Vacature Producent (V/M/X) Freelance, tijdelijke functie
Roffa Mon Amour is een jaarlijks filmfestival op een bijzondere Rotterdamse (buiten)locatie dat iedere zomer plaatsvindt rondom juli of augustus. Met het kleurrijke en avontuurlijke programma raken we ons publiek en prikkelen we de filmsmaak. In twaalf dagen presenteren we de meest excentrieke nieuwe en oude films, cinemaconcerten, introducties en Q&A’s. In 2022 bestaat Roffa Mon Amour tien jaar en dat gaan we vieren met diverse evenementen in samenwerking met Rotterdamse partijen.
Om een onvergetelijk en feilloos tienjarig bestaan te vieren is Roffa Mon Amour op zoek naar een enthousiaste, ervaren Producent die de gehele productie van het reguliere filmfestival en uiteenlopende filmevenementen op zich neemt. Het gaat om een freelance klus verspreid over 20 tot 25 dagen in de maanden april, mei, juni, juli en augustus.
Als Producent van Roffa Mon Amour ben je verantwoordelijk voor het opzetten en uitvoeren van de verschillende activiteiten. Je weet de grote lijnen uit te zetten en je hebt oog voor details om zo de ideale filmavond op te zetten voor onze bezoekers. Je pakt werk zelfstandig op en werkt nauw samen met de directeur, de partners en het team.
• Je voert het gehele productionele proces uit: van het zomerfestival en de losse filmvertoningen door het jaar;
• Je beheert zowel de planning en het ticketing systeem als draaiboeken en materialenlijsten en bewaakt deze;
• Je bent het aanspreekpunt van en behoudt het contact met alle leveranciers en partners;
• Je beheert en bewaakt het productiebudget;
• Je bent verantwoordelijk voor de aanvraag en afhandeling van de evenementenvergunning;
• Je bent verantwoordelijk voor het aansturen en begeleiden van de stagiaire productie;
• Je bent verantwoordelijk voor de werving en het inroosteren van vrijwilligers;
• Tijdens het festival ben je het aanspreekpunt voor alle betrokken partijen, stuur je vrijwilligers aan en zorg je voor een algeheel goed verloop van de avond.
Wat breng je mee?
• Je hebt ervaring in het produceren van evenementen/festivals, bij voorkeur in de openlucht;
• Je bent een teamplayer, pro-actief en weet mensen te enthousiasmeren;
• Je bent communicatief sterk en vindt het leuk om contacten met verschillende partners, leveranciers en vrijwilligers te onderhouden;
• Je hebt affiniteit met onafhankelijke cinema en filmfestivals;
• Je spreekt en schrijft vloeiend Nederlands en Engels;
• Je bent beschikbaar in de maanden april, mei, juni, juli en augustus en werkt vanuit kantoor in het Schieblock in Rotterdam. Het gaat om een ZZP-klus voor circa 20 tot 25 dagen werkdagen verspreid over het bovengenoemde aantal maanden. Werkdagen zijn flexibel in te zetten en in overleg.
Wat bieden wij jou?
• Een uitdagend, afwisselend project met als hoogtepunt het twaalfdaagse filmfestival;
• Een gezellige werkplek in ons kantoor in het Schieblock;
• Een hecht, internationaal team van filmliefhebbers, inclusief borrels en events;
• Ruimte voor creativiteit, eigen inspraak en werkwijze;
• Flexibele werktijden;
• Een dagvergoeding op zzp-basis; conform vergoedingen in de culturele sector.
Organisatie en inclusie
Bij Roffa Mon Amour staat film en het enthousiasme voor dit medium voorop. We vertonen films van over de hele wereld, van, voor en door iedereen. Het festival wordt georganiseerd door een klein, gedreven team, waar eigen initiatief wordt gestimuleerd en er ruimte is voor meedenken. Iedereen is bij ons welkom, ongeacht je gender, geloofsovertuiging, handicap, culturele achtergrond, leeftijd of seksuele geaardheid.
Ben je enthousiast geworden?
Stuur voor 25 februari 2022 jouw motivatie en CV naar email@example.com t.a.v. Lisa Smith, oprichter en festivaldirecteur Roffa Mon Amour. De gesprekken vinden plaats vanaf 11 maart 2022. Bij vragen over de vacature kun je ook terecht bij Lisa, per email: firstname.lastname@example.org.
On Friday August 6 we screen Residue by Merawi Gerima. This personal story centers around the filmmaker’s unrecognizable neighborhood in Washington DC, where he experiences the impact of gentrification and has to deal with a great sense of loss and not belonging.
We feel the urgency of these matters here too – Rotterdam housing policy and exclusion have been high on the political agenda this year and Rotterdam residents might recognize the issues raised in the film. To offer context to Residue and to take a closer look at the problems of gentrification here in The Netherlands, we invited two guests to join a conversation.
Massih Hutak, journalist, artist, and author of the book Jij hebt ons niet ontdekt, wij waren hier altijd al, and Meryem Slimani, photographer, art director and culture scout, will be interviewed – sharing their personal experiences, diving deeper into the origin of gentrification, and most of all, showing how the power of community can fight this problem.
Want to read and listen more?
Listen to the Groene Amsterdammer podcast with Massih here, read his book on gentrification in Amsterdam Noord, and check his community initiative Verdedig Noord. Find more on Meryem’s work on her Instagram or read about her experiences in Rotterdam West in this Vers Beton article.
Want to have a say about films? Be part of a festival jury? Present the very first New Amour Award? Become a jury member of The New Jury!
We are looking for three youngsters who will form The New Jury 2021. For the first time, we give Rotterdam film lovers the opportunity to watch RMA films, to decide which filmmaker will take home the New Amour Award. So, if you are a film freak with a critical eye and you are in the mood for a cultural summer project, we invite you to become a jury member at Roffa Mon Amour 2021! The application deadline is June 1.
Wil jij meepraten over films? Onderdeel zijn van een festivaljury? De eerste New Amour Award uitreiken? Word jurylid in The New Jury!
Wij zoeken drie jongeren die samen de The New Jury 2021 vormen. Voor het eerst bieden we Rotterdamse filmliefhebbers de kans de films uit het programma van Roffa Mon Amour te bekijken, om samen te beslissen welke filmmaker met de New Amour Award naar huis gaat. Dus, ben je een filmfreak met een kritische blik en heb je zin in een cultureel, zomers uitstapje, dan nodigen we je uit om jurylid te worden tijdens de 9e editie van Roffa Mon Amour. De deadline om je aan te melden is 1 juni.
By Floris Mosselman
In 1995 Mathieu Kassovitz introduced Western Europe to aspects of urban France that was until then, scarcely available to most of the general public. He did this through La Haine (Hate), his second directional feature-film about three men in Chanteloup-les-Vignes, a Paris banlieu. We follow Vinz, Said and Hubert for 24 hours after a violent riot happened in their neighborhood and in which the police severely wounded a friend who is now in the hospital. The film is based on actual events.
La Haine presents a more close-up view of the banlieu and its daily reality and interaction of its inhabitants with the police and the rest of society to a broader public. Many people only knew (and still know) these neighborhoods through their newspapers or tv screens, from camera crews filming from behind the riot police. In the most ‘hot’ or highly active part of these neighborhoods (les quartier chauds), the riot police have an almost permanent presence as can also be seen in the movie which focuses heavily on the relation between these men and the police.
Through its rough camerawork, setting, street-wise dialogue and emotional and tense situations the movie feels very real for most of its viewers and it immediately became a hit in France. It actually seemed so real, that The Interior Minister and Prime Minister of France supposedly watched it three times in order to understand the underlying causes of the riots the film is based upon. They even ordered the whole Parliament to watch it. I don’t really know if this should be seen as something positive, in the sense that these statesmen were genuinely interested in what was going on in their own backyard, or as something negative, in the sense that these men had absolutely no clue how to deal with these neighborhoods so they turned to a movie.
This suburb of Paris like many other neighborhoods of big cities in Western Europe are characterized by the collapse of models of productivity built on factories and workers. These workers were imported from other countries or came from former colonies. Most of these men and women were perfect for the simple jobs at hand; they worked hard, took care of their own communities were content with what they got and needed minimal education or other investments from the state. Modernity rushed forward however, and within a few decades more favorable production conditions were found elsewhere, leaving these neighborhoods with extremely high unemployment rates, low educational levels, increasing relative poverty and all its consequences.
The movie sparked a lot of debate on how these suburbs and social housing projects were handled by the government and the police brutality that was going on there. For the most part the film was received positively, but there were also critical voices. Some critics from the hip-hop community remarked that Mathieu Kassovitz was not seen as authentic enough, because his film was so stylized and cinematic literate that he was not ‘keeping it real’. According to others, he could not speak for the banlieu as he was clearly from a bourgeois, leftist family and had not really experienced that environment. Others however praised him for staying true to the realities of the communities, also because the La Haine project was not just a movie, but also a CD in which local hip-hop artists give their own views on the subject of the film and a photo exhibition showing the production process of the film in the neighborhood. According to some, the film is not just made by an ‘insider’ or an ‘outsider’, a ‘high’ or a ‘low’ cultural production, a ‘white’ or a ‘black’ movie: it is a hybrid, heterogeneous cultural patchwork.
I tend to agree with this last statement, although the debate of being able to represent someone else’s life-experiences is still ongoing. Actually I am more interested in why people want to see this movie, and why they like or dislike it and its characters. And if we think this is a proper depiction of the banlieu, isn’t watching this movie comparable to the controversial ‘neighborhood safaris’ we have here in Rotterdam, in which people that are interested in a poor neighborhood and its people, are ‘safely’ walked around so they can look intrigued at its ‘authentic’ inhabitants. And finally, almost 25 years after its release, is viewing this film and forming an opinion about it (again) enough? Can people watch this and go home telling themselves ‘now I understand how these people act and feel’ while still not being able to interact naturally with some young men that are standing on the streets. I look forward to learning about all your views and telling you about my research, the movie and why I think it is hard for some people to interact with those from neighborhoods with a different cultural and socio-economic environment.
Floris Mosselman studies the way groups of young adults give meaning to – and embody – conflict situations. After graduating in Cultural Sociology he worked at the Netherlands Institute of Crime and Law Enforcement mapping how robberies unfold using video analysis. As a PhD candidate he is now part of the Group Violence Research Program at the University of Amsterdam. Headed by Don Weenink they focus on how group behavior affects the likelihood and severity of violence.
At Roffa Mon Amour, Floris talks about how La Haine (1995) was received back when the film came out, and how the film could be watched today.
While interviewing Partho on his third feature film, he expresses his appreciation for selecting his most recent film Slam (2018). Why? We wonder. We are the ones who should be grateful he made this film and we are very happy to be able to add it to our special program Activism Now!
But somehow Slam (2018) is not being selected in European festivals. And that’s strange, because it was one of the rare films that was both selected for Cinemart – IFFR’s co-production market – and after, also for Berlin’s co-production market. Producers and its financing was found easily and the story didn’t change since, but both festivals didn’t select the end-result. How is that possible?[Partho] I think that there is a serious problem of inherent Islamophobia that exists in people’s minds. I mean, one can see the way things are going with the European elections. And I think that’s a serious problem. I can’t give it any other explanation. Slam was a French co-production but the film has no distributor in France. When I spoke with the distributor who did Sunrise (2014) – a Muslim Tunisian woman – she said she liked the film but the rest of the office was against the film. That’s an almost violent reaction. They didn’t say: “We don’t like the film”, but “We hate the film. We are against it.”
[RMA] But it’s also a really strong emotion you evoke with your film. Don’t get me wrong, but I think Slam makes a more impression on a younger audience. That’s why it’s a perfect fit with our festival. I believe our audience will be blown away by the film and moreover learn from it.
[Partho] That’s exactly on my mind; I think that it’s an age thing. The older generation is ruling the festivals in the world; I’m very excited to see how young people react to this.
[RMA] Maybe young people can emphasize more easily with the character whereas the (white) older generation, might be offended by the way you, for example, depict white men.
[Partho] That’s right; I think that’s the problem. In Europe we always want to relate racism to Nazis or skinheads, the extreme. But what I wanted to show was that there is an inherent racism in our society and that this everyday racism happens all the time and that that guy is not always a Nazi. I wanted to make a film about violence, not just about racism.
[RMA] Sometimes watching something is more confronting than when you read on paper.
[Partho] I think in retrospect that in their minds, they still thought that it was a film about radicalization. I don’t think they realized what I was trying to say. They didn’t see that whiteness was being accused of something.
Most liberals believe that they’re on our sides. And if you accuse them then they get really angry: “Oh, how dare you tell me”. But I’m not accusing anyone; I’m just saying this is how it exists. This is how it gets constructed. It’s about the everyday little things that happen, that make this work. There is violence, there are assholes everywhere, and there are extremists everywhere. You can’t just blame a whole community for that. You can’t blame every young woman who’s walking on the road in the hijab as being part of some kind of Islamic Republic. As I can’t blame every white person I meet on the street to be some kind of Nazi. It doesn’t work like that.
[RMA] Compared to Sunrise where you had very little dialogue to explain what’s happening, Slam is an audience-friendly and dialogue-driven film.
[Partho] I was asked to make it more accessible, by the French and Australian producers. But it was not only that. Slam gives a voice to a group of people that has never been depicted in cinema before. Look at what just happened in Cannes! The Dardenne Brothers were selected with a film [Le Jeune Ahmed (2019)] about a small kid that radicalizes. I haven’t seen the film yet, but what I read from the reviews is that there is no explanation on why the child gets radicalized.
This film got the Prix de la mise en scéne – the Best Director Award! Though they got terrible reviews, and everyone says: there is no explanation on why is this little boy suddenly gets radicalized. There is NO explanation given by the brothers. It’s the hatred: you’re born like that and there’s no way out.
[RMA] Did you base Slam on some actual events or the several stories that you hear all the time?
[Partho] Yes and no. I did not base it on anything that happened, but unfortunately things are happening which are based on the film.
When I just arrived in Australia I went to a poetry slam in Western Sydney where I shot the film. Western Sydney, Bankstown is a suburb, which has the largest Muslim population. There is an art center, where they hold a poetry slam. 80 percent of the poets are Muslim poets, mainly Muslim women poets.
I watched a section and there was a woman in a hijab who came and started saying these crazy, strong words and I was really impressed. The image that the media gives you about hijabi women is that they’re weak and it’s all about the men and they have no voice and I was like: wow, this is really a contrast. Visually and cinematographically it was inspiring and I realized: I have to do something – I don’t know what – but I have to do something. And I said: what happens if she disappears tonight? That experience was the beginning of the story and how I started writing years ago.
Interview by: Charlotte Van Zanten
By Francesca Brignoli
Liliana Cavani is the only female Italian director to be recognised at a global level. Her story is interconnected with her productive and political involvement – an activity that she has never fully worked out – making her a truly unique humanist. Cavani considers cinema a tool for understanding and conversing with contemporaneity. The historic, cultural and spiritual lands she crosses make her cinema eccentric: the caution with which it is received, especially in Italy, is proof. She has been followed with more sensibility abroad, where she has been considered more as a European phenomenon than an exclusively Italian one: her productions reveal a very strong cosmopolitan vocation.
She belongs to the generation that definitively freed itself from Neorealism; from her earliest beginnings her name has been paired, also from the generational point of view, with those of Marco Bellocchio and Bernardo Bertolucci. Their cinema invented new forms of interpreting the real from an intensely subjective point of view. But to truly understand the space within which the filmmaker moves, one must actually look to Luchino Visconti and Pier Paolo Pasolini. She shares the concept of the “foreign body” with Pasolini, of that which is different and subverts the established order. With Visconti she instead shares a propensity to use history as a scenario of experiences, as a stimulus for a cultured, sophisticated and cruel human story.
Her vision, free from any kind of Manichaeism, has made her a fascinating but complicated figure: in some cases her originality has shadowed her sophisticated mindset and dedication. RAI (national television channel) produced her first films, which were documentaries and historical-social inquiries. The Cannibals (I cannibali, 1970) captured the interest of international critique, with Susan Sontag bringing the film to the New York Festival. In the sixties she founded Lotar Film in order to acquire creative independence, which produced The Night Porter (Il portiere di notte,1974) – her masterpiece – and Beyond Good and Evil (Al di là del bene e del male, 1977). These films were very successful in the European box offices and stimulated intellectual debates abroad. In Italy, on the other hand, the films were regarded as scandalous and raised discussions about the power of censorship and a filmmaker’s autonomy, especially in the case of women. She continues to direct in modern times, also with significant foreign productions: Ripley’s Game (2002) for the British Fine Line Features.Francesca Brignoli (IT) is an independent researcher and cinema specialist of Liliana Cavani, to whom she dedicated her thesis, graduating with a degree in Cinema History and Criticism at the Faculty of Letters of the University of Pavia. She continued her research on Cavani’s cinema, writing speeches, essays and the monograph Liliana Cavani. Every possible journey (2011).
She and Nuccio Lodato edited historical-critical monographs dedicated to Ingrid Bergman. The Vertigo of Perfection (2010), Marilyn Monroe. Deceits (2014) and Orson Welles. Fourth power (2015). At Roffa Mon Amour she will talk about the work of Cavani.