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Belgian director Gust Van den Berghe’s third feature Lucifer has won the $22,000 (€20,000) Grand Prix in the International Competition at the 15th T-Mobile New Horizons International Film Festival (July 23 - Aug 2) in Poland’s Wroclaw.
Set in a Mexican village at the base of a volcano, Lucifer is the third instalment in Van den Berghe’s triptych about the emergence of human consciousness after Little Baby Jesus of Flandr and Blue Bird, previously shown in Wroclaw in 2012.
Lucifer received its world premiere at the Rome Film Festival last October and won the Grand Prix at the Black Nights Film Festival in Estonia’s Tallinn in November.
The International Competition Jury, which included filmmakers Anna Sosnal, Reha Erdem, and Noaz Deshe and festival programmer Diane Henderson, also gave a special mention to Carlos M. Quintela’s Rotterdam winner The Project Of The Century.
Other awards »
- firstname.lastname@example.org (Martin Blaney)
The distributor has picked up North American rights to Miguel Gomes’ six-hour trilogy about social and economic woes in Portugal.
All three films – The Restless One, The Desolate One and The Enchanted One – premiered in Directors’ Fortnight in Cannes and the stories are told through the perspective of a contemporary Scheherazade figure.
The trilogy will open at New York’s Film Society Of Lincoln Center on December 4, December 11 and December 18, respectively, with screenings scheduled to run concurrently into the third week.
Kino Lorber will open the film in other markets and festivals in early 2016, when digital and home media roll-out takes place.
Portugal’s O Som e a Furia produced alongside Sud, Komplizen Film, Box Production, Arte France Cinema, Arte/Zdf, Rtp, Agat Films, and Rts-srg Ssr.
Oscilloscope Laboratories has acquired North American rights from The Film »
- email@example.com (Jeremy Kay)
Yesterday, the Svod service Mubi announced its foray into theatrical distribution with the acquisition of Miguel Gomes’ much lauded Cannes triptych Arabian Nights. The move, in line with the recent trajectories of larger services such as Netflix and Amazon, points toward the ever expanding influence of online platforms. Filmmaker spoke to Mubi CEO Efe Cakarel about partnering with New Wave Films to distribute what some might term a challenging title, given its six hour runtime. Filmmaker: There seems to be yet another paradigm shift happening in independent distribution, with online services, formerly an alternative to theatrical exhibition, now entering that very arena. Why did you […] »
- Sarah Salovaara
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.Above: The trailer for Alejandro González Iñárritu's The Revenant, his follow-up to Birdman.Mubi has signed its first theatrical deal, to distribute Miguel Gomes' beautiful three-part epic Arabian Nights in the UK.The big news of the week is the theft of F.W. Murnau's head. No kidding.At Film Comment, Portuguese master Pedro Costa, subject of a retrospective at New York's Film Society of Lincoln Center, has written on Howard Hawks' Land of the Pharaohs, which Costa has selected to show in his carte blanche program there.Above: Tony Zhao's Every Frame a Painting series of video essays continues with Chuck Jones - The Evolution of an Artist."The sheer amount of Woody Allen films means that each one—especially the less sensational among them—seems to lose its identity. »
Read More: The Most Ambitious Movie At This Year's Cannes Film Festival is 'Arabian Nights' Miguel Gomes' lauded epic "Arabian Nights," which premiered as part of the Cannes Directors' Fortnight selection, has been acquired for release in a groundbreaking co-distribution deal between New Wave Films and curated VOD service Mubi. The film confronts encompassing social and political realities in contemporary Portugal, spanning six hours over three parts. Here's the film's official synopsis: "['Arabian Nights'] creates a vivid portrait of Portugal today. Miguel Gomes, the director of 'Tabu,' disturbed by the austerity measures imposed on his homeland, commissioned journalists to gather true stories from all over the country that were then fictionalized. The outcome is a heady blend of the surreal and the all too real, told in a series of episodes where social realism is mixed in with the downright bizarre. It is a snapshot of his country in economic strife and. »
- David Canfield
London — Subscription video-on-demand platform Mubi has signed its first theatrical deal. In a pioneering partnership with New Wave Films, Mubi will release Miguel Gomes’ “Arabian Nights” in theaters across the U.K. and Ireland. Mubi will then show the film online.
Mubi and New Wave will handle jointly the home entertainment and VOD release for the three-part film, which played in Directors’ Fortnight at Cannes this year.
The move is the latest in a small but growing recent trend of Svod services acquiring the rights to films with an eye to releasing them in theaters as well as online. Netflix will release Cary Fukunaga’s “Beasts of No Nation” on Oct. 16 in select U.S. theaters and online. It will release “Crouching Tiger, Hidden Dragon: The Green Legend” theatrically in China, and on IMAX and on Netflix globally early next year, and will also release Brad Pitt’s “War Machine »
- Leo Barraclough
“An emotional debt is hard to square” —Iceberg SlimIn the treacherous waters of mass narcissism, Sean Baker's cinema is a floating anomaly. While many of his peers' careers are built on the compulsive cult of (their) vacant selves, and the artful maintenance of the ego seems to be the sole artistic purpose of their cinema (from Alex Ross Perry to Miguel Gomes, the plague is as vast as it is virulent), Baker's cinema is an antithetical response to this widespread tendency. With the selfie rapidly becoming the ultimate aesthetic form of our times, his work constitutes an affective disentanglement from the deadly embrace of the amour de soi. But instead of traveling to faraway lands to impress his own gaze onto subjects that cannot be possibly comprehended, as in the case of the Sensory Ethnography Lab flicks and their post-human Orientalism, Sean Baker has consistently pointed his camera six feet beyond his navel. »
- Celluloid Liberation Front
“Antonia Pozzi was an Italian poet.” That terse description, augmented only by the dates of her birth and death (at age 26), is all the English-language Wikipedia entry has to offer on the tragic literary figure whose life inspired Ferdinando Cito Filomarino’s “Antonia.” Though the helmer’s impressionistic debut celebrates the “plainness” of Pozzi’s poetry and the unique “style that doesn’t feel like style” it exhibited, as biopics go, the project offers few additional clues as to her significance — and therein lies the paradox of this elegantly conceptualized but frustratingly de-contextualized film: One really ought to be familiar with Pozzi’s work in order to appreciate this wispy sketch of the years she spent finding her voice and seeking a supportive audience. Meanwhile, for neophytes, the fashionable but narratively flat pic feels too much like an advert for a line of elegant sweaters, while the model herself remains a mystery. »
- Peter Debruge
Madrid – Completing one of the biggest Latin America- U.S.-Europe co-productions in history, Canana, the Mexico-l.A.-based production house of Gael Garcia Bernal, Diego Luna and Pablo Cruz, has boarded Lucrecia Martel’s “Zama,” one of Latin America’s most awaited and most ambitious movies.
A partner with Im Global in Mundial, a pioneering Latin America sales company, and with Participant Media in Participant PanAmerica, beyond its own lead productions – “Miss Bala,” “Cesar Chavez,” Cannes 2015 Un Certain Regard player “The Chosen Ones” — Canana has been a key driver of first moves to create a pan-regional Latin American film industry, co-producing milestone recent Latin American co-productions such as Pablo Larrain’s “No” and Pablo Fendrik’s “Ardor.”
“We are thrilled to join such a group of colleagues — all admired »
- John Hopewell
The venerable Karlovy Vary Intl. Film Festival may be turning 50, but the thrust of its program remains fresh and tuned to emerging talent. A new strand this year, sponsored by European Film Promotion (Efp), introduces directors that come from the cohort of the fest’s mostly college-age audience. Future Frames: Ten New Filmmakers to Follow brings short works by students and recent graduates of European film schools into the festival’s largely feature-length film mix. Filmmakers were nominated by their respective country’s Efp bodies.
Says Czech filmmaker Ondrej Hudecek of the initiative, “I think it’s always conducive and extremely valuable to meet fellow filmmakers and industry professionals, who are dealing with the same issues of how to make the transition from shorts to features and talk about the perspectives and possibilities we have, as well as about our films and approaches to filmmaking.”
Karlovy Vary runs July 3- »
- Alissa Simon
Monte Carlo TV Festival, which hosted the inaugural edition of the Content and Multimedia Experience confab in June, is on board to organize a second edition with an expanded scope.
The festival’s CEO Laurent Puons told Variety that his team will likely be introducing workshops to highlight innovation for content creators.
“Next year, we will also be seeing more integration of the series, content, experiences and trends discussed in the Cme featured throughout the festival programming, bringing them to reality for the public (screenings, meet and greets, etc.),” said Puons.
While the first edition wasn’t quite packed, the Cme program nevertheless drew major players such as Jens Richter, FremantleMedia International CEO, and Christophe Riandee, Gaumont’s vice CEO, as well as wide-ranging media industry execs such as Alison Norrington, CEO of Story Central; Rebecca Denton, digital content exec producer; Jody Smith, commissioning editor of Channel 4’s multiplatform and online video; Jeff Pope, »
- Elsa Keslassy
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.Above, the trailer for Denis Villeneuve's thriller Sicario, which premiered in competition in Cannes.Cinema Scope #63 is about to hit newstands, but a lot of it can be read online: Mark Peranson on Cannes and Miguel Gomes, Adam Cook talks with Corneliu Porumboiu, Jordan Cronk on The Assassin, Chuck Stephens on Gregory Markopoulous, Christoph Huber on Mad Max: Fury Road, and more.Author William Gibson recounts his encounters with Chris Marker's La Jetée.James Horner, the composer of scores for such Hollywood films as 48 Hrs, Aliens, and Titanic, has died at the age of 61.Federic Babina has made a series of "Archidirector" illustrations, imagining houses designed in the style of filmmakers like David Lynch and Stanley Kubrick.Sight & Sound has exclusive images from the production of Ben Rivers' new movie, »
The new issue of Cinema Scope is out, with Miguel Gomes on the cover and a conversation about Arabian Nights inside. Also, articles on Hou Hsiao-hsien's The Assassin, László Nemes's Son of Saul, Apichatpong Weerasethakul's Cemetery of Splendour, Andrew Cividino's Sleeping Giant, Patricio Guzmán, Marcel Broodthaers, Albert Serra, Joyce Wieland, George Miller's Mad Max: Fury Road and more. Also in today's roundup: The return of Carol Reed's The Third Man with Orson Welles, new work from Ben Rivers, a screening of the special triptych version of Kenneth Anger's Inauguration of the Pleasure Dome—and more. » - David Hudson »
Jang Kun-jae’s third feature is an unusual project, comparable in recent memory only to Miguel Gomes’ singular Our Beloved Month of August (2008), in that it is divided into two distinct halves, the first with an overriding documentary feel, the second using actors from the first to narrate a fiction.
The film takes place in the near-abandoned village of Gojō in the Nara Prefecture of south-central Japan. A young Korean film-maker (Im Hyeong-gook) is visiting with his interpreter (Kim Se-byeok) to research the area and interview locals, and the film’s opening is straight documentary, with credits rolling over a long-held, static shot of a barely-bustling café full of old people, followed by a table interview with the proprietors. The film style adheres closer to something one might wish to call typical east-Asian slow narrative fiction thereafter, however, with lengthy, static shots of people talking, or thinking, frequently with their back to the camera. »
- Tom Newth
If you happened to attend this year’s Midnight Sun Film Festival in northern Finland — one of those bucket-list destinations for the handful of globe-trotting movie lovers who’ve heard of it — you might have allowed yourself to be hypnotized by all five-and-a-half hours of “From What Is Before,” Lav Diaz’s black-and-white historical epic about the collapse of a barrio in his native Philippines. Then again, you might have opted for the more manageable endurance test of “L’il Quinquin,” Bruno Dumont’s 197-minute comic miniseries about murder in a small French village, or perhaps sampled one of three two-hour installments of Portuguese auteur Miguel Gomes’ “Arabian Nights,” a recent critical sensation at Cannes.
These are films that, if you give yourself over to their dense narratives and marathon running times, can dramatically alter how you experience the passage of time. As such, they made for ideal viewing at »
- Justin Chang
The Rio-based distributor has returned from the Croisette with a trio of titles.
Tucuman executives picked up Brazilian rights to Arabian Nights from Portuguese production company O Som e a Furia.
Miguel Gomes trilogy will open in November, December and January 2016.
The distributor also licensed João Pedro Plácido’s Be(Longing) from O Som e a Furia.
Tucuman also holds rights to Philippe Garrel’sIn The Shadow Of Women following a deal with Wild Bunch at project stage and will present at the Rio International Film Festival ahead of an October release. »
- firstname.lastname@example.org (Jeremy Kay)
Part cinematic endurance test, part intellectual exercise, the butt-crunching 338-minute film from Portugal’s Miguel Gomes is funny, poignant and, at times, befuddling
The film’s total running time (divided into three volumes) is some 338 minutes – which, any way you slice it, amounts to a thoroughly butt-crunching affair, one part cinematic endurance test and two parts intellectual exercise, more likely to induce back pain or deep vein thrombosis than any other film you’ll see this year or, probably, ever. Still, the long slog didn’t sway the 2015 Sydney film festival judges, who awarded it the top gong: the Sydney Film prize, worth $62,000.
Continue reading »
- Luke Buckmaster
The three part, six-hour film, which uses fiction to retell true stories, had its premiere in the Directors Fortnight section of Cannes last month. It examines Portugal’s social and financial woes through the perspective of a contemporary Scheherazade figure.
The Sydney competition jury, head by producer Liz Watts, said that its decision was unanimous. Other jurors included Japanese program consultant Hiromi Aihara, Australian screenwriter Andrew Bovell, Thai filmmaker Pen-ek Ratanaruang, and the Austrian Film Commission’s Martin Schweighofer comprised the full Festival jury.
The jury described “Arabian Nights” as “a film of ambition and political vision which confronts, frustrates, and spellbinds – and ultimately reminds us that cinema continues to be a powerful vehicle to examine the human condition.” The prize is worth A$62,000 (Us$48,000).
The closing night »
- Patrick Frater
The 3-part opus, which draws on the folk tales One Thousand and One Nights to create a portrait of modern-day life in Portugal, took the $62,000 cash prize at the closing night awards at the State Theatre.
Jury president Liz Watts hailed a film of "ambition and political vision which confronts, frustrates, and spellbinds - and ultimately reminds us that cinema continues to be a powerful vehicle to examine the human condition..
Journalist Michael Ware and two-time Oscar winner Bill Guttentag received the $10,000 Documentary Australia Foundation Award for Australian documentary for Only the Dead; with a special mention to The Lost Aviator directed by Andrew Lancaster. .A Single Body directed and written by Sotiris Dounoukos won the best live action short award; Grace Under Water directed and produced by Anthony Lawrence »
- Staff writer
Miguel Gomes’ three-volume epic wins eight on the closing night of the Sydney Film Festival.
Director Miguel Gomes and his three-volume 383-minute film Arabian Nights has won the $48,000 (A$62,000) Sydney Film Prize, it was announced on Sunday, the closing night of the 62nd Sydney Film Festival.
Journalist Michael Ware was awarded the $7,730 (A$10,000) Documentary Australia Foundation Award for Australian Documentary for Only the Dead, about his experiences in Afghanistan. The film was co-directed with Bill Guttentag.
Jury president and Australian producer Liz Watts said Arabian Nights, which had its world premiere in Directors’ Fortnight at Cannes, was a film of ambition and political vision which confronts, frustrates, and spellbinds – and ultimately reminds us that cinema continues to be a powerful vehicle to examine the human condition.
“A subject that is so timely – oppression and exploitation are at »
- Sandy.George@me.com (Sandy George)
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