Bojina Panayotova

Bojina Panayotova

História

Bojina Panayotova was born in 1982, in Bulgaria. She was 8 years old when she arrived in France. She directed several shorts selected in many international festivals and also works as a scriptwriter. "I see red people" is her first feature film as a director.

Perfil

Bojina Panayotova

Filmes

Camille
Screenplay
Camille, a young idealistic photojournalist, goes to the Central African Republic to cover the civil war that is brewing up. What she sees there will change her destiny forever.
I See Red People
herself
After twenty-five years spent in France, I return to Bulgaria, camera in hand, with a vertiginous suspicion: what if my family had collaborated with the political police of the communist regime? And what if they were part of the "red trash" that the demonstrators on the street want to see disappear? I decide to investigate and to film, constantly, ready for anything. My adventure transforms itself into a tragic comic odyssey; a film that combines espionage with family.
I See Red People
Sound
After twenty-five years spent in France, I return to Bulgaria, camera in hand, with a vertiginous suspicion: what if my family had collaborated with the political police of the communist regime? And what if they were part of the "red trash" that the demonstrators on the street want to see disappear? I decide to investigate and to film, constantly, ready for anything. My adventure transforms itself into a tragic comic odyssey; a film that combines espionage with family.
I See Red People
Editor
After twenty-five years spent in France, I return to Bulgaria, camera in hand, with a vertiginous suspicion: what if my family had collaborated with the political police of the communist regime? And what if they were part of the "red trash" that the demonstrators on the street want to see disappear? I decide to investigate and to film, constantly, ready for anything. My adventure transforms itself into a tragic comic odyssey; a film that combines espionage with family.
I See Red People
Cinematography
After twenty-five years spent in France, I return to Bulgaria, camera in hand, with a vertiginous suspicion: what if my family had collaborated with the political police of the communist regime? And what if they were part of the "red trash" that the demonstrators on the street want to see disappear? I decide to investigate and to film, constantly, ready for anything. My adventure transforms itself into a tragic comic odyssey; a film that combines espionage with family.
I See Red People
Writer
After twenty-five years spent in France, I return to Bulgaria, camera in hand, with a vertiginous suspicion: what if my family had collaborated with the political police of the communist regime? And what if they were part of the "red trash" that the demonstrators on the street want to see disappear? I decide to investigate and to film, constantly, ready for anything. My adventure transforms itself into a tragic comic odyssey; a film that combines espionage with family.
I See Red People
Director
After twenty-five years spent in France, I return to Bulgaria, camera in hand, with a vertiginous suspicion: what if my family had collaborated with the political police of the communist regime? And what if they were part of the "red trash" that the demonstrators on the street want to see disappear? I decide to investigate and to film, constantly, ready for anything. My adventure transforms itself into a tragic comic odyssey; a film that combines espionage with family.
Building of the Braves
Sound Recordist
“In Sofia, the residents of a mythical building had been evicted. I had come to hunt for film locations.” After this brief introductory title card, we discover what makes this Bulgarian building mythical, why its residents were evicted and how location-hun­ting turned into a film.
Building of the Braves
Editor
“In Sofia, the residents of a mythical building had been evicted. I had come to hunt for film locations.” After this brief introductory title card, we discover what makes this Bulgarian building mythical, why its residents were evicted and how location-hun­ting turned into a film.
Building of the Braves
Director of Photography
“In Sofia, the residents of a mythical building had been evicted. I had come to hunt for film locations.” After this brief introductory title card, we discover what makes this Bulgarian building mythical, why its residents were evicted and how location-hun­ting turned into a film.
Building of the Braves
Director
“In Sofia, the residents of a mythical building had been evicted. I had come to hunt for film locations.” After this brief introductory title card, we discover what makes this Bulgarian building mythical, why its residents were evicted and how location-hun­ting turned into a film.
Not K.O.
Writer
Joanne is leaving. For Polly, the local mecanic's daughter, there is now just one thing to do: overcome innuendo and give full flight to their love affair. Polly is ready to do anything if it means experiencing life with Joanne.