Jia Zhangke on Experimenting With AI for Cannes Entry ‘Caught by the Tides,’ Respecting the Audience
Sporting a warm smile and a pair of sunglasses – “Sorry, I’ve been busy editing and my eyes hurt,” he explained – one of China’s leading indie directors Jia Zhangke, whose upcoming film “Caught by the Tides” will be vying for the Palme d’or in Cannes next month, was guest of honor at the 55th edition of Swiss doc festival Visions du Réel this week.
Finished just in time for submission to Cannes, the film features his wife Zhao Tao, his muse over the last two decades, and tells the story of a couple spanning 20 years. (Jia previously spoke with Variety about the film in February when it still went under the working title “We Shall Be All.”)
Explaining how the pandemic gave him the opportunity to review his footage all the way back to 2001, he described his new film as “a concentration of 20 years’ experience,” which blends footage...
Finished just in time for submission to Cannes, the film features his wife Zhao Tao, his muse over the last two decades, and tells the story of a couple spanning 20 years. (Jia previously spoke with Variety about the film in February when it still went under the working title “We Shall Be All.”)
Explaining how the pandemic gave him the opportunity to review his footage all the way back to 2001, he described his new film as “a concentration of 20 years’ experience,” which blends footage...
- 4/19/2024
- by Lise Pedersen
- Variety Film + TV
French filmmaker Alain Guiraudie to also sit on New Currents jury.
The 27th Busan International Film Festival (Biff) has announced the line-up for its two Asian competition juries with Unifrance president Serge Toubiana set to preside over the New Currents jury.
New Currents is Biff’s main competition section, which introduces first or second feature films of emerging directors that the festival sees as potential future leaders in Asian cinema.
Toubiana will be joined on the jury the French director Alain Guiraudie, whose Stranger By The Lake won the Queer Palm and directing prize when it played in Un Certain...
The 27th Busan International Film Festival (Biff) has announced the line-up for its two Asian competition juries with Unifrance president Serge Toubiana set to preside over the New Currents jury.
New Currents is Biff’s main competition section, which introduces first or second feature films of emerging directors that the festival sees as potential future leaders in Asian cinema.
Toubiana will be joined on the jury the French director Alain Guiraudie, whose Stranger By The Lake won the Queer Palm and directing prize when it played in Un Certain...
- 8/24/2022
- by Jean Noh
- ScreenDaily
Indian Media World Shaken By Hostile Takeover Bid For Ndtv
Indian billionaire Guatam Adani looks set to acquire India’s premiere independent news broadcaster New Delhi Television (Ndtv) after his Adani Group exercised a right to buy a 29.18 stake under a loan agreement taken out by its founders more than a decade ago. The Adani Group has indicated that it plans to make an offer for a further 26 stake to give it a controlling 55 share in the company.
Ndtv was founded by the husband and wife team, economist Prannoy Roy and journalist Radhika Roy, in 1984. The company has put out a statement saying that Adani’s move to execute the right to buy clause had been undertaken without first consulting the co-founders, who hold a 32.26 stake.
Ndtv is regarded as one of the last homes of independent journalism in India and there are fears that a takeover by the Andani Group,...
Indian billionaire Guatam Adani looks set to acquire India’s premiere independent news broadcaster New Delhi Television (Ndtv) after his Adani Group exercised a right to buy a 29.18 stake under a loan agreement taken out by its founders more than a decade ago. The Adani Group has indicated that it plans to make an offer for a further 26 stake to give it a controlling 55 share in the company.
Ndtv was founded by the husband and wife team, economist Prannoy Roy and journalist Radhika Roy, in 1984. The company has put out a statement saying that Adani’s move to execute the right to buy clause had been undertaken without first consulting the co-founders, who hold a 32.26 stake.
Ndtv is regarded as one of the last homes of independent journalism in India and there are fears that a takeover by the Andani Group,...
- 8/24/2022
- by Melanie Goodfellow
- Deadline Film + TV
Festivals
On Aug. 24, Ukraine independence day, the Venice Film Festival has revealed that it will host a Ukrainian Day on Sept. 8, as part of the festival’s Venice Production Bridge initiative. The day will kick off with a panel discussion introduced by the president of the Biennale, Roberto Cicutto, and the artistic director of the 79th festival, Alberto Barbera.
Panelists include the Ambassador of Ukraine to Italy, Yaroslav Melnyk; the head of the National Cinema Institution of Ukraine, Marina Kuderchuk; the director of the film “Luxembourg, Luxembourg” (which will screen in competition in the festival’s Horizons strand), Antonio Lukich; the director of the film “Freedom on Fire: Ukraine’s Fight for Freedom” (screening out of competition), Evgeny Afineevsky; the exhibiting artist in the Ukrainian Pavilion at the 59th Biennale Arte, Pavlo Makov; the curator of the Ukrainian Pavilion at the 59th Biennale Arte, Boris Filonenko; the representative of Ukraine’s...
On Aug. 24, Ukraine independence day, the Venice Film Festival has revealed that it will host a Ukrainian Day on Sept. 8, as part of the festival’s Venice Production Bridge initiative. The day will kick off with a panel discussion introduced by the president of the Biennale, Roberto Cicutto, and the artistic director of the 79th festival, Alberto Barbera.
Panelists include the Ambassador of Ukraine to Italy, Yaroslav Melnyk; the head of the National Cinema Institution of Ukraine, Marina Kuderchuk; the director of the film “Luxembourg, Luxembourg” (which will screen in competition in the festival’s Horizons strand), Antonio Lukich; the director of the film “Freedom on Fire: Ukraine’s Fight for Freedom” (screening out of competition), Evgeny Afineevsky; the exhibiting artist in the Ukrainian Pavilion at the 59th Biennale Arte, Pavlo Makov; the curator of the Ukrainian Pavilion at the 59th Biennale Arte, Boris Filonenko; the representative of Ukraine’s...
- 8/24/2022
- by Naman Ramachandran
- Variety Film + TV
The Notebook Primer introduces readers to some of the most important figures, films, genres, and movements in film history.Adoor Gopalakrishnan on the set of KathapurushanIn 1982, Elippathayam (Rat-Trap) was introduced at the National Film Theatre, London, and won the Sutherland Trophy for the “most original and imaginative film” of the year. The Malayalam-language film succeeded in catapulting its director, Adoor Gopalakrishnan, to widespread international acclaim. Until then, the rare British Film Institute (BFI) honor had been bestowed upon only one filmmaker from India: Satyajit Ray. Along with Ray and Mrinal Sen, Gopalakrishnan is one of the most recognized and admired Indian filmmakers in world cinema. The International Film Critics Prize (Fipresci) has gone to him six times successively. Decorated with honors such as the French Government's Commander of the Order of Arts & Letters, the Dadasaheb Phalke Award—India's highest award in cinema—and winner of several international awards, his films...
- 11/3/2021
- MUBI
Six months before Alfonso Cuarón won three Oscars, his Netflix movie premiered at the Venice Film Festival, where it landed the Golden Lion. But “Roma” might have started its path to glory earlier in the year with the Palme d’Or, if the Cannes Film Festival programmed it in competition. However, that festival’s newly enacted rule required all competition titles to receive a theatrical release in France, disqualifying “Roma” from consideration, and the fallout led the streaming platform to pull the rest of its titles from the festival.
As Cannes gears up for its 2019 edition, there has been much speculation about how it might reconcile Netflix’s growing roster of top-shelf international cinema with pressure from French exhibitors to keep the country’s theaters safe from the encroaching threat of streaming.
At the same time, the company is facing a new surge of backlash to its limited theatrical approach,...
As Cannes gears up for its 2019 edition, there has been much speculation about how it might reconcile Netflix’s growing roster of top-shelf international cinema with pressure from French exhibitors to keep the country’s theaters safe from the encroaching threat of streaming.
At the same time, the company is facing a new surge of backlash to its limited theatrical approach,...
- 3/5/2019
- by Eric Kohn
- Indiewire
Cinema Journalists Union (Ujc) has issued a statement.
France’s Cinema Journalists Union (Ujc) has issued a statement calling on the Cannes Film Festival to reinstate its former press screening schedule, under which accredited journalists were able to watch Competition titles ahead of their world premieres in the evening.
Under new screening rules introduced last year, press screenings for the 7pm gala screening in the main Lumière theatre took place simultaneously in the neighbouring Debussy and Bazin theatres; while press screenings for the 10pm gala screening were delayed until the following day at 8.30am.
The Ujc called on Cannes to...
France’s Cinema Journalists Union (Ujc) has issued a statement calling on the Cannes Film Festival to reinstate its former press screening schedule, under which accredited journalists were able to watch Competition titles ahead of their world premieres in the evening.
Under new screening rules introduced last year, press screenings for the 7pm gala screening in the main Lumière theatre took place simultaneously in the neighbouring Debussy and Bazin theatres; while press screenings for the 10pm gala screening were delayed until the following day at 8.30am.
The Ujc called on Cannes to...
- 2/22/2019
- by Melanie Goodfellow
- ScreenDaily
Amsterdam — Delivering on new artistic director Orwa Nyrabia’s commitment to giving space to documentaries from the global south, this year’s Idfa festival handed its main prize to Anand Patwardhan’s “Reason”, described by the festival as “a broad-ranging examination of Indian society, in which secular rationalists are hunted down as they attempt to stem the rising tide of religious and nationalist fundamentalism.”
At a ceremony held at the International Theater Amsterdam, jury members Daniela Elstner, Jean-Michel Frodon, Tala Hadid, Mahamat-Saleh Haroun, and Alina Marazzi voted “unanimously” for Patwardhan’s 261-minute film, praising its “epic storytelling of the rise of the far right in one of the most populated countries of this planet … in a way that acknowledges the complexity of the situation but puts it in a very understandable shape.”
In second place, the Special Jury Award went to the crowd-pleasing dogs-in-a-skatepark doc “Los Reyes” by Bettina Perut and Iván Osnivikoff.
At a ceremony held at the International Theater Amsterdam, jury members Daniela Elstner, Jean-Michel Frodon, Tala Hadid, Mahamat-Saleh Haroun, and Alina Marazzi voted “unanimously” for Patwardhan’s 261-minute film, praising its “epic storytelling of the rise of the far right in one of the most populated countries of this planet … in a way that acknowledges the complexity of the situation but puts it in a very understandable shape.”
In second place, the Special Jury Award went to the crowd-pleasing dogs-in-a-skatepark doc “Los Reyes” by Bettina Perut and Iván Osnivikoff.
- 11/21/2018
- by Damon Wise
- Variety Film + TV
The Cannes Film Festival wrapped its 71st edition on Saturday with the Palme d’Or ceremony, awarding the top prize to Japanese director Hirokazu Kore-eda’s “Shoplifters.” Other movies recognized by Cate Blanchett’s jury included Spike Lee’s “BlacKkKlansman” (Grand Prix) and Pawel Pawlikowski’s “Cold War” (Best Director). While these movies were all well-received by the media covering the festival, one major film in competition went home empty-handed — and now, it has topped IndieWire’s critics survey of the best films of the festival.
“Burning,” Korean director Lee Chang-dong’s first feature in eight years, took first place for best film in IndieWire’s annual poll. The drama, an adaptation of Haruki Murakami’s short story “Barn Burning,” focuses on the mysterious experiences of a working class man (Ah-in Yoo) who obsesses over a seductive woman (Jeon Jong Seo) while resenting the confidant man (Steven Yeung) she spends her time around.
“Burning,” Korean director Lee Chang-dong’s first feature in eight years, took first place for best film in IndieWire’s annual poll. The drama, an adaptation of Haruki Murakami’s short story “Barn Burning,” focuses on the mysterious experiences of a working class man (Ah-in Yoo) who obsesses over a seductive woman (Jeon Jong Seo) while resenting the confidant man (Steven Yeung) she spends her time around.
- 5/21/2018
- by Eric Kohn
- Indiewire
Netflix may dominate conversations about the future of the movies, but the world’s grandest celebration of cinema won’t cave so easily. The 70th Cannes Film Festival often fuels conversations about the state of the industry, so it’s appropriate that the program’s venerated competition features two upcoming Netflix releases, Bong Joon Ho’s sci-fi “Okja” and Noah Baumbach’s “The Meyerowitz Stories,” even though the decision has angered French exhibitors livid with the platform’s disinterest in releasing its titles into theaters.
Cannes placated its national industry by adding a new rule requiring competition films to open in French theaters, but this year’s Netflix selections remain in place, which leaves the current battleground between the digital platform and the theatrical business at a stalemate. However, as usual, the Cannes universe — a high-minded symbiosis of chic posturing and intellectualism — has projected a cavalier attitude about the whole ordeal.
Cannes placated its national industry by adding a new rule requiring competition films to open in French theaters, but this year’s Netflix selections remain in place, which leaves the current battleground between the digital platform and the theatrical business at a stalemate. However, as usual, the Cannes universe — a high-minded symbiosis of chic posturing and intellectualism — has projected a cavalier attitude about the whole ordeal.
- 5/18/2017
- by Eric Kohn
- Indiewire
Barbet Schroeder, Amos Gitaï, post-truth era panel among May 23 highlights.
The Doc Day returns to Cannes on May 23 for its second year with the overarching goal of exploring how the non-fiction form creates impact and can bring peace to disrupted societies.
The Centre National du Cinéma et de l’Image Animée (Cnc) will introduce the morning session at the Plage du Gray d’Albion when Amos Gitaï will discuss his Directors’ Fortnight selection West Of The Jordan River (Field Diary Revisited) with critic Jean-Michel Frodon.
The session will include the round table ‘Documentaries in the Post-Truth Era’ moderated by Screen International and featuring Kathleen Lingo of the New York Times’ Op-Docs platform, investigative correspondent Laurent Richard from Premières Lignes Télévision, Ida Enterprise Documentary Fund director Carrie Lozano, Kathy Im, director of the John D. and Catherine T. MacArthur Foundation’s Journalism and Media Program, and Gonzalo Lamela, director of Films For Transparency.
“In a world...
The Doc Day returns to Cannes on May 23 for its second year with the overarching goal of exploring how the non-fiction form creates impact and can bring peace to disrupted societies.
The Centre National du Cinéma et de l’Image Animée (Cnc) will introduce the morning session at the Plage du Gray d’Albion when Amos Gitaï will discuss his Directors’ Fortnight selection West Of The Jordan River (Field Diary Revisited) with critic Jean-Michel Frodon.
The session will include the round table ‘Documentaries in the Post-Truth Era’ moderated by Screen International and featuring Kathleen Lingo of the New York Times’ Op-Docs platform, investigative correspondent Laurent Richard from Premières Lignes Télévision, Ida Enterprise Documentary Fund director Carrie Lozano, Kathy Im, director of the John D. and Catherine T. MacArthur Foundation’s Journalism and Media Program, and Gonzalo Lamela, director of Films For Transparency.
“In a world...
- 5/5/2017
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
The second annual Doc Day at the Cannes Film Festival will bring filmmakers and documentary professionals together to discuss the various ways non-fiction storytellers can help tackle the many challenges facing the world’s “disrupted societies.” The full day event taking place on May 23 will focus on the theme of how to use documentaries as a tool to promote awareness and togetherness around the world.
Read More: Cannes Classics 2017 Lineup Includes ‘Belle de Jour’ Restoration, Stanley Kubrick Doc and More
“In a world evolving from a society of facts to one of the big data, with fake news and populism invading the spheres of social networks, politics and press, documentary filmmakers are an essential voice to bring independent analysis through storytelling that helps to inform, engage and inspire us all to think critically and deeply about the challenges facing democracy in this Post-Truth Era,” Julie Bergeron, head of industry programs at the Marché du Film,...
Read More: Cannes Classics 2017 Lineup Includes ‘Belle de Jour’ Restoration, Stanley Kubrick Doc and More
“In a world evolving from a society of facts to one of the big data, with fake news and populism invading the spheres of social networks, politics and press, documentary filmmakers are an essential voice to bring independent analysis through storytelling that helps to inform, engage and inspire us all to think critically and deeply about the challenges facing democracy in this Post-Truth Era,” Julie Bergeron, head of industry programs at the Marché du Film,...
- 5/5/2017
- by Graham Winfrey
- Indiewire
Philippe Garrel’s In The Shadow of Women is his Jacques Rivette film: a work of masks, intrigues, labyrinthine deceptions and power games...but applied to the most intimate of relationships. So too is it thus a 69 minute long miracle of economy: We will see the meanings of these frames later. As Garrel says in his press conference: "For me, In The Shadow of Women is a film about the equality of men and women in as far as cinema can achieve this."And insofar as it is a meditation on equality between men and women, it too is also in dialogue with cinema itself.“...a history of cinema as communication between man and woman.” – Garrel, New York 2015 A good alternate title would be: Now, how do we get from point A to point B? “I also use images from my dreams. I am looking for a form of oneirism...
- 1/25/2016
- by Neil Bahadur
- MUBI
Drawing from this year’s comprehensive theme “Imag(in)e Looking Long and Hard”, the eighth edition of Talents Sarajevo invited seventy emerging film professionals to reflect on the challenges of cinematography and to experiment with imagery. They were encouraged to maintain their gaze and to look long and hard around themselves in order to be able to distinguish the extraordinary from the ordinary. They were invited to play with visually appealing and striking solutions before reaching for narratively coherent and familiar ones.
This year, Talents Sarajevo celebrated insightful, daring and groundbreaking filmmaking and for the very first time, opened its doors to up-and-coming cinematographers. Recognized as film director’s main visual collaborator, the Dp occupies a central role in giving a film its unique visual context, As in previous editions, the workshop also included actors, directors, film critics, producers and screenwriters from the wider region of Southeast Europe and Southern Caucasus.
Apart from trainings made for specific groups of professionals, more sessions combined groups of two, three or more film professionals in order to encourage networking solutions and boost forthcoming collaborations up within the regional film industry. Networking opportunities were complemented with hands-on trainings, master classes and talks with established regional and international filmmakers, festival excursions and film screenings.
This year’s experts and lecturers included, among many others, Jean-Luc Godard’s cinematographer Fabrice Aragno; the French actress Bérénice Bejo; the Mexican actor, director and producer Gael García Bernal; film critics Dan Fainaru and Jean-Michel Frodon; the French director Michel Hazanavicius; the British director Mike Leigh; the American actress Melissa Leo; the director of the Rome Film Festival Marco Mueller; the Hungarian director Kornél Mundruczó; the British director Michael Winterbottom and the Bosnian director Jasmila Zbanic...
This year, Talents Sarajevo celebrated insightful, daring and groundbreaking filmmaking and for the very first time, opened its doors to up-and-coming cinematographers. Recognized as film director’s main visual collaborator, the Dp occupies a central role in giving a film its unique visual context, As in previous editions, the workshop also included actors, directors, film critics, producers and screenwriters from the wider region of Southeast Europe and Southern Caucasus.
Apart from trainings made for specific groups of professionals, more sessions combined groups of two, three or more film professionals in order to encourage networking solutions and boost forthcoming collaborations up within the regional film industry. Networking opportunities were complemented with hands-on trainings, master classes and talks with established regional and international filmmakers, festival excursions and film screenings.
This year’s experts and lecturers included, among many others, Jean-Luc Godard’s cinematographer Fabrice Aragno; the French actress Bérénice Bejo; the Mexican actor, director and producer Gael García Bernal; film critics Dan Fainaru and Jean-Michel Frodon; the French director Michel Hazanavicius; the British director Mike Leigh; the American actress Melissa Leo; the director of the Rome Film Festival Marco Mueller; the Hungarian director Kornél Mundruczó; the British director Michael Winterbottom and the Bosnian director Jasmila Zbanic...
- 9/2/2014
- by Tara Karajica
- Sydney's Buzz
Woody Allen’s 1920s feature to close Sarajevo at the city’s Open Air Cinema.
The Sarajevo Film Festival (Aug 15-23) has revealed the line-up for its Open Air Cinema screenings, which will include Woody Allen’s Magic in the Moonlight as the closing film.
Sat in the 1920s on the French Riviera, the romantic comedy stars Colin Firth as a magician who attempts to expose a psychic medium, played by Emma Stone, as a fake.
Allen’s Oscar-winning Blue Jasmine screened at Sarajevo’s Open Air Cinema during last year’s festival.
As previously announced, Sarajevo will open with three films to mark its 20th edition.
The first will be Alejandro González Inárritu’s 2000 feature Amores Perros and actor Gael Garcia Bernal will be in attendance to introduce the Open Air Cinema screening and accept the festival’s Honorary Heart of Sarajevo.
The second opening night film will be road movie Je M’appelle Hmmm…, the...
The Sarajevo Film Festival (Aug 15-23) has revealed the line-up for its Open Air Cinema screenings, which will include Woody Allen’s Magic in the Moonlight as the closing film.
Sat in the 1920s on the French Riviera, the romantic comedy stars Colin Firth as a magician who attempts to expose a psychic medium, played by Emma Stone, as a fake.
Allen’s Oscar-winning Blue Jasmine screened at Sarajevo’s Open Air Cinema during last year’s festival.
As previously announced, Sarajevo will open with three films to mark its 20th edition.
The first will be Alejandro González Inárritu’s 2000 feature Amores Perros and actor Gael Garcia Bernal will be in attendance to introduce the Open Air Cinema screening and accept the festival’s Honorary Heart of Sarajevo.
The second opening night film will be road movie Je M’appelle Hmmm…, the...
- 7/29/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Turkish director Nuri Bilge Ceylan receives his Fipresci award for Winter Sleep. As Cannes awaits the deliberations tomorrow (May 24) of Jane Campion and her Competition jury, Fipresci have announced this evening the winners of the International Critics Prize during a ceremony held at the Plage des Palmes.
Often seen as an indicator of what might be in store the jury (comprised of Esin Kücüktepepinar, Turkey, president, Jean-Michel Frodon, France, Pierre Pageau, Canada, Paola Casella, Italy, Tereza Brdeckova, Czech Republic, Olivier Pélisson, France, Alissa Simon, USA, Richard Mowe, UK, Frédéric Jaeger, Germany and co-ordinated by Pamela Biénzobas, Chile/France) singled out from the official competition Nuri Bilge Ceylan’s Winter Sleep.
Richard Mowe, left, from Eye For Film, presents first time director Thomas Cailley with his award for Les Combattants, presented in the Directors' Fortnight From Un Certain Regard, the prize-winner was Jauja by Argentinian filmmaker Lisandro Alonso.
The sub-jury covering...
Often seen as an indicator of what might be in store the jury (comprised of Esin Kücüktepepinar, Turkey, president, Jean-Michel Frodon, France, Pierre Pageau, Canada, Paola Casella, Italy, Tereza Brdeckova, Czech Republic, Olivier Pélisson, France, Alissa Simon, USA, Richard Mowe, UK, Frédéric Jaeger, Germany and co-ordinated by Pamela Biénzobas, Chile/France) singled out from the official competition Nuri Bilge Ceylan’s Winter Sleep.
Richard Mowe, left, from Eye For Film, presents first time director Thomas Cailley with his award for Les Combattants, presented in the Directors' Fortnight From Un Certain Regard, the prize-winner was Jauja by Argentinian filmmaker Lisandro Alonso.
The sub-jury covering...
- 5/23/2014
- by Richard Mowe
- eyeforfilm.co.uk
Other winners include Jauja and Love at First Fight.
The International Federation of Film Critics (Fipresci) has named Nuri Bilge Ceylan’s Winter Sleep as the best film in Competition at the 67th Cannes Film Festival.
The director of the three-hour, Turkish film “managed to surprise and delight” the jury with “his in-depth soul-searching, put to us in great cinematic terms”.
Giving thanks to the critics for the prize, Ceylan said: “It was a challenging year, and, I want to say, without you and the audience, art films, but especially long art films, would be very lonesome.”
The Fipresci jury selected Argentine Lisandro Alonso’s Jauja as best film in Un Certain Regard.
After picking up awards in the Directors’ Fortnight and Critics’ Week sections, Love at First Fight from French director Thomas Cailley was honoured again by the Fipresci jury, which only considered debut features for this prize.
Abderrahmane Sissako’s Competition title Timbuktu won the...
The International Federation of Film Critics (Fipresci) has named Nuri Bilge Ceylan’s Winter Sleep as the best film in Competition at the 67th Cannes Film Festival.
The director of the three-hour, Turkish film “managed to surprise and delight” the jury with “his in-depth soul-searching, put to us in great cinematic terms”.
Giving thanks to the critics for the prize, Ceylan said: “It was a challenging year, and, I want to say, without you and the audience, art films, but especially long art films, would be very lonesome.”
The Fipresci jury selected Argentine Lisandro Alonso’s Jauja as best film in Un Certain Regard.
After picking up awards in the Directors’ Fortnight and Critics’ Week sections, Love at First Fight from French director Thomas Cailley was honoured again by the Fipresci jury, which only considered debut features for this prize.
Abderrahmane Sissako’s Competition title Timbuktu won the...
- 5/23/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
The International Federation of Film Critics (Fipresci) have announced their winning selections from this year's Cannes Film Festival. The jury presented three prizes to the following films: Official Competition: "Winter Sleep" ("Kis Uykusu") by Nuri Bilge Ceylan Un Certain Regard: "Jauja" by Lisandro Alonso Parallel Sections: "Love at First Fight" ("Les Combattants") by Thomas Cailley (shown in the Directors' Fortnight) This year's international jury members included: Esin Kücüktepepinar, Turkey, president Jean-Michel Frodon, France Pierre Pageau, Canada Paola Casella, Italy Tereza Brdeckova (Czech Republic) Olivier Pélisson, France Alissa Simon, USA Richard Mowe, UK Frédéric Jaeger, Germany Coordination: Pamela Biénzobas, Chile/France...
- 5/23/2014
- by Casey Cipriani
- Indiewire
Exclusive: World sales company also offers new titles by Jean-Pierre Améris, Xavier Picard, Quentin Dupieux.
Indie Sales has picked up the international rights for the Cannes Special Screenings title The Bridges Of Sarajevo.
The omnibus feature which marks the centenary of the outbreak of the First World War comprises 13 short films of eight minutes each, directed by Aida Begic, Leonardo di Costanzo, Jean-Luc Godard, Kamen Kalev, Isild Le Besco, Sergei Loznitsa, Vincenzo Marra, Ursula Meier, Vladimir Perisic, Cristi Puiu, Marc Recha, Angela Schanelec, and Teresa Villaverde.
Jean-Michel Frodon is the artistic director of the project produced by Fabienne Servan Schreiber for Cinétévé and Mirsad Purivatra for Sarajevo’s Obala Art Center, and co-produced by Bande à part films, Mir Cinematografica, Unafilm, Ukbar filmes and France 2 Cinéma, Orange Studio, Rai Cinema, Rts Radio Télévision Suisseand the First World War Centenary Mission.
“We are thrilled to renew our fruitful collaboration with Orange Studio and come on board this ambitious...
Indie Sales has picked up the international rights for the Cannes Special Screenings title The Bridges Of Sarajevo.
The omnibus feature which marks the centenary of the outbreak of the First World War comprises 13 short films of eight minutes each, directed by Aida Begic, Leonardo di Costanzo, Jean-Luc Godard, Kamen Kalev, Isild Le Besco, Sergei Loznitsa, Vincenzo Marra, Ursula Meier, Vladimir Perisic, Cristi Puiu, Marc Recha, Angela Schanelec, and Teresa Villaverde.
Jean-Michel Frodon is the artistic director of the project produced by Fabienne Servan Schreiber for Cinétévé and Mirsad Purivatra for Sarajevo’s Obala Art Center, and co-produced by Bande à part films, Mir Cinematografica, Unafilm, Ukbar filmes and France 2 Cinéma, Orange Studio, Rai Cinema, Rts Radio Télévision Suisseand the First World War Centenary Mission.
“We are thrilled to renew our fruitful collaboration with Orange Studio and come on board this ambitious...
- 5/17/2014
- ScreenDaily
Hungarian director Béla Tarr announced that the University of Split (Croatia) curriculum will be a three-year course, which will in the first year take 16 international students. The classes are meant as a combination of theoretical courses, workshops with filmmakers and practical work.
“In my view, it is impossible to teach art, because every artist is different: they have their language and cultural background, they possess a talent of their own. In order for that talent to develop, they need to be free and brave,” Tarr said. “This is why I want this film school to give them a chance to do what they want. Myself and other teachers will support that process, protect them and put them ‘under an umbrella’. Because once they enter the film industry, they will suffer enough pain and humiliation, and here they can learn how to resist that.”
The impressive list of lecturers includes Jim Jarmusch,...
“In my view, it is impossible to teach art, because every artist is different: they have their language and cultural background, they possess a talent of their own. In order for that talent to develop, they need to be free and brave,” Tarr said. “This is why I want this film school to give them a chance to do what they want. Myself and other teachers will support that process, protect them and put them ‘under an umbrella’. Because once they enter the film industry, they will suffer enough pain and humiliation, and here they can learn how to resist that.”
The impressive list of lecturers includes Jim Jarmusch,...
- 5/14/2012
- by Cineuropa
- DearCinema.com
"It may not be true that 'the three most written-about subjects of all time are Jesus, the Civil War, and the Titanic,' as one historian has put it, but it's not much of an exaggeration," writes Daniel Mendelsohn in this week's New Yorker. "Since the early morning of April 15, 1912, when the great liner went to the bottom of the Atlantic Ocean, taking with it five grand pianos, eight thousand dinner forks, an automobile, a fifty-line telephone switchboard, twenty-nine boilers, a jeweled copy of The Rubáiyát of Omar Khayyam, and more than fifteen hundred lives, the writing hasn't stopped."
What follows is an epic and irresistibly readable survey of 100 years' worth of Titanic lore. The disaster immediately inspired a "glut" of poems, "more than a hundred songs," countless histories, novels and plays and, of course, innumerable films, both narrative and documentary:
A scant month after the sinking, a one-reel movie...
What follows is an epic and irresistibly readable survey of 100 years' worth of Titanic lore. The disaster immediately inspired a "glut" of poems, "more than a hundred songs," countless histories, novels and plays and, of course, innumerable films, both narrative and documentary:
A scant month after the sinking, a one-reel movie...
- 4/10/2012
- MUBI
Right now is not a bad time for admirers of Robert Bresson. A traveling retrospective has made its way across numerous cities, and people who'd never gotten a chance to glimpse Four Nights of a Dreamer (1971) now get to watch it on the big screen in a proper print. Furthermore, the critical and cinephilic culture surrounding Bresson's work is probably more alive now than it has been in a long time. Perhaps nowhere is this more evident than the wider interest in (and affection for) the director's late color films, earlier misunderstood and dismissed in some quarters as odd aberrations which lacked the spiritual clarity or asceticism of the black-and-white work. It's for this reason that film culture can welcome a second, revised edition of James Quandt's crucial anthology, Robert Bresson.
There is simply no more essential book of material on Bresson to be found in the English language, unless...
There is simply no more essential book of material on Bresson to be found in the English language, unless...
- 4/9/2012
- MUBI
In 2009, the best film in Competition at the Berlinale was Maren Ade's Everyone Else (Fwiw, it came away with 1.5 Silver Bears, the 1 for Best Actress Birgit Minichmayr, the .5 for tying with Adrián Biniez's Gigante for the Jury Grand Prix; the Golden Bear that year went to Claudia Llosa's The Milk of Sorrow). Three years on (!), the trio that made Everyone Else worth talking up to this day (see, for example, Kevin B Lee's new video essay on a key scene at Fandor; see, too, Mike D'Angelo on the same scene a year ago at the Av Club) is back in Competition, albeit in three different films. Lars Eidinger has drawn the shortest straw, taking on the lead in Hans-Christian Schmid's rather dismal Home for the Weekend. Minichmayr's fared better opposite Jürgen Vogel in Matthias Glasner's new film, though I seriously doubt many of us will...
- 2/18/2012
- MUBI
"From the scary thuds and mysterious roars that accompany the no-frills titles to the bizarrely poignant final image of the monster, alone at the bottom of the ocean, Ishiro Honda's 1954 Godzilla is all business and pure dream." So begins the essay by J Hoberman included in the typically extensive Criterion DVD and Blu-ray packages, out today, reviewed and recommended by David Anderson at Ioncinema and Bill Ryan; Gary Tooze takes a close look and listen to the image and audio quality. Related reading: Sean Axmaker's Godzilla primer at GreenCine. Updates, 1/25: Budd Wilkins reviews the "monstrously entertaining package" for Slant, giving it 4.5 out of 5 stars. More from Steven James Snyder in Time.
R Emmet Sweeney at Movie Morlocks: "The intrepid Twilight Time label continues their line of limited edition Blu-Ray releases with an absolutely gorgeous version of Picnic, Columbia's romantic smash of 1955-1956. Sold exclusively through on-line retailer Screen Archives,...
R Emmet Sweeney at Movie Morlocks: "The intrepid Twilight Time label continues their line of limited edition Blu-Ray releases with an absolutely gorgeous version of Picnic, Columbia's romantic smash of 1955-1956. Sold exclusively through on-line retailer Screen Archives,...
- 1/25/2012
- MUBI
The Poetry of Precision: The Films of Robert Bresson will be the first complete retrospective of Bresson's work in North America in 14 years. Tiff Cinematheque has announced today that the series "features a restored print of his acclaimed first feature Les Anges du péché (1943), a metaphysical thriller set in a convent, and new prints of key titles struck especially for the occasion of this retrospective such as the controversial Le Diable probablement (1977), which was prohibited to viewers under the age of eighteen in France as an incitement to suicide; A Man Escaped (1956), a work of resolute beauty that rigorously elevates the gruelling routines of prison life; Four Nights of a Dreamer (1971), legendary for being unavailable in North America for almost two decades; and his last masterpiece, L'Argent (1983), a terse and chilling indictment of capitalism and modernity."
While the retrospective will run at Tiff Bell Lightbox from February 9 through March 18, it'll...
While the retrospective will run at Tiff Bell Lightbox from February 9 through March 18, it'll...
- 12/13/2011
- MUBI
Locarno (Switzerland), Aug 7: French film critic Jean-Michel Frodon introduced Indian filmmaker Guru Dutt's 1957 classic 'Pyaasa' to the audience at the 64th Locarno International Film Festival as a dark film that helped the West discover the auteur theory - reflecting the director's personal creative vision - in Bollywood.
'Pyaasa', a cinematic masterpiece by the master craftsman, was a satire on the social system. Directed by Guru Dutt, the film that boasts of flawless performances by Dutt and other cast, including Waheeda Rehman, Mala Sinha and Rehman, was screened.
'Pyaasa', a cinematic masterpiece by the master craftsman, was a satire on the social system. Directed by Guru Dutt, the film that boasts of flawless performances by Dutt and other cast, including Waheeda Rehman, Mala Sinha and Rehman, was screened.
- 8/7/2011
- by Ketali Mehta
- RealBollywood.com
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