Debuts The Winter and The Giant, share the special jury prize; Hong Sang-soo wins Silver Shell for best director.
The San Sebastián International Film Festival (Sept 16-24) awards ceremony had a marked Asian flavour last night [24].
Feng Xiaogang’s I Am Not Madame Bovary - the social satire about a woman seeking to restore honour after a bitter divorce - won the Golden Shell for best film at the 64th edition of the festival.
I Am Not Madame Bovary, which had previously won the fipresci prize in Toronto, also earned Chinese star Fan Bingbing the Silver Shell in San Sebastián for best actress.
South Korea’s director Hong Sang-soo won the Silver Shell for best director for the love story Yourself And Yours.
The Special Jury Prize was shared between the Argentinian-French coproduction The Winter, a contemporary western set in a remote area in Patagonia by first time director Emiliano Torres, and the Swedish-Danish...
The San Sebastián International Film Festival (Sept 16-24) awards ceremony had a marked Asian flavour last night [24].
Feng Xiaogang’s I Am Not Madame Bovary - the social satire about a woman seeking to restore honour after a bitter divorce - won the Golden Shell for best film at the 64th edition of the festival.
I Am Not Madame Bovary, which had previously won the fipresci prize in Toronto, also earned Chinese star Fan Bingbing the Silver Shell in San Sebastián for best actress.
South Korea’s director Hong Sang-soo won the Silver Shell for best director for the love story Yourself And Yours.
The Special Jury Prize was shared between the Argentinian-French coproduction The Winter, a contemporary western set in a remote area in Patagonia by first time director Emiliano Torres, and the Swedish-Danish...
- 9/25/2016
- ScreenDaily
The 64th San Sebastian Film Festival, which ran from September 16 to 24, closed out its celebrations by announcing its winners on Saturday night. The top prize, known as the Golden Shell, was awarded to Feng Xiaogang’s drama “I Am Not Madame Bovary.” Its lead, Fan Bingbing, also took home the Best Actress award that night.
“I have a lot of experience and a lot of habits. These habits can cage you. When I started this film, I tried to set these habits aside and try to work as if it were my directorial debut and do something courageous. I knew it was very risky,” Feng said, per The Hollywood Reporter. “I didn’t know if it was the right thing to do, but today the San Sebastian Film festival gave me the answer with this prize for the best film.”
Read More: Critics Pick the Best Films From the Toronto...
“I have a lot of experience and a lot of habits. These habits can cage you. When I started this film, I tried to set these habits aside and try to work as if it were my directorial debut and do something courageous. I knew it was very risky,” Feng said, per The Hollywood Reporter. “I didn’t know if it was the right thing to do, but today the San Sebastian Film festival gave me the answer with this prize for the best film.”
Read More: Critics Pick the Best Films From the Toronto...
- 9/24/2016
- by Liz Calvario
- Indiewire
A stray Chabrol, the next Juno and more Toni Servillo brilliance are among this year's hidden gems on the festival circuit. Hunt them down now before they're buried for ever
Home festivaling is one of the few perks of losing mobility through a back injury. What better way to cover 300+ screen events across the UK for Empire Online's Festivals & Seasons page than letting them come to you? Much festival fare falls squarely into the three-star category. But, every now and then, a disc arrives in the post containing a gem that leaves you wondering how the distributors missed it. So here's a personal selection of the festival favourites that have either failed to secure a UK release in 2009 or are not currently on the schedule for next year.
10) Let's Dance (dir. Noémie Lvovsky, France)
Festivals are invariably stuffed with quirky ensemble pieces, with Laís Bodanzky's superbly choreographed The Ballroom...
Home festivaling is one of the few perks of losing mobility through a back injury. What better way to cover 300+ screen events across the UK for Empire Online's Festivals & Seasons page than letting them come to you? Much festival fare falls squarely into the three-star category. But, every now and then, a disc arrives in the post containing a gem that leaves you wondering how the distributors missed it. So here's a personal selection of the festival favourites that have either failed to secure a UK release in 2009 or are not currently on the schedule for next year.
10) Let's Dance (dir. Noémie Lvovsky, France)
Festivals are invariably stuffed with quirky ensemble pieces, with Laís Bodanzky's superbly choreographed The Ballroom...
- 12/21/2009
- by David Parkinson
- The Guardian - Film News
ROME -- Andrea Molaioli's "La Ragazza del Lago" (The Girl From the Lake) was the surprise star of the David di Donatello Awards on Friday, taking home the prizes for best film, director, emerging director, producer and screenwriting.
The Davids were dished out at a gala ceremony that attracted intense attention from the local media as well as large crowds that gathered outside the theater despite cloudy skies.
Molaioli, the only helmer nominated in the director and emerging director categories, won both for his murder mystery set in northern Italy.
"Lago", which premiered at last year's Venice Film Festival, also earned nods for Sandro Petraglia (screenwriting), Francesca Cima and Nicola Giuliano (producer), Toni Servillo (best actor) and Ramiro Civita (cinematography).
The best actress prize went to Margherita Buy for her role in "Giorni e Nuvole" (Days and Clouds), which premiered last year at the RomaCinemaFest. And actor Silvio Muccino, brother of director Gabrielle Muccino, won the Young David award for his directoral debut, "Parlami d'Amore" (Talk to Me About Love).
The Davids were dished out at a gala ceremony that attracted intense attention from the local media as well as large crowds that gathered outside the theater despite cloudy skies.
Molaioli, the only helmer nominated in the director and emerging director categories, won both for his murder mystery set in northern Italy.
"Lago", which premiered at last year's Venice Film Festival, also earned nods for Sandro Petraglia (screenwriting), Francesca Cima and Nicola Giuliano (producer), Toni Servillo (best actor) and Ramiro Civita (cinematography).
The best actress prize went to Margherita Buy for her role in "Giorni e Nuvole" (Days and Clouds), which premiered last year at the RomaCinemaFest. And actor Silvio Muccino, brother of director Gabrielle Muccino, won the Young David award for his directoral debut, "Parlami d'Amore" (Talk to Me About Love).
- 4/18/2008
- The Hollywood Reporter - Movie News
Berlin International Film Festival
BERLIN -- "Lost Embrace" is a lighthearted but nonetheless earnest look at a question of identity, which occurs in the most mundane of circumstances -- a shopping mall in Buenos Aires, Argentina, that has seen better days. Director Daniel Burman, an Argentine Jew, makes most of his characters either Jewish or immigrants from outside South America, each coming to terms with the feeling that maybe he or she belongs elsewhere. The film takes a whimsical view of this insular and sometimes daft environment where everyone's eccentricities are given an opportunity to shine.
While this is a relatively minor film from the young director, its gentle humor will be welcome on the festival circuit even if theatrical distribution outside of Spanish-speaking territories seems unlikely.
Cinematographer Ramiro Civita keeps his hand-held camera tight on the characters. He seldom widens to give us the vantage point of the mall in general or the streets surrounding it. The movie keeps us confined to this small world, as are its longtime shopkeepers.
The Italian shopkeepers shout at one another all day. A Korean couple sells Feng Shui items, a dolled-up 40-year-old blonde and an older male companion run an Internet shop, and the guy in the stationery store seems to have no customers.
Ariel (Daniel Hendler) works none too hard to assist his mother, Sonia (Adriana Aizemberg), who has run a lingerie shop ever since Ariel's dad disappeared from their lives to fight a war in Israel. Ariel's desire to claim a Polish passport so he can travel to Europe as a European upsets his grandmother (Rosita Londner), who escaped from Poland and the Nazis, and his mother, who worries about what a search through old documents will reveal.
Ariel wiles away his time in furtive sexual trysts with the Internet lady, Rita (Silvina Bosco), and a never-ending string of questions about the past that mother and grandmother answer with shrugs. But when his father (Jorge D'Elia) does show up, he gets more answers than he can handle and has to re-examine the very nature of those questions.
Burman and co-writer Marcelo Birmajer emphasize all that is quirky in their characters, never pushing themes that could yield a much more serious film, such as the impact of the Holocaust on the Jewish characters or the father's experiences in Israel. Following suit, the actors amusingly exaggerate the ethnic angles to their characters without mockery or condescension.
Hendler gives the protagonist enough restless energy to suggest the frustration of his small-potatoes existence and his anxiety to explore the world. Aizemberg is particularly good as the Jewish mother caught between son and ex-husband, while Londner gets her moment in the sun when the grandmother reveals a singing talent kept under wraps for decades.
Burman establishes a brisk pace in this 100-minute comedy so that none of the characters or gags wears thin. A somewhat pat ending denies the crucial issues at stake here, but this movie's relationship to the Jewish experience is more Neil Simon than Elie Wiesel.
BERLIN -- "Lost Embrace" is a lighthearted but nonetheless earnest look at a question of identity, which occurs in the most mundane of circumstances -- a shopping mall in Buenos Aires, Argentina, that has seen better days. Director Daniel Burman, an Argentine Jew, makes most of his characters either Jewish or immigrants from outside South America, each coming to terms with the feeling that maybe he or she belongs elsewhere. The film takes a whimsical view of this insular and sometimes daft environment where everyone's eccentricities are given an opportunity to shine.
While this is a relatively minor film from the young director, its gentle humor will be welcome on the festival circuit even if theatrical distribution outside of Spanish-speaking territories seems unlikely.
Cinematographer Ramiro Civita keeps his hand-held camera tight on the characters. He seldom widens to give us the vantage point of the mall in general or the streets surrounding it. The movie keeps us confined to this small world, as are its longtime shopkeepers.
The Italian shopkeepers shout at one another all day. A Korean couple sells Feng Shui items, a dolled-up 40-year-old blonde and an older male companion run an Internet shop, and the guy in the stationery store seems to have no customers.
Ariel (Daniel Hendler) works none too hard to assist his mother, Sonia (Adriana Aizemberg), who has run a lingerie shop ever since Ariel's dad disappeared from their lives to fight a war in Israel. Ariel's desire to claim a Polish passport so he can travel to Europe as a European upsets his grandmother (Rosita Londner), who escaped from Poland and the Nazis, and his mother, who worries about what a search through old documents will reveal.
Ariel wiles away his time in furtive sexual trysts with the Internet lady, Rita (Silvina Bosco), and a never-ending string of questions about the past that mother and grandmother answer with shrugs. But when his father (Jorge D'Elia) does show up, he gets more answers than he can handle and has to re-examine the very nature of those questions.
Burman and co-writer Marcelo Birmajer emphasize all that is quirky in their characters, never pushing themes that could yield a much more serious film, such as the impact of the Holocaust on the Jewish characters or the father's experiences in Israel. Following suit, the actors amusingly exaggerate the ethnic angles to their characters without mockery or condescension.
Hendler gives the protagonist enough restless energy to suggest the frustration of his small-potatoes existence and his anxiety to explore the world. Aizemberg is particularly good as the Jewish mother caught between son and ex-husband, while Londner gets her moment in the sun when the grandmother reveals a singing talent kept under wraps for decades.
Burman establishes a brisk pace in this 100-minute comedy so that none of the characters or gags wears thin. A somewhat pat ending denies the crucial issues at stake here, but this movie's relationship to the Jewish experience is more Neil Simon than Elie Wiesel.
Berlin International Film Festival
BERLIN -- "Lost Embrace" is a lighthearted but nonetheless earnest look at a question of identity, which occurs in the most mundane of circumstances -- a shopping mall in Buenos Aires, Argentina, that has seen better days. Director Daniel Burman, an Argentine Jew, makes most of his characters either Jewish or immigrants from outside South America, each coming to terms with the feeling that maybe he or she belongs elsewhere. The film takes a whimsical view of this insular and sometimes daft environment where everyone's eccentricities are given an opportunity to shine.
While this is a relatively minor film from the young director, its gentle humor will be welcome on the festival circuit even if theatrical distribution outside of Spanish-speaking territories seems unlikely.
Cinematographer Ramiro Civita keeps his hand-held camera tight on the characters. He seldom widens to give us the vantage point of the mall in general or the streets surrounding it. The movie keeps us confined to this small world, as are its longtime shopkeepers.
The Italian shopkeepers shout at one another all day. A Korean couple sells Feng Shui items, a dolled-up 40-year-old blonde and an older male companion run an Internet shop, and the guy in the stationery store seems to have no customers.
Ariel (Daniel Hendler) works none too hard to assist his mother, Sonia (Adriana Aizemberg), who has run a lingerie shop ever since Ariel's dad disappeared from their lives to fight a war in Israel. Ariel's desire to claim a Polish passport so he can travel to Europe as a European upsets his grandmother (Rosita Londner), who escaped from Poland and the Nazis, and his mother, who worries about what a search through old documents will reveal.
Ariel wiles away his time in furtive sexual trysts with the Internet lady, Rita (Silvina Bosco), and a never-ending string of questions about the past that mother and grandmother answer with shrugs. But when his father (Jorge D'Elia) does show up, he gets more answers than he can handle and has to re-examine the very nature of those questions.
Burman and co-writer Marcelo Birmajer emphasize all that is quirky in their characters, never pushing themes that could yield a much more serious film, such as the impact of the Holocaust on the Jewish characters or the father's experiences in Israel. Following suit, the actors amusingly exaggerate the ethnic angles to their characters without mockery or condescension.
Hendler gives the protagonist enough restless energy to suggest the frustration of his small-potatoes existence and his anxiety to explore the world. Aizemberg is particularly good as the Jewish mother caught between son and ex-husband, while Londner gets her moment in the sun when the grandmother reveals a singing talent kept under wraps for decades.
Burman establishes a brisk pace in this 100-minute comedy so that none of the characters or gags wears thin. A somewhat pat ending denies the crucial issues at stake here, but this movie's relationship to the Jewish experience is more Neil Simon than Elie Wiesel.
BERLIN -- "Lost Embrace" is a lighthearted but nonetheless earnest look at a question of identity, which occurs in the most mundane of circumstances -- a shopping mall in Buenos Aires, Argentina, that has seen better days. Director Daniel Burman, an Argentine Jew, makes most of his characters either Jewish or immigrants from outside South America, each coming to terms with the feeling that maybe he or she belongs elsewhere. The film takes a whimsical view of this insular and sometimes daft environment where everyone's eccentricities are given an opportunity to shine.
While this is a relatively minor film from the young director, its gentle humor will be welcome on the festival circuit even if theatrical distribution outside of Spanish-speaking territories seems unlikely.
Cinematographer Ramiro Civita keeps his hand-held camera tight on the characters. He seldom widens to give us the vantage point of the mall in general or the streets surrounding it. The movie keeps us confined to this small world, as are its longtime shopkeepers.
The Italian shopkeepers shout at one another all day. A Korean couple sells Feng Shui items, a dolled-up 40-year-old blonde and an older male companion run an Internet shop, and the guy in the stationery store seems to have no customers.
Ariel (Daniel Hendler) works none too hard to assist his mother, Sonia (Adriana Aizemberg), who has run a lingerie shop ever since Ariel's dad disappeared from their lives to fight a war in Israel. Ariel's desire to claim a Polish passport so he can travel to Europe as a European upsets his grandmother (Rosita Londner), who escaped from Poland and the Nazis, and his mother, who worries about what a search through old documents will reveal.
Ariel wiles away his time in furtive sexual trysts with the Internet lady, Rita (Silvina Bosco), and a never-ending string of questions about the past that mother and grandmother answer with shrugs. But when his father (Jorge D'Elia) does show up, he gets more answers than he can handle and has to re-examine the very nature of those questions.
Burman and co-writer Marcelo Birmajer emphasize all that is quirky in their characters, never pushing themes that could yield a much more serious film, such as the impact of the Holocaust on the Jewish characters or the father's experiences in Israel. Following suit, the actors amusingly exaggerate the ethnic angles to their characters without mockery or condescension.
Hendler gives the protagonist enough restless energy to suggest the frustration of his small-potatoes existence and his anxiety to explore the world. Aizemberg is particularly good as the Jewish mother caught between son and ex-husband, while Londner gets her moment in the sun when the grandmother reveals a singing talent kept under wraps for decades.
Burman establishes a brisk pace in this 100-minute comedy so that none of the characters or gags wears thin. A somewhat pat ending denies the crucial issues at stake here, but this movie's relationship to the Jewish experience is more Neil Simon than Elie Wiesel.
- 2/10/2004
- The Hollywood Reporter - Movie News
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