1-20 of 75 items from 2015 « Prev | Next »
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)
After premiering his three-part film Arabian Nights over a week at the Directors' Fortnight in Cannes, I had a chance to sit down and discuss the film with its director, Miguel Gomes. (For impressions of each part as it played at the festival, see Volume 1: The Restless One; Volume 2: The Desolate One; Volume 3: The Enchanted One.) Many thanks to my colleague and friend Chiara Marañón, who shot and edited the conversation. »
- Daniel Kasman
If there is one particular thing to Miguel Gomes' tableau on the economic crisis in Portugal, it's the distinct beauty that clings to the utmost despair. Spanning six-hours, divided into three distinct features, this "real-life fairy tale" goes from laughter to sadness in a rather implacable fashion.
You're surely aware of the concept, christened by Pauwells and Bergier in the sixties as “réalisme fantastique”, on how to anchor fantasy in sufficiently real-looking setting in order to help and promote suspension of disbelief. This has made it's way into most production design nowadays with buff marks and traces of wear and tear on virtual objects being the most mundane expression of it. What we have here is the reverse.
The general idea behind Arabian Nights [Continued ...] »
Unfortunately, this year’s main competition line-up at the Cannes Film Festival ended up being something of an easy target for jaded festival goers. An onslaught of English language debuts and mainstream tastes reigned supreme. Despite evident shortcomings, including the increasingly questionable sidebar siphoning of major auteurs in Festival head Thierry Fremaux’s neglectful hands, there was much to admire. This edition’s legacy won’t be helped by the decision of the Coen Bros. to award the Palme D’or to Jacques Audiard’s serviceable but weakest film to date, Dheepan, though several other accolades seemed more welcome, including a Grand Prix for Laszlo Nemes’ harrowing debut Son of Saul and a Best Screenplay nod for Michel Franco, whose Chronic was generally dismissed by critics. Though Hou Hsiao-hsien returns from an untowardly long absence with The Assassin, it’s great to see he received some recognition for what »
- Nicholas Bell
Below you will find our favorite films of the Festival de Cannes, as well as an index of our coverage, with more entries, including interviews, to come. We also have an index of the festival's awards.Daniel Kasmantop Picksi. Cemetery of Splendour, The AssassinII. Visit or Memoirs and Confessions, In the Shadow of Women, The Exquisite Corpus, The Lobster, Mad Max: Fury Road, The TreasureIII. Arabian Nights, Journey to the Shore, Mountains May Depart***COVERAGEDay 1: Our Little Sister (Hirokazu Kore-eda), Tale of Tales (Matteo Garrone)Day 2: In the Shadow of Women (Philippe Garrel), One Floor Below (Radu Muntean), Son of Saul (Lazlo Nemes)Day 3: The Lobster (Yorgos Lanthimos), My Golden Days (Arnaud Desplechin)Day 4: Arabian Nights Volume 1: The Restless One, Carol (Todd Haynes)Day 5: Journey to the Shore (Kiyoshi Kurosawa), Louder Than Bombs (Joachim Trier)Day 6: Arabian Nights Volume Two: The Desolate One »
Tales of a Tale of Tales: Gomes’s Three-Part Epic Is A Monument To The Plight Of Portugal’s Working Class
There may be more traditionally successful films released in 2015, but there won’t be any as monolithic, impassioned, euphoric, mad, or aesthetically and socially important as Arabian Nights. For the three-volume, 383-minute ode to the people struggling through Portugal’s current economic crisis, Miguel Gomes appropriates the mythological and formal conceits of the centuries-old collection of Arabic folk tales of the same name, in which Scheherazade spends a thousand and one nights distracting her new husband, the Persian king Shahryar, with alluring stories so that he will not kill her. Rather than using any of the actual tales included in the collection, Gomes spent a year (Summer 2013 to Summer 2014) making up eight of his own, each with its own distinct tone, visual style, characters, degree of collaboration with locals, »
- Blake Williams
Who knew that watching films can be this exhausting? The first thing any press person at Cannes will tell you is probably how tiring festival grind is – press screenings from 8.30 am till midnight, endless queueing sessions (variously put to use for writing up or sun-tanning), the adrenaline rush of the literal rush to the next screening.
What few filmmakers premiering their work at Cannes seem to realise – based on the average two-hour run of the majority of films this year – is that at a film viewing marathon such as Cannes, critics’ attention is yours during the first hour and twenty minutes and then you’d better start getting ready for a wow of an ending. The editor is your friend and if you want the press to be a friend too, it’s good to shed extraneous long-windedness and not irk the critics – unless you are Miguel Gomes, then you can go on forever… »
- Zornitsa Staneva
Before moving on to news of other festivals, we need to wrap Cannes. An aggregated poll of critics' polls places Miguel Gomes's Arabian Nights in the #1 slot. But Manoel de Oliveira's Visit, or Memories and Confessions tops a favorite poll of ours, so we've collected a couple of reviews. Meantime, Seattle's marathon festival rolls on. Edinburgh's announced its lineup. The New York Asian Film Festival will present its 2015 Lifetime Achievement Award to Ringo Lam. Munich will honor Alexander Payne and, in October, Tokyo will screen retrospectives of work by Orson Welles and Shuji Terayama. » - David Hudson »
Peter Debruge: Well, I didn’t see that coming. In what feels like a twist ending — one that leaves me feeling a bit like Tim Roth at the end of “Chronic” — the Cannes jury has awarded the Palme d’Or to “Dheepan,” a movie that lags among my least favorites in the competition, and the weakest in Jacques Audiard’s filmography.
People have been throwing the word “weak” around a lot this week, grousing that the official selection doesn’t measure up to that of previous years. I defer to you, Scott and Justin, since you’ve each been attending Cannes for longer than I have (this is only my fifth time on the Croisette), but if there’s one thing I’ve learned in my time here, it’s that Cannes critics always like to complain that the present year’s crop feels meager by comparison to past editions, »
- Peter Debruge, Scott Foundas and Justin Chang
Today the festival turns for me, beginning as it did with Volume 2 of Miguel Gomes's Arabian Nights trilogy, told in tantalizing serial progression every other day at the Directors' Fortnight. What could be more fitting than eagerly awaiting more stories from this project inspired by Scheherazade's 1001 tales? Indeed, I wonder if film is actually the best format for Gomes's ambitious project, which I could easily see sprawling into television or web episodes, an all consuming process of ingesting a never ending series of idiosyncratic, telling events of Portugal's contemporary history. Volume 2: The Desolate One suggests as much after a singular opening episode—this part begins without Volume 1's wild, meta-prologue—of a rural murderer told as a traveling pastoral through the countryside. It is a single story of crime and Rural freedom telescoped into a sunny, roving short film that imagines not the man's horrible deed but »
- Daniel Kasman
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