Eternity and a Day (1998)
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Chief Curator David Schwartz says that “as a new generation of Greek filmmakers, including Yorgos Lanthimos and Athina Rachel Tsangari, have reached international prominence, the time is ripe to see Angelopoulos anew, as cinema that reflects on the past while foretelling the turbulent world we are now living in.”
Some of the film in the series include his 1986 breakthrough work “Landscape in the Mist,” about two siblings traveling on their own
After his droll yet audience-friendly quirkfest Broken Flowers took home the Grand Prix at Cannes ’05 hit, Jim Jarmusch returns to the Croisette (after his sharply divisive The Limits of Control eluded the festival circuit) with another quintessentially Jarmuschian affair – this time about vampires. Typically shapeless, loquacious, and deeply concerned with artifacts of yester-generations’ hip kids (viz., wicked guitars and an eclectic record collection), this notably un-horrific take on the genre comes on the heels of Amy Heckerling’s under-appreciated comedy Vamps to form a unique diptych of films more concerned with certain basic ideas of immortality than in generating jump scares.
Featuring a pair of rather sophisticated undead named Adam and Eve (Tim Hiddleston and Tilda Swinton), the Detroit-set Only Lovers Left Alive is propelled, ever so deliberately, by the two leads’ recollections and souvenirs, their personal
Meanwhile, over in the parallel festival section known as the Forum, the international press finally got its long-overdue chance to see Korean director Bong Joon-ho’s terrific “Snowpiercer,” which opened in Korea last summer
Even the honed-down list at Wikipedia of directors for whom Guerra wrote is rather astounding: "Michelangelo Antonioni with L'avventura, La notte, L'eclisse, Red Desert, Blow-Up, Zabriskie Point and Identification of a Woman, Federico Fellini with Amarcord, Theo Angelopoulos with Landscape in the Mist, Eternity and a Day and The Weeping Meadow, Andrei Tarkovsky with Nostalghia and Francesco Rosi with the militant politics of The Mattei Affair, Lucky Luciano and Illustrious Corpses."
All in all, he wrote more than 100 screenplays, was nominated for an Oscar three times (for Casanova '70, Blow-Up and Amarcord), won Best Screenplay at Cannes (for Angelopoulos's Voyage to Cythera) and the Pietro Bianchi Award at Venice, among many other prizes.
The Golden Apricot Film Festival Board has issued
The Italian poet, novelist and screenwriter Tonino Guerra, who has died aged 92, brought something of his own poetic world to the outstanding films he co-scripted with, among others, Federico Fellini, Michelangelo Antonioni and Francesco Rosi, but also many non-Italian directors including Theo Angelopoulos and Andrei Tarkovsky. Perhaps his most creative contribution was to Fellini's colourful account of life in a small coastal town in the 1930s, Amarcord (1973), of which he was truly co-author, because the film reflected their common experiences growing up in Romagna.
The two were born in the region a couple of months apart – Fellini in Rimini and Guerra in Santarcangelo, in the hills above the Adriatic resort, the son of a street vendor father.
Guerra's own "amarcord" ("I remember" in dialect) is scattered over many books of poetry and short stories. He first started writing
The big storiesOscar nominations
The glitz! The glamour! The gradual realisation that, as much as you wanted your small-time favourite (Melancholia / Drive / Take Shelter) to win, you can't fight the inevitable! Yes - it's Oscar time again. The nominations were announced this week, with Martin Scorsese's Hugo narrowly pipping The Artist with 11 nods to the silent wonder's 10. We live-blogged the announcement, explained why we think Michel Hazanavicius's film will still win big come February and griped about those that were left out. Join us on 26 February for an all-night bonanza of gowns and gongs, back-slapping and blubbering. It will be just like being in La. But with cynicism.
Sundance film festival
Park City's received its annual influx of film-makers as the Sundance film festival rolled into action.
The Greek film director Theo Angelopoulos, who has died aged 76 in a road accident, was an epic poet of the cinema, creating allegories of 20th-century Greek history and politics. He redefined the slow pan, the long take and tracking shots, of which he was a master. His stately, magisterial style and languidly unfolding narratives require some (ultimately rewarding) effort on the part of the spectator. "The sequence shot offers, as far as I'm concerned, much more freedom," Angelopoulos explained. "By refusing to cut in the middle, I invite the spectator to better analyse the image I show him, and to focus, time and again, on the elements that he feels are the most significant in it."
Angelopoulos was born in Athens, where he studied law. After military service, he went to Paris to attend the Sorbonne but
Angelopoulos was crossing a road near the set of his movie "The Other Sea," when he was hit by a motorcyclist -- who survived the crash.
The director, whose career spanned 40 years, won numerous awards for his movies. In 1995, he took the Grand Jury Prize at Cannes Film Festival for "Ulysses' Gaze." Three years later, he won
The Travelling Players (1975)
Theo Angelopoulos's breakthrough film is a political allegory in disguise; a leftist analysis of democracy, fascism and national identity, shrewdly gussied up as the tale of a theatre tour through the Greek provinces and shot under the noses of the country's military junta. Rigorous, spartan, and yet brimming over with pungent mythic allusions, The Travelling Players established its creator as one of the most distinctive European directors of his generation.
Landscape in the Mist (1988)
The director hit the road again with this stark, soulful tale of two runaways in search of their missing father. The way ahead leads through misty towns and snowy wilderness, while the early social-realist air tilts, by degrees, towards surrealism.
Theo Angelopoulos has been killed in a traffic accident while crossing a busy street in the middle of filming. This very fact has an enormous irony and poignancy: so much of his work is about the unfinished story, the unfinished journey, the unfinished life, and the realisation that to be unfinished is itself part of the human mystery and an essential human birthright and burden. This was part of what he conveyed to audiences, in a cinematic style that was poetry and epic poetry, steeped in the tumult of Greek history from the time of the second world war, and yet his movies were anything but frenzied or dramatic. They addressed not history's surface action but its spiritual causes and effects; he created long,
Multi-award-winning Greek film-maker Theo Angelopoulos died last night, aged 76, after a road accident in the port town of Piraeus, just outside Athens. Angelopoulos was working on a new film, The Other Sea, when he was hit by a motorcycle and sustained serious head injuries. He died later in hospital.
The Other Sea, which was to star Italian actor Toni Servillo (The Consequences of Love), was Angelopoulos's first film since 2008's The Dust of Time, and was a study of the political and social turmoil currently affecting Greece. In this it was in keeping with his previous oeuvre, which was marked by an engagement with Greece's turbulent 20th-century history, along with its complex, dreamlike imagery.
Angelopoulos first made his name internationally with the 1975 film The Travelling Players, made during the colonels' military rule but released after.
Angelopoulos was working in Piraeus, a port city close to Athens when he met with an accident while shooting exterior sequences.
He started his filmmaking career with Reconstruction in 1970 and then went on to make a series of political feature films about modern Greece: Days of ’36 (Meres Tou 36, 1972), The Travelling Players (O Thiassos, 1975) and The Hunters (I Kynighoi, 1977). He was known for his distinct style marked by slow, episodic and ambiguous narrative structures as well as long takes.
His won the Grand Jury prize at Cannes Film Festival for Ulysses’ Gaze (1995) and Palme d’Or for Eternity and a Day (1998).
He was honored at the 11th Mumbai Film Festival in 2009.
Police and hospital officials said Angelopoulos suffered serious head injuries and died at a hospital after being hit by a motorcycle while walking across a road close to a movie set near Athens' main port of Piraeus.
The driver, also injured and hospitalized, was later identified as an off-duty police officer.
The accident occurred while Angelopoulos was working on his upcoming movie "The Other Sea."
Angelopoulos had won numerous awards for his movies, mostly at European film festivals, during a career that spanned more than 40 years.
In 1995, he won the Grand Jury Prize at the Cannes Film Festival for "Ulysses' Gaze," starring American actor Harvey Keitel.
Three years later, he won the main prize at the festival,
The director, 76, was crossing a road in Athens when he was knocked over by a motorcyclist. He sustained severe head injuries and died in a nearby hospital.
Angelopoulos began his career in 1968 and he enjoyed success as a director, producer and screenwriter for more than four decades.
He became known for his work on political Greek films Days of '36, The Hunters and The Travelling Players, which landed him a string of European awards including Best Film of the Year by the British Film Institute.
His other works include Voyage to Cythera, Ulysses' Gaze and Landscape in the Mist, which scored him the Silver Lion Award for Best Director at 1988's Venice Film Festival in Italy. A decade later, Angelopoulos won the prestigious Palme d'Or award at the Cannes Film Festival for Eternity and a Day.
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