Open Windows for Integration
Film Commission an Open Windows for
11-12 June 2008 Tirana, ALBANIA
We are pleased to invite you in the workshop:
"Film Commission an Open Windows for Integration"
OWI PROJECT co financed by the
European Union through ERDF – New Neighbourhood programme
The purpose of OWI is to create a network
between national, regional and local authorities focusing on the culture
as both an economic factor for development and a factor for social
Through the use of information technologies,
the project will allow to cultivate the mutual acquaintance through an
easier exchange of information and containment of the limitations
imposed by natural barriers and linguistic differences.
Albania Film Commission is an occasion for our territory to become a
unique and indispensable tourist destination, through the proper
territorial marketing policies and systemic strategies destination
management, practically through a rational and meditated operation to
offer a specific product, equipped of its spirit, character and its a
clear identity, defined by a project, leaving no place for randomness in
- The definition of the phenomenon
"Film Commission" through the description of regulatory, financial,
socio-cultural and economic aspects, through two sectors that constitute
it, cinema and tourism.
- The role of the "Film commission", from a socio-cultural and economic
the area, first as the set, and then as a potential destination; actors
of tourism and film, which both constitute the chain system of cine
tourism, especially of the Film Commission, as a mediator for such
- The final considerations mean to be a
personal contribution for the definition of certain aspects related to
this promising but still brand new phenomenon. Albania Film Commission
is an opportunity for culture and tourism management, and also the best
practice of a systemic integration of the two main pillars of the
Albanian economy and other participant partners in the OWI project,
indispensable for an evolved production of the tourism.
- Know-how Exchange is the similar nature of cinema and tourism.
Dissemination of Best practices with partners in workshops:
Albania, Region of Puglia, Veneto Region, Serbia, Bosnia and
OBSERVATIONS FOR FILMMAKERS
You could easily be forgiven for thinking that Albania doesn't have
anything even remotely resembling a film industry. And by extension,
it is easy to think that film, the most expensive and technological
of all the arts, is an area where Albania would hardly have made it
off the starting block. But in 2001 came the first challenge to
these preconceptions: an Albanian film, Gjergj Xhuvani's Slogans
(2001), was selected to play in the Director's Fortnight, which runs
concurrently with the Cannes film festival. It is thought to be the
first time that an Albanian film has played at Cannes, and the
novelty continued when it was critically acclaimed. The film's
success was not a one-off either: it went on to win the main prize
at Film Festival Cottbus at the beginning of November 2001, and just
a matter of days later it scooped the Grand Prix and Best
Performance by an Actress in a Leading Role at the Tokyo
International Film Festival, while Xhuvani shared the award for Best
Director at the same festival. Meanwhile, Fatmir Koçi's Tirana
Year Zero (2001) was in the official selection at Venice and won
the international competition at Thessaloniki Film Festival.
Albania, the world now knows, makes films.
But if Albania is able to make films, how? Regular production of
feature films did not begin in the country until 1957 and only
started to rise above the rate of one a year at the end of the 1960s
and after 1970 was at around 14 feature films, 40 documentaries and
16 cartoons a year. This soon collapsed with the demise of the
communist regime. The 1990s have produced few of what Albanian law
refers to as "artistic films" shot on 35mm (although Albanian
television produces about 60 low-budget 16mm films a year, which by
inference are presumably "non-artistic"), but what few there have
been, such Kujtim Çashku's Kolonel Bunker (1996), have
garnered critical acclaim at festivals. Let’s mention the director
Artan Minarolli, who took part successfully at the festival of Mosca,
Roterdam and Selanic with his last feature “The moonless night”.
Another big event for the Albanian cinematography is the
participation after 15 years of the directors Ergys Faja and
Bertrand Shijaku with their cartoon film “ The Princess and the
moon” at the festival of Giffoni in Italy, which is the most
important festival for children in the world.
Production is currently at the rate of around four feature films a
Despite such occasional successes, the film industry was severely
affected by the post-communist environment and economic collapse. If
the Albanian film industry survives, it is only because it is on a
life support system.
Support actually comes in two forms:
The National Centre of Cinematography
-and foreign money-coming from co-productions.
CENTER OF CINEMATOGRAPHY
QENDRA KOMBETARE E
The National Center of Cinematography
Address: Albafim Studio,
Rr. “Aleksandër Moisiu”, Nr.77,
Phone: +355 4 375 490
Fax: +355 4 378 004
National Center of Cinematography was founded in 1996 in response to
worries that the Albanian film industry would die out completely if
it was not given resuscitation and in accordance with a
cinematography law passed the previous year. The Centre was
empowered to give a grant for projects, provided that they were able
to find a foreign co-production partner. Projects awarded funding
have 20 months to find such a partner, and if after this time they
have failed to do so the Center can demand the money back from the
Producers in Albania are a relatively
new phenomenon, as in most former communist countries. The normal
role of a producer is to bring together the creative team and to
find financing for the project. Under communism, neither role was
necessary. Money came from the state and once a script had been
approved funding was usually automatic. Furthermore, communist
countries favoured the "film unit" approach, which kept creative
teams working together in a tightly knit group from film to film,
obviating the need for a producer as talent match-maker.
Furthermore, the major producers of Albanian films, the state-run
and private TV channels, are unable to inject money. When they are
involved as co-producers, they usually provide payment in kind:
access to technical facilities or free advertising space on their
airwaves before the release of the film.
During the period from 15 May 1997 until 1
December 2006 the Albanian National Center of Cinematography has
financed 132 film projects of different kinds, from which:
8 Short films
6 Feature projects for development
56 Documentary film projects
35 Cartoon film projects
2 Project of festival organization
The financial amount for the projects has been 570.775.493
Albanian Lek (All) or 4 566 206
Albanian Cinematography is not in its best state for the following
absence of a national strategy for the art and culture in general
that caused a lack of orientation for the Albanian cinematography as
part of the national culture.
If there had been any nagging doubts among producers as to the
strategic importance of Albania for the future of Balkan cinema,
then these were quelled by a short excursion to the historical
monuments, castles and ruins. Your trip can include a stopover at
the wonderful sandy beaches of the Adriatic Sea or the rocky beaches
of the Ionian See. The north of Albania offers a landscape with
mythic mountains, wild rivers and canyons. A newly reconstructed
Mother Teresa International Airport will welcome you to the new and
ancient land of eagles.
RULES & REGULATIONS
The cinematography in Albania is regulated by the Law
No. 8096, of March 21, 1996
“ON CINEMATOGRAPHY”. Other permits, requirements and restrictions
will be handled by Albania Film Commission.
The Albanian Center of Cinematography preferably finances projects
with foreign co-production already established by Albanian
Co-productions have been set up in recent years with Poland, Italy,
Switzerland, Bulgaria, Hungary, Romania and Russia, Germany, Italy,
Check Republic, Holland, Belgium. But the currently favoured country
is France. France is already a major international co-producer, and
the attraction for Albanians is even greater due to Fonds Suds, set
up by the French foreign and culture ministries to provide
"selective aid" to films "with a strong cultural identity." In
Europe, the only countries with access to this fund are Albania and
the former Yugoslav republics.
1997 to 2001 about 3 (three) million euro have been invested for
joint productions in the film field.
French producers don't just pump in much-needed cash. They also
provide invaluable know-how and modern equipment. So, for “Slogans”,
the Albanian producers provided the creative side of the film, the
actors, set and costume designers and, of course, the locations,
while the French producers, Les Films des Tournelles, handled
technical matters, providing a director of photography, camera
equipment and post-production facilities. Tirana Year Zero
also had a French co-producer, Cine-Sud, and production support from
Fonds Sud. It gained as well the support of the Belgian company
Alexis Films and the Hubert Bals Fund, organised by the Rotterdam
film festival to aid films from "developing countries."
The French producers also handle international sales and arrange
distribution in France (Slogans opened at 35 cinemas around France),
with the Albanians covering what distribution they can manage in
Albania. This in itself is no mean feat. Surprisingly, Slogans was
the first Albanian film since the fall of communism to gain a
theatrical release in the country (opening at the beginning of
October), distributors being more interested in sure-fire
blockbusters from the American Majors. The film showed for ten days
in Tirana, and then a week in other major Albanian cities. The film
was an enormous success. Distributors were obviously satisfied with
their venture into domestic products, as Tirana Year Zero
opened with a two-week run in Albania's capital at the end of
October 2002, again to a mixture of criticism and box-office
current wave of optimism, if carefully exploited, could be very
beneficial for Albania. If Albania has any sense, it will be cashing
in on films such as Slogans and Tirana Year Zero to rebuild this
decrepit film infrastructure and to foster new talent. But whatever
Albania does or doesn't do with its infrastructure, it will surely
be easier for Albanian production companies (particularly
established ones) to team up with foreign producers.
EQUIPMENT ENTRY REQUIREMENTS
1) Persons from the following countries may enter Albania* without
having a visa, but should hold a travel passport and pay the
entrance fee/tax of 10 Euro.
Australia, Austria, Belgium, Great Britain, Bulgaria, Check
Republic, Denmark, Estonia, Finland, France, Germany, Greece,
Netherlands, Hungary, Ireland, Italia, Israel**, Japan, Canada,
South Korea, Croatia, Leetonia, Lithuania, Luxemburg, Norway,
Poland*, Portugal, Rumania, San Marino, SHBA, Slovakia*, Slovenia,
Spain, Sweden, Turkey, New Zeeland, Switzerland.
* Duty free entrance
**Entrance tax 30 Euro
2) Persons from the following countries holding
a diplomatic and service passport enter the Albanian territory*,
Algeria, Argentina, Chile, China,
Montenegro, Macedonia, Moldavia, Russia, Ucraine, Uruguay
*Foreigners have the right to stay in Albania up
to 30 days. In total they can stay maximum 90 days within one
3) Persons that can obtain visa in the border:
10 Euro (If obtained in the Albanian
Embassy 5 Euro)
other foreigners should obtain Albanian visa prior to their arrival
to Albania in the respective Albanian mission in their countries.
Near these missions they will get all the necessary information for
their trip to Albania.
the website of the Albanian Ministry of Foreign Affairs:
Albania represents a diverse and interesting country especially for
young talented people.
D’Errico Roberto Rossellini
Michelang. Antonioni Dino Risi Vittorio Scala
Romolo Marcellini Damiano Damiani
FILM UNIONS & ASSOCIATIONS WEBSITES
RECENT FILM PRODUCTIONS
CHRONOLOGY OF ALBANIAN FILM PRODUCTION
UNIONS & ASSOCIATIONS WEBSITES
Komuniteti i kineasteve
shqiptare ne Shqiperi eshte organizuar ne kater shoqata kineastesh:
the most important associations of the Albanian filmmakers,
together, they nominate the members of the Approbatory Council of the
National Albanian Center of Cinematography, which selects the best
projects to be financed by the NACC annually.
associations have the right to propose amendments and laws in
the cinema field and they contribute in the development of the
cinematography in the country.
The Albanian Cineastes Association "Lumiere",
created in 2000, is one of the most active professional associations
in the country. Among the founders of the new society are
internationally renowned artists such as director Kujtim Cashku and
Petrit Beci, the former the director of the National Center of
Cinema and the actual General Director of the Public Television.
“Lumiere” has focus its efforts to protect the rights of the
filmmakers in the country and to develop the Albanian Cinematography
Shoqata e Kineasteve Shqiptare "LUMIERE", e
krijuar me 19.07. 2000, me seli ne Albafilm Studio, me kryetar z.
Address: “Albafilm” Studio, Street: “Aleksander Moisiu”,
Tel. /Fax +355 4 65 157
“The Association of
Cinematographer of Albania”
created in 2004, Chairman
Shoqata e kineasteve Shqiptare e krijuar me 22.10.2004, me
kryetar z. Ndricim XHEPA.
Address: Rr. “Hoxha Tahsin” nr. 179,
Tel/Fax. +355 4 229 893
3. Shoqata "Krijuesit e Animacionit Shqiptar", krijuar me 05.02.2005
me kryetar z. Artan Maku.
Tel: +355 4 255746
4. Shoqata "Lidhja e kineasteve te filmit dokumentar", e krijuar me
10.70. 2007, me kryetar z. Esat IBRO.
Tel: +355 4 252986
"The Union of the
established in 2001, by
Address: “Albafilm” Studio Street: “Aleksandër Moisiu”,
Phone: +355 4 221441
Tirana International Film Festival (TIFF)
TIFF International Festival is the first and the only international
cinema festival in Albania created in 2003, dedicated to short film,
documentaries, animation and experimental films. This year will
celebrate the 5th anniversary. This activity was
organised by “Albanian Art Institute”, under the auspices of the
Albanian Ministry of Tourism, Culture, Youth and Sports. TIFF is a
member of the European Coordination of Film Festivals since 2004.
Last year’s edition submitted 800 films of all the categories from
65 countries around the world. From them, they were selected in the
official competition 100 short movies, totally 21 hours of
screening. Besides the movies in competition, a special programme
with feature full length movies is screened. Among the special
guests of the festival, Ken Loach was present during the screening
of his movie “Tickets” in Tirana.
Director: Ilir Butka
Tirana International Film Festival,
Torre Drin, Shopping Center, Rruga Abdi Toptani, Nr. 27, Tirana,
P.O. Box 8361
Phone: + 355 (0) 68 30 67 636 or + 355 (0) 69 20 90 691
Albania Art Institute
KEN LOACH - present in TIFF
CARL HENRICK SVENSTEDT - Poetic Cinema
FRANKO NERO - Special Guest
SHORT ATTACK - interfilm Berlin - The best selected films
PARAJANOV - Tribute
JOHN CASSAVETES - "American Dreaming"
JOS STELLING - "Erotic Tales"
for the Protection of Producers and Authors
The Forum for the Protection of Producers and Authors (FMPA) added
to its membership when the association representing the music
industry – Albautor - ceded 138 members to the FMPA. According to
Albanian law, one organization can’t represent more than one
entertainment industry. Therefore, the FMPA, funded by IREX/ProMedia,
now supports a new contingent of actors and technicians from the TV
industry who were previously represented by Albautor. The FMPA will
provide its growing membership with benefits as well as continuing
to expand its archive of legal programming for Albanian TV stations.
Director: Pirro Milkani
Phone: +355 (0) 682545790
THE CENTRAL STATE FILM ARCHIVES (CSFA)
QENDROR SHTETEROR I FILMIT
The bottom-line for the involvement of the CSFA in storing,
providing professional care to and managing the multifarious
information on film collections available to it is to extend the
life-expectancy of the cultural heritage of the Albanian and foreign
cinematography, with a view to passing it on to future generations.
The CSFA abides by the cultural policy the Albanian State pursues
for the protection and distribution of the seventh art as artistic
and historical documentation. The CSFA complies with the criteria
laid down by the Film International Archives Federation, FIAF.
Address: Rr.Aleksandër Moisiu, nr.76/1, Tirana, Albania
Tel: + 355 42 64970 / 64971
Currently, the Albanian National Center for Cinematography is
promoting the launch of a half-dozen newly financed productions and
co production. Kujtim Cashku’s “The Magic Eye” has already made the
rounds of festivals in Cairo, Tel Aviv, and Montreal. Robert
Budina’s short feature “Snowdrop” won two prizes at this year’s
Tirana International Film Festival. Artan Minarolli’s “Chant
d’amour”, a co-production with France based on a short story by
awarded author Ylljet Alicka, is finished and headed for either
Berlin or Cannes.
one of the famous directors of the country directed
Godfather”, an original script
backed solely by ANCC funds. Besnik Bisha’s “Mao Tse Tung”, the
story of a boy given this name during the country’s link to Red
China, is also nearing release. And Fatmir Koci’s “A King for
Circumcision”, based on Ismail Kadaré’s historical novel Sinister
Year, is ready to go before the cameras.
Father and Godfather
Screenplay / Director : Dhimiter ANAGNOSTI
Cast: Artur Gorishti, Myzafer
Ziflaj, Enxhi Agushi, Zef Mosi
Cast: Bujar Lako, Arta Dobroshi, Alban Ukaj, Timo Flloko