by Dalia Kury (Norway 2018)

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 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.

by Kati Juurus (Finland 2018)

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.

by Claudia Tosi (Italy 2018)

Manuela and Daniela dream of changing 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 actions and the everyday life of the two compelling women. Premiere DOK Leipzig 2018. DOK Leipzig – Golden Dove International Competition, FIPRESCI Award, Award of the Interreligious Jury. Biografilm Festival – Audience Award.

“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.

by Ricardo Calil (Brazil 2018)

In a huge building occupied by homeless people is the abandoned cinema Morocco. In 1954 it was the center of a Film Festival with US stars and great films of Ingmar Bergman and Federico Fellini. Today the refugees in the building select their favorite scenes of the old films and make their own representations of them. Premiere at DOK Leipzig 2018. DOK Leipzig – Golden Dove Next Masters Competition.

by Carl Javer (Sweden 2018)

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. Premiere at Berlinale 2019. Swedish Film Awards – Best documentary, Best directing. Nominee – Nordic Council Film Prize.

“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.

by Jan Gebert (The Czech Republic 2018)

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. Nominee – Berlinale Glasshütte Original Documentary Award.

by Karen Winther (Norway; Germany, Sweden 2018)

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 at CPH:DOX. DOK Leipzig – the Goethe-Institut Documentary Film Prize, the Young Eyes Film Award and the Gedanken-Aufschluss Prize.

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

by Anja Kofmel (Switzerland 2018)

Croatia, 7th of January 1992: In the middle of the war a young journalist’s body is found dressed with a uniform of the international mercenary group. 19 years later, his cousin Anja Kofmel detects his story. Premiere in Cannes Semaine de la Critique 2018. Swiss Film Awards – Best documentary, Best editing, Best music.

by Alba Sotorra (Spain, Germany, Syria 2018)

“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.

by Hercli Bundi (Switzerland 2018)

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. Premiere at DOK Leipzig 2018.

“The input of Maya and Jakob was very useful! It helped to choose at the end of the editing which options suit best for the movie. It’s an experience which I would love to repeat with another rough cut.” Hercli Bundi, director.