Joelle Alexis Niels Pagh Andersen Jordana Berg Maya Hawke
Yael Bitton Menno BoeremaAnne Fabini Jakob Høgel
Peter Jaeger Per K. Kirkegaard Erez Laufer
Mary Stephen
Jean TsienClaudio 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

Menno Boerema

Anne Fabini

Maya Hawke

Jakob Kirstein Høgel

Claudio Hughes

Peter Jaeger

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

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. Films have come from Slovenia, India, Indonesia, Iceland, US, South Africa, Nepal, Germany, Japan, Sweden, Norway, Denmark, Israel, Croatia, Brazil, Switzerland, Italy, Serbia, South Korea, Macedonia, Kenya, Canada, Latvia, Liethuania, Mexico, Netherland, Finland, Taiwan, Austria, UK.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

Up Down & Sideways by Anushka Meenakshi & Iswar Srikumar (India)
Α 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.

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.

Devoti Tutti by Bernandette 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.

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.

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.

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.

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.

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

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