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Maria Hatzakou • Haos Films

Producers on the Move 2011 – Grèce

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Cet article est disponible en anglais.

Beginning her career as a programmer in Greece’s two top-tier film festivals of Athens and Thessaloniki, Maria Hatzakou has certainly developed an eye for uncompromising films with stand-out perspectives. Thus, it makes sense that she would move on to producing for filmmakers with cinematic visions as unique as those of Yorgos Lanthimos and Athina Tsangari, but making such films in a country heading towards meltdown is no easy feat. Through persistence and passion, Hatzakou has set herself up as a power player in the international film industry, and in choosing her as one of the year’s Producers on the Move, the European Film Promotion is looking to ensure that her role will grow, along with her country’s cinematic prospects.

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Cineuropa: Juggling release dates for Alps [+lire aussi :
critique
bande-annonce
fiche film
]
and Oscar submission details for Attenberg [+lire aussi :
critique
bande-annonce
interview : Athina Rachel Tsangari
fiche film
]
- that’s an amazing situation for a young producer to find herself in. How did you get here?

Maria Hatzakou: I don’t even think about how we got here, all I want to think about is how we’re going to continue. I think it came out of pure passion for cinema, persistence, having mentors such as Athina Tsangari and Matt Johnson and sharing their vision for Haos Film’s mission as a filmmakers’ company.

Though the Hellenic Film Academy picked Attenberg as Greece’s Oscar submission for the foreign language category, the film wasn’t elected as the year’s best. How does that seem from a producer’s point of view?
I think Knifer was a great film and Yiannis Economides is a huge hope for Greek cinema. The Academy members’ split vote between what they considered as the year’s best film for Greece and what was the year’s best film for the rest of the world is schizophrenic, to say the least. The split vote was uncomfortable for both filmmakers.

Although the Greek economy is in a toxic state, the country’s film output is consistently reaping substantial accolades abroad. Is European interest enough to keep the local industry afloat?
I don’t really see it that way. There’s a window of opportunity open right now for Greek filmmakers and we’re trying to make things happen by any means necessary. In periods of crisis, cinema has always thrived – see what happened in Argentina a few years ago. I strongly believe this thing we’ve got going is set to continue, but don’t get me wrong: it is very hard, and support doesn’t come easily. Apart from lack of funds, we also have to battle against antiquated bureaucracy that slows things down. We’re hoping things will become more efficient and up to date once the Greek Film Center’s restructuring is completed and the recently voted new Film Law is finally implemented.

You have been a programmer in Greek festivals for years and have visited major festivals around the globe, looking at them from the other end of the scope as a producer. Have you noted any weak points that prevent Greek festivals from growing?
The Thessaloniki IFF is still one of my favourite festivals and I believe that they have a strong and competitive programme each and every year. And it’s a fantastic venue. But we need to cultivate a new generation of young, open-minded and risk-taking programmers for the future.

How has your experience been so far, as a Producer on the Move?
It was a great experience during Cannes, meeting great fellow producers whose work inspires me was very invigorating. Now as for the future, ask me again in a few months’ time, when we’ll be looking for funding for our next projects!

What are you up to now?
I’m currently developing Athina Tsangari’s new film and am reading scripts for possible collaborations in Greece and abroad.

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