The programme for Doclisboa’23 is now known; the festival will take place between 19 and 29 October at the usual venues: Culturgest, Cinema São Jorge, Cinemateca Portuguesa – Museu do Cinema and Cinema Ideal. In all, the 21st edition of Doclisboa is showing 250 films from 42 countries, including 35 world premieres and 39 Portuguese films. The films reveal the pulse of the world and those who inhabit it.
Doclisboa travels to the inside of the human brain through the lens of Werner Herzog (Theater of Thought), and to the pressing issues of work in The Liberated Broom, Listen to the Story I Was Told, by Coline Grando; delves into memories of past wars and to the current war in Ukraine; film archives; music; and dance.
The press conference was held this morning at Culturgest and was hosted by Miguel Ribeiro (Director of Doclisboa), Mark Deputter (Chairman of the Board – Culturgest), Marco Guerra (Head of the Cultural...
Doclisboa travels to the inside of the human brain through the lens of Werner Herzog (Theater of Thought), and to the pressing issues of work in The Liberated Broom, Listen to the Story I Was Told, by Coline Grando; delves into memories of past wars and to the current war in Ukraine; film archives; music; and dance.
The press conference was held this morning at Culturgest and was hosted by Miguel Ribeiro (Director of Doclisboa), Mark Deputter (Chairman of the Board – Culturgest), Marco Guerra (Head of the Cultural...
- 9/30/2023
- by Rouven Linnarz
- AsianMoviePulse
The Indonesians have a concept called nongkrong. To nongkrong is to meet and talk, preferably in large groups, and about nothing in particular. I first came across it last summer on a trip to Documenta, a contemporary art fair that’s taken place since 1955 in Kassel, in Germany, but only once every 5 years. The festival’s new curators were ruangrupa from Indonesia, a collective that almost never produces physical works, instead creating spaces for meetings and discussions: a kind of nongkrong as installation. Every room that you walked into at Documenta was full of nongkrong: bits and bobs on the floor, idea bubbles, and word maps on the walls, artist statements that ran a country mile. The festival estimated that the culminated work last year was the product of no less that 1,500 participants. The results were lively and cacophonous. I felt next to nothing.
I couldn’t help but briefly...
I couldn’t help but briefly...
- 8/18/2023
- by Rory O'Connor
- The Film Stage
Strengthening its credentials in this year’s international feature film Oscar race where it represents France, Alice Diop’s “Saint Omer” edged Belgian’s Oscar entry “Close” for top honors, the Giraldillo de Oro, at a busy Seville European Film Festival.
A celebration of European arthouse which could not be more timely – the fall-off in arthouse attendance proved the festival’s main talking point – Seville’s top prizes served to underscore the vast variety of tones and issues in current European cinema.
“Saint Omer,” Variety noted in a Venice review, is “a quietly momentous French courtroom drama that subtly but radically rewrites the rules of the game.”
Lukas Dhont’s sophomore feature “Close” shared Seville’s Jury Prize with João Pedro Rodrigues’ “Will-o’-the-Wisp’.” The two films could not be more different tonally, “Close” weighing in as “a profoundly felt portrait of two inseparable friends” whereas “Will-o’-the-Wisp is, for Variety,...
A celebration of European arthouse which could not be more timely – the fall-off in arthouse attendance proved the festival’s main talking point – Seville’s top prizes served to underscore the vast variety of tones and issues in current European cinema.
“Saint Omer,” Variety noted in a Venice review, is “a quietly momentous French courtroom drama that subtly but radically rewrites the rules of the game.”
Lukas Dhont’s sophomore feature “Close” shared Seville’s Jury Prize with João Pedro Rodrigues’ “Will-o’-the-Wisp’.” The two films could not be more different tonally, “Close” weighing in as “a profoundly felt portrait of two inseparable friends” whereas “Will-o’-the-Wisp is, for Variety,...
- 11/13/2022
- by Callum McLennan
- Variety Film + TV
Emphasizing its consolidated position as an important bridge between European creators and cinemagoers, the Seville Festival is expanding its reach with an ambitious sidebar, Essential Voices, to bring together decisive European filmmakers for a discussion forum.
At the same time, the Seff continues strengthening its industrial heft with the announcement of Sevilla Cinema Lab, an initiative which, kicking-off in 2023, aims to promote high-level training for film professionals, as well as the development of film projects in international co-productions. It is supported by Spain’s Icaa film institute and Europe’s Next Generation Funds.
Juan Antonio Bayona and Álex de la Iglesia, two of the most renowned Spanish filmmakers, will take part in the Essential Voices section together with revered Russian director Alexandr Sokurov and two animation auteurs, France’s Michel Ocelot (“Kirikou and the Sorceress”) and Latvia’s Signe Baumane (“Rocks in My Pockets”).
In addition to the joint presence of two European emerging talents,...
At the same time, the Seff continues strengthening its industrial heft with the announcement of Sevilla Cinema Lab, an initiative which, kicking-off in 2023, aims to promote high-level training for film professionals, as well as the development of film projects in international co-productions. It is supported by Spain’s Icaa film institute and Europe’s Next Generation Funds.
Juan Antonio Bayona and Álex de la Iglesia, two of the most renowned Spanish filmmakers, will take part in the Essential Voices section together with revered Russian director Alexandr Sokurov and two animation auteurs, France’s Michel Ocelot (“Kirikou and the Sorceress”) and Latvia’s Signe Baumane (“Rocks in My Pockets”).
In addition to the joint presence of two European emerging talents,...
- 11/4/2022
- by Emiliano De Pablos
- Variety Film + TV
This year’s Berlinale’s Forum includes the world premiere of Rita Azevedo Gomes’ latest feature film, “The Kegelstatt Trio,” adapted from the 1987 stage play, written by the late French helmer, Éric Rohmer.
The privately-funded Portuguese/Spanish co-production was shot during the lockdown, produced by Gomes and Gonzalo García Pelayo. It received post-production completion finance from the Portuguese Film and Audiovisual Institute (Ica).
Rohmer wrote “Le Trio en mi bémol,” inspired by Mozart’s composition of that name, while writing his 1989 pic, “Four Adventures of Reinette and Mirabelle.”
The story revolves around a series of encounters between two former lovers who talk about what led them to drift apart, including the importance of music in cementing their relationship. Whereas the man views classical music as the supreme art form, able to move the mind and body at the profoundest level, the woman sees it as being a primarily intellectual attraction.
The privately-funded Portuguese/Spanish co-production was shot during the lockdown, produced by Gomes and Gonzalo García Pelayo. It received post-production completion finance from the Portuguese Film and Audiovisual Institute (Ica).
Rohmer wrote “Le Trio en mi bémol,” inspired by Mozart’s composition of that name, while writing his 1989 pic, “Four Adventures of Reinette and Mirabelle.”
The story revolves around a series of encounters between two former lovers who talk about what led them to drift apart, including the importance of music in cementing their relationship. Whereas the man views classical music as the supreme art form, able to move the mind and body at the profoundest level, the woman sees it as being a primarily intellectual attraction.
- 2/15/2022
- by Martin Dale
- Variety Film + TV
Boston-based international sales company 34T has picked up Enrique García’s Spanish thriller “Black Stain.”
Set in an isolated Andalusian village in the early 1970s, the story revolves around a family mourning the death of the elderly matriarch and the deep tensions that are reignited with the return of her estranged son Eugenio, who left years earlier. As his three sisters grieve, the dark stain that has long haunted the family resurfaces.
Eugenio’s return reawakens ill feelings among the neighbors, whose livelihood has been devastated by a plague that has destroyed the village’s once fertile olive grove. The family is soon facing the threat of destitution and exile as long buried secrets are revealed.
García, whose previous films include the 2017 thriller “Resort Paraíso” and the 2014 drama “321 días en Michigan,” has described his latest work as “a tragedy with echoes of Lorca, of Shakespeare not to mention Hitchcock’s...
Set in an isolated Andalusian village in the early 1970s, the story revolves around a family mourning the death of the elderly matriarch and the deep tensions that are reignited with the return of her estranged son Eugenio, who left years earlier. As his three sisters grieve, the dark stain that has long haunted the family resurfaces.
Eugenio’s return reawakens ill feelings among the neighbors, whose livelihood has been devastated by a plague that has destroyed the village’s once fertile olive grove. The family is soon facing the threat of destitution and exile as long buried secrets are revealed.
García, whose previous films include the 2017 thriller “Resort Paraíso” and the 2014 drama “321 días en Michigan,” has described his latest work as “a tragedy with echoes of Lorca, of Shakespeare not to mention Hitchcock’s...
- 11/13/2020
- by Ed Meza
- Variety Film + TV
Mubi is exclusively showing two new, brilliant and unconventional films from Spain: Luis López Carrasco's El Futuro (April 11 - May 10) and Ion de Sosa's Androids Dream (April 12 - May 11). We asked the two filmmakers—friends and collaborators—a few questions about their work. For an in-depth exploration of the two films, we recommend Michael Pattison's article, Back to the Future: Androids Dream and El Futuro.Spanish directors Ion de Sosa (front left) and Luis López Carrasco (back right).Notebook: How did you each manage to bring your projects to life?Luis LÓPEZ Carrasco: After living in Berlin for a few months through a scholarship program, I came back to Spain in 2010 fully energized with the aim to set up a production company, finance my own projects and support friends whose work I deeply admire. The international success of Los Hijos Collective led me to believe...
- 4/22/2016
- by Notebook
- MUBI
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