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07/08.11.2026London UK
DOCUMENTARY EDITING WORKSHOP WITH CHRIS KING ABOUT CHRIS KING, A.C.E. Chris King, A.C.E. is one of the most respected documentary editors working today. A BAFTA-winning editor and two-time American Cinema Editors Award winner, King has been a key creative collaborator on some of the most acclaimed documentaries of the last two decades Chris has edited documentaries such as Senna, Amy, Exit Through the Gift Shop, Diego Maradona, All This Mayhem, Young@Heart, and Welcome to Lagos. A major milestone in King’s career came with Senna. The film became a landmark in archive-led documentary cinema, building the life and career of Ayrton Senna into a dramatic, emotional and cinematic experience. Chris won the BAFTA Award for Best Editing for Senna, the only time in the history of the BAFTA a documentary won the Best editing award. Senna also won the BAFTA Award for Best Documentary, and became one of the defining documentary releases of its period. King continued his collaboration with Asif Kapadia on Amy, the documentary portrait of Amy Winehouse. Edited by King, the film became one of the most awarded documentaries of the 2010s. It won the Academy Award for Best Documentary Feature, the BAFTA Award for Best Documentary, and the Grammy Award for Best Music Film. King also won the ACE Eddie Award for Best Edited Documentary. The film’s power lies on the strength of its archive, and the sensitivity of its structure, allowing the audience to gradually understand Winehouse as artist, daughter, performer, friend and public figure, while revealing the pressures surrounding her. King’s work on Exit Through the Gift Shop, directed by Banksy, further demonstrates his ability to handle documentaries where truth, performance, authorship and ambiguity collide. The film was nominated for the Academy Award for Best Documentary Feature, became a major critical success, and won the ACE Eddie Award for Best Edited Documentary. Chris edited Diego Maradona, a large-scale archive-driven portrait constructed from over 500 hours of never-before-seen footage from Maradona’s personal archive. The film premiered at the Cannes Film Festival. King has contributed to a broad and distinguished range of documentary work. He edited All This Mayhem, directed by Eddie Martin, for which he won the AACTA Award for Best Editing in a Documentary. He also edited Young@Heart, directed by Stephen Walker, and Welcome to Lagos, the acclaimed BBC factual series directed by Gavin Searle, which won the BAFTA Television Award for Best Factual Series. What makes King’s work particularly important is his command of structure. In documentary filmmaking, the film is often written in the edit, and King’s career is a masterclass in discovering narrative inside reality. His editing demonstrates how to find a story spine in overwhelming amounts of material, how to create character arcs from fragments, how to balance authenticity with dramatic momentum, and how to build emotional escalation without losing truth. WORKSHOP DESCRIPTION SHAPING REALITY: DOCUMENTARY EDITING WORKSHOP WITH CHRIS KING This two-day FEST FILM LAB workshop with award–winning editor Chris King is designed for editors and filmmakers who want to refine their skills in building powerful, nuanced, and emotionally resonant documentary narratives. The sessions focus on the decision-making processes, structural strategies, and creative problem-solving techniques used at the highest level. Participants will explore how to find clarity and focus within vast amounts of material, shape narrative flow, and collaborate effectively under the demands of real-world production schedules and creative pressures. DAY 1 – STRUCTURING AND SHAPING THE NARRATIVE Morning: Narrative Strategy and Story Architecture Defining the editorial approach: thematic, linear, or hybrid structures. Balancing authenticity with dramatic drive to maintain audience engagement. Identifying the essential story spine and supporting it through every sequence. Managing multi-character or multi-timeline stories without losing clarity. Afternoon: Rhythm, Pacing, and Perspective Building emotional arcs over the course of acts and entire films. Controlling tempo shifts to heighten tension or deepen intimacy. Using point of view as a storytelling tool to guide audience perception. Maintaining tonal and visual consistency when combining varied sources. DAY 2 – PROBLEM-SOLVING AND ELEVATING THE EDIT Morning: Creative and Logistical Challenges Reconstructing narratives when key footage is missing or unusable. Recognising when the original structure no longer serves the material. Working with incomplete or contradictory information while preserving credibility. Navigating high-stakes collaboration with directors, producers, and broadcasters. Afternoon: Fine-Tuning for Maximum Impact Refining micro-rhythms, transitions, and scene endings for emotional precision. Using music, sound design, and silence to reinforce structure and emotion. Preparing multiple versions of the same film for different platforms and audiences. Building a final cut that balances creative vision with delivery requirements. By the end of the workshop, participants will have a understanding for handling the creative, technical, and collaborative demands of high-level documentary editing. They will gain strategies for structuring complex stories, refining narrative flow, and making editorial decisions that elevate the emotional and cinematic power of their work. PROFILE OF PARTICIPANT This workshop is designed for editors, documentary filmmakers, directors, producers, assistant editors, and professionals working in factual, documentary, television, or independent cinema who want to deepen their understanding of documentary editing at a high professional level. It is particularly suited for participants interested in story structure, archive-led storytelling, character development, rhythm, pacing, collaboration with directors, and the process of shaping complex real-life material into powerful cinematic narratives. WORKSHOP LOCATION London, UK Duration: 2 days 10:00 - 18:00 Dates: 7th - 8th of November 2026 Location: London, UK Price: 599GBP (399GBP Until 26th of October) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Please add our address to your email safe senders list, address book or contact list to avoid FEST e-mails in spam. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW
14/17.12.2026Online
FILM DIRECTING WORKSHOP WITH PETER WEBBER

ABOUT PETER WEBBER Peter Webber has had a diverse career as a director of film, television and documentaries including the critically renowned ˜Girl with a Pearl Earring™ and the HBO series "Six Feet Under". Peter is perhaps best known for his film directorial debut ˜Girl With a Pearl Earring", the film adaptation of Tracey Chevalier's bestselling novel. The film tells the story of the creation of the famous painting by Dutch master Johannes Vermeer of the same name. The film saw Peter directing Scarlett Johansson and Colin Firth as the films leads. Released in 2004 the film went on to be nominated for no less than 3 Academy Awards, 10 BAFTA nominations as well as numerous other honours. Webber was then tapped by Dino de Laurentis to direct "Hannibal Rising". Based on Thomas Harris upcoming new book of the same name, and starring Gaspard Ulliel, Li Gong and Anthony Hopkins, In 2012 Peter directed the Feature Film "Emperor", Starring Tommy Lee Jones, and Mathew Fox. Peter has also directed the Netflix Original Pickpockets (2018). His documentary work includes the award-winning environmental feature documentary Ten Billion (2015) and Earth: One Amazing Day (2017), narrated by Robert Redford and Jackie Chan. Webber's most recent productions include the "Kingdoms of Fire" (2019), television series, which takes viewers back to the past as the Ottoman Empire seeks to conquer Cairo, as well as the documentary "Inna de Yard" (2019), a portrait of the pioneers of reggae music in Jamaica Peter Weber's experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB. WORKSHOP DESCRIPTION Pete Webber's workshop will focus on a diversity of topics relating to the art of directing for film. You will have the chance to not only receive this knowledge from a very revered professional, but also to interact strongly, as the group will have up to 25 participants, making it extremely practical and interactive. You will also have the opportunity to assess the issues you encountered on your films, and receive the feedback to unblock situations in the future. The workshop will also cover the following: - THE ESSENCE OF THE CRAFT - Film History is your friend; Developing a hinterland; Auteur versus Industry – the realities of the business; DIY - low budget approaches; The writer/director conundrum; The genius myth; Understanding your abilities. - GETTING THERE - Looking at the steps before you go into production; The development process; Raising finance; Producers and writers; Hollywood versus Europe; Agents/managers/lawyers; The One Hour Meeting. - PREPPING - Aesthetic overview – the look and the story; Crewing up; Casting and auditioning; Location hunting; Rehearsing/working with actors before the shoot; Storyboarding; How to work with: Art department; Costume; Camera; Assistant directors; Planning for Digital VFX. - SHOOTING - The politics – picking your battles; The fear; Planning your day; Blocking the scene; Shotlists; Storyboards on set; Shooting strategy; Blocking the scene; The Master shot trap; The second unit. - POST PRODUCTION - Working with an editor; Digital VFX in post; Guide music; Working with a composer; Test screenings; ADR; Sound Design; Grading; The final sound mix; Test screenings. - INTO THE WORLD - Film Festivals; The Press; The Internet and Social Media. PROFILE OF PARTICIPANT The workshop designed for Directors, Film Students, and filmmakers serious about a career in the Film Business on the area of Film and TV Directing. WORKSHOP LOCATION The workshop will take place online, FEST FILM LAB has always been a project of high level knowledge sharing and networking. -The workshop group will have a limited number of 25 participants. - We will maintain the tailor made aspects, with the possibility of troubleshooting projects you have been involved or challenges you are facing. We will introduce new tools to enhance the interactivity between participants. - We have rearranged the session of the workshop that will take place on 4 days instead of the typical 2 days, so that the workshop is less overwhelming, as the typical two full days online would impact the capacities of the participants to retain the learning outcomes. 16 hours Duration: 4 days Dates: 14th to the 17th of December 2026 1PM - 5PM (London) 2PM - 6PM (Brussels) 5PM - 9PM (Dubai) 8AM - 12PM (New York) 5AM - 9AM (Los Angeles) 9PM - 1AM (Beijing) 6:30PM - 10:30PM (New Delhi) 10AM - 2PM (Rio de Janeiro) 12AM - 4AM (Sydney) Location: Online Price: 599EUR (374EUR with 35% Discount until the 6th of October) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Please add our address to your email safe senders list, address book or contact list to avoid FEST e-mails in spam. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

16/17.01.2027London UK
CHOREOGRAPHY AND MOVEMENT DIRECTION IN FILM WORKSHOP WITH FRANCESCA JAYNES

ABOUT FRANCESCA JAYNES Francesca Jaynes has been a Choreographer and Movement Director in the film industry for over 25 years. Her work is incredibly diverse, ranging from movement in “A.I. Artificial Intelligence” and “Gravity” to musical films such as “De-Lovely” and “Muppets Most Wanted”. She has worked with top directors on both sides of the Atlantic, including Mike Leigh, Steven Spielberg, Tim Burton, Joss Whedon, Ron Howard, Michael Winterbottom, and Mike Newell, and with a host of stars such as Judi Dench, Dustin Hoffman, Sandra Bullock, Andy Serkis, Christoph Waltz, Tina Fey, Jude Law, Keira Knightley, and Kevin Kline. Francesca has recently contributed to the Disney's adaptation of "Pinocchio," directed by Robert Zemeckis and starring Tom Hanks. She also lent her talents to Marvel Studios' "Black Widow," directed by Cate Shortland, working with Scarlett Johansson and Rachel Weisz. Additionally, she worked on Ridley Scott's "Napoleon," featuring Joaquin Phoenix and Vanessa Kirby, . In "Firebrand," directed by Karim Aïnouz and starring Jude Law and Alicia Vikander, She also recently contributed as a choreographer to the series "House of Dragon". In addition to a wide-ranging CV in film, she works regularly in the theatre in musicals, opera, and plays, and also in television drama. For a complete look at her career to date, please visit www.francescajaynes.com

WORKSHOP DESCRIPTION CHOREOGRAPHY AND MOVEMENT IN FILM Work in dance and movement in film can be an ever-changing and diverse experience. This is what makes it exciting! But it’s also what makes it extremely challenging. The top people in the industry have a vast range of skills (ballet, tap, historical dance, contemporary social dance, etc) and must always be ready to adapt and change to best serve their director and the film. Within this two-day exploration of the discipline, we’ll look at the complete process of working in dance/movement on a film production, from initial meetings with producers and directors, to casting, rehearsals, and ultimately filming. There are a host of details and elements that need to be considered at each stage of the process, in addition to the actual creation of the work. With discussions, Q and A’s, and practical ‘on your feet’ workshops, we’ll explore the myriad of fun and challenging scenarios that can present themselves on a variety of job assignments. Topics will include: Different approaches for different films, Genres, and directors; How does the dance/movement fit into the narrative of the film and/or scene; Relationships with other departments (Directors, Assistant Directors, Costume Departments, Sound Departments, Art and Props Departments); Practical sessions in creating and filming the work (historical dance, etc); Actors, dancers, and Muppets - working with differing levels of skills, abilities, and comfort zones. PROFILE OF PARTICIPANT The workshop designed for, choreographers, dancers, Actors, and Directors, who can directly benefit from the knowledge and know how presented on this workshop. The workshop is also suited to different profiles, such as cinematographers, Art Directors, who will directly work with Choreographers and Movement Directors, and can improve their work by knowing how to interact with this department in a more effective way. The workshop is also suitable for filmmakers interested in establishing in Film Business on the area of Choreography and Movement Direction.

LOCATION OF THE WORKSHOP London UK 16 hours Duration: 2 days Dates: 16-17 January 2027 Location: London, UK Price: 599GBP (399GBP until 16th of September) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Please add our address to your email safe senders list, address book or contact list to avoid FEST e-mails in spam. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW:

10/11.10.2026London UK
SCREENWRITING FOR FILM: ADAPTATION, STRUCTURE & COLLABORATION WORKSHOP WITH PETER STRAUGHAND

WORKSHOP FULL for waiting list please email filmlab@fest.pt WORKSHOP DESCRIPTION SCREENWRITING FOR FILM: ADAPTATION, STRUCTURE & COLLABORATION This intensive FEST FILM LAB workshop with screenwriter Peter Straughan is designed for writers and writer-directors who want to deepen their understanding of screenwriting as a craft shaped by adaptation, structure, and collaboration. Drawing on his extensive experience across film and television, Peter Straughan will explore how screenplays are developed in real professional contexts—from the first encounter with source material to the final shooting draft. The workshop places particular emphasis on adaptation: how to translate novels, historical material, and real events into cinematic form while preserving emotional truth, narrative clarity, and a strong authorial voice. Rather than focusing on formula or prescriptive rules, the workshop examines how scripts actually evolve. Through discussion, examples, and close analysis, Peter will address how story structure emerges through rewriting, how character is refined through dialogue and action, and how tone is maintained across complex narratives. He will also reflect on the realities of working with directors, producers, and studios, and how collaboration reshapes a screenplay without losing its core intention. Across the two days, topics explored may include: Approaching adaptation: from source material to screenplay Finding cinematic structure in complex or non-linear stories Writing character through behaviour, subtext, and restraint Dialogue as rhythm, intention, and conflict Rewriting as a creative and structural tool Balancing personal voice with collaborative demands Working with directors and producers in development Navigating notes, expectations, and creative compromise Participants will be encouraged to reflect on their own projects and creative processes. Where appropriate, Peter Straughan may draw on examples from his own work to illustrate how specific writing challenges were approached and resolved in practice. ABOUT PETER STRAUGHAN Peter Straughan is an Academy Award-winning, BAFTA-winning and Golden Globe-winning screenwriter. Straughan’s recent international acclaim reached a new level with Conclave, his adaptation of Robert Harris’s novel, directed by Edward Berger and starring Ralph Fiennes, Stanley Tucci, John Lithgow and Isabella Rossellini. For Conclave, Straughan won the Academy Award for Best Adapted Screenplay at the 97th Oscars. The film became one of the major awards-season successes of 2025, with Conclave also winning Best Film, Outstanding British Film, Adapted Screenplay and Editing at the BAFTA Film Awards. His screenplay was also recognised with the Golden Globe Award for Best Screenplay, confirming the breadth of international recognition for his work on the film. Before Conclave, Straughan was already internationally celebrated for Tinker Tailor Soldier Spy, co-written with Bridget O’Connor and based on the novel by John le Carré. Directed by Tomas Alfredson, the film starred Gary Oldman, Colin Firth, Tom Hardy, Mark Strong, Benedict Cumberbatch, Ciarán Hinds and Toby Jones. Straughan and O’Connor won the BAFTA Award for Best Adapted Screenplay, and the film also won BAFTA Best British Film. Their screenplay was nominated for the Academy Award for Best Adapted Screenplay, placing Straughan firmly among the leading screenwriters of contemporary cinema. Straughan has also made a major contribution to television drama through his adaptation of Hilary Mantel’s Wolf Hall novels. He later returned to Mantel’s world with Wolf Hall: The Mirror and the Light, further consolidating his reputation as a writer capable of handling historical material with dramatic intelligence, restraint and emotional precision. Across film, Straughan’s credits show an unusually broad range. He co-wrote Frank with Jon Ronson, directed by Lenny Abrahamson and starring Michael Fassbender, Maggie Gyllenhaal and Domhnall Gleeson; adapted The Men Who Stare at Goats, directed by Grant Heslov and starring George Clooney, Jeff Bridges, Ewan McGregor and Kevin Spacey; co-wrote The Debt, directed by John Madden; adapted How to Lose Friends & Alienate People; wrote Our Brand Is Crisis, directed by David Gordon Green and starring Sandra Bullock; and adapted The Goldfinch, directed by John Crowley. This range is one of the most important aspects of Straughan’s career. He has written political thrillers, historical dramas, literary adaptations, black comedy, satire, psychological drama and character-led work. His writing is not defined by one genre, but by a command of structure, point of view, rhythm and subtext. Whether dealing with espionage, religion, power, grief, performance or institutional life, his screenplays reveal an acute understanding of how characters behave under pressure. Before becoming internationally known in film and television, Straughan developed his craft in theatre, radio and prose. For FEST FILM LAB, Peter Straughan represents an exceptional opportunity for participants to engage with a writer whose career sits at the highest level of contemporary screenwriting. PROFILE OF PARTICIPANT This workshop is designed for screenwriters, writer-directors, directors, producers, script editors, development executives, and film professionals working in fiction, television, or independent cinema who want to deepen their understanding of screenwriting at a high professional level. It is particularly suited for participants interested in adaptation, story structure, character development, dialogue, rewriting, collaboration with directors and producers, and the process of transforming complex source material, ideas, and dramatic situations into powerful cinematic narratives. WORKSHOP LOCATION London, UK Duration: 2 days 10:00 - 18:00 Dates: 10th - 11th of October 2026 Location: London, UK Price: 599GBP (399GBP Until 29th of September) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Please add our address to your email safe senders list, address book or contact list to avoid FEST e-mails in spam. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW
03/04.10.2026Madrid, Spain
Film Financing in an Entrepreneurial Age ABOUT PAUL MILLER

Paul Miller is a producer, executive, and consultant working in the United States, Europe, and the Middle East. He is currently Head of Film at Madrid-based ISB Films. Miller frequently produces in the Middle East; his most recent film, Norah, premiered at Un Certain Regard at Cannes 2024. Previous regional films include Scales, which won the Verona Award for Innovation at the 2019 Venice Film Festival and was the Saudi submission for the 2021 Academy Awards. From May 2012 until October 2013, Miller was Director of Film Financing at the Doha Film Institute in Qatar. He oversaw a regional education training programme, a global grants fund, and managed an international film financing fund. Prior to this, Miller produced "The Birder’s Guide to Everything" (2013), directed by Rob Meyer, and "Babygirl" (2013), written and directed by Macdara Vallely, produced with Samson Films and the Irish Film Board. During this period, he also produced the feature-length documentary "Poor Consuelo Conquers the World" (2011) with Les Films d’Ici for ARTE, and executive-produced "The Man Who Drew the Future" with Una Films and ARTE. From 2002 to 2009, Miller was Head of Film Production at Crossroads Films, where he produced "Snow Angels", released by Warner Independent Pictures in 2008. The film was written and directed by David Gordon Green and starred Sam Rockwell and Kate Beckinsale. He also produced the Golden Globe-nominated "A Love Song For Bobby Long" (2004), starring John Travolta and Scarlett Johansson, released by Lionsgate Films. Earlier in his career, Miller worked on John Sayles’ features "The Secret of Roan Inish" (1994), the Academy Award-nominated "Lone Star" (1996), and the Golden Globe-nominated "Men with Guns" (1997). He also produced "Prozac Nation" (2001), directed by Erik Skjoldbaerg and starring Christina Ricci, Jessica Lange, and Anne Heche, released by Miramax. Educated in England, Miller is a graduate of the National Film and Television School in the U.K. He is a member and consultant with Paris-based Ateliers du Cinéma Européen (A.C.E.), Europe’s premier producers' association, and a member of the Directors Guild of America and the Producers Guild of America. You can find his full list of credits on https://www.imdb.com/name/nm0589158/ WORKSHOP DESCRIPTION

The Film Financing workshop will focus on the art of producing a film in our entrepreneurial age, where the means of manufacture and distribution are in flux and where finding your audience is key. The workshop will look at the how to develop, finance and complete a movie from the viewpoint of a creative producer. The workshop won’t be looking so much at the making of a movie more about setting off on the right track and finishing ahead of the game. The workshop will be practical and interactive, with participants also having the opportunity to assess the issues they encountered on their own films, and receiving the feedback to help similar situations in the future. Participants should be prepared to discuss an unproduced project that has been previously developed by them to the point of a first draft screenplay. The project doesn't have to be an active project, just an idea that the participant can use in the workshop. The scripts will not be read or shared during the workshop. If the participant doesn't have one, then an idea that has been developed to treatment stage is also sufficient. For each film idea, the participants should also think of a director, lead cast, location, budget range and core audience.In addition, each participant should be prepared to informally pitch a recent idea based on a recent news article or event. These pitches will involve other participants role playing as potential buyers. The topics covered in the workshop: A. THE BEGININGS: Ideas: Auteur vs. Industry/Art vs. Culture/Writer-Directors, Budget/Audience Developing your Pitch: the Elevator Pitch/Longer Pitch Pitching to a writer and director, pitching to investors Partnering with another producer Logline Synopsis B. FIRST STEPS Assembling a Creative Team and making a few Key Decsions: Commissioning a Writer Choosing a Director The Filmmaking Triad: Director/Writer/Producer Hollywood vs. Europe Packaging of Talent: agents, managers and lawyers and casting directors Location of the Filming Screenplay Rights and Collaboration Agreements: Property Rights: Copyright/Chain of Title Screenplay Rights: Option/Purchase Agreements Underlying rights: articles, books, life rights, etc. Creative Team Agreements: Short Form/Long-form Contract: Director Agreement Producer Agreement Writer Agreement Producing Partnerships Development Budget Casting: Cast Lists, Casting Directors Securing Cast Actor Agreements: Major Deal Points (Upfront/Contingent Compensation, Deferments, Profit Participation: Gross vs. Net The Glory of Schedule ‘F’. C. MARKETING AND DISTRIBUTION RESEARCH AND BOX OFFICE COMPARABLES Box Office Comparables: including budget, domestic, overseas and worldwide revenue and any known ancillary revenue, year of release, distributor and maximum # of screens Marketing and Distribution Plan, Film Festivals, Distributors and Sales Agent D. FINANCING Revenue Flow -Theatrical and Ancillary Rights: Domestic and Foreign BO, Domestic and Foreign Ancillary Rights Revenue Projections ‘The Waterfall’ Estimating revenue based on Box Office: low, medium and high Budget/Financing - Financing Sources: Equity, Pre-sales, gap financing, loans and soft money E. BUSINESS PLAN How to Create a Business Plan for Your Film: Executive Summary Overview of Industry Investor Return/Deal Comparables Projections Revenue Stream ROI F. MAKING YOUR FILM BETTER AFTER THE SHOOT Post-Production Decisions: Improving the picture edit Composer, Music and Music Rights: Sync and Master Use Licenses, Rights Clearance for Publicity and Festivals, Royalty-free Music, Composer/Score, Cutting Edge) Test Screenings (friends, film professionals and NRG screenings) Deliverables G. INTO THE WORLD: MARKETING AND DISTRIBUTION Who is your audience? Precedents/Box Office Comparables Demographics: age, race, location, gender, socio-economic class, religion, education, consumer tastes, musical tastes, sports identification, hobbies, politics, occupation, exercise habits, food habits, etc. Influencers How will you reach the potential audience for your movie? Promotion: P & A Fund, Producer of Marketing and Distribution, Supporting Materials Marketing: Social Media, Press, Publicist, Website, Blogs, Word of Mouth Release Plan Film Festivals Film Markets Theatrical: Distributor or DIY Non-theatrical VOD Community Screenings Direct Selling PROFILE OF PARTICIPANT

The workshop is designed for: Film Producers, Investors, Film Financiers, Directors, and filmmakers serious about a career in the Film Business on the area of film production or film financing. WORKSHOP LOCATION Madrid, Spain 16 hours Duration: 2 days Dates: 3-4 October 2026 Location: Madrid, Spain Price: 599EUR (429EUR until 23rd of September) Maximum number of participants: 25 By registering to the workshop you agree with FFL terms and Conditions Please add our address to your email safe senders list, address book or contact list to avoid FEST e-mails in spam. REGISTER FOR THIS WORKSHOP ON THE LINK BELOW: