We are extremely excited that Tramontane will be part of IFP’s No Borders International Co-Production Market at the 2013 Independent Film Week.

Congratulations to all our friends and colleagues who are also in this year’s Project Forum Slate! We are very proud to be included in this exceptional selection.

“September 15-19, 2013

July 25, 2013 (New York, NY) –Today, IFP announced its 2013 slate of 163 new films in development selected for its esteemed Project Forum at Independent Film Week.

Just prior to the forthcoming opening of the Made in New York Media Center by IFP, Independent Film Week takes place September 15-19, 2013 at Lincoln Center. This one-of-a-kind event brings the international film and media community to New York City to advance new projects and support the future of storytelling by nurturing the work of both emerging and established independent artists and filmmakers. Through the Project Forum, creatives connect with the financiers, executives, influencers and decision-makers in film, television, new media and cross-platform storytelling that can help them complete their latest works and connect with audiences.”

- From the official press release of the IFP.

To read more about IFP and this year’s selection please visit the official site here.

We are thrilled to announce that Caroline Oliveira will participate with Tramontane in the Sundance Institute’s Creative Film Producing Initiatives!

Visit the Sundance Institute here.

We are thrilled to announce that Tramontane has been awarded a Production Grant by the Doha Film Institute!

The announcement was made in Cannes ahead of the Cannes Film Festival.

To learn more about DFI’s MENA Grants Programme and the 2013 Grantees, please read the DFI press release here.

Tramontane has a new wesbite!

www.tramontaneproject.com

“Photographs. Many are overexposed, light-blasted, with a faded quality beyond their age, suggesting things barely glimpsed despite the simple nature of the objects and the spare captions. Curtain rods found on shelf in garage of Ruth Paine. There they are. The picture shows no more or less. But Branch feels there is a loneliness, a strange desolation trapped here. Why do these photographs have a power to disturb him, make him sad? Flat, pale, washed in time, suspended outside the particularized gist of this or that era, arguing nothing, clarifying nothing, lonely. Can a photograph be lonely?”

- Don DeLillo, Libra

“We want to blame an individual so that everyone else is exculpated. Or we blame a historical process as a way of exonerating individuals. Or it’s all anarchic chaos, with the same consequence. It seems to me that there is – was – a chain of responsibilities, all of which were necessary, but not so long a chain that everybody can simply blame everyone else. But of course, my desire to ascribe responsibility might be more a reflection of my own cast of my mind than a fair analysis of what happened. That’s one of the central problems of history, isn’t it, sir? The question of subjective versus objective interpretation, the fact that we need to know the history of the historian in order to understand the version that is being put in front of us.”

- Julian Barnes, The Sense of an Ending

The day won’t pass.

The night will be worse. He’s waiting

For the anaesthetic to work

That has already taken his strength, his beauty

And his life.

- Ted Hughes, Wolfwatching

The day won’t pass.

The night will be worse. He’s waiting

For the anaesthetic to work

That has already taken his strength, his beauty

And his life.

- Ted Hughes, Wolfwatching

We will periodically reveal some of the locations of Tramontane.

Sometimes we’ll also accompany media with a line or two about what inspires us about each location, or whatever we feel like at the time of posting.

The first in this series is from North Lebanon.

Photography by the very talented Harry Simitian.

Rabih, a young blind man, travels across rural Lebanon in search of a record of his own birth. He meets people on the far fringes of society who tell their own stories, open further questions and give Rabih minor clues about his true identity, culminating in a devastating realization. Descending into a void at the heart of his existence, Rabih encounters a nation incapable of telling his or its own narrative.