When thinking of Armenian cinema, the names of Sergei Parajanov and Artavazd Peleshyan come to mind. These two titans are influential not only for Armenian or Soviet cinema but world film heritage. Both introduced unique storytelling methods—one infusing the screen with poetry and collaged images, the second conceiving of the “Distance Montage” technique. But Armenian cinema, which marks its 100th anniversary this year, has other notable filmmakers whose work deserves no less recognition. ArmenFilm (HayFilm), the first and main film production body of Armenia, was established in 1923 as a separate department within the People’s Commissariat of the Soviet Armenia. […]
The post 100 Years of Making Films: The Centenary of Armenian Cinema first appeared on Filmmaker Magazine.
The post 100 Years of Making Films: The Centenary of Armenian Cinema first appeared on Filmmaker Magazine.
- 10/23/2023
- by Sona Karapoghosyan
- Filmmaker Magazine - Blog
When thinking of Armenian cinema, the names of Sergei Parajanov and Artavazd Peleshyan come to mind. These two titans are influential not only for Armenian or Soviet cinema but world film heritage. Both introduced unique storytelling methods—one infusing the screen with poetry and collaged images, the second conceiving of the “Distance Montage” technique. But Armenian cinema, which marks its 100th anniversary this year, has other notable filmmakers whose work deserves no less recognition. ArmenFilm (HayFilm), the first and main film production body of Armenia, was established in 1923 as a separate department within the People’s Commissariat of the Soviet Armenia. […]
The post 100 Years of Making Films: The Centenary of Armenian Cinema first appeared on Filmmaker Magazine.
The post 100 Years of Making Films: The Centenary of Armenian Cinema first appeared on Filmmaker Magazine.
- 10/23/2023
- by Sona Karapoghosyan
- Filmmaker Magazine-Director Interviews
Selected by Variety as a talent to track, Spain’s Jaione Camborda is developing her sophomore effort, “The Rye Horn,” a story that takes place in ‘70s Galicia. After a terrible event, midwife María is forced to become a fugitive and, to wrestle back her freedom, flee Galicia for Portugal along an old smugglers’ route.
Camborda attended Prague’s Famu film school and Munich’s University of Film and Television (Hff Munich). After several experimental shorts her feature debut “Arima” took a New Waves Award at the Seville European Fest in 2019.
“The Rye Horn” has been developed at two of Spain’s leading labs, San Sebastian’s Ikusmira Berriak and Madrid’s Ecam Incubator, and has participated at the TIFF Filmmaker Lab. The project is back by Galician pubcaster Tvg and the region’s Agency of Cultural Industries (Agadic). “The Rye Horn” is produced by Andrea Vázquez at Miramemira – the...
Camborda attended Prague’s Famu film school and Munich’s University of Film and Television (Hff Munich). After several experimental shorts her feature debut “Arima” took a New Waves Award at the Seville European Fest in 2019.
“The Rye Horn” has been developed at two of Spain’s leading labs, San Sebastian’s Ikusmira Berriak and Madrid’s Ecam Incubator, and has participated at the TIFF Filmmaker Lab. The project is back by Galician pubcaster Tvg and the region’s Agency of Cultural Industries (Agadic). “The Rye Horn” is produced by Andrea Vázquez at Miramemira – the...
- 9/22/2021
- by Emilio Mayorga
- Variety Film + TV
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAbove: Sonny Chiba in Kill Bill: Volume 1 (2003). Sonny Chiba, the prolific and singular actor, martial artist and choreographer, has died at the age of 82.New York Film Festival has unveiled its Currents section, featuring a strong slate that includes Artavazd Peleshian, Ted Fendt, Shengze Zhu, Christopher Harris, Shireen Seno, Matías Piñeiro and more. NYFF will also be screening seven programs dedicated to the centenary of the late film programmer and festival co-founder Amos Vogel. The retrospective includes works by Glauber Rocher, Oskar Fischinger, and Dušan Makavejev. The Berwick Film & Media Arts Festival has announced its lineup. This year's Focus program will showcase the works of Cambodian production company Anti-Archive, Nguyễn Trinh Thí, Rajee Samarasinghe, and Sps Community Media. Organized by Arsenal – Institute for Film and Video Art, Archival Assembly #1 will take place from...
- 8/25/2021
- MUBI
Film at Lincoln Center on Tuesday revealed the slate for the Currents section of the 2021 New York Film Festival, a slate of cutting-edge and experimental works that showcase fresh voices in contemporary cinema. The section’s opening night film is “The Tsugua Diaries,” a pandemic-era tale that premiered at Cannes Directors’ Fortnight about three housemates in lockdown from Maureen Fazendeiro and Miguel Gomes (“Arabian Nights”).
Currents includes 15 features, plus 36 shorts contained in eight programs, and represent 27 countries. In addition to the Portuguese “The Tsugua Diaries,” several films center around the pandemic. Shengze Zhu’s “A River Runs, Turns, Erases, Replaces,” is a meditation on Wuhan’s urban spaces before and after the outbreak, while Denis Côté’s “Social Hygiene” is an absurdist comedy in which characters exchange frank barbs from a humorous distance.
“Currents is the section of the festival that attests to cinema’s continued capacity for reinvention,” said Dennis Lim,...
Currents includes 15 features, plus 36 shorts contained in eight programs, and represent 27 countries. In addition to the Portuguese “The Tsugua Diaries,” several films center around the pandemic. Shengze Zhu’s “A River Runs, Turns, Erases, Replaces,” is a meditation on Wuhan’s urban spaces before and after the outbreak, while Denis Côté’s “Social Hygiene” is an absurdist comedy in which characters exchange frank barbs from a humorous distance.
“Currents is the section of the festival that attests to cinema’s continued capacity for reinvention,” said Dennis Lim,...
- 8/24/2021
- by Chris Lindahl
- Indiewire
Going UNDERGROUNDEverybody and their dog, it seems, feels this off imperative to try to identify common themes in the handful of festival films they (we) (I) see in a given year. It's the Ghost of Hegel, I suppose, demanding that we make sense of our times by referring to some Zeitgeist. (Zeitgeist? Isn't this just as likely to Strand the FilmsWeLike in some oh-so-precious Music Box, to be unearthed years later by members of some as-yet-unassembled Cinema Guild? But I digress.) There may or may not be tendencies running through this year's feature selections, and if there are, that could have as much to do with the people who selected them than with any global mood. But there does seem to be a generalized turning-inward, with filmmakers making works about themselves and their immediate lives, the cinematic process, and the very complexities of communicating with other human beings. There are...
- 9/17/2015
- by Michael Sicinski
- MUBI
As a followup to Jesse Cataldo's guide to the inaugural edition of the Museum of the Moving Image series First Look, which runs through January 15, when it closes with Raya Martin's Buenas Noches, España (he'll be there — and that's the trailer above, of course), I thought I'd round up a few supplementary items, starting with Eric Hynes's overview in the Voice, where he notes that First Look "already has a discernible identity":
In each their own way, the invited filmmakers approach film as a terrain for formal dexterity. They hail from all over the world—representing 11 countries and four continents — but nationality seems well beside the point. These are films in which borders are crossed as a matter of course: An Italian filmmaker tails a hero of the Armenian avant-garde (The Silence of Peleshian), while a Belgian master conjures Malaysia in the Cambodian jungle (Almayer's Folly); dramas resemble...
In each their own way, the invited filmmakers approach film as a terrain for formal dexterity. They hail from all over the world—representing 11 countries and four continents — but nationality seems well beside the point. These are films in which borders are crossed as a matter of course: An Italian filmmaker tails a hero of the Armenian avant-garde (The Silence of Peleshian), while a Belgian master conjures Malaysia in the Cambodian jungle (Almayer's Folly); dramas resemble...
- 1/9/2012
- MUBI
Established as a platform for the fringe successes and overlooked treasures of the European festival scene, the Museum of the Moving Image’s new First Look festival in New York acts as a much-needed bright spot amid the winter doldrums. It’s also the perfect antidote to an awards season hangover, offering resolutely small movies colored with a strong avant-garde streak. From the mind-bending, color-coded world of Raya Martin’s Buenos noches, España to the abundant familial milieu of Papirosen, the inaugural edition of this new event proves consistently engrossing. Below is a concise guide to some of films showing, all but one of which are NYC premieres.
Papirosen (Gastón Solnicki, Argentina)
Like a bustling inter-generational novel without a beginning or end, Gastón Solnicki’s Papirosen is a scrambled collection of anecdotes, floating about in search of a story arc. It’s a presentation that seems frazzled at first, until...
Papirosen (Gastón Solnicki, Argentina)
Like a bustling inter-generational novel without a beginning or end, Gastón Solnicki’s Papirosen is a scrambled collection of anecdotes, floating about in search of a story arc. It’s a presentation that seems frazzled at first, until...
- 1/6/2012
- MUBI
2012, the year in cinema, will be starting early, even before the Sundance-Rotterdam-Berlin marathon. The Museum of the Moving Image is launching a new series, First Look, showcasing 13 features and seven shorts, all of which — with the exception of Mark Jackson's Without and two shorts by Artavazd Peleshian — are New York premieres. Curated by Dennis Lim, Rachael Rakes and David Schwartz, First Look opens on January 6 with Chantal Akerman on hand to present Almayer's Folly and closes on January 15 with Raya Martin's presentation of his Buenas Noches, España.
The lineup in full (more or less in order of presentation):
Chantal Akerman's Almayer's Folly, an adaptation of Joseph Conrad's first novel. See Dan Sallitt's review, the Venice/Toronto roundup and Darren Hughes's interview with Akerman.
Philippe Garrel's That Summer (Un Eté brulant), which has just made Cahiers du Cinéma's top ten of 2011. See, too, Daniel...
The lineup in full (more or less in order of presentation):
Chantal Akerman's Almayer's Folly, an adaptation of Joseph Conrad's first novel. See Dan Sallitt's review, the Venice/Toronto roundup and Darren Hughes's interview with Akerman.
Philippe Garrel's That Summer (Un Eté brulant), which has just made Cahiers du Cinéma's top ten of 2011. See, too, Daniel...
- 12/9/2011
- MUBI
At the Q&A following the presentation of his latest film The Return, which had its world premiere at this year’s Toronto International Film Festival’s Wavelengths program, Nathaniel Dorsky was asked, “Could you please say a little bit about your editing style?” Without missing a beat, Dorsky replied, “How little?” It’s a great laugh-line (and like all of Dorsky’s Q&A humor, good natured and never at the questioner’s expense), but it also speaks to an irony about the reception of Dorsky’s cinema over the years, something to which I myself have hardly been immune. Since the late 1990s, when Dorsky emerged with what has become identified as his present, ongoing (not to say “mature”) style of filmmaking, inaugurated with Triste (1996) and Variations (1998), a great deal of attention has been paid to the highly unique editing patterns in these films, as well as their penetrating beauty.
- 9/23/2011
- MUBI
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