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. Premiere at Docaviv 2021.

by Peter Guyer & Thomas Burkhalter (Switzerland 2020)

Together with artists from Ghana the filmmakers explore questions of global developments, values and visions for the future. Premiere at Solothurner Filmtage 2020.

“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.

by Tiina Madisson (Finland, Norway 2019)

Rekha has a dream: she wants to become an English teacher. However, she is already 14, and time is running out to find a husband for her. Although child marriage is forbidden by law, the practice is still common in this remote Nepalese village near the Indian border. The pressure of the community forces her father to search for a husband for Rekha. Premiere at Tampere Film Festival 2020.

by Egil Håskjold Larsen (Norway 2019)

A man, a dog, a cabin near the sea. Steinar, age 75, has chosen to live a life in communion with nature. He lives in an isolated, frozen universe at the outermost point of Europe, barely one kilometer from the Norwegian-Russian border. In this seemingly inhospitable landscape, Steinar not only finds peace, he feels free. Amanda Awards 2019 – Best Documentary.

by Joonas Berghäll (Finland 2019)

When director Joonas Berghäll finds out that his life expectancy will be barely another 14 years if he doesn’t change his way of life, he gathers five other unhappy men for a round of commiseration. They speak very candidly about breakups and losses, about their personal fears and individual failures. Traumas from their schooldays and military service are as much a topic as tragic deaths, divorces, and burnout. The Happiest Man on Earth unleashes a chorus of the sorrowful, where the lone fighter isn’t so alone anymore. Selected festivals: DocPoint, Nordische Filmtage Lübeck, One World.

by Thorunn Hafstad (Iceland 2019)

The imagination of children leads us into a fantasy narrative of play, where adults are nowhere to be found and the harsh reality of nature and imagination takes over. Soon enough, however, we are brought back to earth when playtime comes to an end, in this case with the devastating closure of a unique Icelandic kindergarten.

by Oeke Hoogendijk (The Netherlands 2019)

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.

by Cha Escala (the Philippines 2019)

A founding member of the Communist Party of the Philippines is on the final days of his life when his son discovers his role in the dark period of the Party’s history. In the last phone call they would share, father and son tell each other everything that needs to be said. World premiere at Sheffield Doc/Fest 2020.

“It took me 4 years to finish my film and I must say that without the help of RCS, I probably would never have finished it. Deciding on a structure with the materials that I was able to gather within the years I was working, mostly on own, was the most difficult part. I came up with a rough cut but couldn’t move forward from it. It sat there for more than a year until RCS came on board and solved the puzzle.” Cha Escala, director.

by Radovan Síbrt (Czech Republic 2019)

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. Premiere at Ji.hlava IDFF 2019. Selected for Hot Docs, One World, goEast.

“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.