This partnership is the initiative of Christian Robert from the publishers Au Vent des îles, and Lucie Milledrogues film programmer from Etonnants Voyageurs, who attended FIFO this year.

"We have followed the substantial work that Etonnants Voyageurs does about shared observation. It is, all things considered, the path that FIFO has been trying to trace for nearly a decade. It is why, when it was proposed to us to move closer, to give a view of Oceania, its colours, its relationship with the world, through films that we select each year, we responded immediately to the call," indicated Wallès Kotra, chairman of the Pacific International Documentary Film Festival.

The Etonnants Voyageurs Festival, created in 1990 by Maëtte Chantrel and Christian Rolland is now the largest book and film festival in France. Each year it welcomes 250 authors from all over the world. In 2011, 60,000 visitors came to the meetings, projections, exhibitions and other weekend-long entertainment, to discover the world…to come.

www.etonnants-voyageurs.com

List of the films screened:

A la rencontre des autres hommes (Meeting Other Men)

By Michel Viotte (Arte France, Tetra Media, Miss Luna Films, Essential Viewing, SBS. Independant, Per Diem Films, RMN/2006/65’)

Blowing Up Paradise

By Ben LEWIS (Fiona O’Doherty, ZDF, Arte/2005/60’)

Captain Cook

By Wain FIMERI, Paul RUDD and Matthew THOMASON (Screen Australia, Cook Films, Ferns Production/2007/53’)

Ia Orana Gauguin, photographies d’un retour (Hail Gauguin, photographs from returning)

By Jacques NAVARRO-ROVIRA (Beau Geste)

Les derniers traqueurs australiens (The Last Australian Trackers)

By Eric ELLENA and Vanessa ESCALANTE (Equidia, AmunRa, IntoMedia/2007/52’)

Murundak

By Natasha GADD and Rhys GRAHAM (Daybreak films Pty Ltd/2011/82’)

Ochre and Ink

By James BRADLEY (Yellows Mountains Films/2011/27’)

The Long Journey Home

By Gordon ELIOTT (Follow Productions/2009/52’)

There Once Was an Island: te henua e noho

By Briar MARCH (On the Level productions/2010/80’)

This Way of Life

By Thomas BURSTYN (Barbara Summer Burstyn/2009/86’)

Papa Mau the way finder

By Anthony Naalehu (Paliku Documentary Films)

Sous le vent de l’usine (Downwind from the Factory)

Anne Pitoiset and Laurent Cibien (aaa Productions)

Retour à Canala (Return to Canala)

Antoine Letenneur and Jean Noël Mero (RFO Nouvelle Calédonie and RFO Archipels)

The attendance rate at FIFO 2012, projections and activities combined has in fact increased again and this year totalled 29,120 visitors (+ 2 273 compared to 2011) including 5,331 school pupils. Approximately 120 festival goers participated in the event, including thirty or so directors and producers

The 10th edition of the Pacific International Documentary Film Festival (FIFO Tahiti) is already being planned and will take place from the 4th to 10th February 2013 in Papeete (Tahiti – French Polynesia)

Registration is already open, the directors and producers can now register for 2013.

Remember that the competition is open to any film produced in Oceania within the last three years. As is the case every year, FIFO will select about forty films, in two categories. The films in the ‘competition’ category will be presented to an international jury which will award a main prize ‘grand prix’ and three special prizes, as well as a public prize; each award will receive a cash prize.

To register please send a registration form, as well as the signed festival rules, and 3 DVDs before the 1^st October to the FIFO office, BP 1709 Papeete- 98713 Tahiti.

The documents can be downloaded from our website.

For further information, please contact: Miriama GEOFFROY BONO, FIFO coordinator: organisation@fifotahiti.org
BP 1709 Papeete-98713 Tahiti – (+689) 544 544

Entry form - Oceanian Short film night

The jury chairman of the Pacific International Documentary Film Festival 2012 discusses his team’s choices and the highlights of this 9^th edition. As for Elie Chouraqui, he really wants to be jury chairman for FIFO forever.

What is your view of FIFO now that you have experienced it?

Elie Chouraqui: I think that FIFO is really a very important event.  Populations are so diverse in Oceania, from Australians to New Zealanders, not forgetting the Tahitians, Samoans and New Caledonians, it is unbelievably rich. Something extremely powerful emanates. Above all, these are old populations in the sense that they have been on Earth for a long time so they have roots, values which are extremely powerful and which go back a long way.

You mentioned sacred at the opening ceremony of this 9^th FIFO. Has this feeling been confirmed having seen the films?

Elie Chouraqui: Yes, with some more than others but the sacred was present constantly. It is very curious because in fact all the films tackled essential themes. None of the films were overly light in terms of subject. You are transported straight to the heart of humanity each time. I was right to choose this word "sacred" as the sacred is pervasive. I think it is one of Oceania’s characteristics, as a consequence of being very close to its ancestors, Gods, beliefs and land… I also have this feeling in Africa: there is a return to the essential, land, family, blood ties, the rain and the sun, etc., with respect for the dead, the past, traditions… How do you live in the middle of that, who are we, where do we come from, where are we going, why are we there…?

In the films that you saw, did you find answers to these questions?

Elie Chouraqui: I think that there is never really an answer to this type of question. But what is interesting is the search, the fact that the question is asked. I have always thought that a man, like a people without roots, was incapable of living, and the more that the roots are pushed deeply into the ground, the more chance there is of blooming. I think that the great question of these populations is in the roots, in this cult of the dead, of the past and ancestors, allowing them to project themselves into the future and forge a path for the younger generation. It is something that I felt strongly. There are films in which it is particularly blatant.

In particular with regard to all the award-winning films …what convinced you for each of your choices?

Elie Chouraqui: The vote for the Grand Jury Prize, Murundak Songs of Freedom was unanimous. It is a masterpiece in all forms of expression: feature-length film; documentary; television series, etc., out of all the films I have seen in recent years this film has moved me the most. In addition, it is funny because as it was the first film that we saw on arrival, we all had this slap in the face… I found myself sobbing… Luckily afterwards, everyone said that they had gone through the same thing. […] Justifiably we speak of sacred, you are deep within it there… (…) And it is all vehiculed by singing, by art, it is extraordinary.

With the 1^st Special Prize, Ochre & Ink, there is something fascinating about seeing a Chinese man, who represents the most important nation in the world, population-wise in any case, who finds himself facing an Aborigine, who to him is a survivor of a nation which was almost decimated, massacred. These two men share their humanity through art, by blending their talents. I thought it was a film which, in addition to all its qualities, is significant because it proves that everything is possible: that all men, wherever they come from, if they are willing, can live together.

The Hungry Tide and the story of Karibati which will disappear under water raises a very fundamental problem that concerns all of us. In this story, it is not an anecdote, we see it from within a woman who is fighting for her people, her island and at the same time in a certain way fights for us, who warns us, by saying "be careful because what is happening to us today, will happen to you tomorrow, so the process should be stopped straight away."

The third Special Jury Prize, My Adopted Family, is perhaps the most unusual, because it was very controversial amongst the jury and at the same time it made us talk the most. It is a film which is appalling as well as an extraordinary, harrowing whilst full of promises, which irritated and fascinated us. From the start to the end, it is completely ambivalent. Such a film and subject could not be ignored. It perpetually questions and it is this questioning which was the deciding factor leading to its prize. That said it is true that the selection was amazing.

What stood out?

Elie Chouraqui: I think it comes back to the sacred again. All these films have a relationship with the sacred: the sacred of a population, the sacred of a cultural relationship about creation, the sacred of a land, the sacred of a child... These are themes which are of rare depth each time. […]The mark of quality of a film, like any work of art, is emotion. That is why the Grand Jury Prize was obvious: it is a tidal-wave, an emotional tsunami.

So it can be said that FIFO performed its mission to generate emotions as a film festival?

Elie Chouraqui: I think that indeed it gave rise to many passions, that it unveiled talents and that it will continue to reveal. For the mission to be complete, FIFO should continue to market itself. It would be a shame if these Pacific films never left the shores of Oceania. They should be seen all over. I am going to try to see what I can do for France. I hope that Planète, Canal+, will do their duty. It is a favour to us, and not a favour to Oceania, because these are films which are really fascinating therefore there is no reason for them not to be seen on channels that can be picked up in France. This is a festival not to be missed. The Grand Jury Prize is almost a film for release.

Is it art with a capital A?

Elie Chouraqui: Very clearly, because at this stage it is no longer a documentary in the "study of a situation" style. It goes well beyond that. These are things which affect the soul, which uplift us, and that is the role of art.

Manon Hericher

Straight after the henceforth famous song ‘Taura FIFO,’ by Maison de la Culture staff,  that even the public has begun to know and launch into, Wallès Kotra, chairman of AFIFO announced the dates of the 10^th FIFO for everyone to note: from the 4th to 10th February 2013. The prize for the best pitch introduced the series of honours, crowning a very sensitive project full of hope: ‘Imulal,’ which questions, through young people, the future of New Caledonia. Nunaë and Sylvain, who were pitching for the first time, left with a little boost from the ATPA (120,000 FCFP) and above all bullet-proof motivation. We are waiting for ‘Imulal’ in 2013’s competition!

Locally, the director Eliane Koller was awarded a Special Prize for ‘My Adopted Family,’ which created lively debate between members of the jury and greatly marled the public for its unpolished reality. ‘The Hungry Tide’ and ‘Ochre & Ink,’ two particularly memorable documentaries from this 9^th FIFO, also each won special prizes. With no great surprise but immense joy and emotion, Marie-Hélène won the Public Prize for ‘Elected by the people, Pouvanaa te Metua,’ for which the projection rooms were full throughout the week. ‘I knew that this was a useful piece of work,’ she confessed. ‘But after having seen the crowds and the reactions, I understood that this film had been necessary.’ A danced interlude, offered by the Pupu Tuhaa Pa’e group (2^nd at Hura Tapairu) created suspense before finding out the Grand Prize. FIFO 2012’s international jury, chaired by Mr. Elie Chouraquie, reminded everyone that each film screened had been a real lesson in life. ‘I had the impression to have found the meaning of sacred,’ he remarked. ‘This FIFO made me think about who I was, where I was coming from and what future I wanted for my children.’ Proof, if required, that Oceanic problems have international reach which can and must resound. ‘Murundak, songs of freedom,’ won the FIFO Jury Grand Prize– France Télévisions. This documentary produced by Natasha Gadd and Rhys Graham addressed the whole audience none of whom left unscathed. Through magnificent images, the two young directors unveil a musical protest by Aboriginal artists who travel across Australia meeting the public to sing about their sadness, anger and hope…Deeply moving.

On the spot…a few questions directed at Natasha Gadd

How do you feel about having won the Grand Prize?

It’s a huge surprise and a great honour, all the more so as I immediately sensed what a large role music played in Tahiti. That will probably inspire us a great deal!

What does winning mean for you and for your documentary?

It is an opportunity for ‘Murundak’ to travel further, to be seen in different places around the world, by professionals and amateurs from various horizons. That gives strength to the film but above all to the message.

What is your next project?

We are going to tell the story of a Papuan, a jazz prodigy who had to leave Papua New Guinea to survive because he was an albino. He recorded albums with Blue Note Records, one of the greatest jazz labels. He returns to Papua New Guinea for the first time to play his songs to his people.

After peaking in 2000, it must be noted that the tourism market is not looking good for Polynesia. Visitors are increasingly numerous yet their behaviour is different. It turns out that their trips are shorter but also to places which were less frequented before. The tourism sector is facing a review of the usual tourism traffic which equates to a modification of research information traffic. The reason for which is digital!

How can the Internet be used to stimulate tourism?

According to Pierre Alzon the approach is simple, all that is required is to unite, pool and adapt. Everyone is on the same footing with the Internet and it allows permanent competition of what is on offer, ‘the key word is: partnership!’ It is necessary to have a global vision and a strategic complementarity in order to offer better information and dissemination.

You can’t talk about digital without talking about the adaptation of content for all possible terminals, whether fixed or tablets, services should be projected into a mobile space. ‘Nothing is ever fixed in the digital world’ the challenge being to be visible and good listings in research engines should be obtained. Use a very natural approach by being active, particularly by using social networks and inter-reacting with potential clients.

Polynesia has a real asset; it is considered a dream destination. It is up to the motivation of those implicated in tourism to appropriate these codes. Professionals should also decide to get together to implement a concrete project.

Pierre Alzon ends his speech by quoting Mark Zuckerberg, the Facebook genius ‘Done is better than perfect.’ The message is clear, if we want tourism to have a revival we should not hesitate and ‘do.’

Erwann Gaucher, a consultant from the France Télévisions digital team took part by videoconference from Paris and set the scene with statistics and videos. Fifteen to twenty million blogs in France, more than 20,000 photos posted on Facebook every minute, these are the figures that make it clear that the Web is not only a new distribution channel.

Muriel Pontarollo, the editor of Nouvelles de Tahiti, Jeanne Peckett, the editor of the monthly magazine "BOSS", Nathalie Montelle, the director of Tahiti Infos and Frédéric Bénot, the editor of Radio 1, speak in turn to share and analyse their experiences.

From their speeches and the debate which follows it may be said that the key word is content. It must be of a certain quality, but it must be fine-tuned to respond to the expectations of the different types of use. Specific content should be worked on for readers of traditional press, other content specific to internet users and another for mobile internet users.

Paper press continues to do well above all when it conveys more in-depth or specialised information.

A big challenge is immediacy. Social networks increase the flows of information. Even if self-checking by the user takes place increasingly, as people do not want to publish just anything on their accounts, a huge amount remains for professionals to do. Not only should information still be checked, the incessant flood must be sorted to highlight what is essential and meaning must be given. The "curator" role of journalists is discussed, they must help internet users find their way around.

Background information is still expected and dossiers requiring detailed investigations. Data-journalism has glorious days ahead and fuels public debate.

Investigation, information verification, moderation of debates and curation are many functions that blogs do not impose. "It’s not about being an additional blog!" exclaimed Muriel Pontarollo.

That is why, it is important for editorial teams to make the web the business of all journalists and particularly the most experienced, and not to entrust it, as is often the case, to young inexperienced people because it is hard to change organisations which have become maladjusted.

Digital press is therefore not the cause for the loss of the readers of traditional daily papers. French Polynesia is proof of this and more specifically Nouvelles de Tahiti which has adopted this ‘web-first’ logic. The latter took the initiative three years ago to offer their journalists back-office, social networks and video training… The editor confirms that ‘the press today is multimedia.’ This decrease in readers is due then to the fact that journalism in general has above all omitted to observe consumer use and above all to adapt to it; whereas they are no less informed.

These are users who find new uses, continually. The debate leader, Frédéric Dubuis, a journalist himself, remarked that, ultimately, journalists were quite impenetrable about their media, even arrogant at times, and now they must open out to others, be on social networks and all the exchange channels and be attentive to comments posted by readers. A "Web first" trend is spreading. Information is disseminated online by short articles or simple press releases and the paper format resumes and enriches the most-read and commented upon subjects.

All these very buoyant and positive considerations must not conceal certain trivialities like the technical aspects or the costs. Frédéric Bénot thus recalls that Internet access is expensive here, and not always possible. All the speakers are in agreement that financial equilibrium is not easy to find...

In conclusion, the journalism profession has a hopeful future, as there is more and more information, therefore a growing need to make it fluid and comprehensible. Journalists must come out of their ivory towers and be available and accessible to readers.

The 9th FIFO was, once again, a huge success: A sincere thank you to all those who supported this festival!

The FIFO association is proud to present the conclusion of the 9th FIFO, held at the ‚Maison de la Culture’ from February 6th to February 12th, 2012. The presence of numerous festival goers showed that this event is taking extent and confirmed it’s importance in the Polynesian cultural landscape, as well as in the audio visual community. Over 110 invitees were welcomed here this year.

The international jury of the FIFO, lead by M.Elie Chouraqui, has honored the following films: Murundak, songs of freedom (Grand prix FIFO – France televisions), Ochre and Ink, The hungry tide and Ma famille adoptée (all three Prix special du Jury). The audience have voted for L’elu du peuple – Pouvanaa te metua.

The 130 received documentaries have led to a high quality selection, what members of the jury repeatedly confirmed. The ‚off’ series of the FIFO, which concerned three evening events dedicated to fiction works, was very popular too: The projection of Balibo at the Liberty cinema, the Cabourg night at the beach of the Sofitel, and, last but not least, the night of Oceanian shorts in the Grand Théâtre, for which 10 short films had been selected from about 50 received films.  Besides that, the three workshops, scriptwriting by Emmanuelle Gronvold, Camerawork by Jeff Benhamza and editing by Jimmy Pichard, who came all the way from France, were all booked out, like every year. The preparation for Oceania Pitch was particulary dense this year. From 18 received projects, 9 were selected. The project proposers were offered a high quality workshop by Nicolas Zunino, audiovisual professional and producer, Olivier Stroh, director of the discovery channel from Canal+ and Laurence Hamelin, counselor for France 5, the documentary channel of the France tv group.  The Pitch was eagerly greeted by a large public of about 100 people, and was finalised by the attribution of the ‚Prix du meilleur pitch’ to Nuné Luepack and Sylvain Derne for their project Imulal. The amount of visitors for FIFO 2012, projections and workshops combined, has risen this year to 29 120 entries (2 273 more than 2011), including 5 331 pupils.

Other content of the festival is followed the example:

The 6th oceanian television dialogue has united countless partners, who had the opportunity to discuss several topics, solving major audiovisual issues for Oceania, such as the creation of a pacific media bank  (PMB), recapitulating the NC 2011 Pacific Games and nominating Ken Clark as embassador of the coverage organisation for next events to come,  preparing a programme bank for broadcasters and, last but not least, launching a project to school young professionals of the region in media matters.

The 4th digital encounters of the FIFO co-organised with the association OPEN have attracted a large audience. Over 500 people have attentively followed the debates and appreciated the presence of experts in digital matters. A game of LAN, organised by the TNA association, closed the event saturday night and attracted an audience of about 400 curious and passionate.

The association of the FIFO would like to thank the governement of French Polynesia for it’s support; as well as the France Televisions group, Polynesie 1ère, all it’s partners and the sponsors of this Oceanian festival, for having made this festival a full success with their logistical, human and financial help. Finally, a big ‚hats off’ for all those who have contributed to the organisation of this 9th edition and all our voluntary helpers.

The FIFO will be celebrating it’s 10th anniversary next year, so save the date: 4th to 10th of February 2013, in the gardens of the ‚Maison de la Culture’!

Aesthetically fabulous, humanely wonderful and artistically captivating, Ochre & Ink was unanimously well-received by the audience in the Little Theatre early yesterday afternoon at the projection-meeting with James Bradley, the director of the film. What an ambiance!

Xiaoping is Chinese. He is ageless but has already collaborated with Aboriginal artists for 23 years. If James Bradley was unable to narrate all of the fascinating life of this man captivated by the art (the art of living too) of the aborigines, it is due to lack of time. They therefore decided together to focus on this moment in time, in particular the absolutely amazing work undertaken with Johnny Bulunbulun, an Aboriginal artist from Arnhem Land, to reconcile the respective inspiration of the two artists on rice paper or tree bark, each bearing ancestral traditions inextricably embedded in them.

A deep friendship is the fruit of this collaboration, which extends to family and wider still to the Aboriginal artist’s community. When Johnny Bulunbulun suddenly died aged 64 years old, without having been able to make the journey to China as planned, to discover Xiaoping’s culture first of all and also assist with the opening of their exhibition at the museum in the capital Beijing (a real success with 330,000 visitors), his widow and son took the plane to represent him outside their own country.

If the Chinese artist received abundant criticism at the beginning of his Chinese Aboriginal creation, beginning with being racist because he painted Aborigines, his tenacity, perseverance and especially his talent earned him international recognition today, from the farthest reaches of Arnhem to Beijing, via Melbourne, where he still lives.

His inspired work, of great sensitivity and extraordinary finesse unquestionably gave the Polynesian public the desire to host the exhibition. For the time being, negotiations are ongoing to transport it from Melbourne, where it was shown from July to October last year. Whilst waiting for it to finally come to Tahiti, the artist wants to come back to do some work in Polynesia. ‘I like not only the landscape but also the people from here,’ he assured.

Manon Hericher

Head to head, with James Bradley

How did you and Xiaoping meet?

I met Xiaoping through an old school friend that I had not seen for 35 years. We met up at an old school reunion. I was doing film editing, I had worked on films about Aboriginal communities and he had become professor of Asian studies at the University of Melbourne. When I told him that I made films, he said, ‘I have an extraordinary story for you: I know this Chinese artist who spends whole weeks in Arnhem Land painting with Aboriginal artists.’ From there, I called Xiaoping, we decided to meet and he trusted me to tell his story. [… ] At first, he was a little disappointed that we couldn’t develop all that had been done previously, over his 23 years of collaboration with Aboriginal artists in different parts of Australia but in the end he was able to appreciate that we would concentrate on the most recent period.

Has the film been shown to the Arnhem Land community?

To be perfectly honest, we haven’t been able to organise a screening in the community due to a lack of means but the film was shown to Johnny Bulunbulun’s close family which was part of the agreement reached with the artists and show them the film before its circulation. […] In Australia, furthermore we have very strict rules, especially if the film is funded by the government. We have therefore been very careful to follow the dedicated protocol and to obtain the necessary authorisation. For the funeral in particular, we had to obtain agreement from all the members of the community. The film will be shown on national television on 21^st February.

How long did the filming take?

Between two and a half and three years. Johnny’s death significantly slowed down the process by at least a year.

It is the last day of the 4^th Digital Encounters and time to briefly summarize the numerous discussions which have animated the week with Marcel Desvergnes, chairman of Aquitaine Europe Communication, the agency for digital initiatives, who has also the ‘Man’ responsible for FIFO’s digital adventure since the beginning.

How do you feel about the 4^th Digital Encounters?

I have just come out of the debate about the press* and I have to say that the quality of the exchanges between professionals from Polynesia, but also with a speaker from Paris via Skype, has made this gathering one of the most intense of the week. For several reasons: on the one hand, all the participants were totally and directly concerned with the problems and on the other, the live exchange with Paris was of impeccable quality, demonstrating the technical relevance of digital in Polynesia. That would have been unimaginable not so long ago.

Improvement of the rate is now visible, are questions linked to digital being dealt with as efficiently?

Absolutely, Polynesia is projecting itself more clearly. I was struck yesterday during the ‘The Likely OPT Scenarios?’ discussion by the perspective and way in which the OPT presented itself through a short fiction film (‘One Day in 2025’). Through it, they accepted to clarify their choice of direction. On a different note, I noticed that the decision makers were concerned about social networks (Facebook, Twitter, etc.) and the reactions that they lead to. They fear an invasion of digital in all sectors. I want to reply simply that the world is moving, it is less isolated, and it gives and receives. There is nothing dangerous in that.

Is the outcome positive overall?

Yes with regard to the quality of the exchanges and technical ability. On the other hand, along with the other participants, I was hoping for categorical answers from the authorities. We only saw the beginnings of these. It’s a shame as justifiably, these Encounters should be taken advantage of to formulate areas of development.

* ‘Is the traditional press threatened by digital technology?

I.B

The profile of Oceania Pitch, now at its third edition, has increased. Three coaches are available to train the pitchers throughout the whole week. In addition dozens of the region’s broadcasters are present during the Pitch session involving a selection of projects reflecting Oceania which are moving and full of energy.

Thursday 9th February: the pitchers have gathered this morning for their last presentation exercise in front of the coach before the fateful moment … Nunë Luepack and Sylvain Derne, the youngest participants, are under scrutiny. They have 5 minutes to convince. Their documentary, ‘Imulal,’ intends to question Caledonian youths, who have left to train in Metropolitan France, about their motivations, hopes and the projects that they are shaping for the future of their country. It is therefore also their shared history and future. They seem immersed in their project, but the coaches pull out all the stops to make them even better: ‘Look at us more, take your time and above all, enjoy yourselves,’ advises Olivier Stroh, the director of the Canal + group Discovery Channel. The pitch is a friendly match so no need to be stressed!’ Laurence Hamelin, programme advisor for France 5’s Découverte slot, continues ‘I love your duo, be confident! Your message is strong enough to get through, don’t try to say it all, it needs to stay fluid.’ Nunë and Sylvain listen, ask questions and agree ‘It’s our first pitch; the advice from the coaches has been essential and has allowed us to progress enormously. We know our subject off by heart, but they have taught us to step back and keep it simple to communicate it better.’ It’s Caroline Marie’s turn with ‘Motu Haka.’ The journalist notably questions the way in which, in light of the Marquesas archipelago’s project to enrol in UNESCO, the young and not so young populations see their culture and its future. ‘You should try to be more natural and attract the attention of those listening to you,’ Olivier Stroh says to her. ‘Remember that it is not an exam, but a meeting!’ Caroline, who was hesitant about the ‘merits’ of her film at the beginning of the week, no longer has any doubt. This training gave her some keys and tips to assert her project. At the end of the morning, all the pitchers have had their turn. They only have several hours to refine the last presentation details but also to rest a little.

Nicolas Zunino, producer and coach from last year too, confides: ‘2012 has a very good project offering. I think that the majority of them will have the opportunity to come to fruition. Oceania Pitch’s progress is felt in the resources, demand and quality of the projects.’ ‘The projects are not all of the same level,’ explains Cathy Marconnet, organiser of the Pitch and a pitcher, but all the pitchers have the same commitment. That is what is really interesting for Oceania, this variety of expressions and slants which are genuinely part of FIFO’s ideology.

Time to hear it…

It is busy in the big marquee, beneath a blazing sun and with stage fright in the air. The forty or so broadcasters present make themselves comfortable: they are from Australia, New Zealand, France, Hawaii, New Caledonia, Tahiti, etc., to listen to and perhaps, it is the aim, to look closely at the films by the pitchers. Each year, the audience also attends these gatherings, curious to assist with the generation of these films which start off with a little story to be told. Like for example, the extraordinary one about a unique and magical circus from Samoa, which has travelled around the Pacific for 20 years; or the unbelievable adventure of the escape of French political prisoners, who at the beginning of the 19^th century who managed to reach Australia from Nou Island (New Caledonia) where they were prisoners. There is also the great of episode Tahitian tattooing, the one by Gaston Melies, which the director found several films of around the world that were thought to have disappeared, and which reveal to us, amongst others, the very first images filmed of Tahiti in 1912!

Last year, three pitchers had their project signed by a channel. Nothing less is expected from this 2012 edition…

I.B