Mindset that knows no borders: Interview with Otto Banovits
Online cultural magazine Transatlantic Panorama (TAP) has just published an interview with film director Otto Banovits, whose short film Donkey Xote won Best Short Film Award at SEEfest 2017. He talks about his migratory life that took him from Sweden to Hungary to England and Los Angeles, and how this journey informed his work – and his mindset that knows no borders. Interviewed by Bettina Botos, publisher of TAP, Banovits touches upon many themes including, among others, form vs. content, quotes Hungarian writer István Eörsi, and references the 2016 Oscar-winning film Son of Saul by László Nemes when talking about the fate of refugees. You can read the entire interview here.
Gyula Gazdag receives Lifetime Achievement Award in Budapest
We are delighted to share with SEEfest fans the news from Budapest where our festival’s long time friend and renowned filmmaker, educator and mentor Gyula Gazdag was honored at the Budapest International Documentary Festival with the Lifetime Achievement Award. Congratulations!
Gyula Gazdag is a professor at UCLA School of Theater, Film and Television. He has served as the Artistic Director of the Sundance Filmmakers Lab since 1997. Gazdag has been a creative advisor at the Maurits Binger Film Institute in Amsterdam since 2002, and at the Script Station of the Berlinale Talent Campus since 2006. Daily Variety selected him as one of the ten best film teachers of 2011. His numerous feature films include A Hungarian Fairy Tale, winner of Best Feature Film of the Year of the Hungarian Film Critics and screened at Cannes Directors’ Fortnight, Stand Off, winner of a Special Jury Prize at the San Sebastian Festival, Lost Illusions, winner of Best Screenplay at the Hungarian Film Week, Swap, Singing on the Treadmill, which was banned in Hungary for 10 years, and The Whistling Cobblestone, which was banned from foreign exhibition for 12 years. His documentary work includes The Banquet, Package Tour and The Resolution, which was named one of the 100 best documentaries of all time by the International Documentary Association, and The Selection.The latter two were also banned in Communist Hungary for more than a decade.
SEEfest was honored to have Gyula Gazdag on the jury for Best Documentary Film, and as festival advisor and cultural ambassador. Most recently SEEfest presented Gazdag’s influential documentary, Package Tour at the Los Angeles Museum of the Holocaust in November 2017.
Interview with producer Dorothea Paschalidou (Worlds Apart)
By Anna Spyrou –
Dorothea Paschalidou, producer of Worlds Apart, written/directed by Christopher Papakaliatis, and starring J.K. Simmons, spoke to SEEfest about the movie and her producing career in Los Angeles.
SEEfest: Can you tell us a little about yourself and how you got involved in the film industry?
Dorothea: I was born in Athens, Greece. I was raised in an artistic environment as my mom is an art dealer, and my dad is a landscaper. I have an eye for art and I like to support artists and their vision. So, that’s how I got involved in the world of cinema.
SEEfest: What brought you to Los Angeles?
Dorothea: I always wanted to come here; it’s the mecca of the film industry. I studied Media Arts at the Royal Holloway University of London, and then I took my masters degree at the University of Southern California, specifically at the Peter Stark Producing Program. During that time, I worked as an intern for Alexander Payne’s production company. I was doing development work for them and I fell in love with development. Afterwards, I moved to 20th Century Fox Studios as the executive assistant to the Chairman & CEO of the studio.
SEEfest: When do you know a script is ready to produce?
Dorothea: Well I don’t, (is my) straightforward answer (she laughs). When the story is there then it’s ready to go out. Story is the king. A script is not producible when it’s not contained.
SEEfest: What is your process of getting the script produced?
Dorothea: The starting point and most important element is the team. Entering the production process is like entering a marriage, but instead of one person, there are a lot of people you need to “get in bed with”. You should set your boundaries, balance and trust your team. So the process is getting your project together and then you take it from there, the journey begins.
SEEfest: What first attracted you while reading the script for Worlds Apart?
Dorothea: I loved it immediately. I love how the three different stories/worlds, seemingly unrelated, weaved together and intertwined to connect in the end, creating this great narrative about love, politics, and everything human.
SEEfest: How did you get in touch with J.K. Simmons?
Dorothea: I had attached the senior producer Chris Papavasiliou based in New York to Worlds Apart. He knew J.K.’s manager, Stephen Hirsch, and he sent him the script. J.K. has just completed Whiplash (big hit at Sundance). He read the script and loved it. “That’s the role I was looking for, a romantic character who appeals to an older demographic” he said. So he was in, just like that.
SEEfest: What was his stand as American towards the social economic turmoil in Southeast Europe?
Dorothea: From his interviews and what we’ve talked about, I know J. K. is a very sensitive person. He is concerned about the situation and how it creeps up and affects his country and other countries around the world.
SEEfest: Was it easy to release the film in the United States?
Dorothea: It was a challenge at first. Of course, J.K.’s role was vital. That made things easier, but nonetheless it is a foreign language film in a foreign country. The journey is never easy for such movies, but we were very lucky and found a distributor here, Cinema Libre. Cinema Libre brought it over from Europe, what we called ‘Platform Release’. We went from city to city – from New York, where the film was very well received and played for multiple weeks, to Hollywood, then to Chicago, and the journey continues. We do it city-by-city, country-by-country, step-by-step.
SEEfest: How was the American audience’s reaction at Arclight Hollywood screening?
Dorothea: Actually, they were ecstatic about it. I was very impressed and proud to see how in Q&A’s they were asking questions, and they were saying how much they loved it, and how they fell in love with the characters. As a matter of fact, we had this really funny lady who raised the hand during the Q&A and she said: “ You know what, I brought my first time date here and we kissed during the movie. Thank you for that”. That was very touching and exactly the effect you want to have as a storyteller.
SEEfest: We get noticed because of our successes, but we create them on the back of our failures. What failures (of your own) have you been able to learn from? How did they change you and your process?
Dorothea: The only “failure” career-wise that I can think of was my time in a production company when I worked under a very unhealthy environment, but I don’t want to consider it a failure. I learned a lot of things such as how to stand up for myself and when it is time to walk away. Right after, I found my first Creative Executive job at Hyperion Media, which was a great experience, and after that I went back on set to work as the Talent Supervisor for a show with Peter Stormare and Keanu Reeves called Swedish Dicks. So, I’d say it was a failure turned to success.
SEEfest: Are you on social media and do you use it in your work? Why or why not?
Dorothea: Social media is very important nowadays, but I’m not obsessed with it. My life is not revolving around it. However, I do recognize how important it is to promoting your work, getting things out to the world. People use it every three seconds, if not more often. It’s the best and cheapest way to get yourself out (there) or your work or whatever it is you do.
SEEfest: What role have film festivals played in your life so far? Why are they necessary?
Dorothea: I have not been very well acquainted with the film festivals. I have submitted short films and obviously our feature Worlds Apart to multiple festivals around the world. They are very important especially for younger filmmakers to get their work out there, to get noticed, to network, and get introduced to key people who can help them with their career. A lot of careers have been made through film festivals. They are definitely an important vehicle. I’m happy to attend as many as I can because I can see works of people that otherwise I wouldn’t be able to.
SEEfest: What do audiences want nowadays?
Dorothea: This is the one million dollar question, isn’t it? I don’t know what exactly they want at all times. I know they want a good story. They want to relate to the characters, to follow their journey, to fall in love, to escape, to get heartbroken the same way the characters do on screen.
SEEfest: If there is one or more things you think would make the film industry better, what would it be?
Dorothea: It definitely needs more diverse stories and voices. People want to know about unique stories.
SEEfest: We are all here presumably because we love cinema. How did your love for movies get sparked and what can we, as a Southeast European community, do to help others discover a similar pleasure?
Dorothea: My love for movies started when I was a little girl. I always loved spectacle. Everything was related to cinema. I knew I didn’t have a natural talent for directing, and I was never interested in it either. But I believe I am good enough to detect talent and good story, and help the person who has a vision to bring it to fruition. My role is completely supportive and completely accommodating.
The role of SEEfest is very important because it bridges the gap between Southeast Europe and here, an ocean apart. I think as European filmmakers we are sitting in a goldmine of ideas. We can educate with our history, as well entertain with our personal stories from our cultural background.
SEEfest: Do you have a project in the works right now? Would you share some details about it?
Dorothea: As a producer, I always have projects in the works. I read a massive amount of screenplays, stories, decks, and presentations. So, 50% of these are projects that interest me. I do have a few projects but they are still in very early stages. In a couple of months, I’ll be able to talk more about them.
SEEfest: What words of wisdom would you share with a filmmaker just starting out?
Dorothea: The only thing that I have to tell them is: listen, be aware, write your own story, and make it as unique as possible. Make it yours.
__________________________________________________________________________________________________________
Anna Spyrou is an award winning writer-director passionate about storytelling and living in Los Angeles. She has been involved with SEEfest social media team since 2016.
Interview with Greek-American Evan Spiliotopoulos, writer of the 2017 remake of the BEAUTY AND THE BEAST
By Anna Spyrou
Los Angeles, July 2017
Greek-American Evan Spiliotopoulos, screenwriter of the 2017 live action remake of Beauty and the Beast, directed by Bill Condon and starring Emma Watson and Dan Stevens, spoke to SEEfest about the Disney hit movie and his writing career in Los Angeles.
SEEfest: Tell us a little about yourself and how you got involved in screenwriting.
Evan: I always wanted to be a writer and I always loved movies, so screenwriting was the natural combination. Growing up in Greece, I would write short stories and watch every movie I could get my hands on. When I finished high school, I attended the university of Delaware and then American University in DC where I got a degree in screenwriting.
SEEfest: What brought you to Los Angeles?
Evan: Greece has no competitive film industry and certainly no structure in place to cultivate screenwriting. Since I wanted to specifically be a screenwriter, my best option was to come to Los Angeles. For theater and some television, it’s New York. But for film and the rest of TV production, it is L.A. The move was intimidating since I didn’t know a soul, but I had won a few writing awards in festivals and had built a portfolio. So, in 1995 I made the trek to California. I was fortunate enough to very quickly get a job writing for the Sci-Fi Chanel, which launched me.
SEEfest: When do you know an idea is worth writing, and what is your process of getting it there?
Evan: If there is a great conflict, an interesting plot and a unique angle into a story – and if it is cinematic – it’s worth pursuing. My process consists of writing a paragraph of bios for the main characters to get to know them, then laying out the screenplay in a beat sheet. Usually I can see plot holes and structural flaws in an outline before I start writing. With this prep, a first draft takes me around three weeks.
SEEfest: How was your experience working on Beauty and the Beast with such a star-studded cast?
Evan: Fantastic. As thrilled as I was with Emma Watson and Dan Stevens, it was being associated with the incredible supporting actors like Kevin Kline and Ian McKellen and literally everyone else that blew me away. It also made me feel very confident that with people of that caliber, the script and dialogue would sound golden.
SEEfest: Had you worked with Stephen Chbosky before? How did that writing partnership work?
Evan: I had not, but I loved his work in Perks of Being A Wallflower, which he also directed. We actually did not write Beauty together. But our work, and director Bill Condon’s contributions, overlaps throughout the film.
SEEfest: We get noticed because of our successes, but we create them on the back of our failures. What failures (of your own) have you been able to learn from? How did they change you and your process?
Evan: In film, failure is married to success. Getting a script produced and made into a movie is a success unless the film fails at the box office, in which case the entire experience is perceived as a failure. The catch with applying what I have learned in a bad experience is that there’s very little I can do to avoid it next time. Once the script is done, there are a thousand things that can go wrong that the writer has no control over. That’s why films like Beauty are a bit of a miracle.
SEEfest: Are you on social media and do you use it in your work? Why or why not?
Evan: Not really. I have yet to engage with Instagram and Twitter. Other writers have had bad experiences with social media where strangers will pop up out of the blue and try to push scripts on them. It’s happened a couple of times to me. So my social media presence is sparse.
SEEfest: We are all here because we LOVE cinema. How did your love for movies get sparked and what can we, as a Southeast European community, do to help others discover a similar pleasure?
Evan: As the story goes, my parents took me to see an Asterix and Obelix cartoon when I was three. I stayed absolutely silent during the film and started crying when it was over because I wanted more. That was my addict’s moment. As far as what Greece can do, well I think people have plenty of
opportunity to discover a love for cinema without help. There are theaters and DVD stores all over the place, plus Greece unfortunately has a big piracy problem. So the real question is how to cultivate film production and how to encourage foreign films to shoot in our country. Local film production explodes when both the state and independent producers have a lot of money to invest in films. The way they get a lot of money is by doing everything possible to attract foreign films and get them to spend cash in Greece. Since every consecutive Greek government regardless of political leaning has ignored or discouraged foreign film production, we will not be making a ton of movies in Greece and the success of our filmmakers overseas will be confined to rare examples.
SEEfest: Do you have a project in the works right now? Would you share some details about it?
Evan: I do have a science fiction thriller that seems to be in a good place. But the plot, as they say, is under wraps.
SEEfest: What words of wisdom would you share with an aspiring writer?
Evan: To quote Ray Bradbury: “Writers write”. Every day. Without fail. If it’s one page or ten, write.
________________________________________________________________________________________
Anna Spyrou is an award winning writer-director passionate about storytelling and living in Los Angeles. She has been involved with SEEfest social media team since 2016.
Meet Festival Programmers June 3rd, Columbia College Hollywood
Our friends from the Valley Film Festival have organized a Panel with festival programmers on Saturday, 6/3. This event is FREE to attend. Tickets are available at FilmFreeway. Location: Columbia College Hollywood, 18618 Oxnard Street, Los Angeles, California 91356. Moderator: Ken Storer, Writer, Law and Order, Special Victims Unit.
Dances with Films (@DancesWithFilms) June 1-11, 2017 @ TCL, Hollywood
DTLA Film Festival (@dtlaff) September 21-30, 2017 @ Regal Cinemas, Downtown LA
Hollywood Shorts (@hollywoodshorts) Monthly @ The Attic, Hollywood
LA Film Festival (@filmindependent) June 14-22, 2017 @ ArcLight Cinemas, Culver City
SEE Fest (@seefilmla) April 2018 @ Various Venues (West Hollywood & Beverly Hills)
The Valley Film Festival (@ValleyFilmFest) October 25-29, 2017 @ Laemmle NoHo 7, North Hollywood
Schedule:
5:00pm – Network with peers & colleagues over complimentary tea, coffee, and green drinks from our generous sponsors:
Pete’s Coffee in Tarzana – @PeetsCoffee
David’s Tea in Woodland Hills – @davidstea
Troy Casey in Los Angeles – @Mr.Healthnut
5:30pm – Panel Discussion on Programming + Screening of Selected Shorts
7:30pm – More networking over pizza, courtesy of The Valley Film Festival (@valleyfilmfest), and salad donated by Stonefire Grill (@stonefiregrill)
_________________________________________________________________________________________________________________________________
Whether you are a professional in the film industry, a student of the arts, or a lover of foreign films, SEEfest is your cultural hub.
Become a Cine-Fan and engage with other SEEfest members, make new friends and join the journey of cinematic and cultural discovery.
Annual General Membership is $55. Student membership is $30. Click here to join today.
Watch SEEfest movies online
Take advantage of one more week to watch the latest movies online. We partnered with Films2C to bring a great selection of this year’s festival films straight to your home. The selection includes features, documentaries and shorts – short fiction, short docs and animation shorts. Check out award winners and discover new, talented filmmakers. SEEfest films are available online for rental VOD, but only until June 3rd! Don’t miss out! Go to SEEfest on VOD and enjoy the wonderful selection of 2017 festival films. And please, send us your reviews and recommendations and post them on SEEfest facebook page (and while you’re there, please like and follow our page!) THANKS from all of us at SEEfest!
You can also catch online two acclaimed 2016 SEEfest films: Losers, an award-winning and irresistibly charming satire from Bulgaria; and Turkish unusual romance between two misfits, The Half.
Love movies? Become a Cine-Fan and engage with other SEEfest members, make new friends and join the journey of cinematic and cultural discovery.
Annual General Membership is $55. Student membership is $30. Click here to join today.
Whether you are a professional in the film industry, a student of the arts, or a lover of foreign films, SEEfest is your cultural connection and bridge to discover the lands, people, arts and history of the countries at the crossroads of South East Europe. With Cine-Fan membership program you will be the first to learn about upcoming programs and opportunities to shape them. Join today, and thanks!
SEEfest 2017 Presents 23 Films Directed by Women
In light of the acknowledged gender gap both in front of and behind the camera, SEEfest is thrilled to feature 23 films directed by women during the 12th Annual South East European Film Festival.
Join us and celebrate remarkable films by talented women directors at the 12th South East European Film Festival Los Angeles (SEEfest), April 27-May 4, 2017.
Festival locations: Writers Guild Theater and Laemmle Music Hall in Beverly Hills; Goethe-Institut in Miracle Mile; and the West Hollywood Library Campus. SEEfest is a competition festival presenting the cinematic and cultural diversity of 18+ countries in South East Europe to American audiences.
SEEfest is a competition festival presenting the cinematic and cultural diversity of 18+ countries in South East Europe to American audiences.
Click here to download the SEEfest Women in Film Schedule
Listed below are the films directed by women with links to more information and to get your tickets.
Friday, April 28th @ 7:30 PM | Laemmle Music Hall
Directors/Producers: Kristina Grozeva, Petar Valchanov
Saturday, April 29th @ 7:30 PM | Laemmle Music Hall
Directors/Producers: Peter Brosens, Jessica Woodworth
Wednesday, May 3rd @ 7:30 PM | Laemmle Music Hall
Director: Anca Miruna Lăzărescu
Wednesday, May 3rd @ 9:30 PM | Laemmle Music Hall
Director: Ana-Felicia Scutelnicu
Monday, May 1st 7:30 PM | Laemmle Music Hall
Director: Nino Basilia
Friday, April 28th @ 7:30 PM Goethe-Institut
Director/Producer: Maja Prettner
ANGEL WAGENSTEIN: ART IS A WEAPON
Saturday, April 29th @ 5PM | Laemmle Music Hall
Director: Andrea Simon
Tuesday, May 2nd @ 6 PM | West Hollywood Library Campus
Director: Petra Seliskar
Wednesday, April 26th @ 7:30 PM | Laemmle Music Hall
Director: Ilinca Calugareanu
LIMBO
Shorts Program 1 – Saturday, April 29th @ 1 PM | Goethe-Institut
Director: Konstantina Kotzamani
MAGDA MOZARKA
Shorts Program 2 – Saturday, April 29th @ 2:45 PM | Goethe-Institut
Director/Producer: Bojana Momirović
FIGHTING FOR DEATH
Shorts Program 3 – Saturday, April 29th @ 4 PM | Goethe-Institut
Director: Eleonora Veninova
LETTER TO GOD
Shorts Program 3 – Saturday, April 29th @ 4 PM | Goethe-Institut
Director: Maria Ibrahimova
MINUS ONE
Shorts Program 3 – Saturday, April 29th @ 4 PM | Goethe-Institut
Director: Natassa Xydi
FORGIVENESS
Shorts Program 4 – Friday, April 28th @ 8:30 PM | Goethe-Institut
Director: Vanya Jekova
THE OTHER SIDE OF HOME
Shorts Program 4 – Friday, April 28th @ 8:30 PM | Goethe-Institut
Director/Producer: Naré Mkrtchyan
Shorts Program 5 Sunday, April 30th @ 1 PM | Goethe-Institut
Director: Maria Ibrahimova
FIREBIRD
Shorts Program 6 – Sunday, April 30th @ 5 PM | Goethe-Institut
Tuesday, May 2nd @ 4 PM West Hollywood Library Campus
Director/Producer: Velislava Gospodinova
THE WISH
Shorts Program 6 – Sunday, April 30th @ 5 PM | Goethe-Institut
Tuesday, May 2nd @ 4 PM West Hollywood Library Campus
Director: Aspasia Hatzirvasani
PLASTIC FLOWERS
Shorts Program 6 – Sunday, April 30th @ 5 PM | Goethe-Institut
Tuesday, May 2nd @ 4 PM West Hollywood Library Campus
Director: Claudia Ilea
JUSTICE
Shorts Program 6 – Sunday, April 30th @ 5 PM | Goethe-Institut
Tuesday, May 2nd @ 4 PM West Hollywood Library Campus
Director: Jelena Vučić
OUR CITY (BELGRADE WATERFRONT 2)
Shorts Program 6 – Sunday, April 30th @ 5 PM | Goethe-Institut
Tuesday, May 2nd @ 4 PM West Hollywood Library Campus
Authors: Katarina Ćirilović Popović, Ana Đorđević Petrović
NIGHT SHADOWS
Shorts Program 6 – Sunday, April 30th @ 5 PM | Goethe-Institut
Tuesday, May 2nd @ 4 PM | West Hollywood Library Campus
Directors: Ivan Viaranchyk, Bat-Ami Rivlin
We invite you to join us at the 12th edition of SEEfest, April 27 – May 4. Buy your festival pass today!
*NOTE: SEEfest Cine-Fan Members get a 20% discount on Festival Passes and tickets. Click here to join and get your promo discount code.
On “Defending Cinema in Los Angeles”, the Manifesto of Locarno in L.A.
Los Angeles, 22 April 2017 — Opening night of the inaugural Locarno in Los Angeles film festival at Downtown Independent needs to be recognized for its bold effort to rescue the city from the non-stop, wall-to-wall, suffocating onslaught of ever more commercial glut. We desperately need a revolution of our mental eating habits saturated with the sugary drinks of 80% CGI sprinkled with faux sentimentality that treats us as unsuspecting kindergarteners, an easy prey for inducing a life-long addiction to nonsense.
Los Angeles is at the cutting edge of the 21st century artistic frontier in many creative disciplines and we deserve better in cinema too. This is not a question of “liking” a film. It is healthy to dislike, to critique, to shout at the programmer who put you through the rigmarole of watching “slow film” that is so opaque that it makes you angry – and that provokes you to express your opinion and engage in a heated discussion with your next-seat neighbor, perhaps a nerdy cinephile who drives you crazy with haughty references to movies you have never seen or heard of. It is healthy! As it was healthy when the LA Phil embarked in 1992 on a bold adventure with the young conductor Esa Pekka-Salonen who pushed the orchestra, as well as the audience and sponsors, to experience avant-garde programming with contemporary, experimental, innovative composers. Today LA Phil is the envy of the music world, and a world-class orchestra.
Avant-garde gives new life to everything, even the standard, run-of-the-mill programs. We need cinema that will challenge us, enrage, puzzle and delight in ways we didn’t even know we could be stimulated. It gives health-food nourishment to our poor aneurism-clogged brains and nudges our cerebral power plant to awake from the stupor of the tiresome new age and science-averse pretentious spirituality. We need it to jolt us to a state of wonder by bringing bold cinema to our Hollywood shores.
Vera Mijojlic
Artistic Director of SEEfest
Two SEE films on the LoLA program on Sunday, 4/23: All the Cities of the North, with Serbian director Dane Komljen in person; and Scarred Hearts, by Romanian director Radu Jude.
Locarno in L.A. web site
We invite you to join us NEXT WEEK at the 12th edition of SEEfest, April 27 – May 4. Buy your festival pass today!
*NOTE: SEEfest Cine-Fan Members get a 20% discount on Festival Passes and tickets. Click here to join and get your promo code.
The Constitution Opens the 12th Annual SEEfest on April 27
Nebojša Glogovac. Photo by Hà Kin
The Constitution by Croatian director Rajko Grlic is the Opening night film of the 12th edition of SEEfest on Thursday, April 27 at the Writers Guild Theater in Beverly Hills, at 7:00 PM.
Winner of the Grand Prize of the Americas at the Montreal World Film Festival, and Best International Feature Film Award of the Santa Barbara Film Festival 2017, among other awards, The Constitution has enjoyed critical and commercial success wherever it was shown.
Tickets are now available for SEEfest Opening gala and screening of The Constitution.
April 27 at the Writers Guild Theater
135 South Doheny Drive, Beverly HIlls
Doors open at 6:00 pm
Film screens at 7:00 pm
Reception immediately following the film
Tickets – $20 includes screening and reception
*SEEfest Members get a 20% discount on Festival tickets.
Bijan Tehrani to Receive Ambassador of International Cinema Award from SEEfest
Los Angeles, March 30, 2017 — On the occasion of the 10th anniversary of Cinema Without Borders, online portal for international cinema in Los Angeles, SEEfest will honor its founder and editor-in-chief Bijan Tehrani with Ambassador of International Cinema Award. Mr. Tehrani has worked as director, film critic and writer and taught history of cinema at colleges in Los Angeles. He is a long-time champion of international indie cinema and through Cinema Without Borders has supported countless international film festivals in Los Angeles. He has given a much-needed media platform to independent movies and foreign language films, and advocated for stronger presence of foreign language films in U.S. theaters. Says Vera Mijojlic, founder and director of SEEfest, “Our festival is proud of the long-standing collaboration with Cinema Without Borders and Bijan Tehrani. It will be my pleasure to present this award at the Opening of SEEfest on April 27.”
During his long career Bijan Tehrani directed short animation films including, among others, Children’s Olympics, winner of Diploma of Honor at Leipzig Festival, Germany (1982), and Children of Jaleh Square, winner of Special Jury Prize at the TV Festival in Herzeg-Novi, Yugoslavia, as well as Prix Danube in Czechoslovakia (1981). He wrote and directed numerous documentaries, and documentary series for Iranian National Television in the 70s and 80s. As a prolific children’s books writer he enjoyed considerable success with Mashti’s Rooster, A Flute Telling You a Magic Tale, and The Yellow Leaf which was voted Book of the Year at the International Book Fair of the Middle East, Tehran, 1992.
You can read more about international cinema and festivals on the web site Cinema Without Borders.
We invite you to join us at the 12th edition of SEEfest, April 27 – May 4. Buy your festival pass today!
NOTE: SEEfest Cine-Fan Members get a 20% discount on Festival Passes and tickets. Click here to join and get your promo code.