4 items from 2016
Projects by Agnieszka Holland [pictured], Bodo Kox and Adrian Panek are among the films being presented at this week’s Polish Days during the T Mobile New Horizons International Film Festival in Wroclaw (July 21-31).
Holland’s dark comedy-thriller Game Count, which she bills as “No Country For Old Women¨, is one of nine titles in the Works in Progress showcase.
The $3.9m (€3.5m) co-production between Krzysztof Zanussi’s Tor Film Studio and Germany’s Heimatfilm will be distributed internationally by Beta Cinema.
Polish Days’ international audience of sales agents, distributors and festival programmers were also treated to the first footage from Kasia Adamik’s thriller Amok and Dorota Kobiela’s animated drama Loving Vincent as well as from two films which will be featured in Locarno’s First Look works in progress sidebar next week: Maciej Pieprzyca’s psychological thriller I’m A Killer (which »
- email@example.com (Martin Blaney)
The Polish film industry has continued to strengthen in the past year, both artistically and commercially, building on a decade of growth. The coming year looks promising, too, with a string of ambitious movies in the pipeline.
February provided one indicator of the good health of the Polish biz. On the one hand, Tomasz Wasilewski’s relationship drama “United States of Love” won the script prize at the Berlin Film Festival, and on the other, Mitja Okorn’s romantic comedy “Planet Single” beat “Deadpool” to top the Polish box office. It is this ability to be audience-, critic- and festival-friendly that has helped the Polish industry to push on year after year, and that is largely due to the support provided by the Polish Film Institute and the regional film funds.
Magdalena Sroka, who took over as general director of the Polish Film Institute in October and describes it as the local industry’s “heart, »
- Leo Barraclough
“There is in every one of us, even those who seem to be most moderate, a type of desire that is terrible, wild, and lawless.”—The Republic, Book IX 572bWhat’s the best way to describe the mania of an Andrzej Żuławski film? William Grimes, eulogizing Żuławski for The New York Times chose “emotionally savage.” J. Hoberman used “hyperkinetic,” “frenzied,” and “‘awful’ in its root sense of inspiring dread. Daniel Bird, writing about the most recent Lincoln Center screenings in New York, chose “deeply disturbing.” These descriptors make perfect sense after experiencing a Żuławski film, but I’ve never been able to sell his films to a newcomer this way. How could I? They’re much too primal for adjectives in our delicate English language, crafted to communicate Enlightenment-era ideas in a pleasing series of vibrations. The intensity of this director’s films could only be described in some sort of ancient Lovecraftian squelching, »
- Zach Lewis
Director: Agnieszka Holland
Polish auteur Agnieszka Holland, once the protégé of Krzysztof Zanussi, is still best remembered for early 90s titles such as Europa Europa (1990) and her Arthur Rimbaud biopic starring Leonardo DiCaprio, Total Eclipse (1993). Her last feature was 2011’s In Darkness, nominated for Best Foreign Language film that year, and she’s been steadily working in television, from the superb mini-series “Burning Bush,” to English language items such as episodes of “House of Cards,” and the t.v. treatment of “Rosemary’s Baby.” She’s been attempting to adapt famed Polish novelist Olga Tokarzuk’s Drive Your Plow Over the Bones of the Dead for several years, and phases of filmmaking have commenced on her adaptation, known as Game Count and co-written by Tokarzuk. Filming is supposed to wrap in late 2015/early 2016 on what’s described as a crime thriller with comedic »
- Nicholas Bell
4 items from 2016
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