Dimitri Alips is the international sales manager of Courant 3d Film Festival. For the last ten years, he has worked in the School of Visual Arts Angoulême on international projects and also in different film festivals. He has worked around the world on artistic projects and and also to train foreign students (Vietnam, Russia, Burkina Faso, Argentina, etc). He has trained various artists in photography including Pascaline Aumond and André Mérian.In digital art, he is notably known for his work The European Night of the Museums which he collaborated on with Philippe Boisnard and Photomaton (between Russia and France in 2014. He also participates in Film Festivals as a jury member or as a specialist in new audiovisual formats (Fespaco, La Rochelle International Film Festival, Hue Festival, Francophone Film Festival of Angoulême, Fajr International Film Festival,etc.). As the manager of the events and distribution in Courant 3d Film Festival, Alips tries to promote and develop new images in cinema, newcomers in writing and young authors.

Born in 1968. After studies in Philosophy, Julie Bertuccelli began her career, serving as assistant to Krzysztof Kieślowski, Otar Iosseliani, Bertrand Tavernier, Rithy Panh, Emmanuel Finkiel, Pierre Étaix, Christian de Chalonge, René Féret, Jean-Louis Bertuccelli and others, before embarking on documentary-making studies at Ateliers Varan in 1993. It was thereafter that she shot her first documentary Un métier comme un autre, followed by Une liberté ! (1994), La fabrique des juges (1997), Bienvenue au grand magasin (1999), Un monde en fusion (2006), Otar Iosseliani, le merle siffleur (2006, coll. Cinéma de notre temps), Le mystère Glasberg (2008) and a portrait of Antoinette Fouque (coll. Empreintes). Depuis qu’Otar est parti (2002), her first fulllength feature film, which revealed her to the general public (some twenty awards won in France and abroad, including the César for Best First Work and the Grand Prize at Semaine de la Critique in Cannes). L’Arbre, her second full-length feature
film, was shot in Australia with Charlotte Gainsbourg; part of the official selection at the Cannes Film Festival, it came out in France in 2010 and was nominated for three César. Two more of her films came to French cinemas, La Cour de Babel (2014) and Dernières Nouvelles du Cosmos (2016), both nominated for Best Documentary at the César. Her last full-length feature film, La dernière folie de Claire Darling with Catherine Deneuve and Chiara Mastroianni, came to theatres on February 6, 2019. Julie Bertuccelli has presided LaScam, French-speaking author’s society for documentary authors, since June 2017, as the first woman elected to the function in 2013, heading also the freshly-inaugurated Cinémathèque du documentaire, which she initiated with LaScam.

Luca Bigazzi was Born in Milan. He started working on commercials as assistant director but he grew up as cinematographer with italian director Silvio Soldini. Their first movie, Paesaggio con figure, was noticed at Locarno Film Festival. Since then he’s been spliting his carreer between features films and documentaries.

He worked with directors such as Gianni Amelio, Mario Martone, Carlo Mazzacurati, Abbas Kiarostami, Paolo Virzi’,Paolo Sorrentino. He won seven David of Donatello and eight Silver Ribbon. In 2013 he became AMPAS member.

Her career started in festivals (AFI Fest, London, San Sebastian). She became a partner in Mexican company Tequila Gang and MD of HBO Films (Elephant, American Splendor, Holy Girl, Maria Full of Grace). Her producing credits include The Devil’s Backbone, Buena Vista Social Club, Calle 54, Lost in La Mancha and London – The Modern Babylon. As producer’s representative she has been involved in Whale Rider, Amores Perros, Nine Queens, Corpo Celeste, Carriere, 250 Meters. With long-standing links to Cuba, Rosa has been involved in many Cuban cultural projects.

Always committed to expanding audiences, engaging diverse institutions and working across various arts platforms , she now heads London based B&W Films and is currently an advisor to the PJLF (Paddy and Leigh Fermor Arts Fund). She is member of EFA, BAFTA and AMPAS.

Silke Buhr, well-known production designer, mostly recognised for her work on “Lives of Others” (2006), “Poll Diaries”(2009), “When We Leave” (2010), “Never Look Away” (2018) studied Production Design at the University of Television & Film Munich and graduated in 1998. Since then she has worked as a production manager on tv and cinema projects. She has won the German Film Award for Production Design in 2006 for “The Lives of others” which won the best foreign language film at the Oscars in 2007. Since 2009 she has collaborated with different universities such as Hannover Design & Media Visiting as a Lecturer.

Dr. Tiago de Luca is Associate Professor in Film & Television Studies in University of Warwick. He holds an MA in Film Studies from UCL and a PhD in World Cinemas from the University of Leeds. Before moving to Warwick, he taught and worked at the University of Liverpool for 4 years. His main research interests are: cinematic realism; time and duration in the cinema (especially slow cinema); and contemporary world cinema, with an emphasis
on Brazilian and Latin American cinemas. His first book, Realism of the Senses in World Cinema: The Experience of Physical Reality (I.B. Tauris, 2014), looks at current forms of realism in world cinema by selecting the work of Carlos Reygadas, Tsai Ming-liang and Gus Van Sant. The book explores the ways in which their films reconfigure the tenets traditionally associated with realist filmmaking through a sensory mode of address premised upon the hyperbolic application of the long take. His second book, Slow Cinema (edited with Nuno Barradas Jorge, Edinburgh University Press, 2016), is the first anthology to provide an examination of this concept in film studies, focusing on slowness both as a trend in contemporary global cinema and in terms of its previous manifestations in film history. He is also the series editor (with Lúcia Nagib) of Film Thinks: How Cinema Inspire Writers and Thinkers. His currently research looks at the ways in which the earth has been imaged and imagined in the cinema and related media.
His Selected Publications: Carnal Spirituality: The Films of Carlos Reygadas (2010)/ Sensory Everyday:  Space, Materiality and the Body in the Films of Tsai Ming-liang (2011)/ Gus Van Sant’s Gerry and Visionary Realism (2012)/ Sitting in the Dark among Anonymous Strangers (2016)/ Slow Time, Visible Cinema: Duration, Experience and Spectatorship (2016)/ From Slow Cinema to Slow Cinemas (2016)/ Realism of the Senses: A Tendency in Contemporary World Cinema (2016).

Marijke de Valck (1975) is associate professor in media studies and program director of the master’s programme Preservation and Presentation of the Moving Image. She holds a PhD from the University of Amsterdam. Her research is situated on the intersections of film/media studies, cultural studies and globalization studies focused on film festivals studies. She is specialized in film festivals studies and her researches range from programming issues, to audience research, industry activities and film circulation. Together with Skadi Loist, Marijke founded the Film Festival Research Network, which connects more than 600 researchers and practitioners in the field. She sits on the advisory board of the journal Film Studies (Manchester University Press) and the book series Remapping World Cinemas: Regional and Global Transformations (Routledge).

John Hill is Professor of the School of Media Studies in Royal Holloway, University of London. His PhD is from the University of York. From 2004 to 2014, he was Head of Research in the Department of Media Arts in Royal Holloway. He joined Royal Holloway in 2004 from the University of Ulster where he was Professor of Media Studies and Head of the School of Media and Performing Arts. Hill’s research and writing has focused on a variety of areas including film and television history, national and regional cinemas, the film industry, film policy and the
politics of film.

He is co-editor of Film Policy in a Globalised Cultural Economy (Routledge, 2018) (with Nobuko Kawashima). In this new collection of original essays, Film Policy in a Globalised Cultural Economy brings together a range of international scholars from the US, Europe and Asia to consider how film policy has responded to the various economic, technological and political shifts shaping the global film industry. He is also the editor or co-editor of various collections including Border Crossing: Film in Ireland, Britain and Europe (1994), Big Picture, Small Screen: the Relations Between Film and Television (1996), The Oxford Guide to Film Studies (1998), the Companion to British and Irish Cinema (forthcoming) and three special issues of the Journal of British Cinema and Television – on Film in Britain in the New Millennium (2012), Radical Television Drama (2013) and Ken Russell (2015). His Other Publications: Sex, Class and Realism: British Cinema 1956-63 (1986)/ British Cinema in the 1980s (1999)/ Cinema and Northern Ireland: Film, Culture and Politics (2006)/ Ken Loach: The Politics of Film and Television (2011)/ Cinema and Ireland (1987) (co-author with Kevin Rockett and Luke Gibbons).

Rıza Oylum was born in Istanbul in 1984. He received his bachelor’s degree in Turkish Language and Literature from Istanbul Kültür University and his master’s degree in Turkish Literature from Trakya University Institute of Social Sciences. He wrote Far East Cinema, Russian Cinema, German Cinema, Middle East Cinema, İranian Cinema and Cinema Lessons. He is a member of SIYAD (Turkish Film Critics Association -FIPRESCI-Turkey) and he is currently editor at Seyyah Kitap. He writes corner writings in the Film Arası magazine.

Born in Trento, Italy, Andrea Pallaoro holds an MFA in Film Directing from the California Institute of the Arts and a BA from Hampshire College. His film debut, Wunderkammer, a short film presented in competition at the 2009 Sundance Film Festival, was selected in the official competition of over fifty film festivals around the world and won several prizes. His first feature film Medeas (2013), starring Catalina Sandino Moreno and Brian O’Byrne, premiered at the 70th Venice Film Festival (Orizzonti) and won numerous international awards.

Hannah, his second feature premiered at the 74th Venice Film Festival and proceeded to win numerous prestigious international recognitions including the Volpi Cup for Charlotte Rampling for her interpretation as the title character. Andrea was an artist-in-residence at Yaddo, in 2013 and 2015, and is the recipient of the 2017 Jerome Foundation Filmmaking Grant for his next feature film, Monica, expected to start production in 2019. He recently served in the jury of the 75th Venice Film Festival, the Chicago International Film Festival and the Black Nights Tallinn International Film Festival among others. Andrea lives between Los Angeles and New York.

Filmmaker Adina Pintilie works on the boundary between fiction, reality and visual art. In the new Romanian cinema landscape, her body of work stands out for its highly individual visual style, its courage of cinematic experimentation and its uncompromising interest in the human psyche. Her first feature TOUCH ME NOT won the Golden Bear and the GFWW First Feature Award at Berlinale 2018, followed by an impressive festival circuit and being acquired for cinema distribution in more than 35 countries. The film was also nominated for the European Discovery 2018 – Prix FIPRESCI at the prestigious EFA European Film Awards. TOUCH ME NOT has been selected in major international film festivals such as Toronto, Karlovy Vary, BFI London, Viennale, Sarajevo, Sydney, Seville, Jerusalem, Moscow, Thessaloniki, IDFA Amsterdam, Sofia and many others and screened in venues such as MOMA Museum of Modern Art New York, ICA Institute of Contemporary Arts London and Forum des Images Paris. It was supported by Eurimages, MEDIA Creative Europe, TORINO Filmlab, Romanian Film Fund, Mitteldeutsche Medienförderung, Czech Film Fund, Bulgarian Film Fund, Eurometropole de Strasbourg,
developed within Cannes Film Festival’s Atelier CINEFONDATION, BINGER Filmlab Amsterdam and NIPKOW
Program Berlin, won the ARTE Development Award at CINEMART Rotterdam Film Festival and the CINELINK
Work-In-Progress Award at Sarajevo Film Festival.
Her medium length DON’T GET ME WRONG premiered in Locarno 2007 – Filmmakers of the Present  Competition, won the Golden Dove Award at Dok Leipzig and screened in over 50 international film festivals
like: Thessaloniki, Montpellier, Trieste, Namur, Documenta Madrid, Munchen, Moscow, Sarajevo, Warsaw,
Krakow etc. Her medium length OXYGEN premiered in Rotterdam Tiger Awards Shorts Competition 2010,
screened in festivals like BAFICI, Montpellier, Thessaloniki, Tampere etc. and was nominated for the Best
Short Film Award at the Romanian Film Industry Awards 2011. Her short DIARY#2 won the ZONTA Award
at Oberhausen International Short Film Festival 2013, while her previous short SANDPIT#186 premiered in
Locarno 2008 and won the Runner Up Award at Miami Film Festival 2009.

Paul Schrader (USA)

Paul Joseph Schrader (born July 22, 1946) is an American screenwriter, film director, and film critic. It was with the screenplay to Taxi Driver (976) that he made film history which was nominated for the Oscar for Best Picture and won the Palme d’Or at the Cannes Film Festival. By continuing his collaboration with director Martin Scorsese, he also went on to celebrate success with Raging Bull (1980), The Last Temptation of Christ (1988) and and Bringing Out the Dead (1999). Schrader gave his directorial debut in 1978 with Blue Collar. It was followed, for instance, by Mishima in 1985. His film adaptation of The Comfort of Strangers (1991), a novel by Ian McEwan, with a script by Nobel Prize winner Harold Pinter, was outstanding. His book, Transcendental Style in Film: Ozu, Bresson, Dreyer (1988), is translated to Farsi as well.

His awards include:

• 1976 – National Board of Review, USA, NBR Award – Top 10 Films of the Year for Obsession
• 1977 – National Society of Film Critics Awards, USA, 2nd Place, NSFC Award – Best Film for Taxi Driver
• 1980 – Los Angeles Film Critics Association Awards, LAFCA Award – Best Picture for Raging Bull
• 1980 – National Board of Review, USA, NBR Award – Top 10 Films of the Year for Raging Bull
• 1980 – New York Film Critics Circle Awards, 3rd Place, NYFCC Award – Best Film for Raging Bull
• 1981 – National Society of Film Critics Awards, USA, 2nd Place, NSFC Award – Best Film for Raging Bull (tied with Every Man for Himself)
• 1981 – Boston Society of Film Critics Awards, BSFC Award – Best Film for Raging Bull
• 1985 – Cannes film festival, Best Artistic Film for Mishima a life in four chapters
• 1990 – National Film Preservation Board, USA, National Film Registry for Raging Bull
• 1993 – New York Film Critics Circle Awards, 3rd place NYFCC Award – Best Film for Light Sleeper
• 1994 – National Film Preservation Board, USA, National Film Registry for Taxi Driver
• 1997 – Valladolid International Film Festival, Youth Jury Award – Special Mention for Affliction
• 1998 – Taos Talking Picture Festival, Storyteller Award
• 1998 – New York Film Critics Circle Awards, 2nd Place, NYFCC Award – Best Film for Affliction
• 1999 – National Society of Film Critics Awards, USA, 2nd Place, NSFC Award – Best Film for Affliction
• 1999 – Golden Trailer Awards, Golden Trailer – Best in Show for Bringing Out the Dead
• 1999 – Writers Guild of America, USA, Laurel Award for Screen Writing Achievement
• 2005 – American Film Institute, USA, Franklin J. Schaffner Award
• 2007 – Stockholm Film Festival, Lifetime Achievement Award
• 2008 – St. Louis International Film Festival, Lifetime Achievement Award
• 2009 – Cinemanila International Film Festival, Lifetime Achievement Award
• 2013 – Melbourne Underground Film Festival, Best Foreign Director for The Canyons
• 2013 – Melbourne Underground Film Festival, Best Foreign Film for The Canyons
• 2013 – Ghent International Film Festival, Joseph Plateau Honorary Award
• 2013 – Valladolid International Film Festival, Honorary Spike for The Canyons
• 2018 – Gotham Independent Film Award, Best Screenplay for First Reformed
• 2018 – National Board of Review, Best Original Screenplay for First Reformed
• 2018 – New York Film Critics Circle, Best Screenplay for First Reformed

Soyoung Kim graduated in Cinema Studies from New York University, is Professor of Cinema Studies at Korean National University of Arts, chief editor of Trans: Journal of Visual Culture Studies, and editorial collective member for Inter-Asia Cultural Studies and Traces: A multilingual Journal of Cultural Theory and Translation. Author of Specters of Modernity: Fantastic Korean Cinema; Kim Soyoung’s Film Reviews; Cinema: Blue Flower in the Land of Technology, editor of Cine-Feminism: Reading popular Cinema; and director of Koryu: Southern Women and South Korea, opening film for the 3rd Seoul Women’s Film Festival and in competition at Yamagata documentary Film Festival, 2001; and other short films made for women filmmakers’ collective in late 80s. She published several books on modernity, gender, cinema and media, both in Korean and English including “Spectres of Modernity: Fantastic Korean Cinema” (in Korean), “Electronic Elsewhere: Media, Technology, and the Experience of Social Space” (University of Minnesota Press, 2010), co-edited by Chris Berry, Soyoung Kim and Lynn Spigel. She is the author of the film trilogy “Women’s History Trilogy” (2000-2004; “Koryu: Southern women/ South Korea”; “I’ll Be Seeing Her” and “New Woman: Her First Song”). From this trilogy, “Koryu: Southern women/South Korea” is of particular relevance for her current project “The Cut in the Open City”, as the
former also deals with migration issues.

Hansjörg Weissbrich is an award-winning German film editor. After 25 in the industry, he has worked with numerous German and international directors on more than 50 feature films so far. In addition to his close collaboration with highly acclaimed German director Hans-Christian Schmid („Requiem“, „Storm“), he also worked with Danish director Bille August („Night Train to Lisbon“ with Jeremy Irons and „55 Steps“ with Helena
Bonham-Carter and Hilary Swank), Russian director Aleksandr Sokurov „Francofonia“, Academy Award-winner Florian Gallenberger („Quiero Ser“, „Colonia“ with Emma Watson and Daniel Brühl), and Marco Kreuzpaintner („Trade“ with Kevin Kline, produced by Roland Emmerich) His latest works include STEFAN ZWEIG: FAREWELL TO EUROPE by Maria Schrader (Austrian Oscar submission 2017), THE DIVINE ORDER by Petra Volpe (Swiss Oscar submission 2018 and Tribeca winner 2017), 3 DAYS IN QUIBERON by Emily Atef (Berlinale 2018 Competition), THE ASPERN PAPERS by young French director Julien Landais, starring Vanessa Redgrave, Joely Richardson and Jonathan Rhys Meyers, and co-produced by Academy Award winner James Ivory, and „7500“, the feature film debut of Academy Award nominee Patrick Vollrath, with Joseph Gordon-Levitt. Weissbrich’s documentary work includes MASTER OF THE UNIVERSE (European Film Award 2014) and social
media doc THE CLEANERS, that premiered in Sundance 2018. For his work, Weissbrich has received numerous
awards, most recently the German Film Award in 2014 for TWO LIVES by Georg Maas, that made the Oscar short
list for Best Foreign Film in 2014. Weissbrich is a member of the Academy of Motion Picture Arts and Sciences,
the European Film Academy and the German Film Academy.

Producer-director Liu Xuan is the CEO of Dongchun Films. She was a veteran in the media business, and entered the film industry as producer for actress-director Xu Jinglei’s Dreams May Come (2006). She directed the film A Journey In Summer in 2010 and produced Red Amnesia(2014) and Chinese Portrait(2018) of Director Wang Xiaoshuai. She produced Old Beast (2017) which received a Special Mention at Tokyo Film Festival’s Asian Future section and won two Golden Horse Awards. In 2019, her newest produced film SO LONG, MY SON won two Silver Bear for the Best Actor and Actress.