30+1: After the celebrations of last year’s 30th edition, the Trieste Film Festival, directed by Fabrizio Grosoli and Nicoletta Romeo, dives into a new decade, treasuring its history (which began in the wake of the fall of the Berlin Wall) but at the same time looking out for fresh ways to fulfil its existence with a renewed sense of purpose. After that important goal, we now continue to swim, “synchronising” the various souls of the Festival – just like the champion swimmers of Triestina Nuoto in the festival trailer by Thanos Anastopoulos – by paying tribute to our shared memories but also daring to take some risks.
This year the Festival is studded with masters of cinema: from the very start it will feature a true legend, with the Italian première of Terrence Malick’s latest movie A HIDDEN LIFE. The film was shot entirely in Europe and was in competition at Cannes last year. It tells the true story of Franz Jägerstätter, an Austrian farmer who refused to join the army and swear allegiance to Hitler during the Second World War, and for this was sentenced to death in August 1943. “This film – explain the TsFF’s directors – is of great relevance for us, and not only from a geographical point of view; after some very intimate works, it has brought the director of The Thin Red Line to confront himself again with the history of the 20th Century”.
To conclude the Festival, a film by Corneliu Porumboiu, one of the most eccentric names to emerge from the ranks of the so-called “new Romanian cinema”. The film is set between Bucharest and the Canary Islands, more precisely La Gomera, the island which gives the film its title. La Gomera (The Whistlers) is an unusual and surprising noir, reinventing all the archetypes of the genre (the corrupt policeman, the irresistible femme fatale) with a very personal taste and humour. The warmth with which the film was greeted by international critics at Cannes last year is therefore hardly surprising, as is the anticipation for the open masterclass which Porumboiu will hold in Trieste.
The three international competitions dedicated to feature films, shorts and documentaries remain at the core of the Festival. The winners will be chosen, as is customary, by the audience.
Eleven films, all Italian premières, make up the International Feature Competition. Social (im)mobility in Europe today, with economic migrants crossing the continent, is a central theme: from Brexit as directly experienced by the Bulgarian protagonists of KOT W SCIANIE (Cat in the Wall) by Mina Mileva and Vesela Kazakova, previously in competition at Locarno, to NECH JE SVETLO (Let There Be Light) by Marko Škop, in which a Slovak builder on his way home from Germany discovers his son’s affiliation with a paramilitary group. Similar topics feature also in OLEG by Juris Kursietis, the tale of a Latvian butcher who is looking for a good salary in Brussels but finds Polish criminality. In other films the perspective is more intimate, even “ruthlessly” intimate, as demonstrated in IVANA CEA GROAZNICĂ (Ivana the Terrible) in which director and actress Ivana Mladenović plays out – and puts into play – her real fragility; feelings are also at the centre of a poignant love story in ASIMETRIJA (Asymmetry) by Serbian director Maša Nešković; of the journey of a bereaved father and son in BASHTATA (The Father) by Bulgarian directors Kristina Grozeva and Petar Valchanov; of the marriage about to end (maybe) in MONȘTRI. (Monsters.) by Marius Olteanu from Romania; of the illicit love recounted by Russian director Larisa Sadilova in ODNAŽDY V TRUBČEVSKE (Once in Trubchevsk); and, finally, of the pain shared by an entire village for the disappearance of OROSLAN, by Matjaž Ivanišin from Slovenia.
To end, two great female portrayals: LILLIAN by Austrian director Andreas Horvath, featuring the long journey of an immigrant who is stranded in New York on her way back to Russia, a road movie – freely based on the extraordinary true story of Lillian Alling – the chronicle of a slow disappearance; and ZANA by Antoneta Kastrati, reflecting on the traumas of war in contemporary Kosovo and on a patriarchal society which still heavily affects the freedom of women.
There are several films not in competition, including two polar opposites: the sombre HEIDI by Cătălin Mitulescu, featuring the last case of a detective on the verge of retirement, who must find two prostitutes willing to testify in a mafia case on the outskirts of Bucharest; and the ensemble piece V KRAG (Rounds) by Stephan Komandarev, in which the stories of three police patrol teams are interwoven in night-time Sofia. Two comedies: the Italian PARADISE by Davide Del Degan (soon on general release in Italy, distributed by Fandango), in which, due to a bureaucratic error, a witness under protection and the mafia killer against whom he has testified are reunited on the mountains of Friuli, with unexpected and bizarre turns of events; and the first Balkan “zombie comedy”, POSLJEDNJI SRBIN U HRVATSKOJ (The Last Serb in Croatia) by Predrag Ličina. Finally, two debuts: ZGODBE IZ KOSTANJEVIH GOZDOV (Stories from the Chestnut Woods) by Gregor Božič, which mixes literary inspirations (Chekhov and the fairy-tales of Friulian Slavia) and a fascination for forgotten places (the Valli del Natisone region, at the border between Italy and Slovenia), and MOI DUMKI TICHI (My Thoughts Are Silent) by Antonio Lukich from the Ukraine, treading a fine line between comedy and tragedy, chronicling young Vadym’s last chance to leave everything behind and move to Canada.
Among the Special Events – apart from the aforementioned Hidden Life and La Gomera – there are four titles, starting with the international première (NIE)ZNAJOMI by Tadeusz Śliwa, Polish remake of Italian hit Perfect Strangers. The film will be shown to celebrate the lead actress, Kasia Smutniak, this year’s recipient of the EASTERN STAR AWARD – the prize, celebrating a cinema personality who has contributed through their work to building bridges between Eastern and Western Europe.
There are three tributes included among the special events: the showing of SPALOVAČ MRTVOL (The Cremator) will allow us to present Juraj Herz’s masterpiece, based on Ladislav Fuks’s novel and restored by the Prague Film Archive. A mix of horror, thriller, psychological study and dark comedy which upset the pro-Soviet authorities, resulting in a ban that lasted from 1969 to 1989. And with another film long forbidden in its homeland, W.R. – MISTERIJE ORGANIZMA (W.R.: Mysteries of the Organism), we shall remember Dušan Makavejev – among the most influential filmmakers of the so-called Yugoslavian “Black Wave” – a year since his death. Whereas with LA NOTTE DI SAN LORENZO (The Night of the Shooting Stars) by Paolo and Vittorio Taviani (in the 2018 restored version by CSC-Cineteca Nazionale and Istituto Luce-Cinecittà) we want to celebrate Omero Antonutti, who has recently passed away – an extraordinary interpreter and a staple of the big screen in Italy (his last appearance in Gianni Amelio’s Hammamet is just out) as well as in Europe (impossible to forget his collaboration with Angelopoulos in Alexander the Great).
The Festival’s collaboration with the National Union of Italian Cinema Critics (SNCCI) continues with the hosting in Trieste of the prize-giving ceremony for the best films of 2019, awarded to Marco Bellocchio’s IL TRADITORE (The Traitor) – the director will be attending – for “Best Italian Film”, and to PARASITE by Bong Joon-ho for “Best International Film”.
The International Documentary Competition presents nine titles, including Italian and international premières. The memory of the Shoah is evoked in two films: A LÉTEZÉS EUFÓRIÁJA (The Euphoria of Being) by Hungarian director Réka Szabó, about the extraordinary figure of Éva Fahidi, the only surviving member of her family to return from Auschwitz-Birkenau, and today – seventy years later – the protagonist of a theatrical performance about her life; and MAREK EDELMAN… I BYŁA MIŁOŚĆ W GETCIE (Marek Edelman… and There Was Love in the Ghetto) shot by Jolanta Dylewska with the collaboration of the great Andrzej Wajda for some dramatised scenes. The documentary is dedicated to Marek Edelman, Resistance fighter and the only leader of the Warsaw ghetto revolt still alive in 2009, when he was interviewed by the director.
In the rural landscape of Azerbaijan, the conversations and silences of a mother and son who meet again after 8 years are at the core of ANA VƏ OĞUL (Mother and Son) by Hilal Baydarov; BAŤA, PRVNÍ GLOBALISTA (BATAstories) by Peter Kerekes retraces the story of the shoe colossus created by the genius of Tomáš Baťa, an 11th-generation cobbler and founder of an empire that is still thriving; PAVYZDINGAS ELGESYS (Exemplary Behaviour) by Audrius Mickevičius and Nerijus Milerius is a reflection on the meaning of “good behaviour” through the stories of two inmates serving life sentences in a Latvian maximum security jail; SPIVAYE IVANO-FRANKIVSKTEPLOKOMUNENERGO (Heat Singers) by Nadia Parfan takes us to Western Ukraine, among the cold radiators of furious citizens and the warmth of popular songs sung by the choir of the IvanoFrankivskTeploKomunEnergo – the energy company tasked with heating the country; SUREMATU (Immortal) by Ksenia Okhapkina is the unsettling portrait of the city of Apatity, in North-Western Russia, and of a new generation of “heroes of the motherland” that have been brought up – or, better, reformed – by the state; TRANSNISTRA by Anna Eborn explores the dreams and hopes of Tanya and her friends, teenagers in that strip of land that proclaimed itself an Independent Republic; WIATR. THRILLER DOKUMENTALNY (The Wind. A Documentary Thriller) by Michał Bielawski presents the effects of the Halny wind – one of the most unpredictable weather phenomena that rages across the Polish mountains – through the stories of a paramedic, a meteorologist, a female poet and a shepherd.
There are two documentaries not in competition: IL DONO (The Gift) by Giuliano Fratini, a journey that takes the viewer to the hamlet of San Gregorio da Sassola, in search of Andrei Tarkovsky’s secret Italian hideaway; and VITTORIO VIDALI – IO NON SONO QUELLO CHE FUI (I Am Not the One I Was) by Giampaolo Penco, revisiting the 20th Century trying to pin together the portrait of an elusive character.
There are fourteen shorts in competition for the TsFF Shorts Award. Italy is represented by DESTINO (Destiny) by Bonifacio Angius.
The Art&Sound section – supported by Sky Arte, which will reward one of the films by acquiring it and showing it on their channel – presents four premières (plus a special event) which explore the most diverse artistic fields: applauded at the Quinzaine des Réalisateurs last year, AND THEN WE DANCED by Georgian director Levan Akin depicts the pulsating desire of dancer Merab for his male colleague Irakli against a rigid and conservative background; FORMAN VS. FORMAN by Helena Třeštíková and Jakub Hejna is a double portrait of Miloš Forman: the artist who gained an Oscar and the man who never ceased to look for a place to feel free; SLUČAJ MAKAVEJEV ILI PROCESS U BIOSKOPSKOJ SALI (The Makavejev Case or Trial in a Movie Theatre) by Goran Radovanović delves deeper – by looking at the figure of Dušan Makavejev (see Special Events) – into what the director sees as one the biggest misunderstandings of Socialist Yugoslavia: the attempt to found a democracy without true freedom or “institute” freedom without a true democracy; TUSTA by Andrej Korovljev rediscovers Branko Črnac-Tusta, punk rock icon (with his band “KUD Idijoti” from Pula) but also working class hero.
The Special Event, L’ULTIMO UOMO CHE DIPINSE IL CINEMA (The Last Movie Painter) by Walter Bencini (presented as a world première) is a touching journey into the world of Renato Casaro, one of the most important illustrators that the movie poster industry has ever known. The master reveals sketches, memories, posters and personal highlights from the golden age of Italian cinema and beyond.
The formula of the Corso Salani Award 2020, as is customary, presents five Italian films completed in 2019, but still looking for a distributor. The Award’s prize (€2,000) must therefore be considered as an incentive for the theatrical release of the winning film. The nature of the shortlisted works also remains unchanged: these are independent films, that cannot easily be labelled within specific genres or formats and which are therefore innovative, in the spirit of Corso Salani’s own cinema. This year’s films are: #387 by Madeleine Leroyer; LA BUFERA. Cronache di ordinaria corruzione (Never Whistle Alone) by Marco Ferrari; MATERNAL by Maura Delpero; PADRONE DOVE SEI (Mater Where Are You) by Carlo Michele Schirinzi; and LA STRADA PER LE MONTAGNE (The Way to the Mountains) by Micol Roubini.
Moreover, ten years after his death, the Trieste Film Festival has decided to dedicate a special tribute to Corso Salani. We shall show again, in a version specially restored by Lausanne’s Cinémathèque Suisse thirty years since its original release, two of his early films, VOCI D’EUROPA and EUGEN SI RAMONA. How often over the years, celebrating the fall of certain walls or worrying at the prospect of new ones being erected, have we thought about him, about his Confini d’Europa (Borders of Europe), and his Vite possibili (Possible Lives).
With Fellini EastWest the TsFF is participating in the FELLINI 100 programme of events coordinated by Italy’s Ministry of Culture and Tourism (MiBACT). The genius of Federico Fellini will be considered – as one would expect from the TsFF – from an “Eastern” perspective. It will be a tribute, of course, but also a contribution to a better understanding of certain lesser known aspects of the work of one of the most widely-researched masters in the history of cinema.
AND THE SHIP SAILS ON (E LA NAVE VA) (1983) is one of Fellini’s films that has failed to attract much interest after its initial release. Yet, it is arguably one of his most relevant works for our times. The Trieste Film Festival, in collaboration with Cineteca Nazionale – Centro Sperimentale di Cinematografia, will present the world première of a newly-restored copy by CSC-Cineteca Nazionale with Istituto Luce-Cinecittà. “We are delighted, thanks to a happy coincidence with the dates, to be the first to celebrate Fellini in 2020” – explain the TsFF’s artistic directors Fabrizio Grosoli and Nicoletta Romeo. “Moreover, from the languages used in it (Italian, Serbian, Russian and German) to its subject matter, this is the film which is closest to us, as a festival and as a city. A film which, as a tale of the end of a civilisation, talks to all of us, with the strength of a prophetic work”.
If Fellini’s influence on filmmakers and intellectuals (often exiles or destined to become so – from Polanski to Kundera), is well known, the same cannot be said of his relationship with critics, institutions and people in power. With this in mind, the TsFF catalogue will include an unpublished article by Naum Kleiman (featured only in Italian due to copyright restrictions), from the forthcoming volume “A Companion to Federico Fellini” (John Wiley & Sons). One of the most distinguished cinema historians, not only in Russia (where he created the Eisenstein Centre), but in the world, Kleiman leads us – among instances of censorship, illegal showings and fiery debates – towards the discovery of unexpected and often irresistible anecdotes on the not always easy relationship between the USSR and Fellini, whose 81/2, for example, had to be fiercely defended before the Ideological Department of the Communist Party’s Central Committee by Italian art critic and Communist politician Antonello Trombadori.
Fellini’s huge popularity beyond the Iron Curtain will be revealed in a small but special Exhibition, displayed in the foyer of Politeama Rossetti. It will feature eight extraordinary original posters which were made for the release in Poland of masterpieces such as The White Sheik or Fellini’s Casanova. These are true works of art in their own right, able to reinvent Fellini’s fascinating plots and fantasies and transfigure them into something unique.
Prosaically entitled INTERVIEW WITH MAESTRO FEDERICO FELLINI, the 14 minutes of Matej Mináč’s film, shot in January 1989, are a short but exceptional document, which also demonstrates Fellini’s great generosity. Thanks to their mutual friend Juraj Jakubisko, Fellini agreed to meet in Rome a young director from Communist Czechoslovakia, who himself faced many problems with his country’s authorities in order to be able to make the appointment… The conversation they had was supposed to be the first part of a longer cinematic portrayal, which Mináč pursued for years. However, faced with the impossibility of ever completing it, he decided to shoot a comedy, Never Give Up, currently in production, loosely inspired by his journey to interview Fellini.
The world première of Francesco Zippel’s FANTASTIC MR. FELLINI – AN INTERVIEW WITH WES ANDERSON will be presented in collaboration with Sky Arte. Spurred by Zippel, the director of Grand Budapest Hotel revisits topics which are dear to him and were at the same time close to Fellini’s poetics. Fragments of the master’s thoughts, narrated by Stefano Accorsi, prompt Anderson to let his reflections flow while referencing them with his own personal artistic experience. A tribute which becomes a mirroring tale of two artists who are much closer than one might have anticipated.
After last year’s edition which was dedicated to the fall of the Berlin Wall, we deemed it important to continue with an exploration of the history of those years (and the consequences on contemporary life in social, political and economic terms). This is the idea behind the Time Will Tell section, curated by Cornelia Reichel and Bernd Buder from the Cottbus Film Festival (in many respects a “twin” festival to ours) and Nicoletta Romeo, and dedicated to German cinema about the reunification of the country. Here are the titles in programme: DAS DEUTSCHE KETTENSÄGENMASSAKER (The German Chainsaw Massacre) by Christoph Schlingensief; ALLES ANDERE ZEIGT DIE ZEIT (Time Will Tell) by Andreas Voigt; GUNDERMANN by Andreas Dresen; FORTSCHRITT IM TAL DER AHNUNGSLOSEN (Progress in the Valley of the People Who Don’t Know) by Florian Kunert; GUNDERMANN REVIER (Coal-Country Song. Gundermann) by Grit Lemke; and HEIMAT IST EIN RAUM AUS ZEIT (Heimat is a Space in Time) by Thomas Heise.
Currently in its 10th edition, When East Meets West is an event organised by the Friuli Venezia Giulia Audiovisual Fund in collaboration with the Trieste Film Festival, EAVE, Creative Europe Desk Italia, and with the valuable support of Creative Europe – MEDIA Programme, MiBACT – Direzione Generale per il Cinema, CEI (Central European Initiative), Film Center Serbia and Regione Autonoma Friuli Venezia Giulia. The 2020 edition of WHEN EAST MEETS WEST will be a three-day event dedicated to producers and decision-makers from Italy, Central and Eastern Europe (Hungary, Romania and Moldova), and Austria, Germany and Switzerland.
Our aim is, as ever, to create an event that can generate close ties between the participating regions and countries. An array of international cinema professionals gathers in Trieste for a series of roundtables, masterclasses and case studies organised to facilitate opportunities for collaboration between Eastern European producers and Western companies, and vice-versa. This makes the Friuli-Venezia-Giulia Region a unique point of reference for such initiatives.
Film and documentary producers will meet with commissioning editors, distributors and representatives of funding bodies and markets, so as to present the whole range of production and distribution opportunities, as well as financial resources, available to the industry. The countries taking part this year are: Albania, Armenia, Austria, Azerbaijan, Belarus, Belgium, Bosnia Herzegovina, Bulgaria, Croatia, Cyprus, the Czech Republic, Denmark, Estonia, Finland, France, Georgia, Germany, Greece, Hungary, Ireland, Island, Italy, Kazakhstan, Kosovo, Latvia, Lithuania, Luxembourg, Macedonia, Malta, Moldova, Montenegro, the Netherlands, Norway, Poland, Portugal, Romania, Russia, Serbia, Slovakia, Slovenia, Spain, Sweden, Switzerland, Turkey, Ukraine, and the United Kingdom.
We are confident that the 2020 edition of WHEN EAST MEETS WEST will again prove very popular with industry insiders and consolidate what is, in our opinion, an essential networking opportunity aimed at facilitating the development of audiovisual companies of the New Europe.
Trieste Film Festival and When East Meets West present the sixth edition of Last Stop Trieste, a section dedicated to documentaries that are still in progress, i.e. fine cut projects that have previously been developed or presented at one of the other platforms participating in the scheme: Ex-Oriente Film Workshop, BDC Discoveries from the Balkan Documentary Centre, Sarajevo’s Docu Rough Cut Boutique, Baltic Sea Docs, ZagrebDox PRO and When East Meets West.
The chosen documentaries will be seen by an exclusive and limited audience of around 40 sales agents, festival programmers and TV commissioning editors, with the aim of being selected by the most important international film festivals, and increase the likelihood of finding distribution. An international jury will award the best projects the following prizes: The Film Centre Serbia LST Award, the HBO Europe Award and the FLOW Digital Cinema Award. “Last Stop Trieste” is organised by the Trieste Film Festival and the Friuli Venezia Giulia Audiovisual Fund, with the support of Europa Creativa – MEDIA Programme, CEI – Central European Initiative, MiBACT – Direzione Cinema and by the Regione Autonoma Friuli Venezia Giulia. The initiative is co-ordinated by Rada Šešić, programmer at the Sarajevo Film Festival.
When East Meets West and the Trieste Film Festival present the third edition of This is IT, a section entirely dedicated to fiction features and hybrid works with a strong visual and creative approach, which are being produced or co-produced by Italian production companies (as majority or minority stakeholders). The purpose is to create a showcase for quality independent cinema in which the selected teams can present their project and show ten minutes of their film to an exclusive panel of more than 30 sales agents, festival programmers and international buyers.
An international jury will bestow the LASER FILM Award, a special post-production video prize consisting of a film’s colour correction (40 hours of work, including an engineer) as sponsorship in kind to the value of roughly €10,000 euros.
Thanks to the partnership with Milano Film Network (MFN), all the projects which applied to “L’Atelier MFN 2019” and to “This is IT” were shared and considered by both selection panels. The aim is to offer a double opportunity to Italian producers, increasing their chances to identify partners for distribution both at national and international level.
The Trieste Film Festival in partnership with Midpoint – the programme for the development and writing of cinema projects dedicated to emerging talents and based at the Famu in Prague – presents Feature Launch Workshop, the main annual project dedicated to new talents from Central and Eastern Europe, in collaboration with the international festival of Karlovy Vary. Midpoint Feature Launch consists of two workshops on the development of a project, the search for funding and co-production opportunities; and also a new presentation platform and a follow-up session. The project is aimed at creative teams of screenwriters, directors and producers during the development phase of their first or second feature. The teams will be able to take part in an annual workshop which will start in Trieste during the Festival and the When East Meets West co-production market event. The second workshop will take place in April in Slovakia and the third one in the context of the presentation of the platform “Works in Development – Feature Launch” at the Karlovy Vary Festival in the Czech Republic, in July 2020. The producers of the shortlisted projects will return to Trieste in January 2021 for the follow-up “Feature Launch Spotlight” event, co-organised with WEMW.
For the third edition of Midpoint Feature Launch, nine projects were shortlisted from Bulgaria, Czech Republic, Greece, Poland, Romania, Slovenia, Serbia, and Ukraine.
Albania – Austria – Azerbaijan – Belarus – Belgium – Brazil – Bulgaria – Canada – Croatia – Czech Republic – Denmark – Estonia – France – Georgia – Germany – Greece – Hungary – Ireland – Israel – Italy – Kosovo – Latvia – Lithuania – Macedonia – Montenegro – The Netherlands – Poland –– Romania – Russia – Serbia – Slovakia – Slovenia – Sweden – Switzerland – Ukraine – United Kingdom – United Arab Emirates – USA
The Festival’s venues
Politeama Rossetti (Largo Giorgio Gaber, 1)
Cinema Ambasciatori (Viale XX settembre, 35)
Teatro Miela (Piazza Duca degli Abruzzi, 3)
The 31st Trieste Film Festival has been realised with the patronage of: Comune di Trieste; Direzione Generale per il Cinema – Ministero dei Beni e delle Attività Culturali e Turismo; and Consolato Generale della Repubblica di Slovenia; with the contribution of: Regione Autonoma Friuli Venezia Giulia; Direzione Generale per il Cinema – Ministero per i Beni e le Attività Culturali e per il Turismo; Comune di Trieste; Promoturismo FVG; and CEI – Central European Initiative; with the support of: Fondazione Benefica Kathleen Foreman Casali; Fondazione CRTrieste; Fondazione Osiride Brovedani Onlus; Istituto Polacco di Roma; Goethe Institut Roma; and Fondazione Pietro Pittini; with the collaboration of Animafest Zagreb; Associazione Casa del Cinema di Trieste; Associazione Cizerouno; Associazione Corso Salani; Autorità di Sistema Portuale del Mare Adriatico Orientale; Casa della Musica / Scuola Musica 55; Cineteca di Bologna; Claimax; Cooperativa Bonawentura; CSC-Cineteca Nazionale; DoubleRoom arti visive; Edizioni EL; Einaudi Ragazzi; Emme Edizioni; Fellini 100; FilmFestival Cottbus; Fondazione Cineteca Italiana; Fondo per l’Audiovisivo del Friuli Venezia Giulia; FVG Film Commission; Hands of the Makers; Immaginario Scientifico Trieste; Istituto Luce-Cinecittà; Milano Film Network; MIDPOINT – a training and networking platform for film & series development; Národní filmový archiv – National Film Archive; Ordine degli Architetti Pianificatori, Paesaggisti e Conservatori della provincia di Trieste; Osservatorio Balcani, Caucaso e Transeuropa; PAG – progetto area giovani Comune di Trieste; proESOF – EUROSCIENCE; Slovenski Filmski Center – Slovenian Film Center; SNCCI – Sindacato Nazionale Critici Cinematografici Italiani; Storie di Economia Circolare; Unione Sportiva Triestina Nuoto; University of Bristol; Visioni in Movimento – cinema senza sedie
Media partners: Doc Alliance Films, east european film bulletin, MYmovies, Il Piccolo, Quinlan.it, Taxi Drivers
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Technical partners: Antico Caffè San Marco, ART Group Graphics, Art&grafica, B&B Dada & Arts, Café Rossetti, ControVento Hostel, DoubleTree by Hilton Trieste, Eataly Trieste, Elita Srl, Eventival, Grand Hotel Duchi D’Aosta, Hotel All’Arco, Hotel Continentale, Hotel Coppe, Hotel Modernist, Hotel NH Trieste, Ideando Pubblicità, KOKI Srl, Piolo & Max, Savoia Excelsior Palace, Spin.it, Tipografia Menini, Trieste Trasporti, Urban Homy Trieste, Urban Hotel Design, Victoria Hotel Letterario
Sponsors: B&B Hotel Trieste, Cialde in Time l’Altro Espresso, Être Concept Store, Parovel
Trieste Film Festival is a member of AFIC Associazione Festival Italiani Cinema