Joelle Alexis Niels Pagh Andersen Jordana Berg Maya Hawke
Yael Bitton Anne Fabini Jakob Høgel Per K. Kirkegaard
Erez Laufer Mary StephenJean Tsien
Claudio Hughes Iikka Vehkalahti

 

 

roughcutservice

 

 

For those of you who believe that you have a great film on your hands,
but are not happy with the rough cut.

How

Send a simple application to us.

Ideally, we would get your application 10 days before you need our feedback. But we understand if sometimes you need it “now-now”.

 


In the application we need: 

  • A short description (synopses, treatment) of the project
  • The approximate date when the rough cut will be ready for feedback.
  • Who is financing or supporting the film.
  • A list of the director’s previous films and a short cv
  • A scene from the rough cut, five minutes maximum length – NO TRAILERS
  • A list of the scenes in the rough cut.

Once your application is accepted you will be informed, which one of us will be working with you.
Send your rough cut to us via an FTP server or by Vimeo/Dropbox/We transfer by the time agreed.
It has to be downloadable.

What

We want to support you to reach the film you want to do.

Two of us will screen the rough cut and after that:

 

  • you will get questions to clarify your goals, if there are additional materials, the target audience etc…
  • You will get written feedback : comments and proposals on the dramaturgy and structure of the film comments and proposals on the key scenes of the film comments and proposals on the possible narration, voice off/voice over, music, graphics etc..
  • You will have an intensive Skype discussion with one or both of your supporters.
  • You send the new rough cut.
  • you will get the final comments and proposals by one of the supporters. The professional supporters will dedicate a total of four working days to your project.
  • If you have made the application for six days work you will have additional Skype discussion/s and feedback to the next version/s of the film or/and we will work with some scenes or other aspects of the film more deeply.

Who

Most of us are editors. We are all used to working with rough cuts, through a wide variety of story-telling approaches.

We use the term “professional supporter” to underline the fact that we work to support the filmmaker to do the film the filmmaker wants to do, not to propose or force the filmmaker to do a film the professional supporter would like to do.

Joelle Alexis

Niels Pagh Andersen

Jordana Berg

Yael Bitton

Anne Fabini

Maya Hawke

Jakob Kirstein Høgel

Claudio Hughes

Per K. Kirkegard

Erez Laufer

Mary Stephen

Jean Tsien

Iikka Vehkalahti

What does it cost?

The fee is 2600 euro if the budget of your film is more than 200 000. If you want to have  one round more the charge is 4000 euro. To others the fee is 1800 euro and 2600 euro.

All of us have been working with films from very different cultures and countries. Knowing the financial situation of directors from Asia, Africa, Latin America and Middle East we are searching institutions, financiers and funds to support projects originated in those countries to use our services.

Contact us


roughcutservice@gmail.com
or
iikka.vehkalahti@gmail.com
jakob@kirsteinhogel.dk

Supported films

When Iikka Vehkalahti and Menno Boerema created Rough Cut Service the aim was to especially give support  to the talented film makers who often have to work alone and in countries where support to documentary film making is small. But the service is also for experienced film makers who are missing a fresh, professional eye.

Listed below are the films RCS has supported so far including feedback from the film makers. With some of these films we have done quite a lot of work, with others our contribution has been less or small. But all of them have been great to work with.

 

 

Houston, We Have A Problem! by Ziga Virc (Slovenia, US)
Incredible story of the Yugoslavian space program or actually about truth and lies, what we believe in and the relation of former Yogoslavia with US. Premiere at Tribeca Film Festival 2016. The Oscar candidate of Slovenia 2017.

“We met with the Rough Cut Service team in a rough cut stage of our feature-length project. The service was recommended to us by Hanka Kastelicova, HBO Europe. We were really satisfied with the cooperation, helping us to calibrate our compass and giving a fresh perspective and pumping up our little bit drained creative process. We even took two consulting cycles and production-wise it was one of the best investments in the production of the film. And we also like twisted and sometimes bizarre Finnish humor!”
Bostjan Virc, producer.

For The Love Of A Man by Rinku Kalsy (India)
In South India, in Tamil Nadu a film star Rajinikanth is a God to hundreds of thousands of his fans. The film got it´s premiere at Venice Film Festival 2015.

“I am deeply grateful to have had RCS to hand-hold us through this process. Your advice was absolutely super both in structural terms, but also as two people who we felt got the meaning of the film and its cultural nuances and helped us come up with something that preserves these.”
Joyojeet Pal, producer.

Cecilia by Pankaj Johar (India, Norway)
One day a middle class, young couple faces the reality of their country: how child trafficking was killing the daughter of their own maid. An unique film, that has travelled around the world and India. Premiere at the Amsterdam International Documentary Film Festival, IDFA 2015.

Olympic Pride, American Prejudices by Deborah Riley Draper (US)
Everybody knows who is Jesse Owens. But what happen to other black athletes who came in the US team to Olympic Games of Hitler´s Berlin? Premiere at LA Film Festival 2016.

“Having meaningful, productive, valuable access to some of the world’s greatest filmmakers and documentary editors is an incredible opportunity and is what Rough Cut Service delivers. RCS’s engagement with me, was solely focused on my film and my film’s needs around story, structure and the elements to take it from good to amazing. Skyping, chatting and exchanging ideas, notes and solutions with Iikka Vehkalahti and Jean Tsien is extraordinary and not only made the film better but made me better too.”
Deborah Riley Draper, director.

Noma by Pablo Pinedo (South Africa)
A documentary following the tradition of Italian neorealism follows the fight of shack dwellers against the brutal eviction. Premiere at Durban Films Festival 2016.

“For me and the project the RCS was very helpful. It helped to confront already existing doubts and to confirm final decisions towards the closing of the project. Even if in my case it was a low budget film, those few conversations we did helped a lot. Thanks for that!”
Pablo Pinedo, director.

Hospital by Kesang Tseten (Nepal)
High on the mountains of Nepal a hospital is receiving patients, who have been carried for hours or even days before they reach the doctors. Cinema verité-film grows to tell especially about the position of women in Nepal. Completed in autumn 2016.

Lampedusa In Winter by Jakob Brossmann (Germany)
Very first documentary on Lampadusa, it´s inhabitants and their reactions and actions when refugees have arrived to the island. Premiere at Locarno Film Festival 2015. Österreichischer Filmpreis 2015 – Best documentary film. Boccalino d’oro award for Best Film at Locarno Film Festival 2015.

Zen And Bones by Takayuki Nakamura (Japan)
Kaleidoscopic portrait of an unconventional 93-year-old Japanese-American Zen monk, his dramatic history and turbulent family life. Premiere at Busan Film Festival 2015.

The Girl Who Saved My Life by Hogir Hirori (Sweden)
Because of a girl, a man does not board a flight with a fatal ending. This is not the story of a Hollywood rom com, but an incredibly incisive refugee portrait by the Kurdish-Swedish filmmaker Hogir Hirori. Premiere at Gothenburg Film Festival 2016.

“Before I contacted RCS I was in a very difficult place. I had so much material, a very complicated editing procedure and had a hard time choosing and prioritizing in the vast amount of material. Iikka and Per K. at RCS made me rethink, restructure and tell a story effectively, and shorten the film in a way that felt intuitive and natural.”
Hogir Hirori, director.

Free by Tomislav Zaja (Croatia)
An intimate documentary on people with intellectual disabilities released from institutions to live normal life among other people in Croatia. Premiere at One World Romania Human Rights Film Festival 2016. Liburnia Film Festival 2016 – Best Director. Venice Film Week 2016 – Best Feature Documentary.

“The experience of working with Rough Cut Service helped both me and my editor to see the film from new, fresh perspective and to discover new ways to tell the story – ways that were unimaginable to us before we started to work with experts from RCS. It was very inspirational to see my film from different angles and to analyse each scene and every single shot in detail. It helped me to get the distance from my footage and become more realistic about story structure and my main characters. So I can divide editing of my film in two very different phases – before I started to work with people from Rough Cut Service and after it.”
Tomislav Zaja, director.

Exodus- Where I Come From Is Disappearing by Hank Levine (Brazil, Germany)
In six different countries shot documentary film on refugees, their lives and thoughts. Screened at São Paulo International Film Festival and Reykjavik International Film Festival.

The Beast Is Still Alive by Vesela Kazakova and Mina Mileva (Bulgaria)
In a fictional dialogue with her dead grandfather, a young woman takes a critical look at communist ideology. Premiere at Warsaw Film Festival 2016. Awarded at Aegean Docs, European Independent Film Awards, European Cinematography Awards, and Mexico International Film Festival.

Becoming Who I Was by Chang-Young Moon (South Korea)
Shot during five years the film follows a young Rinpoche, who is living in Ladakh and waiting for the monks to come from Kham, China to take him to the monastery of his previous life. Completed in 2017. Grand Prix in Berlinale Generation. Best Feature Documentary and Best Editing Moscow International Documentary Film Festival DOKer.

My World Is Upside Down by Petra Seliskar (Slovenia)
Singers and musicians from different countries perform the songs of Frane Milčinski, who was an actor, comedian, musician, “Chaplin of the former Yugoslavia”. Premiere at MakeDox 2016. Awarded at South East European Film Festival LA.

“RCS helped our film a lot . The days when I felt trapped with our film only with my editor became much more dynamic, I had to think it all over again and answer all the questions (even the weird ones) and try all the possibilities in editing I did not try until then. And fight for everything I thought was important in the film, but not necessarily important to everyone from the RCS team. It was a gamble of ideas and trying to make them work in the final film. And I must say it was done with respect to authors, I never felt under pressure if certain ideas didn’t work out. I really respect this way of working.”
Petra Seliskar, director.

A State of Exception by Jason O´Hara (Canada)
Five years the filmmaker followed what is happening to the indigenous people and inhabitants of favelas in Rio De Janeiro when World Cup and Olympic Games were changing the city. Premiere at Hot Docs 2017. Magnus Isacsson Award at RIDM – Rencontres Internationales du Documentaire de Montréal 2017.

We were lost at sea when we turned to Rough Cut Service – so much footage shot over so many years and a drawn out editing process had muffled and blinkered our ability to see our material objectively as a cinematic experience. Iikka wrangled with us through finding a new structure – suggesting a completely radical approach that we trusted and flew with. And yet, at no point was it an imposition – the few things we wanted to keep, we kept, and otherwise were blown away at how much the new ideas, the new input, not only shaved off all the unnecessary junk and helped clear up confusions, it also gave us tons of fresh insights on how to tell our story, re-energized our own creative approach to the material.
Yael came in next and offered a subtler eye on the rhythms, the pacing, the filmic experience, bringing the scenes from rushed, pedestrian assemblies to living, breathing scenes. Such an incredibly valuable service!

Katharine Asals, editor.

An Insignificant Man by Khusboo Ranka and Vinay Shukla (India)
The film follows the birth of the newest political party in India, AAP, that got a landslide victory in Delhi and grows to a universal story about how people are tired of the old elite of politics. Premiere at Toronto Film Festival 2016. Further screenings include IDFA, the BFI London Film Festival and Busan International Film Festival.

Machines by Rahul Jain (India)
A cinematic essay on machines and workers in a pre-modern, huge textile factory in Gujarat, India. Premiere at IDFA – International Documentary Film Festival of Amsterdam, 2016. Winner of the best cinematography at Sundance 2017. Grierson Award for Best Documentary – International, 2017.

Skulls Of My People by Vincent Moloi (South Africa)
A documentary film on the struggle of a smallest tribe in Namibia fighting for the return of the skulls of their people taken by the Germans for racial science profiling after the genocide of 1904. Premiere at IDFA 2016.

Trembling Mountain by Kesang Tseten (Nepal)
A natural calamity of an order unseen this century in Nepal brought destruction of highland villages of mud-and-stone dwellings of Langtang, one of the most scenic trekking spots in the Himalaya. Premiere at IDFA 2016.

“Hiring an editor for several months for a feature length documentary can cost 10,000 to 20,000 euros. Often my budgets cannot sustain this cost. And yet I feel the need for editing help by people who know an international audience, who know documentary, and who are sensitive and understanding of stories faraway from their society, and know how to help bring out the universal elements in them while keeping the integrity and authenticity of the ‘local’.
The Rough Cut Service, which I have used twice now, answers all these needs. Their critique of the film is thorough, detail , and look at both the content (ie a faraway world) as well as the aesthetic and technical. The RCS responded to my rough cuts with a fine, nuanced critique, paying attention to all the seemingly small details that ultimate add or, their mishandling, spoil a film. Its comments are to the point, forceful, yet sympathetic, and leave room for the filmmaker to decide for herself the important decisions.
I have used the RoughCutService in my last two films and would use it again, without hesitation. Its affordability and ease of collaboration is a boon especially for filmmakers in the developing world.”
Kesang Tseten, director.

Nowhere To Hide by Zaradasht Ahmed (Norway, Iraq)
A disturbing war experience by an Iraqi father and male nurse who is forced to flee when his home city is occupied by ISIS. Winner of the main competition at IDFA 2016. Winner at Prague One World Festival 2017.

“Rough Cut Service is an important documentary film consulting service for film makers that need to lift up her/his project 2 to 3 levels. During our cooperation with RCS with Iikka Vehkalahti and Jean Tsien we were able to improve the quality of the film. We managed to make a more interesting story both dramaturgical and also story wise. As a director I highly recommend the RCS with my full support to them and their vision of developing one of the most important areas outside the European union and USA. I’m very pleased to have had the opportunity to work with highly dedicated film-people.”
Zaradasht Ahmed, director.

City of Sun by Rati Oneli (Georgia, US)
In his documentary debut, director Rati Oneli provides fascinating insights into a living environment in a ghost mining town Chiatura in western Georgia. It´s bleak industrial ruins appear at once colossal and like a film set. In a city where the sun never shines, it’s only the inhabitants that generate warmth. Premiere at Berlinare Forum 2017. Winner at Sarajevo Films Festival.

Silas by Hawa Essuman, Anjali Nayar (Liberia, Kenya)
Anjali Nayar and Hawa Essuman profile the life of Liberian activist Silas Siakor, a tireless crusader against illegal logging and a symbol of resistance for a new generation. Premiere at Toronto Films Festival 2017.

“We worked with Joelle Alexis and Iikka Vehkalahti on the documentary at a very critical stage in the edit. I can say with absolute certainty they contributed significantly to turning the film around. Their proposed solutions, big and small, brought clarity to the storytelling. We had got to a point in the edit where we had run out of ideas on how to improve the film. With their input, the edit gained momentum and the storytelling leaped forward. They are film rescuers! I am a big fan!”
Steven Markovitz, producer.

Up Down & Sideways by Anushka Meenakshi & Iswar Srikumar (India)
A musical portrait of a community of rice cultivators in a village close to the India-Myanmar border. While working in the fields in small cooperative groups, the men and women sing together – songs that follow the seasons. Screened at IDFA and Thessaloniki Documentary Festival. Nominated for Asia Pacific Screen Awards 2018.

One thing that really worked for us is that both Per and Iikka were acutely aware of what we wanted and they helped us get the best version of that. Having two mentors working on the film is an excellent idea. Sometimes they agree and sometimes they don’t, but all of this helps create more and more possibilities for us to play with as story tellers. Ideas and suggestions are one thing, but to be able to give them with a sense of humour and with a lot of love is of unbelievable help when one is questioning and doubting everything, which is pretty much what happens while editing. These people love documentaries, and it shows.
Creating a unique platform such as this, keeping it affordable and helping with suggestions on how to fundraise, putting us in touch with people, all of this has made it one of the most fulfilling experiences for us.
Anushka Meenakshi & Iswar Srikumar, directors.

The Mountain Pact by Manuele Cecconello & Maurizio Pellegrini (Italy)
The Mountain Pact was the first act in Europe through which equal pay between men and women was established. It took place in 1944 in Biella – the oldest textile district in Italy. Now a young fashion designer goes to Biella to trace back the roots of the fabrics he uses to create his own collections. He meets places, outputs and protagonists, such as Nino Cerruti and Argante. The former is the internationally renowned stylist and son to one of the signatories of the pact, the latter is a partisan commander and witness of what took place then.

“I met Joelle Alexis in a training session about how to do good teasers and when she looked at the teaser of the Mountain Pact she simply said: “nothing to say… perfect, professional”. Now I’m back to Rough Cut Service and I hope the film will impact equally good, but I know your full support and help will make the difference!”
Francesca Conti, producer.

Devoti Tutti by Bernadette Wegenstein
The brutally martyred Saint Agatha from Sicily has been confined to her chamber in the Cathedral of Catania for nearly 1800 years. Once a year the people of Catania parade her bust around town during a 3-day long procession. The Festa is entirely in the hands of the men: the Church, the City of Catania, and the mafia men, led by the “Capovara” Claudio who runs the entire parade. On the development stage.

“Iikka and Jakob were both amazing in how they worked with us delicately and wisely on carving out the main story-lines of the film. They made me and our team feel super safe and at ease during every review session. I loved how differently they coached us in their writings (straight forward advice) and the personal skype meetings (like a good therapy session with many open ears). I will definitely work with RCS again.”
Bernadette Wegenstein, director.

The Redeemed by Morten Vest (Denmark)
The story of Danish Christian missionaries in countries like Nigeria is not just about the past – on the contrary. A fascinating, historical film in two parallel tracks. CPH:DOX 2018.

A Day for Susana by Giovanna Giovanini & Rodrigo Boecker (Brazil)
How much is a woman capable of letting go when she can lose everything in the blink of an eye? Susana Schnarndorf is a Brazilian professional swimmer and mother of three, who was diagnosed in 2005 with Multiple System Atrophy. In 2013, beyond any given life expectancy, Susana decides to start a one-thousand-day journey to achieve a dream – a medal in the 2016 Para-Olympic Games.

“Rough Cut Service was one of the most important pieces of our puzzle during the editing process. After many years shooting one story, we become kind of “blind” to really see some aspects of it. Iikka and Erez were very sensitive and accurate in terms of defining the boundaries between what we have lived during filming and what is within our images. They were exceptional in understanding our view as auteurs and working from this aspect, exploring the potentials that we had within it.
RCS is an important tool in documentary world that gives the opportunity for young directors to connect with very talented and experienced editors throughout the world for bringing up what we all have in common: love for documentaries.” Giovanna Giovanini & Rodrigo Boecker, directors.

Rush Hour by Luciana Kaplan (Mexico)
Transportation is a burning topic of everyday life nowadays. Rush Hour follows three stories, three cities and three characters in different contexts but similar realities that survive long journeys and time of life lost. Morelia International Film Festival 2017 – The Best Mexican Feature-Length Documentary – World Premiere.

Rangoon – the story of the Bogyoke Aung San movie by Frode Skog (Myanmar, Norway)
Norwegian Director Frode Skog returns to his childhood home of Rangoon, Burma to make a film he’s waited 25 years to finish.

To Be Continued by Ivar Seleciks (Latvia)
A master film maker from Latvia follows children, when they start their first schoolyear. The film grows during the year to reflect the different lifestyles and values in the Latvian society today. Premier in cinemas 2018.

Boys Who Like Girls by Inka Achté (India, UK, Finland)
At times like an absurd comedy, at times a heart-breaking drama, Boys Who Like Girls follows the challenges of three men, interconnected through the organization, MAVA (Men Against Violence And Abuse) in Mumbai, India.

The Cleaners by Hans Block, Moritz Riesewieck (Germany)
A look at the shadowy underworld of the Internet where questionable content is removed. Premiere at Sundance 2018.

Oslo Diaries by Mor Loushy and Daniel Sivan (Israel)
1992. Israeli-Palestinian relations are at all time low. In an attempt to stop the bloodshed, a small group of Israelis & Palestinians meet in Oslo – secretly and against the law. Premiere at Sundance 2018.

Turning 18 by HO Chao-ti (Taiwan)
The film follows two indigenous girls In Taiwanese/Chinese society for more than three years. Both of them make during that time decisions and choices for the rest of their lives.

On The Other Side Of Everything by: Mila Turajlic (Serbia)
For Serbian filmmaker Mila Turajlic, a locked door in her mother’s apartment in Belgrade provides the gateway to both her remarkable family history and her country’s tumultuous political inheritance. Winner at IDFA 2017, feature-length competition.

The Deminer by Hogir Hiriori and Shinwar Kamal (Sweden)
What difference can a pair of clippers make? In deminer Fakhir’s hands: thousands and thousands of human lives. A portrait of a Kurdish colonel, who disarmed thousands of roadside bombs and mines armed only with his courage and a pair of wire cutters. Special mention at IDFA 2017, feature-length competition.

Laila at the Bridge by Elizabeth Mirzaei, Gulistan Mirzaei (Canada, Afganistan)
Laila Haidari survived child marriage and her own traumatic past to battle one of the deadliest problems in Afghanistan: heroin addiction. As the “mother of the addicts,” she must prevail over a crisis of addiction and a corrupt government in a country on the verge of collapse.Premiere at CPH:DOX 2018,Winner of Fact Award.

“Joelle and Iikka were immensely helpful. When we sent them the rough cut, we knew that the film was in there but it wasn’t coming through the way we wanted. Their constructive notes and specific suggestions helped us to continue to carve the footage, like a sculpture, to reveal the film. We would absolutely work with Rough Cut Service again.” Elizabeth Mirzaei, director.

The Paint Is Broken by Hercli Bundi (Switzerland)
The film examines the relationship between art and provocation in a world where almost everything is possible and permissible. In dialogue with the aspiring artist Christian Eisenberger who works with waste, animal corpses and swastikas, the director tries to reveal what secret transforms some objects into art, while others are detested and despised.

Commander Arian by Alba Sotorra (Spain)
On the frontline of the Syrian war, 30 years old commander Arian leads her commando of women as they fight ISIS. For her, war is the only path to emancipation from a deeply patriarchal society. Premiere at Hot Docs 2018, main competition

“I’m happy we had the chance to work with RCS during the final stage of the editing of our feature length documentary Commander Arian. The input from RCS was very concrete and useful and helped us improve a few key scenes in the film, like the beginning. We would like to highlight the personalised treatment we received and the promptness of their feedback and all communications in general. I hope we will have the chance to work with RCS in our next projects.”
Alba Sotorra, director.

Chris The Swiss by Anja Kofmel (Switzerland)
Croatia, 7th of January 1992: In the middle of the war a young journalists’ body is being found dressed with an uniform of the international mercenary group. 19 years later, his cousin Anja Kofmel detects his story.

Exit by Karen Winther (Norway)
Director Karen Winther puts on a personal journey through her past and up to present time, in search for answers to what has caused a handful of violent extremists to choose violence and hatred. Throughout her journey, Karen meets unpleasant truths linked to her own extremist past. Premiere 2018 Copenhagen International Documentary Film Festival.

“I think the RCS is both fantastic and important.”
Eirin Gjørv, producer.

When the War Comes by Jan Gebert (The Czech Republic)
The plot of the film is set in Slovakia, where a paramilitary group, with the government’s silent approval, recruits hundreds of teenagers. Their goal is simple: to create a totalitarian community based on isolation and life in fear. Premiere at Berlinale Panorama 2018.

Cinema Morrocco by Ricardo Calil (Brazil)
In a huge building occupied by homeless people in is an abandoned cinema Morocco. In 1954 it was the center of a Film Festival with US stars and great films of Ingmar Bergman or Federico Fellini. Today the refugees in the building select their favorite scenes of the old films and make their own representations of them. Winner of The Next Masters serie at Leibzig Documentary Flms Festival 2018.

Reconstructing Utøya by Carl Javer (Sweden)
A feature documentary where four survivors from the Utøya terrorist attack in 2011 reconstruct their memories in a black box studio together with twelve young participants in order to share and remember their experiences.

“We we were really happy with your service! The film has so far had its international premerie at Berlinale, won two Guldbagge awards and have had cinema distribution in Norway, Sweden and Denmark so far. Would very much like to work with you again!”
Frederik Lange, producer.

I Had A Dream by Claudia Tosi (Italy)
Manuela and Daniela dream to change their country, Italy, but have to meet the harsh reality. From the feminist fights against Berlusconi to the last elections of 2018, the film explores the last ten years of Italy through the political action and the everyday life of the two compelling women.Winner of Golden Dove and FIPRESCI at Leipzig Film Festival 2018.

“I thought the film was there, even though there was something that was not working, but I could not say what it was. I came to RCS with the idea to do some make up but it turned out that there was much more than a bit of make up to do. By going once again through the footage (10 years of footage!) in order to provide answers made us discover a treasure hidden because of decisions made long ago. The film has incredibly improved, the protagonists have become tridimensional, the storyline is at the service of the protagonists.
Working with Iikka and Menno allowed me and the editor to watch our film from an International perspective and discover weaknesses and strengths. There is no doubt I will ask RCS’ help also in the future.”
Claudia Tosi, director.

Cinema Dadaab by Kati Juurus (Finland)
Cinema Dadaab takes the viewers to one of the world’s largest and oldest refugee camps, Dadaab. A dreamlike place forgotten by the rest of the world. Here Abdikafi Mohamed runs a simple cinema, which offers moments of dreaming and mind travelling for the refugees, who cannot leave the camp. The film premiered at Helsinki International Film Festival Love & Anarcy in 2018.

The Privacy Of Wounds by Dalia Kury (Norway)
How do you tell completely authentic stories from Syria? Would former prisoners be able to reveal their deepest feelings to an interviewer? The Jordanian filmmaker Dalia Kury came up with a solution. For The Privacy of Wounds, she reconstructed a prison cell in a Norwegian cellar, in which three Syrian immigrants agree to be locked up. With unmanned cameras constantly filming them, they spend three days without daylight on thin mattresses, talking about their time in different Syrian prisons. They tell the most appalling stories: of the deaths of fellow prisoners, torture techniques, and a growing sense of being abandoned. Premiere at IDFA 2018, Mid-length competition.

“RCS was instrumental for the crucial progress we made on the way to our IDFA premiere. The combination of Iikka and Yael gave us both very specific detailed feedback as well as a big picture philosophical angle on our film. Since IDFA the film has been nominated for awards at festivals such as Gothenburg, HUMAN, Tromsø IFF, One World and Haifa IFF.”
Jonathan Borg Lie, producer.

The Wandering Chef by Hye-Ryeong Park (South-Korea)
A deep homage to Mother Nature through a heart-warming culinary journey. Jiho Im, better known as the “Wandering Chef”, travels the Korean peninsula, in search of the most unique ingredients, honouring Mother Nature with whom he has a very strong and personal relationship. For him, Nature is at the core of his life and his creative work. One day, he meets someone very special on the road leading him to the most incredible challenge of a lifetime: conceiving and cooking 108 plates in 24 hours – significant of 108 agonies of life in Buddhism – to pay tribute to his adoptive mother.

For Sama by Waad al-Kateab and Edward Watts (UK)
FOR SAMA is both an intimate and epic journey into the female experience of war. A love letter from a young mother to her daughter, the film tells the story of Waad al-Kateab’s life through five years of the uprising in Aleppo, Syria as she falls in love, gets married and gives birth to Sama, all while cataclysmic conflict rises around her. FOR SAMA was awarded the Prix L’Œil d’Or for Best Documentary at the 2019 Cannes Film Festival. It also won the Grand Jury Award for Best Documentary at the SXSW Film Festival, and the Special Jury Prize for International Feature Documentary at the Hot Docs Festival.

“I cannot recommend RCS highly enough. They took a look at our film when we thought we’d finished everything. Their notes were brilliant and helped us to see with new eyes where we could really push the emotion and clarity of the cut. Their insights lifted the film to another level.”
Edward Watts, director.

ROBOLOVE by Maria Arlamovsky (Austria)
ROBOLOVE is a film about the future of human interaction with humanoid, android robots.
The feature documentary by Maria Arlamovsky, an Austrian film director, explores how we will bond with robots that resemble human women and men.
Robots will serve us in future at home, they will teach us, help us, comfort us and perhaps they will be our cuddly partners.

43 by Ai Weiwei
Through a documentary film (and a series of portraits made with Lego pieces), the artist explores the personal and social consequences of the disappearance of the 43 students from the Escuela Normal Rural de Ayotzinapa on the night of September 26-27, 2014. This project makes a bid for constructing memory as an invisible tie that binds us to our ancestors and maps out an obligation to the generations that succeed us.

Space Dogs by Elsa Kremser & Levin Peter (Austria)
How a Moscow street dog was sent into space and returned as a ghost.
Laika, a stray dog, was the first living being to be sent into space and thus to a certain death. According to a legend, she returned to Earth as a ghost and has roamed the streets of Moscow ever since. Following her trace, and filmed from a dog’s perspective, SPACE DOGS accompanies the adventures of her descendants: two street dogs living in today’s Moscow. Premiere at Locarno Film Festival 2019.

“We are really very thankful for the help RCS gave us during our editing process. It really gave us trust into our film, in a time when we where quite critical with ourselves – especially with the more abstract episodes of the storytelling and also with the overall philosophical arch of it. So it helped us to come finally to a version that we love ourselves, that works in terms of dramaturgy, and that is radical, without compromises.”
Elsa Kremser, director.

Contradict by Peter Guyer & Thomas Burkhalter (Switzerland)
Together with artists from Ghana the filmmakers explore questions of global developments, values and visions for the future.

“After almost a year of editing and a lot of test screenings with no tangible result, we were stuck and slightly desperate. The outside, e.g. international, view and the dramaturgical expertise as well as the fresh ideas how things could be told in a different way, helped a lot and opened new fields and thoughts which was liberating indeed! Moreover the feedback, remarks and criticism were direct but always very respectful.”
Madeleine Corbat, producer.

Never Happened by Barbora Berezňáková (Slovakia/Czech Republic)
The director investigates a top level kidnapping case, exploring the chain of events and the emotional impact for the witnesses. Premiere at Warsaw IFF 2019.

“The RCS experience was one of the most eye-opening experiences after my studies. The consultants were very sensitive people with a lot of understanding for my film as well as the approach I took to the topic. Even that the story was quite complicated and of a local character, they understood the specifics and gave me sophisticated insight into both the structure of the film and the style I chose.” Barbora Berezňáková, director.
“From my point of view, the consultations with both Iikka Vehkalahti and Menno Boerema helped the director in the last phase of editing to focus the story, change some unclear spots in the narrative and they both gave her their insight in a very sensitive way. We were as well very pleased by very quick feedback which helped us a lot as we were under time pressure.”
Hana Blaha Šilarová, Czech Producer.

The Tap Tap by Radovan Síbrt (Czech Republic)
The film follows members of The Tap Tap – a music band of physically disabled. A story full of music, friendship, desires and dreams that can be lived despite an unlucky fate.

“We planned to approach RCS as we had a prior experience with them and valued their input. We approached at the right moment, while we were editing but running in circles at the same time. We were even becoming depressed about our own film. Therefore, we needed someone to see with no closer involvement and help us to make a meaningful progress. Jordana Berg and Jakob Kirstein Høgel helped us to renew the strong story line and essential message of the film. It hurt as any editing process does, but totally worth it.”
Radovan Síbrt, director.

Holes by Shirly Berkovitz (Israel)
Following his son’s murder, Danny the father – an Ex-Hitman-Syrian-Muslim who turned Israeli-Jew – realizes the state won’t seek justice and sets on an investigative quest to find the truth.

School of Hope by Mohamed El aboudi (Finland, France, Morocco)
School of Hope tells about a nomad tribe struggling to get education for their children, and a young teacher trying to help them while suffering himself of the Government’s indifference toward rural regions.

Colombia in my Arms by Jenni Kivistö & Jussi Rastas (Finland)
The film examines if a nation can stop the cycle of violence that has lasted for decades, even centuries. Ernesto is one of the FARC guerrillas who after 53 years of armed conflict, are about to hand over their arms in exchange for the social inclusion of the poor. While Ernesto thrives for a change, opposing forces arise: A furious right-wing politician and a descendant of Spanish conquistadors want to reclaim the country. Many want to tear the peace agreement and instead of the long awaited peace the country is pushed into chaos, where everyone tries to secure their privileges or just basic needs.

My Rembrandt by Oeke Hoogendijk (The Netherlands)
My Rembrandt provides fascinating insight into what makes the work of this Dutch master so extraordinary, and why different people are so deeply affected by his oeuvre, or a specific work? Meanwhile, centuries after Rembrandt’s death, his paintings are still a source of drama and gripping plot twists. Premiere at IDFA 2019.

“When in the editroom in Amsterdam we came to a point that we’ve had been editing for so long that we where losing our freshness and didn’t see clearly anymore where and how we could improve our film, I contacted the RCS. My first contact was with Iikka Vehkahlahti. Iikka put me in contact with Erez Laufer. From the moment I’ve shown my film to those two highly skilled proffesionals I felt I was in good hands. I felt they both understood the film and I also felt that working with both of them could bring the film to a higher level.
Showing one’s film in such a vulnerable stage is never easy, but I can not say otherwise than I’m truly amazed on how they worked with me and the film. They didn’t spare me nor the film, but instead put their fingers exactly on the weak spots of the film. Not just critizising, but always coming up with valuable suggestions on how we could try to solve our problems. And by following most of their suggestions the film has indeed inmensly improved.
I feel great gratitude to have had the opportunity to work with the RCS, in fact I cannot imagine how I’ve made films before without consulting them. It’s my sincere hope that this is the beginning of a life long collaboration.”
Oeke Hoogendijk, director.