French Cinema

In the room behind the screen at a local cinema, two women
spend their time writing letters to Alain Delon.

  • Galina D. Georgieva
    Director
  • Galina D. Georgieva
    Writer
  • Studio 24 – Galina D. Georgieva,
    Producer
  • Filmarc – Christian Nochev
    Producer
  • New Bulgarian University
    Producer
  • Georgi Chelebiev
    Producer
  • Angelina Slavova
    Key Cast
  • Lyubov Lyubcheva
    Key Cast
  • Project Type:
    Short, Student
  • Runtime:
    20 minutes
  • Completion Date:
    February 5, 2020
  • Country of Origin:
    Bulgaria
  • Country of Filming:
    Bulgaria
  • Shooting Format:
    Digital
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
  • Shanghai International Film Festival
    Shanghai
    China
    world
    Selection
  • South East European Film Festival Los Angeles
    Los Angeles
    Award
  • Balkans Beyond Borders
    Izmir
    Selection
  • Girona Film Festival

    Spain
    Selection
  • The Quarantine 2022 Short Film Festival

    Bulgaria
    Selection
  • Visioni Corte International Short Film Festival

    Italy
    Selection
  • Shorts That Are Not Pants
    Toronto
    Canada
    Selection
Distribution Information
  • Ninova Films Distribution
    Distributor
    Country: Turkey
    Rights: All Rights
Director Biography - Galina D. Georgieva

Galina D. Georgieva was a participant in the Sarajevo Talent Campus 2015, Project Lab, Script Station.
Her first fiction script "Rehearsal" won the First Prize at the International Competition of NISI MASA (2007).
She is author of a several fiction shorts: „The Householder“, “Extra Safe”, “French Cinema”, selected at festivals in Europe and USA.
Currently she is working on her fourth short film "Snowdrops at the end of the train". The project was presented at the international pitching forum on the Clermont-Ferrand International Short Film Festival and the film festival "In the Palace".
She is the author of the stage play „Asteroid 35 111“,

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Director Statement

The story of the relationship between a strange woman (JULIET), which is waiting for her "beloved" Alain Delon in front of an urban cinema and an emotionally devastated woman (NADEZHDA) is the central story in this film. Through these two seemingly diametrically opposite female images I want to show the sometimes hard, sometimes bordering on madness, but still plausible precisely in their sadness moves of love.