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It's ambitious as all hell, and finally a December release has been drawn up for "Tabu" director Miguel Gomes' three-part, six-hour plus omnibus "Arabian Nights". Today, a U.S. trailer for the epic and ambitious project has arrived, check it out below.
Set to screen one a week from December 4th, 11th and 18th respectively at the Film Society of Lincoln Center in New York City, the three film saga uses the classic "One Thousand and One Nights" story collection to explore the state of affairs in contemporary Portugal.
- Garth Franklin
What do you do after you make an intimate and acclaimed black-and-white drama? If you're "Tabu" director Miguel Gomes, you take a major risk and helm the three-part, six-hour plus omnibus "Arabian Nights." The film finds Gomes' skills matching his ambition —our review out of Cannes calls it "whimsical, swooningly romantic, inspiring, and fascinating." And now you can get a taste with the new U.S. trailer for the movie. Starring Adriano Luz, Americo Silva, Carloto Cotta, Crista Alfaiate, Fernanda Loureiro and Rogerio Samora, the film is very loosely based on the classic collection of fairy tales, using them to launch into a commentary on the state of affairs in contemporary Portugal. Here's the official synopsis: In Portugal- one European country in crisis- a film director proposes to build fictional stories from the miserable reality he is immersed in. However, failing to find meaning in his work, he cowardly runs. »
- Kevin Jagernauth
This interview was originally published online by Sight & Sound. It is being re-published on the Notebook in conjunction with Albert Serra's Story of My Death playing on Mubi in most countries in the world through December 14, 2015.If new movie masterpieces are proclaimed at each and every major film festival each and every year, the notable absence of adventurous, exciting and otherwise transgressive cinema amongst those lauded should inspire us to question not only the terms we use to describe films but also the standards to which we hold them.Catalan filmmaker Albert Serra, a transcendental minimalist who wields his camera like only a handful of fellow feature-film digital adventurers – among them Pedro Costa, David Lynch and Michael Mann – is one of the few who produces work that truly creates a new encounter with the audience. His radically stripped-down, voluptuously shaggy adaptations of canonical writing – Cervantes in Honour of the Knights »
- Daniel Kasman
Spectre is the longest Bond ever and The Hateful Eight 70mm event is over three hours, but the most epic cinematic event of the fall will be experiencing Miguel Gomes‘ Tabu follow-up Arabian Nights. Clocking in at 6 hours and 21 minutes and spread across three separate films, technically, it captures fictional stories “from the miserable reality he is immersed in,” some quite hilarious, others not so much.
Set to debut in December at NYC’s Film Society of Lincoln Center — more dates to come here, thanks to Kino Lorber — Gomes stopped by there during the New York Film Festival to give, fittingly, three separate talks. Over the 80 or so minutes, he touches on a variety aspects of the year-long shoot, notably how he came across the stories to pull in and the on-the-fly adaptation process. If you’ve managed to see the films on the festival circuit, it’s a must-watch »
- Leonard Pearce
It was 3 years ago when I first met Miguel Gomes in a cramped office of New York's Film Forum. His third feature Tabu was a big international success and I was just discovering his fantastic films. But it was the state of Portugal under stringent austerity measure that dominated our conversation, not as much the film itself. At that time, the Portuguese government was about to announce a new law concerning how the small but vibrant Portuguese film community would get funding, which had completely stopped because of the country's financial crisis (and greed of corporations, you can read it here). As a film lover, it was one of the most invigorating, memorable interviews I've conducted.Gomes's new film (or should I say films), Arabian...
[Read the whole post on twitchfilm.com...]
The last time I talked with Miguel Gomes, the subject of our conversation was not about his latest film, Tabu, but almost exclusively about the impact of the devastating austerity measure by the Portuguese government on the Portuguese film community and its general population in this global recession era. It is no surprise then, that the Portuguese director's next project concerns just that. He makes it clear in the preface of each of the 3 volumes of Arabian Nights:This film is not an adaptation of the book Arabian Nights despite drawing on its structureThe stories, characters and places that Scheherazade will tell us about acquired a fictional form from facts that occurred in Portugal between August 2013 and July 2014. During this period the country...
[Read the whole post on twitchfilm.com...]
While Cannes, Toronto, and Venice premiere some of the year’s best films, no annual cinematic event is better curated than the New York Film Festival, which kicks off this weekend. Those attending will witness, over two weeks, some of the best features this year — and next — have to offer.
A simple copy-and-pasting of the line-up would suffice, but we’ve done our best to narrow it down to 25 selections that are the most worth your time. For honorable mentions, we’re looking forward to the stellar line-up of revivals, including The King of Comedy, All That Jazz, Blow Out, Rocco and His Brothers, Ran, Heaven Can Wait, and The Boys from Fengkuei.
We’ve also reviewed a few titles (The Forbidden Room, My Mother, Chevalier) that we were a bit cooler on. Lastly, the festival announced a sneak preview screening of Ridley Scott‘s The Martian, and one can read our review here. »
- TFS Staff
Not long ago, it was far easier to predict which foreign-language films wouldn’t feature in the Oscar race than it is today. Year after year, titles that had racked up festival awards and critical plaudits could handily be discounted even after they’d passed the hurdle of being submitted by their country: if they were too thematically abrasive or too formally avant-garde, they weren’t getting a look-in.
The Academy had a particular comfort zone in the best foreign language film category, one that was largely unaccommodating to iconoclastic auteur works: so it is that Dogme 95 milestone “The Celebration” and Romanian New Wave flag-bearer “4 Months, 3 Weeks and 2 Days” failed even to crack the shortlist in their respective years. Even those that got nominated often fell to less consequential entertainments: “Black and White in Color” over “Seven Beauties,” or “Mediterraneo” over “Raise the Red Lantern.”
Yet things change. As imperfect »
- Guy Lodge
Hearts of Darkness: Guerra’s Exceptional Exploration of Ruinous Colonialization
Colombian director Ciro Guerra charts an enigmatic narrative of parallel odysseys through the Amazon with his third feature, Embrace of the Serpent is no less intimate in its rendering of human interaction than previous films The Wandering Shadows (2004) and The Wind Journeys (2009), Guerra’s stark allegory of the extinction of indigenous cultures at the hands of well-meaning but ignorant white Europeans is powerfully resonant in this gorgeously shot film, touted as the first feature to be shot in the Colombian jungle in over three decades.
In 1909, ailing German explorer Theodor Koch–Grunberg (Jan Bijvoet) scours the Colombian jungle for isolated shaman Karamakate (Nilbio Torres), a guide he believes will lead him to an exotic plant known as yakruna, and thus restore his health. Karamakate, the last surviving member of his tribe, is incredibly wary of white men, and seems only »
- Nicholas Bell
One of the key aspects of the Toronto International Film Festival is the City to City Programme, which takes a look at a specific city every year, screening films that focus on the events of that specific city, as well as showcasing the latest projects by filmmakers from the city. The 2015 incarnation of the festival will focus on London, England, with eight films in the Tiff programme this year.
The films that will be part of the lineup have now been announced, alongside an additional set of films that will be part of the Tiff Wavelengths Programme, joining the previously announced entries in the programme. The complete list of films in both programmes, along with their official synopses, can be seen below.
City To City
Couple in a Hole, directed by Tom Geens, making its World Premiere
A middle class British couple end up living like feral creatures in a »
- Deepayan Sengupta
Steven Spielberg’s Bridge of Spies, starring Tom Hanks, will make its World Premiere at the 53rd New York International Film Festival, running from September 25 to October 11. The film was one of 26 announced as part of the festival’s main slate, along with one of four World Premieres.
Some of the main slate highlights include Todd Haynes’s Carol, featuring Cannes Best Actress Winner Rooney Mara alongside Cate Blanchett, Miguel Gomes’s three part saga Arabian Nights, Hou Hsiao-Hsien’s The Assassin, the Us premiere of Michael Moore’s latest Where to Invade Next, Michel Gondry’s French film Microbe et Gasoil, and the World Premiere of the documentary Don’t Blink: Robert Frank, about the life of the fames photographer and filmmaker.
- Brian Welk
The 53rd New York Film Festival starts September 25 - October 11 at the Film Society Of Lincoln Center, and boy are they packing a punch this year.Their Main Slate was announced today, leading with the world premiere of Steven Spielberg's Bridge Of Spies, a cold war thriller starring Tom Hanks. But what's got me really intrigued is Don Cheadle's Miles Davis biopic Miles Ahead, Tabu director Miguel Gomes' full three volumes of Arabian Nights, and Kiyoshi Kurosawa's latest, Journey To The Shore, as well as Apichatpong Weerasethakul's Cemetery Of Splendour. Then we've got the much buzzed about The Lobster and The Assassin, plus two personal Sundance favorites in Guy Maddin's The Forbidden Room and Michael Almerayda's Experimenter. And that's just the tip of the...
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Read More: The Most Ambitious Movie At This Year's Cannes Film Festival is 'Arabian Nights' Miguel Gomes' lauded epic "Arabian Nights," which premiered as part of the Cannes Directors' Fortnight selection, has been acquired for release in a groundbreaking co-distribution deal between New Wave Films and curated VOD service Mubi. The film confronts encompassing social and political realities in contemporary Portugal, spanning six hours over three parts. Here's the film's official synopsis: "['Arabian Nights'] creates a vivid portrait of Portugal today. Miguel Gomes, the director of 'Tabu,' disturbed by the austerity measures imposed on his homeland, commissioned journalists to gather true stories from all over the country that were then fictionalized. The outcome is a heady blend of the surreal and the all too real, told in a series of episodes where social realism is mixed in with the downright bizarre. It is a snapshot of his country in economic strife and. »
- David Canfield
London — Subscription video-on-demand platform Mubi has signed its first theatrical deal. In a pioneering partnership with New Wave Films, Mubi will release Miguel Gomes’ “Arabian Nights” in theaters across the U.K. and Ireland. Mubi will then show the film online.
Mubi and New Wave will handle jointly the home entertainment and VOD release for the three-part film, which played in Directors’ Fortnight at Cannes this year.
The move is the latest in a small but growing recent trend of Svod services acquiring the rights to films with an eye to releasing them in theaters as well as online. Netflix will release Cary Fukunaga’s “Beasts of No Nation” on Oct. 16 in select U.S. theaters and online. It will release “Crouching Tiger, Hidden Dragon: The Green Legend” theatrically in China, and on IMAX and on Netflix globally early next year, and will also release Brad Pitt’s “War Machine »
- Leo Barraclough
Madrid – Completing one of the biggest Latin America- U.S.-Europe co-productions in history, Canana, the Mexico-l.A.-based production house of Gael Garcia Bernal, Diego Luna and Pablo Cruz, has boarded Lucrecia Martel’s “Zama,” one of Latin America’s most awaited and most ambitious movies.
A partner with Im Global in Mundial, a pioneering Latin America sales company, and with Participant Media in Participant PanAmerica, beyond its own lead productions – “Miss Bala,” “Cesar Chavez,” Cannes 2015 Un Certain Regard player “The Chosen Ones” — Canana has been a key driver of first moves to create a pan-regional Latin American film industry, co-producing milestone recent Latin American co-productions such as Pablo Larrain’s “No” and Pablo Fendrik’s “Ardor.”
“We are thrilled to join such a group of colleagues — all admired »
- John Hopewell
The venerable Karlovy Vary Intl. Film Festival may be turning 50, but the thrust of its program remains fresh and tuned to emerging talent. A new strand this year, sponsored by European Film Promotion (Efp), introduces directors that come from the cohort of the fest’s mostly college-age audience. Future Frames: Ten New Filmmakers to Follow brings short works by students and recent graduates of European film schools into the festival’s largely feature-length film mix. Filmmakers were nominated by their respective country’s Efp bodies.
Says Czech filmmaker Ondrej Hudecek of the initiative, “I think it’s always conducive and extremely valuable to meet fellow filmmakers and industry professionals, who are dealing with the same issues of how to make the transition from shorts to features and talk about the perspectives and possibilities we have, as well as about our films and approaches to filmmaking.”
Karlovy Vary runs July 3- »
- Alissa Simon
Miguel Gomes’ three-volume epic wins eight on the closing night of the Sydney Film Festival.
Director Miguel Gomes and his three-volume 383-minute film Arabian Nights has won the $48,000 (A$62,000) Sydney Film Prize, it was announced on Sunday, the closing night of the 62nd Sydney Film Festival.
Journalist Michael Ware was awarded the $7,730 (A$10,000) Documentary Australia Foundation Award for Australian Documentary for Only the Dead, about his experiences in Afghanistan. The film was co-directed with Bill Guttentag.
Jury president and Australian producer Liz Watts said Arabian Nights, which had its world premiere in Directors’ Fortnight at Cannes, was a film of ambition and political vision which confronts, frustrates, and spellbinds – and ultimately reminds us that cinema continues to be a powerful vehicle to examine the human condition.
“A subject that is so timely – oppression and exploitation are at »
- Sandy.George@me.com (Sandy George)
Read More: 2015 Indiewire Cannes Bible The latest film from acclaimed Portuguese auteur Miguel Gomes ("Our Beloved Month of August," "Tabu") is his most ambitious work by far. Divided into three feature-length "volumes" — "The Restless One," "The Desolate One," and The Enchanted One" — "Arabian Nights" is a six-hour epic consisting of interwoven stories. Taking its namesake from the famous ancient collection of folktales, the film makes it clear early on that this is not an adaptation despite being inspired by the book's structure, in which the beautiful Scheherazade (played here by Crista Alfaiate) tells a fantastical tale every evening for 1001 nights to distract the tyrannical king from killing her. If the movie's cumbersome running time appears intimidating, its episodic nature makes it easily digestible, and here at the Cannes Film Festival it has been presented on three separate days — a fine way to experience »
- Adam Cook
The biggest and most ambitious movie at Cannes this year isn’t an expensive blockbuster ("Mad Max: Fury Road") or a conceptually demanding animated film ("Inside Out"). It’s “Arabian Nights,” a six-hour, three-part project, variously described as a trilogy and as just one movie, shot entirely on film and inspired very, very loosely by the classic collection of fairy tales (also known as “1001 Nights.") The film is the latest from Portuguese helmer Miguel Gomes, who came to the attention of cinephiles with docudrama hybrid “Our Beloved Month Of August,” and then more prominently with “Tabu,” the widely acclaimed, wildly original black-and-white Murnau homage released in 2012. I loved the latter, and have been dying to see what Gomes would get up to next, and the answer doesn’t disappoint: it’s as successful as it is ambitious, and it's one of the most remarkable, distinctive, and magical films of the festival so. »
- Oliver Lyttelton
If “The Restless One” seemed the perfect title for the first part of Miguel Gomes’s opulently undisciplined opus “Arabian Nights” — signaling its tangled, distracted nesting of stories within stories — “desolate” is hardly the adjective for its fertile, often uproarious middle section. It does, however, aptly indicate a certain narrative calming: Only three tales are told here by the project’s wily mythical narrator Scheherazade, though one in particular sprawls and subdivides itself in such alluringly vine-like fashion that viewers will hardly notice 133 minutes ticking by. The crushing social impact of Portugal’s recent austerity policies remains the running theme here, though Volume 2 features less stinging rhetoric than its predecessor, as whimsical satire gradually segues into observational tragicomedy. It remains to be seen on what note Gomes chooses to end his mammoth undertaking, but it’s already among the most stirring, stimulating works at this year’s Cannes fest.
- Guy Lodge
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