20 items from 2013
Fabio Grassadonia and Antonio Piazza's "Salvo" won the top prize at the Cannes Film Festival's 52nd Critics’ Week. The film -- about a romantic relationship between a hitman and the sister of someone he's murdered -- took both the Grand Prix and the France 4 Revelation Prize. Other major winners included Daria Belova's "Come and Play," which won best short film, Sebastien Pilote's "Le Demantlement," which won best screenplay. The program's jury was led by Portugese director Miguel Gomes, and also included Dennis Lim, program director at the Film Society of Lincoln Center, Neil Young, co-director of the International Film Festival Bradford, and journalists Alin Tasciyan and Alex Vicente. »
- Peter Knegt
Ticket sales at Australian cinemas this year are running at about 7 per cent below the same period in 2012 despite strong trading in January and April, weighed down by relatively soft results in February and March.
Takings for the May 16-19 frame totalled just under $9.5 million, down 22 per cent on the prior weekend, as Star Trek Into Darkness and Iron Man 3 dominated the business. .The market is rather shallow with no robust depth below the top two titles,. observed one distributor.
- Don Groves
Time for us to reveal the full lineup for the 52nd Cannes’ International Critics’ Week! You probably already know that we’re talking about the oldest parallel competitive section of the Cannes Film Festival which showcases first and second feature films by directors from all over the world. As you’re going to see, this year we have some interesting titles in feature competition, and just for the record – among the 11 features screening in the sidebar is David Lowery‘s Sundance hit drama Ain’t Them Bodies Saints as well! First of all, let us once again remind you that Portuguese director Miguel Gomes, man who stands...
Click to continue reading 2013 Cannes International Critics’ Week Lineup on www.filmofilia.com
The 52nd Cannes International Critics' Week has unveiled its full lineup. Among the 11 features screening in the sidebar is David Lowery's acclaimed Sundance drama "Ain't Them Bodies Saints," screening out of competition. Katell Quillevere, whose debut feature "Love Like Poison" played in the 2010 Directors' Fortnight, will be back this year to open the sidebar with "Suzanne," starring Sara Forestier. Other highlights include Yann Gonzalez's sex comedy "Encounters After Midnight," Quebec filmmaker Sebastien Pilote's rural family drama "The Dismantling," and Agustin Toscano and Ezequiel Radusky's social comedy "The Owners." Read More: Soderbergh, Payne, Polanski and the Coens Lead 2013 Cannes Film Festival Lineup "Tabu" writer-director (and former film critic) Miguel Gomes heads the Cannes Critics's Week jury this year. The jury, comprised of four film journalists, will vote for one of the seven films playing in the competition. The 52nd International Critics' Week runs May »
- Nigel M Smith
Paris -- The 52nd Cannes’ International Critics’ Week unveiled its lineup Monday afternoon during a webcast released from its Paris headquarters. Among the 11 features screening in the sidebar, which showcases first and second films, are writer-director David Lowery’s Sundance hit Ain’t Them Bodies Saints, playing out of competition, and opening night French film Suzanne, starring Sara Forestier (The Names of Love) and directed by Katell Quillevere, whose debut feature Love Like Poison premiered in the 2010 Directors’ Fortnight. The seven-film competition will be presided over by jury president Miguel Gomes (Tabu) and will include five first-time features spanning
- Jordan Mintzer
Slightly over a year ago, after Michel Hazanavicius’s The Artist came home with a Best Picture win and accomplished the unlikely feat of becoming a $100+ million worldwide hit, observations hit the web (ranging from hopeful to snarky) speculating whether or not the critical and financial success of this film would bring about a trend of new silent filmmaking. That the film’s gimmick seemed anathema to any marketing department’s formula for success stood as a provocation to an ever recycling Hollywood, declaring: if you revisit winning formulas, why not this one? Of course, few genuinely expected such a trend to actually come to fruition. In February 2012, David Denby wrote: “We should be happy that The Artist exists at all, of course. Even after being nominated for ten Oscars and winning numerous awards from critics’ groups and the guilds, the film still seems arbitrary—one of those freaks of idealism which sometimes occur in the movies »
- Landon Palmer
A pair of Portuguese-language films quietly examine the standoff between old Europe and modern multiculturalism
As immigration from former empires continues to change the west, a polite silence has settled in modern cinema regarding colonialism. With Pankaj Mishra and Niall Ferguson just two of the figures from other fields currently toiling to rewrite the book of the European powers' past (mis-)adventures, film seems content to sit and wait for clear instructions on how to proceed.
There's not been much colonially set cinema from the west in the past decade – because of what you might call point-of-view difficulties. These stories originally existed to bolster a sense of national identity. But even relatively balanced accounts taking in the conquerors' perspective, such as Zulu, are problematic – and commercially unviable – now that some of the descendants of the natives are probably British citizens.
So how does colonialism fit in terms of the European story today? »
- Phil Hoad
"Tabu" writer-director (and former film critic) Miguel Gomes will head the Cannes Critics's Week jury this year, it was announced by the festival today. The jury, comprised of four film journalists, will vote for one of the seven films playing in the competition. Making a name for himself in the industry with only three feature films ("The Face You Deserve," "This Dear Month of August" and "Tabu"), "Miguel Gomes perfectly embodies the mission of the Week: to discover new auteurs through a first or second work and be on the international scene," Cannes said. Gomes' latest, "Tabu," won both the Fipresci Prize and Alfred Bauer Award at the 2012 Berlin International Film Festival. He's currently preparing his next feature. Cannes runs May 16-24. »
- Nigel M. Smith
Leos Carax's "Holy Motors" led the 10th Annual International Cinephile Society Awards, taking prizes for best film, best director, best actor (Denis Lavant) and best film not in the English language. Other major winners included "Amour," which won best actress for Emmanuelle Riva, and "The Master," which won best supporting actor and best supporting actress for Philip Seymour Hoffman and Amy Adams, respectively. Full list of winners below. Picture 01. Holy Motors 02. Tabu 03. Amour 04. Zero Dark Thirty 05. The Master 06. Moonrise Kingdom 07. Once Upon a Time in Anatolia 08. Django Unchained 09. Lincoln 10. Cloud Atlas Director Leos Carax – Holy Motors runner-up: Miguel Gomes – Tabu Film Not In The English Language 01. Holy Motors 02. Tabu 03. Amour 04. Once »
- Peter Knegt
Holy Motors might have left Cannes empty-handed but Leos Carax free-form shape-shifter of a film was far from overlooked by the critics who voted for this year’s International Cinephile Society awards. The celebrated pic was favored to Miguel Gomes’ Tabu and Haneke’s Amour (runners-up in several categories) in the Best Picture, Director, Actor and Film Not in the English category. Moonrise Kingdom and The Master found some love (and runner up mentions) but the winner’s list biggest surprise is the Best Adapted Screenplay which went to Oslo, August 31st. Here’s the complete list:
01. Holy Motors
04. Zero Dark Thirty
05. The Master
06. Moonrise Kingdom
07. Once Upon a Time in Anatolia
08. Django Unchained
10. Cloud Atlas
runner-up: Miguel Gomes – Tabu
Film Not In The English Language
01. Holy Motors
04. Once Upon a Time in Anatolia
05. Oslo, August 31st
06. The Turin »
- Eric Lavallee
The 63rd Berlin International Film Festival kicks off tomorrow, offering dozens (and dozens) of world premieres across mutliple sections. By the time the festival's Golden and Silver Bears are handed out next weekend, we'll have a good idea as to some of the best world cinema coming to theaters near you (eventually, that is -- some of last year's program is just coming out Stateside now). In the past few years, the festival has proven itself -- perhaps more than it has in some time -- as an excellent platform for emerging and proven talent in world cinema to debut their work. The past two years have collectively offered the likes of Miguel Gomes' "Tabu," Asghar Farhadi's "A Separation," Wim Wenders' "Pina," Christian Petzold's "Barbara," Paolo & Vittorio Taviani's "Caesar Must Die," Michael R. Roskham's "Bullhead," Benoit Jacquot's "Farewell My Queen," Bela »
- Peter Knegt and Eric Kohn
Following on from 2008's Our Beloved Month of August, Portuguese director Miguel Gomes returned victoriously last year with monochrome marvel and Berlin Film Festival hit Tabu (2012), an engaging, provocative and poetic drama set both in Portugal and in an unnamed African location. To celebrate Tabu's home entertainment release on 14 January, we've kindly been provided with Three Blu-ray copies of the film to give away to our loyal readers, courtesy of our good friends at New Wave Films. This is an exclusive competition for our Facebook and Twitter fans, so if you haven't already, 'Like' us at facebook.com/CineVueUK or follow us @CineVue before answering the question below.
Read more » »
- CineVue UK
Just as Sundance gets underway, another snow-covered city across the ocean is gearing up for a huge celebration of auteur-driven international film. Featuring the best international cinema from across the world, including Portugal, China and Russia, and bringing in many noted filmmakers to speak, including Carlos Suares (Post Tenebre Lux) and Miguel Gomes (Tabu), Black Movie Festival in Geneva promises to keep the focus on cinema, and only cinema, from January 18 - 27. I'll be there starting in the middle of next week posting dispatches and reviews, in between building snowmen, of course. Stay tuned!Check out their website for more information. Here's the full lineup:El muerto y ser feliz (The Dead Man and Being Happy) - Javier RebolloSofia's last ambulance - Ilian MetevEspoir voyage -...
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★★★★☆ The power of the lens to deconstruct colonial history is a primary concern in Miguel Gomes' third feature, Tabu (2012). Partitioned by two distinctive halves, it's a mesmeric example of how to unravel filmic modes without clogging up the narrative. The first section is set in modern day Lisbon and follows pious elderly woman Pilar (Teresa Madruga) and her concerns about neighbour Aurora (Laura Soveral), who's convinced that her African maid (Isabel Cardoso) is using voodoo against her. Pilar tracks down Ventura, a man from Aurora's past whom she once married at the foot of Africa's Mount Tabu, over 50 years prior.
Read more » »
- CineVue UK
Entering its second year, the Museum of the Moving Image’s First Look series provides a strong, welcome antidote to the generally anemic cinematic landscape that is January. Its eclectic selection of undistributed features and shorts, programmed by Dennis Lim, Rachael Rakes, and David Schwartz, occasions an invigorating mixture of moods and approaches from established as well as emerging directors. It’s indicative of the series’ dedication to distinctive, often divisive cinematic voices that Bruno Dumont’s decidedly non-crowd-pleasing Hors Satan was chosen as the opening night film nearly two years following its Cannes premiere.
Whereas earlier films like Twentynine Palms or Hadewijch pushed the French director’s worldview in new directions, Hors Satan sits solidly in Dumont’s comfort zone, down to the cryptically religious title that links it to his debut, The Life of Jesus. His protagonist is a drifter with a scruffy, narrow face like Pasolini’s proletarian Christ, »
- Fernando F. Croce
Looking back at 2012 on what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2012—in theaters or at a festival—and creatively pair it with an old film they also saw in 2012 to create a unique double feature.
All the contributors were asked to write a paragraph explaining their 2012 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How would you program some »
- Daniel Kasman
Lola, one of our favorite film journals, has released some content from their third issue. The articles include a piece by Dana Linssen on the film Nadine, among others, and the nature of feminist cinephilia. Also, you shouldn't miss this collective approach (part one of two) to Holy Motors. More cinephilic delight: the full version of the Flemish film journal Photogénie is now online, featuring Tom Paulus on Olivier Assayas, Sarah Keller on Jean Epstein, and an interview with Girish Shambu. Birthdays: Hayao Miyazaki turned 72 on the 5th (speaking of which, check this out) and Jean-Marie Straub turned 80 yesterday (David Hudson has collected some related material).
"Happy New Years", Apichatpong-style: a brief short entitled 2013. Above: new images from Hong Sang-soo's new film, Nobody's Daughter Haewon, set to debut in Berlin next month. Via Moving Image Source, filmmaker Miguel Gomes writes on Manuel Mozos and the film Xavier:
"As I see it, »
- Adam Cook
Slightly belatedly, Ricky D, Julian Carrington and Simon Howell unite for the first Sos of 2013 in order to count down their respective Top 10s of 2012, along with brief discussions about the year in general and Django Unchained in particular. The retrospective talk is accompanied br reviews of three of our favorite films of the year, heretofore unreviewed on the show: Michael Haneke’s Amour, Rick Alverson’s The Comedy, and Miguel Gomes’s Tabu.
Gayings – “The Gaudy Side of Town”
Donnie and Jow Emerson – “Baby”
Here We Go Magic – “Over the Ocean”
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- Sound On Sight Podcast
A dreadfully slow screenplay in the second half undercuts the interesting handling of black and white exposition. Miguel Gomes. black and white paean to love screened last November at the New York Film Festival. The film is artfully conceived and skillfully executed. Unfortunately it is flat and, at least in the second part, almost completely devoid of a significant plot. Set in traditional Portugal, the film is divided into two distinctly different parts. Both parts are shot in fascinating black and white, with the first part taking place in the present and the second part reaching back about 40 years. The first part is in 35 mm and the second part is in 16 mm. The 16 mm »
- Ron Wilkinson
Happy New Year and welcome to 2013 one and all! The last twelve months truly offered something for all cinematic tastes, with barn-storming Hollywood blockbusters such as Christopher Nolan's The Dark Knight Rises, Joss Whedon's Avengers Assemble and Sam Mendes' box office-busting Skyfall sating the appetites of mainstream audiences, whilst arthouse gems such as Michael Haneke's Amour, Miguel Gomes' Tabu and Peter Strickland's Berberian Sound Studio challenged and delighted in equal measure. But what does 2013 have in store, on top of new releases from Kathryn Bigelow, Steven Spielberg and Zack Snyder? A handful of CineVue's finest contributors have provided a rundown of their own personal Top 5 releases of 2013 below.
Read more » »
- CineVue UK
20 items from 2013
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