The editorial piece from our brand new WOSH.

If you say Cannes, I know what you mean. Cannes is a kind of magic word in the world of filmmaking. If you are in Cannes it means that you are in the business. Everybody knows that something really glossy and significant is going on there every year, but just a very few insiders know what exactly.

 There is a well-woven cobweb of the competition film screenings, the film market (Marché Du Film), the national pavilions and the crowd of filmmakers, film enthusiasts, distributors, and journalists on the Croisette, which is quite fascinating and confusing, not just for the newcomers. It needs time and preparation to understand how it works.

 Even from the point of view of short films, the picture is very vivid. Here in Daazo’s World of Shorts magazine we try to explain it all to a short film maker. How to get started and how to handle a chance. For instance, you can read about the experience of being selected to one of the programmes. There is an interview with Maryna Vroda, director of the Palme d’Or winning short Cross Country, and a presentation of Soft Rain by Dénes Nagy, whose film has been selected for the Quinzaine’s programme this year. You can also find a nice visual explanation of the Cannes Film Festival’s short film related elements.

Besides covering the Festival, we try to give you an overview about the short film world. You can read about shorts in transmedia, an interview with the editors of ARTE television channel, which is a kind of paradise nowadays for short films. Find loads of info and practical guides on pitching (by Laurent Crouzeix, leader of Euro Connection and Wim Vanacker, head of scriptwriting at the European Short Pitch), a fascinating case study of a giant Polish-Swedish short film co-production by Joanna Solecka – and much more.

 However, World of Shorts does not only help theoretically to understand and follow the short film business. We also provide some very practical tools indeed to go forward in the business. That is why we have created the second edition of the Pitch Page project, in which we highlight carefully selected short film plans (Maike Mia Höhne, the curator of Berlinale Shorts was the Head of the Jury selecting the pitches). Also, we offer the chance to promote the films of Short Film Corner participants – this is how we aim to build a bridge between filmmakers and distributors.

 Back to theory: in Cannes, it is very clear that the whole is more than the sum of its parts. The competitions wouldn’t mean that much without the market and the market wouldn’t work without the competitions. And this is true for all the rest of the events of the festival. It is the key for the Cannes magic; for transmedia, when several shorts form an artwork; and for filmmaking itself: many people, many co-production partners team up to create the whole from the sum of their parts. And the result is what we love the most: the film itself, which is always more than any mathematical procedure.

written by Daniel Deak