Les États généraux du film documentaire 2005 Scam : Brouillon d’un rêve

Scam : Brouillon d’un rêve

It cannot be ignored how much the “Brouillon d’un rêve” grant has helped authors. If this underlines the Scam’s active role in creative support, this success also looks back on how precarious it is in the world of creative documentary making for television and cinema, where works rarely find the place they deserve.

We see, flocking, many established filmmakers projects, alongside those of newcomers, and all have, at least in most cases, just one thing to cling onto for any hope of back up for personal and demanding work, “Brouillon d’un rêve”.

This year, the board of directors has given the task of support to a jury made up of Françoise Wolf, Sophie Bruneau, Claude Guisard, and to five readers, Jacques Krier, Olivier Horn, Cathie Dambel, Anne Georget, Luc Verdier-Korbel, who will examine more than 80 projects each session, an equivalent of 500 projects a year. The budget for 2004 - 2005, for a period of 17 months is set at 380,000 euros (150,000 euros of that being a exceptional donation). This has allowed a total of 67 projects to be helped. For 2005 -2006, it was maintained at 230,000 euros for a period of 12 months.

The figures reveal everything. From 1993 - 2005 : 356 projects helped. From 1993 - 2003: (taking into consideration a two-year delay in realisation) 299 projects were helped, of which 165 were completed, i.e. 62 %; not including
cinemas, 60 % was taken on by TV broadcasters, 28 % by Arte, 24 % on Cable Television, 11 % by RTBF, 13 % by France 3, 9 % by regional France 3, 7 % by France 2, 4 % by France 5 and finally 4 % by Canal +.

The seven films being presented at Lussas this year, within the framework of “Brouillon d’un rêve”, bare witness to all these encouraging projects, this resistance that is so representative
of documentaries: Devenir by Loredana Bianconi, a film-mirror, image of a generation of women; Kizu, les fantômes de l’unité 731 by Serge Viallet, (Kizu, meaning the wound) about a secret kept silent for 50 years; De profundis by Laetitia Miklès and Olivier Ciechelski, a film that plunges into silence and the night; Le Monstre dans la forêt by Louise Faure and Anne Julien, a film about Jean Tinguely and a work of art; Clejani – histoires, stories, povesti by Marta Bergman and Frédéric Fichefet, young musicians chasing away depression with drugs and dreams of the West; Au fin moka by Boris Joseph, a delicious ‘behind closed doors’ in a Parisian café; Un dragon dans les eaux pures du Caucase by Nino Kirtadzé, a Georgian village which refuses to give in to a pipeline, an unfair struggle between two worlds.