Wolf Edition 2: Distribution Workshop @ Wolf, Berlin [vom 25. bis 27. Juli]

Wolf Edition 2: Distribution Workshop

25. - 27.
19:30 - 18:00

Weserstraße 59, 12045 Berlin
Wolf presents a workshop series dedicated to the theme of programming films, curating and distributing films.

London curator, film producer and writer Gareth Evans is visiting specially to capture our imagination with his passion for independent film and video art. His part of the workshop will be about how we consume films, how to screen and exhibit them at unusual spaces to reach new audiences – he will show films and give a lecture, as well as a hands on practical part where we will discuss how to develop a distribution strategy for our film In the Last Days of the City — آخر أيام المدينة which we release in cinemas from 7th September.

Karin Chien from dGenerate Films is joining us too – she will share her adventures about distributing independent films in the US and China in alternative networks and the next day, German distributor Jürgen Pohl from Salzgeber will tell us how he managed to keep afloat for decades while distributing maverick independent and niche works.

There will be lunches with food cooked by Japanese mastercook Machiko and films and discussions and the chance to continue over the next weeks, adapting what we learned by working on the release of IN THE LAST DAYS OF THE CITY by creating events and marketing ideas with us.Wolf and Arsenal — Institut für Film und Videokunst e.V. are bringing Tamer El Said's «lionhearted elegy for the Egyptian capital» (Artforum) In the Last Days of the City — آخر أيام المدينة to the German cinemas starting September 7.

And you can be a part of it!

With presentations by Gareth Evans (of Whitechapel Gallery, Flipside Festival and Swedenborg Film Festival, curator and film producer), Karin Chien (of dGenerate Films, film producer and distributor), Jürgen Pohl (of Salzgeber, film distributor) and Verena von Stackelberg (founder of Wolf).

— Participation: Send us an email to [email protected] and tell us why you are passionate to take part. The participation fee of the workshop is €50 including films and lunch (2x) by Machiko’s Japanese kitchen at Wolf.

«A city requiem rather than a city symphony, Tamer El Said's film offers a plangent, multilayered dirge to the sensory overload of Cairo and the way it has irrevocably changed. As the title suggests, IN THE LAST DAYS OF THE CITY is an elegy, a melancholic love-hate poem to Cairo and the role of filmmakers in any city in pain.»
Jay Weissberg, Variety

25.07. TUESDAY / 19.30 UHR / WOLF KINOSAAL 1
FURTHER BEYOND von Joe Lawlor und Christine Molloy, Irland, 89 mins, 2016
«Irish co-directors Joe Lawlor and Christine Molloy take their unique approach to cinema to the next level with Further Beyond. An aptly titled work in every sense, this sui generis piece is byturns an essay film in the tradition of Chris Marker (San Soleil) and Patrick Keiller (London), a documentary, and a quirky drama about loss and exile. There’s moving footage of Lawlor’s latemother whose life is sketched here, riffs on ideas about photography and representation found in Susan Sontag and Walter Benjamin, and a series of cinematic “notes” or tests towards a biopic about the 18th-century Irish adventurer Ambrose O’Higgins (played by Jose Miguel Jimenez) that Lawlor and Molloy may or may not have ever intended to produce for real. Exceedingly playful and intellectually stimulating, Further Beyond is not for lightweights. But for those who care about film-making that pushes against what’s possible – and fundable – in an age of cautious, cookie-cutter comic-book franchises and safe-bet awards bait, this is essential viewing.» — Leslie Felperin, The Guardian

9.30pm: Arriving 10 to 12.30 pm and 1.30 to 3pm:

Gareth Evans presents his «Strategy for Distribution in an Altered Age: CARE“ and will discuss with workshop participants why the established model of distribution doesn’t work anymore for the majority of films. He will lay out why new ways of thinking about what the cultural production of cinema means, in a globalised, multiplatform world, are urgently required.

4-6pm: Karin Chien of dGenerate Films presents alternative and new models of distribution in China and North America.


Public film screening of PLAY ME SOMETHING by Timothy Neat, UK, 72 mins, 1989

»Novelist, poet, playwright, artist, critic and commentator, John Berger is something of a Renaissance man. Here he adds a couple more strings to his bow, collaborating with director Timothy Neat to bring one of his own short stories to the screen, and appearingin the film as the mysterious storyteller: wandering across the sands in black suit and hat, suggesting both an enigmatic man with no name drifted in from the Highlands and Orson Welles avuncular MC in ‘F for Fake’. A story, he says, is like an open ticket, and so it is, as a handful of men and women await the plane for Glasgow on the Hebridean isle of Barra, which boasts Britain’s only tidal runway. Amongst them are visitors, a young woman (Tilda Swinton) setting off for a job on the mainland, the locals who have charge of the airport and in their midst, Berger. Jaunty, vibrant and expansive, he makes a mesmerizing storyteller, and his tale, on the face of it a simple yarn of a peasant’s weekend trip to Venice, becomes a complex exploration of people and places, factoriesand farms, sex, politics, musicways of being. The film quite naturally takes on myriad textures: colour and black/white, 35mm and blown-up 16mm footage, and, for the story within the story, still photographs by the exemplary Jean Mohr. Berger and Neat have discovered that there is a useful application for post modernism after all, the better to tell a tale."
— Tom Charity, from Time Out

10am to 1pm:
Recap and discussion with Verena von Stackelberg about cinema programming distribution strategies and IN THE LAST DAYS OF THE CITY.

2 to 4pm: Jürgen Pohl (Salzgeber Film Distribution) gives insight into the world of film distribution.

The workshop participants meet and draw up alternative strategies for IN THE LAST DAYS OF THE CITY. They are also encouraged to organise events around the film themselves. These can take place in August and September and extend to after the
release date of the film as well.



When will we begin to learn from what is being born instead of what is dying? – Murray Bookchin

It is widely known now that the long-established model of film distribution — a journey from festival premiere, to national theatrical release, home entertainment release and even television broadcast — is now over for the majority of works. Financially, technologically, socially, politically: everything has changed. A new way of thinking about what the cultural production of cinema means, in a globalised, multi-platform world, is urgently required.

One possible way forward might appear at first glance to be a navigation back, to sources: of creativity, purpose,community, finance and even language. Curation derives from the Latin, curare, meaning 'to care'. In this context, curation does not only mean the arrangement of finished works but the attention given to the entire spectrum of production, from idea to audience, and beyond, to the ripple effect of the work's presence in the world, at whatever scale. The most important quality one can display in this new mode of engagement with the challenges and successes of collective, creative making is attention… Attention is the rarest and purest form of generosity.

– Simone Weil

...Attention to all parts of the process outlined above.
In this day long workshop — bracketed by two evening film events, Gareth Evans willwork with participants on how these significant questions might be addressed to multiple forms of filmic production, from short and artists' film, through documentary and hybrid forms, to world and independent cinema. With screenings, discussion, exercises and by example, the sessions will consider how one can best direct one's creative, emotional and life energies towards the making of work that itself might make a difference.

To be truly radical is to make hope possible, rather than despair convincing.

– Raymond Williams


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