Jury of the International Competition 2017

LAV DIAZ


(born 1958, Philippines): The most outstanding representative of contemporary Philippine cinema likes to consider himself a storyteller and a truth-seeker. He is interested in the simple people of his country, their struggle for survival and resistance in the face of history, and the experiences of a society marked by colonialism and dictatorship. Another important reference for Diaz is literature. Diaz was for example inspired by Tolstoy's short story "God Sees the Truth, But Waits" for The Woman Who Left (Ang Babaeng Humayo) from 2016. The beauty of his epic – mostly several-hour-long – films unfolds over time, as he uses quiet scenes to make the secrets of human existence and their moral complexity graspable. Diaz prefers to work with amateur actors. Besides directing, he also takes on the role of screenwriter, producer, editor, cinematographer, composer, production designer or even actor. His works have received many awards: most recently The Woman Who Left, which won a Golden Lion at the Venice Film Festival in 2016, or From What Is Before, which won a Golden Leopard at the Locarno International Film Festival. 
 

ILSE HUGHAN



(born in Amsterdam) studied French and Italian and gained a foothold in the film industry as a translator. She was involved in several productions as a production assistant, director and editor, before she took over the distribution and world sales company Fortuna Films in 2002, which was founded in 1909 by her grandfather Jean Desmet. Hughan has a flair for visual, powerful, opinionated cinema, and her company focuses on producing independent films in South America. She works closely with Lisandro Alonso, the formal innovator of Argentine cinema. Since 2002, she has produced all of his films – including the multiple award-winning works Los Muertos (2004) and Jauja (2014). His latest film project Sangre is also a collaboration with Ilse Hughan. She is also responsible for producing the films of the two young filmmakers Paz Encina and Milagros Mumenthaler: [Hamada Paraguaya] (Paraguay) was shown in the Un certan regard section at Cannes in 2006, Abrir puertas y ventanas (Argentina, Switzerland, Netherlands) won the Golden Leopard at the Locarno International Film Festival in 2011. To further the support of young filmmakers, she founded the first South American co-production market, the Buenos Aires Lab, BAL/Bafici, together with Violeta Bava. Hughan is also a member of the selection committee of the Hubert Bals Fund at the International Film Festival Rotterdam. 

 

MONIKA WILLI


With the film Untitled, Monika Willi (born 1968 in Innsbruck) – one of Austria's best-known editors – marks her debut as a co-director. When Michael Glawogger died tragically during the making of his last film project, he left behind a gaping hole – but also a treasure of over 70 hours of footage from a journey across the Balkans, via Northwest and West Africa to Liberia. Willi took on this footage with both doubt and respect, and created a work that in equal measure bears her signature as that of Glawogger. Apart from earlier works by Glawogger, the respected editor's precision and sense of cinematic narrative have defined award-winning works by directors such as Michael Haneke, Barbara Albert or Josef Hader. Among them are Michael Haneke's Amour (2012) or La Pianiste (2001). For The White Ribbon (2009) by Michael Haneke and Thank Your for Bombing (2017) by Barbara Eder she was awarded the prize for best film editing by Filmstiftung NRW. She is also the two-time winner of the Austrian Film Award: in 2013 for The Dead and the Living by Barbara Albert and in 2017 for Thank You for Bombing by Barbara Eder.