will have a further six weeks to consolidate their work from home, under the mentorship of story consultants Selina Ukwuoma and Mmabatho Kau who will continue to consult via Skype. Their final deliveries will then be considered for scholarships to the EAVE Producer’s Workshop, TorinoFilmLab Meeting Event and La Fabrique Cinema De L’Institut Francais. Scholarships to Locarno Filmmakers Academy and TIFF Talent Lab were awarded to Kenyan participant Ng’endo Mukii.

The 2018 edition saw the first moves towards creating a South-South alliance between Africa and Brazil being taken, and which The Realness team plans to expand upon over time and is actively seeking partnerships in order to do so.

“A big part of my role as a market director at the Cape Town International Film Market and Festival is to foster a space for more Global-South collaborations to emerge, it was a priority for me to test the waters on co-development between Latin America and Africa through our development lab. We are grateful to the Robert Bosch Foundation for making this possible in 2018 with their generous contribution to our initiative,” explains co-founder Elias Ribeiro.

Daniel Ribeiro is a director from Sao Paulo who saw Realness as an opportunity to work on the shooting draft of his second feature film, Caio & Amanda. Ribeiro joined the five African talents for one week in residence and then continued to work remotely from home back in Brazil.

“Being from Brazil, participating in Realness and sharing the experience with participants from African countries was really exciting because there’s so much in common between us. When we talked and discussed our projects and stories, it was clear that Brazil shares not only a common past and cultural influence from African countries, but still a common present. Exchanging experiences and getting feedback was extremely positive,” he said.

Head of Cultural Affairs and Public Diplomacy for the Embassy of Brazil in Pretoria, Rafael Leal visited Nirox in June in order to meet the residents and to discuss synergies moving forward.

Leal commented: “The Brazilian Embassy in South Africa considers the Realness initiative a great opportunity for enhancing Brazil-South Africa cultural ties. The rich diverseness of both countries and the exchange promoted by Realness can help to realise the potential of artists and help them see their reality through a different perspective. I look forward to see more Brazilians joining the project.”

Realness Screenwriter’s Residency 2018 participants announced

Realness is a pioneering residency initiative conceived by Elias Ribeiro and Cait Pansegrouw of Urucu Media that affords a new generation of filmmakers the opportunity to cultivate their talent as authentic voices in African cinema.

Since its inception, Realness has nurtured five African auteurs each year, growing into a prestigious incubator of emerging talent that is recognised throughout the global film community. Now in its third year, the residency has fostered cinematic voices from 12 countries on the continent, including Angola (Fradique Mario Bastos), Senegal (Rama Thiaw) and Kenya (Amirah Tajdin).

“There is a reason residency such as the Sundance Labs and the MacDowell Colony are so sought-after. They offer the opportunity to withdraw from the world to create without distractions while exchanging ideas with other exciting artists and receiving expert feedback at carefully considered intervals. Realness brings that opportunity to Africa,” said international script consultant Selina Ukwuoma. “With a pan-African focus, the diversity of Africans is celebrated yet the particular concerns that we have in common come to the fore.”

Ukwuoma will join Realness for the third consecutive year, alongside top South African-based consultant Mmabatho Kau who began her relationship with the residency in 2017 and who was recently selected for the esteemed Torino Film Lab’s Story Editing programme. The two will work in tandem, cross-consulting on all five of the selected projects for 2018.

“Both Selina and I are rooted in the African narrative but have an international outlook on stories. Selina’s extensive work internationally and my work locally gives the residents a holistic experience towards developing a world-class script,” added Kau.

On Saturday, 12 May 2018 the five selected projects were announced at the Cannes Film Festival. “After an extensive evaluation of more than 130 projects from 24 countries, it is my greatest pleasure to introduce you to the Realness Residents of 2018; Kantarama Gahigiri from Rwanda, Matthys Boshoff from South Africa, Ng’endo Mukii from Kenya and Reem Morsi and Mohammed Siam, both from Egypt,” said Realness co-founder Elias Ribeiro.

The five projects were chosen by an international panel of 16 prolific world cinema stakeholders, including sales agents Thembe Bhebhe and Efuru Flowers (Flourishing Films), Todd Brown (head of international acquisitions for XYZ films) and literary agent David Kayser (Casarotto Ramsay & Associates). “These filmmakers herald an important and exciting new wave of African storytelling by Africans for Africans and the world. The strength of the projects and the talent driving them will benefit hugely from the expertise exposure and incubation that Realness offers and I look forward to seeing how they mature. I’ve been introduced to some truly special emerging talent who have the potential to compete on the international stage and shine,” said Kayser.

The 2018 Realness residents will move into the Nirox Foundation’s beautiful residence and sculpture park in the Cradle of Humankind on 11 June. They will work on their projects over the course of six weeks before participating in Africa’s largest co-production market, The Durban Film Mart. The most promising projects to emerge will be invited to participate in Locarno Filmmakers Academy, EAVE Producers Workshop, La Fabrique Cinéma de l’Institut Français, Torino Film Lab Meeting Event and TIFF Talent Lab, allowing them to progress closer to being realised.

“Realness continues to carve important relationships with other labs and partners which allow for its residents’ projects to benefit from further growth and exposure. We would like to thank all of our partners, panellists and volunteers, without whom Realness would not be possible.” said co-founder Cait Pansegrouw.

This year the residency welcomes new partnerships with Robert Bosch Stiftung and Organisation internationale de la Francophonie, as funders of the programme and Toronto International Film Festival has come on board offering a scholarship to their TIFF Talent Lab.

TIFF programmer for Continental Africa and the Middle East Kiva Reardon commented on the partnership: “TIFF is very happy to support Realness and its aim of developing and supporting the next generation of screenwriting talent across the continent. We’re looking forward to welcoming a Realness resident to take part in the TIFF Talent Lab, where they can develop their artistic practice and meet with key industry professionals over the course of the Festival.”

Realness is an initiative by Urucu Media in partnership with Nirox Foundation, Berlinale Talents, Durban FilmMart, The Durban International Film Festival, Durban Talents, The French Institute of South Africa and Institute Français, Torino Film Lab, EAVE Producer’s Workshop, Locarno Filmmaker’s Academy, Produire Au Sud, Fairbridges Wertheim Becker, CNC (Le Centre National du Cinéma et de L’image Animée), Organisation internationale de la Francophonie, Toronto International Film Festival, TIFF Talent Lab, Robert Bosch Stiftung, Cocoon Productions and Deuxieme Ligne Films.

For more about the 2018 residents and their projects, visit the Urucu Media website or contact realness@urucumedia.com.

Urucu Media seeks junior producer

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Urucu Media is an independent South African film production company based in Cape Town. Urucu actively partners with the new generation of South African filmmakers who strive to tell local stories that are bold, original and authentic. Their films resonate with domestic audiences and international viewers alike, having screened at Sundance, Berlinale, Tribeca, Rio and Durban, among other festivals. Their most recent film Inxeba (The Wound) has won 28 awards internationally and was selected as South Africa’s official entry for the Academy Awards for Best Foreign Language Film 2018; the the film made it to the December shortlist of nine films out of a record entry of 92 foreign films.

In the six short years that Urucu has existed, they have produced numerous shorts, a feature documentary and five feature films. Their work has been broadcast locally and abroad, having been sold to over 50 territories worldwide. Urucu specialises in co-production, having worked with partners in France, Germany, The Netherlands, Canada and Mozambique, to name a few. They also founded Realness, A Pan African Screenwriter’s Residency Programme for emerging filmmakers, which is currently in its third year.

Producers Elias Ribeiro and Cait Pansegrouw are the team behind Urucu and they are now seeking a junior producer to come on board to assist with the production of their upcoming films. They are both passionate about mentoring and development and would like to work with someone who is hungry to learn and to contribute to the growth of their company.

Details

We are looking for someone with at least 3-5 years production experience, preferably in the feature film arena, or who has a committed interest to move into long form production. The position will start off part time, but we would like to work with someone who we can later bring on full time.

Responsibilities will include (but are not limited to); research, festival applications, funding applications, basic accounting and invoicing, office admin, talent-scouting, script-reading, social media management and monitoring the development of our slate of projects.

Desired Qualities; Tireless work ethic, hunger to learn, passion for arthouse cinema, passion for African content, excellent communication skills (written and verbal), organised, driven, works well in isolation and without supervision (takes initiative), works well in teams, leadership qualities, attention to detail, excellent grasp of Excel, works well under pressure.

Must have: Own laptop, own car is a big plus but is not essential.

City: Cape Town, but we are open to exceptional candidates based in Johannesburg.

Interested parties are to please email their CV and a brief motivation of why they feel they are the right fit for the position to cp@urucumedia.com before 30 April 2018.

More info: www.urucumedia.com

 

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