French sales companies are getting behind Mia’s film and TV market in Rome this week.
French sales companies will be out in force at Rome’s Mia film and TV market (October 13-17) as the global film and TV market circuit continues to shift due to the pandemic Covid-19.
French sellers have been busy networking at the Venice and San Sebastian film festivals this autumn, but Mia represents the first physical market since Cannes in July for most after only a handful of European professionals made the trip to Toronto in September.
Mia will also be the last opportunity...
French sales companies will be out in force at Rome’s Mia film and TV market (October 13-17) as the global film and TV market circuit continues to shift due to the pandemic Covid-19.
French sellers have been busy networking at the Venice and San Sebastian film festivals this autumn, but Mia represents the first physical market since Cannes in July for most after only a handful of European professionals made the trip to Toronto in September.
Mia will also be the last opportunity...
- 10/12/2021
- by Melanie Goodfellow
- ScreenDaily
Weaving together fiction, archive and documentary, Marten Persiel’s “Everything Will Change” is a dystopian movie that addresses one of the most urgent issues of our time – the extinction of wildlife.
Set in 2054, when wildlife has disappeared, it’s the story of three friends who go on a journey to discover what happened to their planet. The answer they discover lies in a decade – the 2020s – when a bright future was still possible, but a lack of action prevented the wholesale loss of once-abundant biodiversity.
German director Persiel previously helmed “This Ain’t California,” which won best film in Berlinale’s Perspektive section in 2012. “Everything Will Change” world premiered at the Zurich Film Festival last Friday as part of the Focus Competition. TF1 Studio is handling global sales on the film.
Speaking in Zurich, Persiel traces the inspiration for the film to a walk in Portugal, where he now lives.
Set in 2054, when wildlife has disappeared, it’s the story of three friends who go on a journey to discover what happened to their planet. The answer they discover lies in a decade – the 2020s – when a bright future was still possible, but a lack of action prevented the wholesale loss of once-abundant biodiversity.
German director Persiel previously helmed “This Ain’t California,” which won best film in Berlinale’s Perspektive section in 2012. “Everything Will Change” world premiered at the Zurich Film Festival last Friday as part of the Focus Competition. TF1 Studio is handling global sales on the film.
Speaking in Zurich, Persiel traces the inspiration for the film to a walk in Portugal, where he now lives.
- 10/3/2021
- by Tim Dams
- Variety Film + TV
Marten Persiel’s dystopian road movie from the year 2054, “Everything Will Change,” has debuted its trailer ahead of its world premiere Friday at the 24th edition of the Zurich Film Festival, where it plays as part of the Focus Competition. TF1 Studio is handling global sales on the film.
The film is set in a dystopian 2054, following the extinction of all wildlife. Three young mavericks go on a journey to find traces of the lost beauty of nature, hoping to discover what happened to their planet. The answer they discover lies in a decade – the 2020s – when a bright future was still possible, but everything changed. “In this unusual road movie, fiction meets scientific fact to explore the most urgent issue of our time: the extinction of wildlife. The future is ours to choose,” according to a statement.
The cast includes Noah Saavedra, Jessamine-Bliss Bell, Paul G. Raymond, Wim Wenders and Markus Imhoof.
The film is set in a dystopian 2054, following the extinction of all wildlife. Three young mavericks go on a journey to find traces of the lost beauty of nature, hoping to discover what happened to their planet. The answer they discover lies in a decade – the 2020s – when a bright future was still possible, but everything changed. “In this unusual road movie, fiction meets scientific fact to explore the most urgent issue of our time: the extinction of wildlife. The future is ours to choose,” according to a statement.
The cast includes Noah Saavedra, Jessamine-Bliss Bell, Paul G. Raymond, Wim Wenders and Markus Imhoof.
- 9/23/2021
- by Leo Barraclough
- Variety Film + TV
Three friends living in a dystopian 2054 go in search of traces of the world before environmental disaster struck.
French sales outfit TF1 Studio is launching sales on German director Marten Persiel‘s hybrid environment-focused drama Everything Will Change.
Set in the dystopian world of 2054, it follows three friends who go on an adventure-filled road trip in search of long-lost traces of the 2020s, a time when the planet was still beautiful, but on the verge of an ecological drama.
Persiel is best known internationally for his award-winning documentary This Ain’t California, about skateboarding culture in the 1980s Gdr, which...
French sales outfit TF1 Studio is launching sales on German director Marten Persiel‘s hybrid environment-focused drama Everything Will Change.
Set in the dystopian world of 2054, it follows three friends who go on an adventure-filled road trip in search of long-lost traces of the 2020s, a time when the planet was still beautiful, but on the verge of an ecological drama.
Persiel is best known internationally for his award-winning documentary This Ain’t California, about skateboarding culture in the 1980s Gdr, which...
- 3/2/2021
- by Melanie Goodfellow
- ScreenDaily
Berlin-based Flare Film is continuing its focus on international productions with German filmmaker Bastian Günther’s “Avalanche,” which just wrapped principal photography in Louisiana.
The timely social drama, which stars Carrie Preston (“Claws”) and British thesp Joe Cole (“A Prayer Before Dawn”), is set in America’s troubled social and cultural environment and explores the caustic repercussions of extreme capitalism that exploits underprivileged people for profit and entertainment.
The story follows the marketing manager of a small-town car dealership, played by Preston, who organizes an endurance contest in which 20 down-on-their-luck contenders compete to win a new pickup truck, and a young contestant (Cole) hoping for a better life.
The drama marks producer and Flare Film managing director Martin Heisler’s third collaboration with Günther after his debut feature, “Autopilots,” and his 2013 Sundance screener “Houston,” which was likewise set in the U.S.
“Avalanche” is produced by Heisler and Los Angeles-based co-producer Peter Veverka,...
The timely social drama, which stars Carrie Preston (“Claws”) and British thesp Joe Cole (“A Prayer Before Dawn”), is set in America’s troubled social and cultural environment and explores the caustic repercussions of extreme capitalism that exploits underprivileged people for profit and entertainment.
The story follows the marketing manager of a small-town car dealership, played by Preston, who organizes an endurance contest in which 20 down-on-their-luck contenders compete to win a new pickup truck, and a young contestant (Cole) hoping for a better life.
The drama marks producer and Flare Film managing director Martin Heisler’s third collaboration with Günther after his debut feature, “Autopilots,” and his 2013 Sundance screener “Houston,” which was likewise set in the U.S.
“Avalanche” is produced by Heisler and Los Angeles-based co-producer Peter Veverka,...
- 11/3/2018
- by Ed Meza
- Variety Film + TV
★★★☆☆ Filmmaker Marten Persiel was never especially interested, as a youngster in West Berlin, in what was going on behind the Iron Curtain. Later in life however, he learnt that there was a thriving skateboarding subculture that existed in East Germany in the 1980s. It provided a rolling platform for youthful expression and he has now brought it to the big screen in the form of the spirited and compelling 'documentary' tale, This Ain't California (2012). Not only is this not California, it's also not exactly real; blending actual archive material with recreated 'retro' footage to create a lively if fictionalised look at the Berlin skating scene.
- 12/6/2013
- by CineVue UK
- CineVue
The main difference between Exit Through the Gift Shop and This Ain’t California is that the latter’s main character has been revealed to be a fiction. Other distinctions are that it’s about skateboarding rather than street art, that it’s set in 1980s East Germany instead of 2000s L.A. and that it has an energy and spirit that’s far more captivating than Banksy’s Oscar-nominated documentary. Otherwise they share a quality where the “realness” of the story is totally inconsequential given that, true or false, it’s still the same movie and says the same things and makes us feel the same way about its subject matter. I have to admit right away that I “fell for” the whole thing. That’s what happens when you avoid reading about a movie before you see it, I guess. All I knew was that it won a special award at Berlin last year and...
- 4/14/2013
- by Christopher Campbell
- FilmSchoolRejects.com
A while back I wrote about Marten Persiel’s This Ain’t California, the Berlinale-winning “punk fairytale” about skateboarding in East Germany that caused a bit of a stir overseas for its liberal use of staged reenactments. Regardless of the controversy, Persiel’s film is like nothing I’ve seen in recent years, the closest comparison probably being Grant Gee’s 2007 Joy Division (written by Jon Savage), which employs a collage of images to conjure up the Manchester atmosphere during that music scene’s heyday. In fact, Manchester and East Berlin shared a similar aesthetic in the ’70s and ’80s, composed of drab grey buildings …...
- 4/10/2013
- by Lauren Wissot
- Filmmaker Magazine-Director Interviews
The most gratifying aspect of curating a film fest is being able to bring an under-the-radar gem you feel passionate about to an audience that might never otherwise see it. And as the director of programming for this year’s Santa Fe Independent Film Festival I was asked several times to name my favorite selection (which, of course, is like being asked to choose between kids). Nevertheless, I’d be lying if I pretended one film didn’t immediately leap to mind, a flick I’d fallen head over heels in love with when I caught it over the summer, courtesy of Rooftop Films. As I wrote in my program notes:
“The talk of the 2012 Berlinale and a hit at this year’s Rooftop Films Series NYC, West German director Marten Persiel’s This Ain’t California thrills on so many levels it ultimately defies description, much like its stunning...
“The talk of the 2012 Berlinale and a hit at this year’s Rooftop Films Series NYC, West German director Marten Persiel’s This Ain’t California thrills on so many levels it ultimately defies description, much like its stunning...
- 11/2/2012
- by Lauren Wissot
- Filmmaker Magazine - Blog
Cockatoo Island Film Festival battles to recover reputation after disastrous opening as 7 Boxes wins
A Paraguayan feature film has won the inaugural Golden Feather Award at the Cockatoo Island Film Festival, marking the end of the festival’s troubled first year.
7 Boxes, directed by Juan Carlos Maneglia and Tana Schembori, was described by the festival’s jury as ‘rollicking and compelling’.
The awards cap off a festival which began in a PR disaster as around 200 festival-goers were turned away from the gates on opening night’s screening of Paul Thomas Anderson’s The Master.
The festival’s Facebook page was hit with complaints from visitors and participating film-makers about overselling tickets, bad signage and confusing programming. Over the rest of the weekend there were further complaints from festival goers over films being screened at the wrong time.
Nobody from the festival was available to comment to Mumbrella today. So far it has not issued a formal apology to visitors on its Facebook page, although...
7 Boxes, directed by Juan Carlos Maneglia and Tana Schembori, was described by the festival’s jury as ‘rollicking and compelling’.
The awards cap off a festival which began in a PR disaster as around 200 festival-goers were turned away from the gates on opening night’s screening of Paul Thomas Anderson’s The Master.
The festival’s Facebook page was hit with complaints from visitors and participating film-makers about overselling tickets, bad signage and confusing programming. Over the rest of the weekend there were further complaints from festival goers over films being screened at the wrong time.
Nobody from the festival was available to comment to Mumbrella today. So far it has not issued a formal apology to visitors on its Facebook page, although...
- 10/29/2012
- by Colin Delaney
- Encore Magazine
The 5th annual Minneapolis Underground Film Festival begins tonight — August 17 — and runs throughout the entire weekend at the St. Anthony Main Theater. To help get in the mood for the dangerous films that will be on display for three awesome nights, filmmaker Greg Hanson has concocted the fairly disturbing official trailer, which you can watch above. Like most of Hanson’s work, it walks the line between fun and terrifying.
The festival opens today at 4:30 with a preview of the films screening, plus a brief selection of short films that will be followed by three feature-length documentaries: Marten Persiel’s This Ain’t California, Jj Kelly & Josh Thomas’ Go Ganges! and Michael Koskowski’s underground hit Zero Killed.
The rest of the fest is filled with quirky thrillers like Spenser Parsons’ Saturday Morning Massacre and Derek Franson’s Comforting Skin; oddball foreign films like Axel Ranisch’s Heavy Girls; plus,...
The festival opens today at 4:30 with a preview of the films screening, plus a brief selection of short films that will be followed by three feature-length documentaries: Marten Persiel’s This Ain’t California, Jj Kelly & Josh Thomas’ Go Ganges! and Michael Koskowski’s underground hit Zero Killed.
The rest of the fest is filled with quirky thrillers like Spenser Parsons’ Saturday Morning Massacre and Derek Franson’s Comforting Skin; oddball foreign films like Axel Ranisch’s Heavy Girls; plus,...
- 8/17/2012
- by Mike Everleth
- Underground Film Journal
Glenn of Stale Popcorn fame continues his Melbourne International Film Festival odyssey. He previously spoke enthusiastically on behalf of "Holy Motors" and clapped mildly for future Oscar backlash sufferer "The Sessions".
I wasn’t sure what I thought when I left my sold out session of Ruby Sparks. I think I was initially taken aback by the fact that it was both written by and stars Zoe Kazan (not to mention co-directed by a woman, Valerie Faris, alongside Jonathan Dayton who both made a big splash several years back with Little Miss Sunshine). What exactly was Kazan trying to say about women? Are they all subconsciously wanting to be manipulated by men? What exactly was Kazan trying to say about men? Do they really only want a woman that they can mould into the perfect being? What exactly was Kazan trying to say about herself? Does she really consider herself...
I wasn’t sure what I thought when I left my sold out session of Ruby Sparks. I think I was initially taken aback by the fact that it was both written by and stars Zoe Kazan (not to mention co-directed by a woman, Valerie Faris, alongside Jonathan Dayton who both made a big splash several years back with Little Miss Sunshine). What exactly was Kazan trying to say about women? Are they all subconsciously wanting to be manipulated by men? What exactly was Kazan trying to say about men? Do they really only want a woman that they can mould into the perfect being? What exactly was Kazan trying to say about herself? Does she really consider herself...
- 8/16/2012
- by Glenn Dunks
- FilmExperience
For their 5th annual edition, the Minneapolis Underground Film Festival is heating up by returning to the summer after being a winter event for the past three years. The fest will run on Aug. 17-19 with a killer lineup of films from all over the world — most of which probably will not be able to be seen in Minnesota except at this 3-day event.
Plus, there are two programming blocks of short films all made by local filmmakers, including Pam Colby’s Fertile Ashes, Ryan Becken’s Buffalo Shampoo, Janelle Sorenson & Melany Joy Beck’s Bring It 2 Peter, Jl Sosa’s Some of Angela and more.
The feature films screening this year cover an extremely diverse swath of subject matter, from every day people’s murder fantasies fulfilled — cinematically, at least — in Michal Koskowski’s German documentary Zero Killed; a tattoo comes to live to torment its wearer in...
Plus, there are two programming blocks of short films all made by local filmmakers, including Pam Colby’s Fertile Ashes, Ryan Becken’s Buffalo Shampoo, Janelle Sorenson & Melany Joy Beck’s Bring It 2 Peter, Jl Sosa’s Some of Angela and more.
The feature films screening this year cover an extremely diverse swath of subject matter, from every day people’s murder fantasies fulfilled — cinematically, at least — in Michal Koskowski’s German documentary Zero Killed; a tattoo comes to live to torment its wearer in...
- 8/13/2012
- by Mike Everleth
- Underground Film Journal
The 5th annual Minneapolis Underground Film Festival is currently raising funds via the website Indiegogo. The fest is set to run at the St. Anthony Main Theater on August 17-19 with loads of great feature films and short films, as well as a special selection of movies made by local talent. Please consider donating!
To date, Muff has been pretty much under the radar, but it’s a solid underground fest with its own unique voice that’s been growing by leaps and bounds every year, especially under the tutelage of Mark Hanson, who took over as Festival Director with the 4th edition. The fest is now better positioned as a summer film festival and has another strong lineup of films such as Marten Persiel’s This Ain’t California, Derek Franson’s Comforting Skin, Michal Koskowski’s Zero Killed and loads outlandish, intriguing and fascinating fare. This 5th edition...
To date, Muff has been pretty much under the radar, but it’s a solid underground fest with its own unique voice that’s been growing by leaps and bounds every year, especially under the tutelage of Mark Hanson, who took over as Festival Director with the 4th edition. The fest is now better positioned as a summer film festival and has another strong lineup of films such as Marten Persiel’s This Ain’t California, Derek Franson’s Comforting Skin, Michal Koskowski’s Zero Killed and loads outlandish, intriguing and fascinating fare. This 5th edition...
- 7/26/2012
- by Mike Everleth
- Underground Film Journal
The Berlin International Film Festival, also called the Berlinale, is one of the world’s leading film festivals and most reputable media events. 2012 marks the first year Sound On Sight was present to attend. Merle has been posting her recaps while the rest of us have been paying close attention to the films receiving the most buzz.
Founded in West Berlin in 1951, the festival has been celebrated annually in February since 1978. With 274,000 tickets sold and 487,000 admissions it is considered the largest publicly-attended film festival worldwide. Up to 400 films are shown in several sections, but only a select twenty compete for the awards called the Golden and Silver Bears. This year the Italian film Caesar Must Die took home the Berlin International Film Festival’s top honour as best film. The film is set in Rome’s high-security Rebibbia prison and centres on the rehearsal, staging, and performing of Shakespeare’s...
Founded in West Berlin in 1951, the festival has been celebrated annually in February since 1978. With 274,000 tickets sold and 487,000 admissions it is considered the largest publicly-attended film festival worldwide. Up to 400 films are shown in several sections, but only a select twenty compete for the awards called the Golden and Silver Bears. This year the Italian film Caesar Must Die took home the Berlin International Film Festival’s top honour as best film. The film is set in Rome’s high-security Rebibbia prison and centres on the rehearsal, staging, and performing of Shakespeare’s...
- 2/20/2012
- by Ricky
- SoundOnSight
Berlinale is, on the whole, a quieter festival than your really “big” outings — Sundance, Cannes, Toronto, even Nyff or Venice — but my interest is nevertheless piqued by this year’s winners, a list which comes to us from IndieWIRE. The top prize, that being the Golden Bear, went to Paolo and Vittorio Taviani (pictured above) for Caesar Must Die, their “documentary about criminals performing Shakespeare.” Adopt Films will be giving that a United States release later this year; reviews make me think it’s worth some of this early hype, thankfully.
Otherwise Bence Fliegauf‘s Just the Wind was bestowed with a Silver Bear for the Grand Jury Prize, while Barbara brought home a Silver Bear, Best Director for Christian Petzold. As with the main victors, the rest of the selections are far more devoid of “names” (and could more easily be considered esoteric) than any of the winners you...
Otherwise Bence Fliegauf‘s Just the Wind was bestowed with a Silver Bear for the Grand Jury Prize, while Barbara brought home a Silver Bear, Best Director for Christian Petzold. As with the main victors, the rest of the selections are far more devoid of “names” (and could more easily be considered esoteric) than any of the winners you...
- 2/19/2012
- by jpraup@gmail.com (thefilmstage.com)
- The Film Stage
Paolo and Vittorio Taviani's Caesar Must Die has won the Golden Bear at this year's Berlinale. The other awards, presented by Mike Leigh and his International Jury (Anton Corbijn, Asghar Farhadi, Charlotte Gainsbourg, Jake Gyllenhaal, François Ozon, Boualem Sansal and Barbara Sukowa):
The first Silver Bear, the Jury Grand Prix, goes to Bence Fliegauf's Just the Wind. (Last year, this prize went to a Hungarian as well, to Béla Tarr for The Turin Horse.)
Silver Bear for Best Director: Christian Petzold for Barbara.
Silver Bear for Best Actress: Rachel Mwanza for her performance in War Witch.
Silver Bear for Best Actor: Mikkel Følsgaard for A Royal Affair.
The Silver Bear for an Outstanding Artistic Contribution goes to Director of Photography Lutz Reitemeier for his work on White Deer Plain.
Silver Bear for Best Screenplay: Nikolaj Arcel and Rasmus Heisterberg for A Royal Affair.
The Alfred Bauer Award...
The first Silver Bear, the Jury Grand Prix, goes to Bence Fliegauf's Just the Wind. (Last year, this prize went to a Hungarian as well, to Béla Tarr for The Turin Horse.)
Silver Bear for Best Director: Christian Petzold for Barbara.
Silver Bear for Best Actress: Rachel Mwanza for her performance in War Witch.
Silver Bear for Best Actor: Mikkel Følsgaard for A Royal Affair.
The Silver Bear for an Outstanding Artistic Contribution goes to Director of Photography Lutz Reitemeier for his work on White Deer Plain.
Silver Bear for Best Screenplay: Nikolaj Arcel and Rasmus Heisterberg for A Royal Affair.
The Alfred Bauer Award...
- 2/18/2012
- MUBI
From Aleksandr Andriyevsky's Gibel Sensatsii (Lost Sensation, 1935)
The Deutsche Kinemathek - Museum für Film und Fernsehen, which has organized the Berlinale's Retrospective program since 1977, and New York's Museum of Modern Art have worked together on this or that series in the past, but today the festival has announced that the cooperation is going long-term. Starting with this year's Retrospective program, The Red Dream Factory. Mezhrabpom-Film and Prometheus 1921-1936, the Berlinale, Kinemathek and MoMA will be working closely to select and curate future Retrospectives. The Red Dream Factory, screening in Berlin from February 9 through 19, will be presented at MoMA from April 11 through 30, and here's the gist from the Berlinale's announcement in October:
Moisei Aleinikov, a Russian film expert and producer from tsarist times who had a great instinct for the right topics, and Willi Münzenberg, a German communist and "red media entrepreneur," joined forces in 1922 to combine clever business ideas,...
The Deutsche Kinemathek - Museum für Film und Fernsehen, which has organized the Berlinale's Retrospective program since 1977, and New York's Museum of Modern Art have worked together on this or that series in the past, but today the festival has announced that the cooperation is going long-term. Starting with this year's Retrospective program, The Red Dream Factory. Mezhrabpom-Film and Prometheus 1921-1936, the Berlinale, Kinemathek and MoMA will be working closely to select and curate future Retrospectives. The Red Dream Factory, screening in Berlin from February 9 through 19, will be presented at MoMA from April 11 through 30, and here's the gist from the Berlinale's announcement in October:
Moisei Aleinikov, a Russian film expert and producer from tsarist times who had a great instinct for the right topics, and Willi Münzenberg, a German communist and "red media entrepreneur," joined forces in 1922 to combine clever business ideas,...
- 1/10/2012
- MUBI
The 62nd Berlinale has rounded out its Perspektive Deutsches Kino lineup, which highlights young German cinema. Thirteen films, including three full-length documentaries and four features, make up the program. As previously announced, the selection will open with Katarina Peter's second documentary feature "Man for a Day," which follows a group of women who attend a workshop hosted by performance artist and drag king Diane Torr. Other highlights include Tamer Yiğit and Branka Prlić's self-financed production "Karaman," which tells the story of a Muslim woman seeking to immirgate to Germany against her family's wishes; Marion Hütter’s documentary "Rhymes and Rivals," which accompanies four "word acrobats" as they tour the world for a year; "This Ain't California," which Marten Persiel compiled from super-8 home movies and looks at the underground culture of "Rollbrettfahrer" (as...
- 1/10/2012
- Indiewire
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