Une accréditation coûte 50 €. Cette accréditation vous donne accès à toutes les séances du festival. Le programme d’échange européen vendredi 2 novembre est compris dans le prix.
Après la confirmation du payement, le badge peut être obtenu du 24 octobre au 3novembre 2018 au
Cinéma Palace 1000 Bruxelles, entre 10h30 et 16h30.
With the ECFA Doc Award, ECFA gives special attention to European quality documentaries produced for a young audience, promoting this specific genre towards audiences and festivals.
The ECFA Doc Award was launched in 2016, in cooperation with doxs!, the young audience festival within the Duisburger Filmwoche (Germany). In organising this prize, ECFA is working to raise awareness about documentary movies for a young audience, stimulate the debate and work towards a better European spreading of documentary films.
The ECFA Award follows a nominations and election procedure, parallel with the general ECFA Award. The final vote is open to all ECFA members, choosing the ‘Best European Young Audience Documentary of the Year’. The award is handed out during the International Filmfestival Berlin – Berlinale.
The jurymembers this year are to be confirmed i August 2018.
Bella Brussella Award
The Bella Brussella Awards are divided in these sections :
The Best of International and Belgian Shorts
The Best of features for Teens
The Best of features for Kids
The Best of non European productions & co-productions
The awards are distributed by a national and international teenage jury.
This year the international juries are as follow :
The Best of Shorts : Teenage Delegation of Shortfilmfestival Oberhausen
The Best of features for Teens an dkids : to be confirmed
Le masterclass « Cinéma Belge pour Jeune Publci » pour le professionels du cinéma est le mardi 30 octobre au Ritcs cinéma. L’entréé est gratuit et la réservation n’est pas nécessaire.
09u30 : Café
10:00 : Projection Rosie & Moussa
11:30>12:30 : Masterclass avec la réalisatrice Dorothee Van Den Berghe
Ritcs cinema : rue Antoine Dansaert 70, 1000 Bruxelles
Language challenges in media literacy, film production and distribution for young audiences.
INFO : firstname.lastname@example.org
Part 1: Presentations and debates for professionals with an interest in the production, distribution and programming of films for a young audience.
What are interesting distribution strategies for the national and transnational success of films for young audiences? How to engage children in watching foreign language films? What is the role of minority languages in children’s films?
10:00 > 12:30
Vincent Lucassen – Under The Milky Way – Bringing Young Audience Award-films on VOD platform – The Netherlands
Vincent works for Under The Milky Way, a service company dedicated to the digital distribution and marketing of films. Each year in early May, the European Film Academy presents the EFA YOUNG AUDIENCE AWARD: young audiences across Europe watch the three nominated films, discuss amongst each other and as members of the pan-European jury, they vote for the winning film at the end of the day. As a new feature, Under The Milky Way wants to make these nominated films available on VOD platforms across Europe. By creating a sort of digital label under the umbrella YOUNG AUDIENCE AWARD, each individual film can benefit from this. Making YAA films available on Video-on-Demand (VoD) platforms like iTunes, Google, Microsoft or Amazon make the films available in several languages all year round with the support of Creative Europe.
Ana Ceres – OTOK – About AREM (Action! Research: A New European Methodology)- Slovenia
Ana is affiliated with the Otok Institute, the main producer of the Kino Otok – Isola Cinema International Film Festival, held annually since 2004 in Izola and other cities in Slovenia. The Otok Institute is the leading institution for film literacy projects in the south-western region of Slovenia. Project AREM (Action! Research: A New European Methodology) aimed to design and implement an original film literacy research methodology through commonly conceived workshops in four partner countries: Italy (Milano Film Network), Croatia (Croatian Film Association), Romania (CineCultura) and Slovenia (Otok Institute). Two short films and one feature film from each partner country were selected and used in school workshops as a learning tool for film language and intercultural understanding.
Katie McCullough – Festival Formula – Festival strategies for children films – UK
Katie McCullough is the founder of Festival Formula Ltd, a consultancy company focussing on filmmakers covering festival strategy worldwide with over 14 years of experience. Film is a universal experience and language shouldn’t be a barrier. The amount of festivals accepting international submissions has increased – what do we need to factor in when trying to reach out with a film in a foreign language?
Frederike Migom – Binti – director upcoming feature film “Binti” – Belgium
Frederike is currently working on her children’s feature film “Binti”, a Flanders-Wallonia co-production. The Congolese girl Binti (12) has lived in Belgium her whole life and dreams of becoming a YouTube vlogger. But she and her dad Jovial are denied asylum and they have to run from the police. On this dangerous journey, she meets Elias (11), a boy whose parents are divorced. Binti only sees one solution: her dad should marry Elias’ mum. Frederike has always been fascinated by dreams and how to achieve them. The struggle some kids have to go through inspired the script of “Binti”. The story is told from the child’s point of view and is always hopeful. “Binti” might be a Belgian film, but it has a universal message.
Gloria Morano – Luxembourg City Film Festival – Challenges of programming in a
multilingual country – Luxembourg
One of the pillars of the Luxembourg City Film Festival is its ‘Young Audiences’ programme, drawing in school classes and young festivalgoers from ages 3-18 for film screenings, workshops and events that open up the world of film and awaken a passion for cinema. In a multilingual country such as Luxembourg, the Festival faces the challenge of communicating enthusiasm for cinema and educating in visual complexity with specific strategies for programming, guest selection and expert talks.
Nia Ciadog – Producing children’s series in dual languages – Wales
This year, Nia celebrates 40 years of working in and for Children’s TV. Her first experience with dual language programme making began with “Fireman Sam” – which she wrote in English and Welsh. This ensured that both versions were authentic. She attempted to address this in subsequent dual language shows over the last 20 years. One of these is Baaas – coproduced with Al Jazeera Children’s Channel and S4C in Welsh and Arabic. Nia is a mum and grandmother, and continues to produce children’s TV as well as teaching yoga.
Metsamarja Aittokoski – International success of ‘Pikkuli’, animated series without dialogues – Finland
Metsamarja is a producer, screenwriter and director of multiplatform children’s media content. She is also the co-founder and CEO of Sun in the Eye Productions and Aittokoski Experience Ltd in Finland. The company’s latest animation production “Pikkuli” (26 x 5 min, 2016) has been sold to more than 25 TV channels and was screened at various festivals around the world. At Filem’On Festival, Metsamarja will talk about the international success of “Pikkuli”. The “Pikkuli” TV series has no dialogue – like Pingu. Instead, the characters speak their own kind of language, communicating with speech bubbles that contain only visual images, not words.
Part 2: Workshops for teachers and film programmers.
Inspiring hands-on examples of education through cinema, incl. ways to present and discuss films with children and young adolescents, incl. those with diverse linguistic backgrounds.
13:30 > 17:00
Presentation by Sylvia Pigarella & Elodie Maertens – Roald Dahl as the Ambassador of Linguistic Immersion- Tubize Cultural Center – Belgium
Located on the edge of Brussels, Tubize Cultural Center has been working with local schools for several years. Plays and films are carefully chosen to broaden children’s taste for culture. Two local schools have been offering linguistic immersion classes in both Dutch and English for 12 years. Tubize Cultural Center joins the project by offering a shortlist of animation films linking the linguistic programme with culture. This year, who better than Roald Dahl to be the Ambassador of this new initiative? Come find out more about the project and the process we develop with local teachers.
Sandra Verkaart — Film analyses for a young audience- Filem’On – Brussels/Belgium
Film analyses for a young audience: try it yourself before you implement it! Sandra Verkaart, jury coordinator at the Filem’On festival, will immerse you in the language of film.
In this workshop, you will learn some basic techniques and there will be time to brainstorm new ideas, using each other’s experiences. As an artist and educator in the audio-visual arts, Sandra Verkaart enjoys creating and passing on the possibilities of the moving image.
Workshop by Aurélia Di Donato – Les doigts dans la prise – France
Hands-on workshops with the following activities:
PRESENTATION SCREENING / Le Garçon et le monde
We will debate how to introduce a movie in a classroom context. What is important, what is the intention of the filmmaker? What kinds of subjects should we highlight?
In SEARCH OF AN AUDIENCE / Ma Vie de courgette
Imagine a method and strategy to present the movie “Ma vie de courgette” to young audiences. We will approach it like an essay and touch on problems raised in the story (for example: orphans, abuse, poverty…)
FOR THE YOUNGEST / La Petite taupe
We will talk and think about how to reach children of less than 3 years old. What should their first theatre experience be like? How to interact with these young kids, who often can’t speak yet, to get them engaged in the movie?
IMAGINING A MOVIE WORKSHOP FOR ALL AGES / Mon Voisin Totoro
We will reflect on how a workshop should look if it’s meant for all ages: the young children, their caregivers, the whole family. How do we prepare this? We will discuss the tools, funding and the importance of a good presenter, and anticipate certain pitfalls.