They comprise 25 feature films and documentaries, many of which have been making the rounds of co-production forums on the festival circuit. What distinguishes the Venice market is that submissions must have at least 70% of financing in place, meaning that these projects have a better chance of actually reaching completion.
Last year the Venice Film Market — which besides the gap-financing component, also includes the Final Cut in Venice platform for films in post from countries with struggling film industries and a book rights’ mart — was re-branded as Venice Production Bridge.
The idea is that Venice, which cannot compete with Toronto in terms of bona-fide market heft, is pioneering an informal new-concept market dedicated to original works-in-progress and open
Venice Film Festival industry strand Venice Production Bridge has confirmed the 47 projects that will take part in this year’s edition of the Gap-Financing Market (September 1-3).
Now in its fourth year, the market will welcome 25 feature film and documentary projects, 15 virtual reality, interactive, web and TV projects, as well as seven Vr projects from previous editions of the talent development lab Biennale College, which are in various stages of development and production.
The teams behind each project will take part in one-ot-one meetings with producers, financiers, distributors, sales agents and further industry attending the Production Bridge.
Full list of projects:
Fiction features (Europe)
All The Pretty Little Horses dir. Michalis Konstantatos (Greece, Germany, Netherlands), Horsefly Productions
Bodyguard Of Lies dir. Charles Matthau (Spain, United States), Babieka Films
Brighton 4 dir. Levan Koguashvili (Georgia, Bulgaria, Greece), Kino Iberica
Cook, Fuck, Kill dir. Mira Fornay (Czech
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