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The Sarajevo Film Festival, which concludes Saturday, has been the scene of yet another hard stance from a filmmaker regarding the conflict in Gaza. Late Thursday, outspoken British director Ken Loach gave a speech at the Katrin Cartlidge Foundation Award Ceremony honoring Palestinian directors Abdel Salam Shehadeh and Ashraf Mashharawi, and called for an “absolute boycott of all the cultural happenings supported by the Israeli state.” According to Screen Daily, he added, “Israel must become a pariah state.” Loach further referred to the U.S., saying, “My country, to its shame, follows the bully that is the United States. But we are not powerless. We can act together.”
Related: Russell Brand Video Says 6 Companies Should Divest Israeli Holdings Over Gaza
The Sarajevo festival was founded during the 1992-95 Bosnian War. Per Screen, Loach said: “I know the people here will know the struggle and bravery you need when you are under siege, »
- Nancy Tartaglione
Honouring two Palestinian filmmakers at the Sarajevo Film Festival, British director Ken Loach branded the Us as a “bully” and said cultural happenings supported by the Israeli state should be boycotted.
British filmmaker Ken Loach has called for the “boycott of all the cultural happenings supported by the Israeli state” at an awards ceremony honouring two Palestinian directors.
The director of Kes and The Wind That Shakes The Barley gave an impassioned speech at the Sarajevo Film Festival (Aug 15-23) last night, where he presented the Katrin Cartlidge Foundation Award to Palestinian directors Abdel Salam Shehadeh and Ashraf Mashharawi.
Loach branded the directors as “probably two of the greatest filmmakers in the world today, because they are making films in Gaza.”
Stirring memories of Sarajevo’s four-year siege from 1992-96, Loach said: “I know the people here will know the struggle and bravery you need when you are under siege, and you feel »
- firstname.lastname@example.org (Michael Rosser)
London — U.K. broadcaster Channel 4 revealed today that the new chief of its filmmaking division, Film4 — which has backed Oscar-winning pics like Steve McQueen’s “12 Years a Slave” and Danny Boyle’s “Slumdog Millionaire” — would be David Kosse, who is president, international, at Universal Pictures. Variety spoke to Kosse about his new role.
Kosse, who joins Film4 on Nov. 1, said it was a bit early to speak about specific plans for Film4, but added that he had no intention of changing the “creative remit” of the production unit. “There continues to be a focus on emerging filmmakers, young talent and creative risk-taking,” he said.
Recent pics from emerging U.K. talent backed by Film4 include Yann Demange’s feature debut “’71,” which premiered in Berlin competition, and Daniel Wolfe’s first film “Catch Me Daddy,” which bowed in Cannes’ Directors’ Fortnight.
- Leo Barraclough
Kosse joins from Universal Pictures where he is president, international, and will take up his new post on Nov. 1.
Kosse will oversee the development, financing and green-lighting of all feature films, and support for the production and distribution of all Film4-backed releases both in the U.K. and internationally.
See Also: Film4’s New Chief David Kosse Speaks to Variety About Challenges of Role
Upcoming pics include Lone Scherfig’s drama about a boisterous Oxford student dining club, »
- Leo Barraclough
Have you ever wondered what are the films that inspire the next generation of visionary filmmakers? As part of our monthly Ioncinephile profile, we ask the filmmaker the incredibly arduous task of identifying their top ten favorite films of all time. Currently filming his debut narrative feature One & Two, Andrew Droz Palermo (read here) took some time out to unveil the films that make up that list as of August 2014. Andrew’s Rich Hill gets released theatrically (Aug.1st) via The Orchard. Here are his top ten in his own words.:
“What can I possibly add that hasn’t already been said? It’s a masterpiece.”
“Eerie. Heartbreaking. Surreal. Just amazing control of tone. Dying for Kino Lorber to release a Blu-ray.”
George Washington – David Gordon Green (2000)
“Rich Hill” gets compared to this film pretty often. I definitely take that as a compliment. »
- Eric Lavallee
As the democratization of film has made it possible for just about anyone to make a film, it has conversely made it more difficult for the individual filmmaker and his or her films to stand out. Online content platforms now offer a hundred times more films in their catalogs then the films cataloged by IMDb from the inception of film (1,764,727 titles as of 14 Jan 2011). So despite assertions to the contrary, branding is more important than ever.
Filmmakers Are Brands, Their Films Are Products Though difficult for some in a creative pursuit to accept, in the words of Moonstruck (1987): “Snap out of it!” The music world has brands Madonna Louise Ciccone and Joanne Angelina Germanotta, known by their much more memorable brand names, Madonna and Lady Gaga.
Consistency Counts When your audience knows what they can expect from your “brand”, even if it is to be continually surprised, you’ve »
- David K Greenwald
Blu-ray & DVD Release Date: Aug. 12, 2014
Price: Blu-ray $29.95
Studio: Twilight Time
Riff-Raff, Loach’s first comedy, concerns a gang of itinerant construction workers (including Trainspotting’s Robert Carlyle) laboring under unspeakable conditions on luxury homes for London’s wealthy. Raining Stones, a Jury Prize-winner at the Cannes Film Festival, is about an earnest man (Bruce Jones) driven to desperate measures in an effort to buy his daughter a First Communion dress.
Both films feature scores by Stewart Copeland, which are offered on an isolated music and effects track.
As supplier Twilight Time prints up only 3,000 copies of each title, the time to order your Blu-ray discs directly from distributor Screen Archives is Now!
On a London stage in 1992, a young Andy Serkis thought he was reaching the limits of actorly transformation. Playing Dogboy, "a bizarre, potentially quite violent street kid who thinks he's a dog," he'd strip naked each night, barking and biting, "much to my parents' shame."
But that was just the beginning for Serkis, 50, who had planned to spend his career acting in Ken Loach-style social-realist dramas. Instead, he's become a maestro of monsters. Through motion-capture technology, »
Despite calls for his release by Pedro Almodovar, Ken Loach and Mike Leigh, imprisoned Ukrainian filmmaker Oleg Sentsov (“Gamer”) has been denied bail at a Russian court hearing. He will now remain in prison until his trial Oct. 11.
Sentsov was arrested by Russian Fsb security forces in his house in Simferopol in the Crimea on May 11 and taken to Moscow. On May 30, the Fsb announced that Sentsov – who had actively opposed Russia’s annexation of Crimea, delivering food supplies to Ukrainian army troops trapped in their barracks – would be charged with planning to bomb two World War II monuments and setting fire to other buildings.
Sentsov made a speech in court from behind iron bars this week. (http://tvrain.ru/articles/ja_ne_krepostnoj_chtoby_s_zemlej_menja_peredavat_rech_ukrainskogo_rezhissera_olega_sentsova_v_sude-371693/)
In a summary by U.K. producer Mike Downey, who is spearheading the European »
- John Hopewell
The premiere for A Nightingale Falling takes place tomorrow at the Galway Film Fleadh, and unless you’ve got your ticket, you won’t get one now as it’s been sold out for well over a week. However, we have the first trailer below and it looks great. It has a fantastic authenticity about it (the visuals are superb), and it’s very reminiscent of something the great Ken Loach would do. Some tense and powerful performances by the cast here too and this is something we’re looking forward to seeing! Best of luck to Garret Daly and all the cast and crew ahead of their premiere! Synopsis: Set in Ireland during the War of Independence, two sisters' lives are changed forever as they care for a wounded soldier. What transpires is a tragic love story of a household & its inhabitants, caught in the crucible of dark deep »
- email@example.com (Vic Barry)
Estonian film Cherry Tobacco has its World Premiere in Karlovy Vary. Laurence Boyce talks to the married director Andres and Katrin Maimik about influences, first love and dumpling faces.
Married directing duo Andres and Katrin Maimik mark their debut feature together with Estonian film Cherry Tobacco, due to have its World Premiere in Karlovy Vary’s East of the West Competition.
For Katrin Maimik, it represents her first foray into the world of feature film after directing well-regarded shorts such as Foto. For Andres Maimik, known to Estonian audiences as an actor and journalist, it represents a return after such films as documentary Kuku: I Will Survive and the popular domestic hit Farts of Fury.
Cherry Tobacco follows young girl Laura who embarks on a camping holiday in the Estonian countryside. There she falls for the charms of 40-something Joosep and young love blossoms.
A lyrical and moving piece about first love, the film drips »
We’re trying to make cinema that encourages thinking
The Golden Dream is a stunning first feature by Diego Quemada-Diez, who has previously worked camera for, among others, Alejandro Inarritu, Oliver Stone, and, most influentially, for Ken Loach. The Golden Dream has recently become the most awarded Mexican film in history, scooping up awards from Thessaloniki to Tallinn, including Un Certain Regard at Cannes. Juan (Brandon Lopez), Sara (Karen Martinez), and Chauk (Rodolfo Dominguez) are three Guatemalans, barely burgeoning on adulthood, who leave the poverty of their slum and head for a treacherous dream, a life—a fantasy better life—in the United States. First as illegal immigrants in Mexico, they must make their way west and then up, to become illegal immigrants in Los Angeles, joining a river of migration through an incredibly hostile environment. Besides robbery (if it’s not bandits, it’s the police who rob them), hunger, »
- Dr. Garth Twa
French director to receive the Pardo d’onore at the Locarno Film Festival next month - only the second woman to receive the honour.
French director Agnès Varda is to receive the Pardo d’onore (honorary Leopard) at the 67th edition of the Locarno Film Festival (Aug 6-16).
The festival’s tribute to her will be accompanied by screenings of a selection of her films: the features Cleo from 5 to 7 (1962), The Creatures (1966), Lions Love (…and Lies) (1969), Documenteur (1981), Vagabond (Sans toit ni loi, 1985), The Gleaners and I (Les glaneurs et la glaneuse, 2000) and The Beaches of Agnes (Les Plages d’Agnès, 2008), and the short film Oncle Yanco (1967), as well as the five episodes of the TV series Agnès de ci de là Varda (2011).
Varda will also take part in an on-stage coversation at the festival.
After working as a theatre photographer, Varda began directing in 1954 with the feature-length film La Pointe Courte, starring [link=nm »
- firstname.lastname@example.org (Michael Rosser)
The Belgian-born Varda, 85, has directed more than 30 films over a career spanning more than six decades, starting with her 1954 “La Pointe Courte,” with Philippe Noiret, also at his debut. Edited by Alain Resnais, this pic about a young Parisian couple spending a few days in a village on the Mediterranean coast to decide whether to stay together or not became a defining influence on the next generation of Gallic directors.
The tribute to Varda from the Swiss fest dedicated to indie and cutting-edge cinema will comprise screenings of a wide selection of her films, including “Cleo from 5 to 7,” (1962); “The Creatures” (1966); “Lions Love (…and lies),” (1969); “Documenteur,” (1981), “Vagabond” (1985); “The Gleaners and I” (2000); “The Beaches of Agnes” (2008); and the »
- Nick Vivarelli
Festival, whose lineup was unveiled Wednesday in Zagreb.
Among competish titles are Jessica Hausner’s “Amour Fou,” Tudor Cristian Jurgiu’s “Japanese Dog,” Ken Loach’s “Jimmy’s Hall,” Xavier Dolan’s “Tom at the Farm,” Anthony Chen’s “Ilo Ilo,” Ralph Fiennes’ “The Invisible Woman” and “Bridges of Sarajevo,” which has multiple directors.
The Croatian program includes Darko Lungulov’s “Monument to Michael Jackson,” Branko Istvancic’s “The Bridge at the End of the World,” Darko Suvak’s “Happy Endings,” Filip Peruzovic’s “Walk the Dog,” and Peter Kerekes, »
- Variety Staff
Fridriksson [pictured] will serve on a jury and be the subject of a retrospective including his films Rock in Reykjavik, Children of Nature, Devil’s Island, Angels Of The Universe, and Falcons.
The Pula Pro Industry section will include masterclasses from PR expert Charles MacDonald, marketing veteran John Durie, sound expert Ray Gillon of G-Minor and Nik Powell of the UK’s National Film and Television School (Nfts).
The festival boasts a new artistic team of Mike Downey, Hrvoje Puksec and Tanja Milicic, who took over in April.
The Pula Cinematheque section, under special advistor Rajko Grlic, will focus on the year 1965.
One new strand at the festival will be Dizalica, aimed at cinephiles aged 16-21; selections include We Are The Best! and Bitch Hug. This is added »
- email@example.com (Wendy Mitchell)
British actress Justine Waddell, who learnt Russian for her role in Alexander Zeldovich’s Target (Mishen), will join the competition’s international jury, including Moscow Film Festival programme director Kirill Razlogov, Russian actress Olga Sutulova, and Armenian-French actor-director-producer Serge Avedikian, with writer-director Svetlana Proskurina as jury chairperson.
The competition line-up of 10 first and second features are as follows:
Life Feels Good, dir: Maciej Pieprzyca, PolandStill Life, dir: Uberto Pasolini, UKClass Enemy, dir: Rok Bicek, SloveniaBlind, dir: Eskil Vogt, NorwayStereo, dir: Maximilian Erlenwein, GermanyThe Art Of Happiness, dir: Alessandro Rak, ItalyWolf, dir: Jim Taihuttu, The NetherlandsTo See The Sea, dir: Jirí Mádl, Czech RepublicWhen Animals Dream, dir: Jonas Alexander Arnby, DenmarkSkinless, dir: Vladimir Beck, Russia.
Sidebars include the out-of-competition European section with such films as The Great Beauty »
- firstname.lastname@example.org (Martin Blaney)
Rochdale-born actor Christine Bottomley graduated from the Royal Scottish Academy of Music and Drama before landing her first TV acting role in 2001. She has since appeared in several prominent BBC productions including the Emmy- and Bafta-winning drama The Street (2006), as well as Land Girls and Hope Springs (both in 2009). She has also starred in ITV's Great Night Out and appeared alongside Peter Firth in recent crime drama Undeniable. In 2010, Bottomley was nominated for best supporting actress at the London Critics' Circle awards for her role in Clio Barnard's The Arbor, which was followed by further film roles in Nigel Cole's All in Good Time and Frances Lea's Strawberry Fields. Bottomley is in Keeping Rosy, in cinemas now, and will return to the small screen for Kay Mellor's »
- Leah Harper
All great debut features come from a place of true inspiration. For Diego Quemada-Diez, those places are dotted all over; with his knockout first film, The Golden Dream, which follows the lives of a group of teenagers as they embark on a mission from Guatemala to the U.S., the elements of his work can be traced back to the director’s influences (of which there are many) while also standing entirely on their own.
He sat down with HeyUGuys for a lengthy chat about the movie, and the political, social and deeply personal aspects that came to shape not only The Golden Dream, but his life.
Warning: this interview contains spoilers.
I found the film to be very powerful, but very sad as well. Did you have any inspirations? Were you thinking of other films while you were making this one?
I’ve been a cinephile all my life, »
- Gary Green
Omar is a movie that toes the line between different genres and different directions in narrative. Nothing is as it seems; the same can be said of its director, Hany Abu-Assad, who strikes a modest figure but is a veritable fountain of knowledge on all things cinema. Similarly, Waleed Zuaiter, who plays Agent Rami – the ‘villain’, for want of a better word – is an unassuming character, speaking about his craft with much passion and with zero pretension.
Between the two, HeyUGuys got a glimpse inside what makes Omar such a fantastic thriller; we talk about its unwillingness to focus on more specific genre tropes, how the Cannes film festival affects films of such a scale, and how the complexities of human condition makes for endless storytelling possibilities.
I personally couldn’t decide whether Omar was a love story or a war story. Is that kind of the combination that you »
- Gary Green
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