1-20 of 24 items from 2016 « Prev | Next »
In this raw and moving drama, a troubled middle-aged man, abused by the teenagers he pays handsomely to keep him company, falls for a street gangster with a chilling proposal
From Afar is the terrifically stylish work of first-time Venezuelan director Lorenzo Vigas: it won the Golden Lion at last year’s Venice film festival. The title hints at the movie’s emotional alienation but also a kind of rapture, a sense that the inspiration of love is nurtured by long-distance pining. It could also be inspired by Sergio Armstrong’s superbly controlled cinematography – particularly its enigmatic static shots and long shots that incidentally appear to show the influence of the film’s producer, Michel Franco. Vigas has co-written the movie with Guillermo Arriaga, the author of Babel, 21 Grams and Amores Perros, and their script perhaps has some of Arriaga’s weakness for twist-in-the-tail but without indulgence or tricksiness. »
- Peter Bradshaw
In 2001, I saw Alejandro González Iñárritu’s fevered, splintered debut Amores Perros and thought he could become the most exciting film-maker in the world. Fifteen years on, the industry seems to support that view; his films, however, have grown steadily less rewarding. The Revenant (Fox, 15) is a panting, lavishly muscled frontiersman spectacle that recently won him a second consecutive best director Oscar and it’s easy to see why: the expense, expertise and technical athleticism of its construction are showcased in its every head-turning sequence shot, its every Malick-aping tableau of sunlit natural ecstasy. Likewise, it’s not hard to understand how Leonardo DiCaprio won his long-deferred Oscar for playing Hugh Glass, a noble, 19th-century fur-trapper bloodily scorned. Every grunt, wince and defiant, hobbled lurch of his »
- Guy Lodge
Eric here to discuss cinema’s currently-most-celebrated director, Alejandro Gonzalez Inarritu. As Nathaniel has noted previously, all six of Inarritu’s feature films have gotten Oscar attention in one way or another, and of course much has been written about his being the first filmmaker since 1950 to win the Best Director Oscar two years in a row. He's also just been named to the Time 100 "Icons" List. So there’s no better time than to look back to Inarritu’s first feature, 2000’s Amores Perros, to see where he started and where he’s landed.
Watching Amores Perros (2000) for the first time since its initial release, I was struck by how even at the start of his career, Inarritu picked extraordinarily difficult environments to shoot in. The logistics for Amores Perros can’t have practically been much easier than the ones we are all sick of hearing about with The Revenant. »
- Eric Blume
Cinephiles across the globe collectively held their breaths last week wondering whether the new Olivier Assayas or Lucretia Martel would make it onto the 2016 Croisette – his did, hers didn’t – as Cannes Film Festival director Thierry Frémaux unspooled the Competition, Un Certain Regard, Midnight Screenings, and Outside Competition line-ups. As if the promise of new adventures with Almodóvar, Dolan, and Park Chan-Wook weren’t enough, the recent announcements of the Critics’ Week and Cannes Classics sidebars present a whole host of new gems and old treasures to discover.
Let’s start with Critics’ Week, where a coterie of freshmen and sophomore directors compete for their own Nespresso Grand Prize. That would make this the branded stadium for spring-boarding international talents, such as Iñárritu (Amores Perros), Wong Kar-Wai (As Tears Go By), as well as Andrea Arnold and Jeff Nichols who are contending in the Main Competition this year with American Honey and Loving, »
- Daniel Crooke
Guadalajara – Rarely has Mexico seen such an epic production. A hard-boiled penitentiary thriller “The 4th Company” won Guadalajara’s Co-Production Meeting in 2007. It took nine years for it to return as a finished film. Monica Lozano, who backed Alejandro Gonzalez Iñarritu debut “Amores Perros” and Eugenio Derbez’s U.S. Spanish-language box office record holder “Instructions Not Included,” produces with directors Amir Galvan Cervera and Mitzi Vanessa Arreola, Mexico’s Ozcar Ramirez (“Days of Grace”) and Michel Merkt (“Elle,” “Journey to the Stars”). But 23 execs take various forms of production credits in the film’0s IMDb listing. At one point, production halted when one of its actors fell into coma. The fiction feature debut of Amir Galvan Cervera and Mitzi Vanessa Arreola, “The 4th Company” derives some of its force from being based on true events. Set in 1979, it turns on the Santa Martha Dogs, a real-life jailhouse American football »
- John Hopewell
South by Southwest's film section launched in 1994, long after the music side had set the world on fire, and most would agree it took some time to find its own place in the cultural universe. Okay, lots of time. For years it was simply an excellent chance for locals to get early looks at discoveries — think Memento, Amores Perros and Napoleon Dynamite — made at other festivals. But indie filmmakers started gravitating here for the good vibes in the Aughts, and this decade has found that scene bearing fruit. The quality of premieres has increased dramatically, studios have made
- John DeFore
Catalina Aguilar Mastretta, whose Fipresci-winning feature debut “Las Horas Contigo” had its world premiere in Guadalajara two years ago, is poised to start shooting her sophomore pic, “Everybody Loves Somebody,” starting March 14. Francisco Gonzalez Compean of Draco Films, Jose Nacif and Ramiro Ruiz co-produce the romantic comedy. Karla Souza (“Nosotros los Nobles,” “How to Get Away With Murder”) and José María Yazpik (“I’m So Excited”) lead the cast.
“This is a larger, more commercial film compared to her first film, although the budget isn’t too big, $2.5 million,” said Compean. Shooting will take place for some seven weeks in Baja California and Mexico City.
The bilingual rom-com revolves around a Mexican-American gynecologist residing in L.A. whose ex-boyfriend re-enters her life. A visit to her nosy but charming family in Baja California forces her to rethink her life and open up to new romantic possibilities.
Meanwhile, Draco Films’ upcoming »
- Anna Marie de la Fuente
Guadalajara – “Gravity’s” Alfonso Cuaron, Gael Garcia Bernal, star of Emmy-winning “Mozart in the Jungle” and Diego Luna, who toplines Amazon’s “Casanova,” look set to attend this week’s 31st Guadalajara Intl. Film Festival, an event that, unspooling five says after Alejandro Gonzalez Iñarritu’s Academy Award director win, proves that these days Mexican fests hardly needs foreign Hollywood stars: They’ve got their own, or can draw on celebrities from other parts of the Spanish-speaking world.
They will be joined by top-of-the-class Mexican producers: Pablo Cruz at Canana, Leo Zimbron and Mark Alazraki at Alazraki Ent, both companies based out of L.A- and Mexico City, plus Monica Lozano, producer of “Amores Perros” and “Instructions Not Included.”
Running March 4- »
- John Hopewell
“Gracias a la Academia — Thanks to the Academy,” the Mexican native began his acceptance. “I can’t believe this is happening. It’s amazing to receive this award tonight. It’s much more beautiful for me to share it with all the talented and crazy cast and colleagues and crew members that made this film possible.”
The 52-year-old has joined directing icons John Ford and Joseph L. Mankiewicz as the only helmers to win in consecutive years. Ford won for “Grapes of Wrath” and “How Green Was My Valley” in 1940-41, while Mankiewicz won for “A Letter to Three Wives »
- Dave McNary
Best Director winner Alejandro González Iñárritu just made Oscar history with his second Academy Award.
"The Revenant" filmmaker is only the third person to ever win back-to-back Oscars for direction, and the first director in 65 years to pull it off. He previously won for 2015's Best Picture winner, "Birdman."
Iñárritu was long favored to take home the award, after previously winning the Directors Guild Award for the second year in a row. The four other filmmakers competing for Oscar were: Adam McKay for "The Big Short," Tom McCarthy for "Spotlight," George Miller for "Mad Max: Fury Road," and Lenny Abrahamson for "Room."
The Mexico-born Iñárritu first came onto the scene with the gritty "Amores Perros" in 2000, followed by the 2003 drama "21 Grams." He also directed the Academy Award-nominated "Babel" (2006) and the Javier Bardem-starring "Biutiful" (2010).
Like "Birdman" before, "The Revenant" showcases the director's love for shooting scenes all in one take »
- Phil Pirrello
Justin Chang: Guy, we started this deep-dive conversation about the best picture race less than an hour after Alejandro G. Inarritu clinched the Directors Guild of America’s top prize for “The Revenant,” which was pretty much the last confirmation we needed — after the Producers Guild picked “The Big Short” and the Screen Actors Guild opted for “Spotlight” — that this really is the wildest, craziest, most confoundingly unpredictable best-picture Oscar race in years. Exciting, isn’t it? I’d be more excited if this recent turn of events didn’t seem to favor “The Revenant,” which now has extraordinary momentum on its side. There we were, hoping the film’s Golden Globe triumphs would simply be an isolated HFPA fluke — but then it came roaring back with a vengeance, not unlike that easily distracted CGI bear at its center, ready to sink its teeth back into the race and not let go this time. »
- Justin Chang and Guy Lodge
Replacing Aftrs' Friday on My Mind program of Friday evening Q&A's, the series is hosted by the school's revamped Indigenous Unit, headed by Kyas Sherriff (formerly of Screen Australia's Indigenous Department).
Black Talk will be more irregular than Friday on My Mind, with a focus on "inspiring indigenous storytellers and filmmakers, and drawing them into the school", Sherriff tells If..
In addition "the series should be a place for industry to get a sense of what's going on in the black space".
Future sessions will be streamed, and Aftrs is looking at partnering with a major film festival to co-host the occasional talk.
Aside from the talks, the Indigenous Unit will »
- Harry Windsor
The second edition of Qumra, March 4 - 9, the industry development event organized by the Doha Film Institute to nurture emerging voices in cinema with a focus on first and second-time filmmakers, will include as Masters, James Schamus and Joshua Oppenheimer along with Naomi Kawase, Aleksandr Sokurov and Nuri Bilge Ceylan participating in a series of master classes and one-on-one sessions with selected Qumra filmmakers and their projects along with screenings and Q&A sessions for Doha audiences throughout the week.
Read about previously announced Qumra Masters.
Held at the incredibly beautiful Museum of Islamic Art, designed by Pritzker Prize-winning architect I.M. Pei, and a cultural partner of the Doha Film Institute, Qumra supports the development of emerging filmmakers from Qatar, the Arab region and around the world. Dfi has arranged a “rainbow of colors in a bouquet of participants and masters”. Elia Suleiman, Artistic Advisor for the Doha Film Institute says, “each master is very different and the event looks like an edition of poetry.”
Due to unforeseen circumstances, previously announced Qumra Master Lucrecia Martel is no longer able to participate this year.
Directors and producers attached to up to thirty three projects in development or post-production are invited to participate in Qumra, named from the Arabic term ‘qumra’ popularly said to be the origin of the word ‘camera’ and used by the scientist, astronomer and mathematician Alhazen (Ibn al-Haytham, 965-c.1040 Ce), whose work in optics laid out the principles of the camera obscura.
Qumra includes a number of emerging filmmakers from Qatar, as well as recipients of funding from the Institute’s Grants Program. The robust program features industry meetings designed to assist with propelling projects to their next stages of development, master classes, work-in-progress screenings, matchmaking sessions and tailored workshops with industry experts. This creative exchange takes place alongside a program of public screenings curated with input from the Qumra Masters.
Especially appealing about this event, seen in light of mega-events as Berlin, Cannes, Tiff and Sundance is the intimacy of everyone sharing meals, attending the same party, staying at the same hotel within the famed souk and in walking distance to the museum. Only 150 people, all working hard and all meeting every day as they work with 23 features, 11 of which are in development and 12 in post whose program has been guided by Elia Suleiman and Qumra Deputy Director Hanaa Issa. The Qumra team will also help us navigate the souk to find the best bargains in spices like saffron and sumac and tumeric, textiles and other middle eastern treasures from the silk road!
Qumra has come a long way in one year; where last year there was only one documentary, this year there are eight documentary features – four in development and four works-in-progress - and four short documentaries in development. Five of them are Qatari, five are from the Mena region and two international. There are 23 features of which five are from Qatar and 10 shorts, all from Qatar. Each Master will meet with four to five filmmakers formally but the collaboration among mentors and emerging filmmakers will extend far beyond such formal meetings.
There are also three great moderators of panels: Richard Pena, the longtime chief for the Film Society of Lincoln Center in New York, Jean Michel Poignet and Paolo Bertolini of the Venice Film Festival.
Also included is a highly engaging selection of movies by the five Qumra Masters and from a selection of emerging talent during daily screenings and Q&A sessions. The selection includes Academy Award, Cannes Film Festival and Ajyal Youth Film Festival award winners.
Doha Film Institute CEO Fatma Al Remaihi said: “This year, the Qumra Screenings will showcase the work of five esteemed masters of cinema alongside some tremendously talented emerging filmmakers. By presenting these two spectrums of cinematic works, Qumra will offer audiences highly engaging film experiences that will present new insights into the language of cinema and the process behind the creation of compelling films. They will also be educational and inspirational, underlining our commitment to strengthening film culture in Qatar by promoting access to and appreciation of world cinema.”
The Masters screenings, accompanied by Q&A sessions with the visiting Qumra Masters linked to each film are “The Look of Silence” (Denmark, Indonesia, Finland, Norway, UK / Indonesian, Javanese /2014) by Qumra Master Joshua Oppenheimer, “Once Upon a Time in Anatolia” (Turkey, Bosnia and Herzegovina / Turkish / 2011) by Qumra Master Nuri Bilge Ceylan; “The Russian Ark” (Russian Federation, Canada, Denmark, Finland, Germany, Japan / Russian / 2002) by Qumra Master Aleksandr Sokurov; “The Mourning Forest” (Japan, France / Japanese / 2007) by Qumra Master Naomi Kawase; and “Crouching Tiger, Hidden Dragon” (Taiwan, Hong Kong, USA, China / Mandarin / 2001) by Ang Lee, co-written and produced by Lee’s longtime collaborator and Qumra Master, James Schamus.
The ‘New Voices in Cinema’ screenings include two feature films granted by the Doha Film Institute: “ Mediterranea” (Italy, France, Germany, Qatar/ Arabic, English, French, Italian; 2015) by Jonas Carpignano being sold internationally by Ndm and Wme; “Roundabout in my Head”/ “Fi rassi roun-point” (Algeria, France, Qatar/Arabic/2015); and two award-winning short films “Waves 98” by Ely Dagher (Lebanon, Qatar / Arabic / 2015), winner of the Palme d’Or for Best Short Film at the 2015 Cannes Film Festival and “The Palm Tree ” (Qatar, No Dialogue, 2015) by Jasim Al Rumaihi, winner of the 2015 Ajyal Youth Film Festival Made in Qatar Award for Best Documentary.
“We are privileged to have James Schamus and Joshua Oppenheimer participate as Qumra Masters this year,” said Doha Film Institute CEO Fatma Al Remaihi. “Both filmmakers, while very different in style, are truly ground-breaking in their fields and bring a wealth of experience to Qumra that will be invaluable for the young filmmakers participating.”
“We look forward to welcoming James and Joshua to the Gulf region for the first time and enabling our Qumra 2016 participants to establish a connection with these two leaders of independent filmmaking in the Us.”
Both Schamus and Oppenheimer were born in the Us and combine their acclaimed filmmaking careers with other roles within the industry: Schamus as a revered film historian and academic; and Oppenheimer as Artistic Director of the Centre for Documentary and Experimental Film at the University of Westminster in London.
Schamus, a multi award-winning screenwriter, director and leading Us indie producer, is best known for his long creative collaboration with Taiwanese director Ang Lee. He has worked with Lee on nine films, including “Crouching Tiger, Hidden Dragon” (2000), which won four Academy Awards, including Best Foreign Language Film and Best Cinematography, and remains the highest-grossing non-English-language film in the Us. He was the screenwriter for Lee's “The Ice Storm”, for which he won the award for Best Screenplay at the Festival de Cannes in 1997 and co-wrote “Eat Drink Man Woman” (1994), the first of Lee’s films to achieve both critical and commercial success.
As a producer, Schamus co-founded the Us powerhouse production company Good Machine in the early 1990s, and then from 2002 to 2014 was CEO of Focus Features, the motion picture production, financing and worldwide distribution company whose films during his tenure included Wes Anderson's “Moonrise Kingdom” (2012), Michel Gondry's Eternal Sunshine of the Spotless Mind (2004), Roman Polanski's “The Pianist “(2002), Henry Selick's Coraline (2009) and Sofia Coppola’s “Lost in Translation” (2003).
In 2014, Schamus turned his hand to directing with the short documentary “That Film About Money” (2014), and in 2016 made his feature directorial debut with an adaptation of Philip Roth's “Indignation," which had its world premiere at the Sundance Film Festival in January 2016 and is screening at this year’s Berlin International Film Festival in the Panorama section.
Schamus is also Professor of Professional Practice at Columbia University’s School of the Arts, where he teaches film history and theory, and is the author of 'Carl Theodor Dreyer's Gertrud: The Moving Word', published by the University of Washington Press.
Elia Suleiman , the Artistic Advisor to Doha Film Institute, recalls how he and James grew up together in New York as long-time friends. James introduced him to the Chilean master filmmaker Raul Ruiz. Schamus helped him with his short film while at Good Machine. He helped edit the script and was his guardian angel helping with his first contract. They even had a code for “urgent”. When Elia was in Jerusalem and James in London they used the code whenever Elia was overwhelmed by the paperwork needed. James would answer within 15 minutes. Now James has come full circle on his own, from being one of the most important producers of the decade to directing his own film. When asked by Qumra what was most important, he said first time filmmakers were the most important. And he has always been able to spot the most talented of emerging filmmakers.
Two-time Academy Award nominee Joshua Oppenheimer’s debut feature-length film, “The Act of Killing” (2012) was nominated for the Academy Award for Best Documentary Feature Film, named Film of the Year by The Guardian and the Sight and Sound Film Poll, and won 72 international awards, including a European Film Award, a BAFTA, an Asia Pacific Screen Award, a Berlin International Film Festival Audience Award, and the Guardian Film Award for Best Film.
His second film, “The Look of Silence” (2014) had its world premiere at the Venice Film Festival, where it won five awards including the Grand Jury Prize, the Fipresci Prize and the Fedeora Prize. It was nominated for the 2016 Oscar for Best Documentary Film, and has received 66 international awards, including an International Documentary Association Award for Best Documentary, a Gotham Award for Best Documentary, and three Cinema Eye Honors for Nonfiction Filmmaking.
Oppenheimer is a partner at the Final Cut for Real production company in Copenhagen, and Artistic Director of the Centre for Documentary and Experimental Film at the University of Westminster, London.
Many of the industry guests include returnees as well as the new guests which count Bero Beyer, Rotterdam; Tine Fisher, Cph Dox; Christophe Le Parc, Director’s Fortnight, Cannes; Vincenzo Bugno, World Cinema Fund, Berlinale; Cameron Bailey, Tiff and Carlo Chatrian, Locarno here for their second time; Sundance for its first year; Matthijs Wouter Knol, European Film Market; Mike Goodridge, Protagonist; Memento Films, Arte; Michael Werner, Fortissimo; Alaa Karkouti, Mad Solutions and Selim El Azar, Gulf Films.
Also attending for the first time will be Netflix who picked up “Under the Shadow” an elevated horror/ thriller partially funded by the Doha Film Institute, Film Movement and the Ford Foundation.
Previous Qumra Masters include Mexican actor, director and producer Gael Garcia Bernal (“Amores Perros”; “No”; “Deficit”), Mauritanian director Abderrahmane Sissako (Timbuktu - nominated for Best Foreign Language Film at the 2015 Academy Awards); Romanian auteur and Palme d’Or winner Cristian Mungiu (“4 Months, 3 Weeks and 2 Days”; “Beyond the Hills”); and Bosnian writer/director Danis Tanović (“An Episode in the Life of an Iron Picker”; “Tigers”, “No Man’s Land” - winner of Academy Award for Best Foreign Language Film in 2001). »
- Sydney Levine
Last week Aftrs relaunched its Indigenous Unit with the first instalment of its Black Talk series..
Arriaga was in mischevious form, riffing for an hour on everything from his writing process, his fights with director Warwick Thornton, his creative divorce from Alejandro González Iñárritu, and the damage his "friend" Tarantino has had on cinema.
The screenwriter and novelist started the session off with a flourish, producing an aboriginal flag from his pocket and laying it in front of him, declaring "I want to show my love".
- Harry Windsor
Aftrs has launched a revamped Indigenous Unit, headed by Kyas Sherriff.
The initial program for 2016 will include the Black Talk series (similar to Aftrs Friday on My Mind), talent labs and Industry events.
Across the Aftrs curriculum, there will be an increased academic focus on Indigenous representation on Australian screen.
The school is also proposing an industry symposium on cultural diversity both on screen and behind the scenes.
The Black Talk series aims to engage the wider screen industry in an understanding of contemporary Indigenous storytelling.
Arriaga, who is in Australia as a guest of Nitv, has a history of sharing his knowledge with Australian Indigenous filmmakers, including participating in a previous Screen Australia Workshop with published Indigenous novelists on the craft of writing for screen.
Indigenous filmmaker Warwick Thornton, »
- Inside Film Correspondent
On the eve of the Efm, the industry veteran has joined the company as evp of international marketing.
Stx Entertainment president of international sales John Friedberg announced the hire on Wednesday.
Friedenson most recently served as head of international marketing at StudioCanal and previously served as svp of international marketing at Paramount Pictures/ Paramount Vantage.
The executive will immediately begin working on Stx’s upcoming features including the untitled female comedy directed by Jon Lucas and Scott Moore and starring Mila Kunis; interplanetary adventure The Space Between Us with Gary Oldman; and Toronto hit Hardcore Henry, produced by Timur Bekmambetov.
She began her international film marketing career at Lionsgate working on campaigns for Monster’s Ball, Amores Perros, 3:10 to Yuma and the Saw films.
- firstname.lastname@example.org (Jeremy Kay)
The next generation of Mexican filmmakers, Julio Chavezmontes of Piano Films, and Moises Cosio of Detalle Films, executive producer of Atom Egoyan’s “Remember," Jodorowsky’s “The Dance of Reality,” and Apichatpong Weersethaku’s “Cemetery of Splendor,” are premiering "We Are The Flesh” ("Tenemos la carne") in Iff Rotterdam’s Bright Future Section.
The directorial debut by 25-year-old Emiliano Rocha Minter has the support of Academy Award-winning directors Alejandro González Iñárritu (“Amores Perros”) and Alfonso Cuarón (“Gravity), with Cannes-winning director Carlos Reygadas ("Silent Light", "Post Tenebras Lux”) involved as a co-producer. This makes "Tenemos la carne"/ "We are the Flesh" the first Mexican film, let alone a feature debut, to receive the endorsement of three of the most important directors working today. That is a film to see! It will also be on offer at the Berlinale’s Efm by its international sales agent, Reel Suspects.
In addition to Reygadas, Mexican director Sebastian Hofmann, of the Sundance New Frontier film "Halley," Yann Gonzalez, French director director of Cannes Critics’ Week Special Screening “You and the Night,” and Splendor Omnia’s Natalia Lopez, are co-producers of the film. Mexican associate producers are Simplemente’s Rune Hansen, Monica Reina and Celia Iturraga. "We Are The Flesh" was supported by the Mexican Film Institute's (Imcine) Foprocine fund.
"We Are the Flesh" takes place in a post-apocalyptic Mexico in which a brother and sister find their way into one of the last remaining buildings after years of wandering. Inside, they find a man who makes them a dangerous offer to survive in the outside world. You can view the trailer below:
- Sydney Levine
Turkish filmmaker Nuri Bilge Ceylan ("Once Upon a Time in Anatolia," "Winter Sleep") and Russian filmmaker Alexsandr Sokurov ("Faust," Russian Ark") have been confirmed as Masters for the Doha Film Institute’s second edition of Qumra, set to take place from March 4-9, 2016.
Following the huge success of its inaugural edition, the two acclaimed filmmakers join previously announced Qumra Masters Naomi Kawase and Lucrecia Martel for the second edition of the new initiative, which debuted in March 2015 to support the development of emerging filmmakers from Qatar, the region and around the world
Ceylan and Sokurov are both masters in world cinema whose work has received the highest accolades at the world’s most prestigious film festivals including the Berlin Film Festival, the Cannes Film Festival and the Venice Film Festival.
Fatma Al Remaihi, CEO of Doha Film Institute said: “We are proud to welcome Nuri Bilge Ceylan and Alexsandr Sokurov to Qumra. They have each created a distinctive body of work and a cinematic legacy for generations to come. They are an inspiration, not only to the emerging filmmakers whose work will be mentored through Qumra, but to us all.”
In their role as Qumra Masters, Ceylan and Sokurov will participate in a series of masterclasses, and one-on-one advisory sessions with participating Qumra projects and industry professionals from around the world, with a selection of the Masters’ films being screened for Doha audiences during the event. Qumra is presented by the Doha Film Institute and was developed with the guidance of Artistic Advisor, Elia Suleiman who participated as a Master in the inaugural edition.
In addition to representatives from the 30 projects from Qatar, the Mena region and around the world whose projects are mentored through the initiative, members of the local and regional creative industries are also invited to participate in Qumra, where they will have the opportunity to attend a series of networking events, Qumra Master Classes, and daily screenings of films by the Qumra Masters and recipients of funding from the Institute, followed by question-and-answer sessions.
Online accreditation is now open for local film industry delegates to register for Qumra 2016. Film and media industry professionals can visit www.dohafilminstitute.com to register their interest and and will receive a confirmation of accreditation after February 21, 2016. Capacity is limited and applications will be processed on a first-come, first-served basis.
Nuri Bilge Ceylan was born in Istanbul and after graduating from the Department of Electrical Engineering at Istanbul's Boğaziçi University, he studied cinema at Mimar Sinan Fine Arts University for two years.
After making the short film "Cocoon" (1995), his first two feature-length films, "Small Town" (1997) and "Clouds of May" (1999) were screened at the Berlin International Film Festival.
His subsequent films 'Distant' (2002), won the Grand Jury and Best Actor Prizes at the Cannes Film Festival; "Climates" (2006) which took the Fipresci Prize at Cannes; "Three Monkeys" (2008), for which he was named Best Director at Cannes; and "Once Upon a Time in Anatolia" (2011), which gave him his second Cannes Grand Jury Prize.
"'Winter Sleep" (2014), his most recent film, received the Palme d’Or, the most prestigious award of the Cannes Film Festival.
Alexander Sokurov was born in 1951 in the former Ussr. While a student of history at Gorky University, he began working in television and, at the age of 19, he produced several films and live television programmes. In 1975, he began studies at Vgik in Moscow and at the time of his graduation, Andrei Tarkovsky, impressed by Sokurov’s first feature, ‘The Lonely Voice of a Man’ (1977; released 1987) lent the younger director his support and the two went on to become lifelong friends.
In 1980 Sokurov went to work at Lenfilm, while at the same time working at the Leningrad Studio for Documentary Films. He has won numerous awards over the course of his career and in 1995, the European Film Academy listed Sokurov as one of the best 100 directors of world cinema.
He found international acclaim in 1997, with the release of "Mother and Son," which received the Silver St. George award at the Moscow International Film Festival and six years later ‘Father and Son’ (2003), took the Fipresci Prize at the Festival de Cannes. His "Russian Ark" (2002), remarkable for being composed of a single shot taken in the Winter Palace of the Russian State Hermitage Museum in St. Petersburg, won the Visions Award at the Toronto International Film Festival.
His extensive filmography also includes numerous documentaries, and a tetralogy of films that are a meditation on power. ‘Moloch’ (1999), won the Best Screenplay Award at Cannes; "Taurus" (2001); "The Sun" (2004) and "Faust" (2011) which premiered at the Venice Film Festival, where it won the Golden Lion, the festival’s most prestigious prize.
Most recently, "Francofonia" (2015), Sokurov’s consideration of the Louvre Museum, premiered in Venice, where it won the Mimmo Rotella Award. Currently, he is in the process of founding Bereg, a film studio for non-commercial films.
Previous Qumra Masters include Mexican actor, director and producer Gael Garcia Bernal ("Amores Perros;""No;" "Deficit"), Mauritanian director Abderrahmane Sissako ("Timbuktu" - nominated for Best Foreign Language Film at the 2015 Academy Awards); Romanian auteur and Palme d’Or winner Cristian Mungiu ("4 Months, 3 Weeks and 2 Days;" "Beyond the Hills"); and Bosnian writer/director Danis Tanović ("An Episode in the Life of an Iron Picker;" "Tigers," "No Man’s Land" - winner of Academy Award for Best Foreign Language Film in 2001). »
- Sydney Levine
“The Revenant” director Alejandro Gonzalez Iñarritu and Carlos Reygadas, whose 2002 debut “Japan” brought down the flag on a new generation of filmmakers that have revolutionized filmmaking in Mexico, are backing horror thriller “Tenemos la carne” (We Are the Flesh), a flagship title from another new wave of Mexican producers and directors.
Broadening its portfolio of envelope-pushing genre titles, Matteo Lovadina’s Paris-based sales company Reel Suspects has acquired world sales rights to “We Are the Flesh.” It will world premiere Feb. 2 at the Rotterdam Fest’s Bright Future section, with Reygadas on board as a co-producer and Inarritu committing to talk up the title to Mexico’s press. Post-production work was carried out at Reygadas’ Splendor Omnia ranch-facility nestling in the Mexican hills one-hour’s drive south of Mexico City. Apart from Reygadas, Splendor Omnia’s Natalia Lopez and Splendor Omnia take co-producer credits.
Mexican Emiliano Rocha Minter’s first feature, »
- John Hopewell
Oscar-nominated revenge drama The Revenant is out in the UK. We talk to its director about its ice-cold shoot, modern filmmaking and more.
Freezing sleet stinging the tips of the ears. Icy north wind like sandpaper against the nipples. A problem with the underground left your humble writer traipsing in the grim January weather to meet Alejandro G Iñárritu, the lauded director of such award-winning films as Amores Perros, Birdman, and now a powerful survival-revenge drama, The Revenant.
The tribulations of Iñárritu and his cast and crew during The Revenant’s production make walking through sleet sound like a positive joy. This was, after all, a movie that saw filming take place in sub-zero temperatures, with lead actor Leonardo DiCaprio suffering from repeated bouts of illness. Last July, an anonymous crewmember told The Hollywood Reporter that the shoot - which took place in remote parts of Canada and Argentina, »
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