Japanese filmmaker talks in Doha about the power of making the audience wait and her surprise over the popularity of her latest film An back home.
Director Naomi Kawase has revealed she was surprised by the success of her latest film An in her native Japan, after years of her work being largely ignored by local audiences, and the development could influence her future film-making.
“I’ve been wondering about this and I am still wondering about this as I try to identify the direction I’ll take on my next movie. I want as many people as possible to watch my movies - that’s a given,” the director told a master-class at Doha Film Institute’s Qumra event on Monday.
The tale of an elderly woman with a talent for making traditional red bean paste, An grossed just over $2m in Japan when it was released shortly after its premiere in competition at Cannes last year...
Director Naomi Kawase has revealed she was surprised by the success of her latest film An in her native Japan, after years of her work being largely ignored by local audiences, and the development could influence her future film-making.
“I’ve been wondering about this and I am still wondering about this as I try to identify the direction I’ll take on my next movie. I want as many people as possible to watch my movies - that’s a given,” the director told a master-class at Doha Film Institute’s Qumra event on Monday.
The tale of an elderly woman with a talent for making traditional red bean paste, An grossed just over $2m in Japan when it was released shortly after its premiere in competition at Cannes last year...
- 3/9/2016
- ScreenDaily
Japanese filmmaker talks in Doha about the power of making the audience wait and her surprise over the popularity of her latest film An back home.
Director Naomi Kawase has revealed she was surprised by the success of her latest film An in her native Japan, after years of her work being largely ignored by local audiences, and the development could influence her future film-making.
“I’ve been wondering about this and I am still wondering about this as I try to identify the direction I’ll take on my next movie. I want as many people as possible to watch my movies - that’s a given,” the director told a master-class at Doha Film Institute’s Qumra event on Monday.
The tale of an elderly woman with a talent for making traditional red bean paste, An grossed just over $2m in Japan when it was released shortly after its premiere in competition at Cannes last year...
Director Naomi Kawase has revealed she was surprised by the success of her latest film An in her native Japan, after years of her work being largely ignored by local audiences, and the development could influence her future film-making.
“I’ve been wondering about this and I am still wondering about this as I try to identify the direction I’ll take on my next movie. I want as many people as possible to watch my movies - that’s a given,” the director told a master-class at Doha Film Institute’s Qumra event on Monday.
The tale of an elderly woman with a talent for making traditional red bean paste, An grossed just over $2m in Japan when it was released shortly after its premiere in competition at Cannes last year...
- 3/9/2016
- ScreenDaily
Entering its second year, the Museum of the Moving Image’s First Look series provides a strong, welcome antidote to the generally anemic cinematic landscape that is January. Its eclectic selection of undistributed features and shorts, programmed by Dennis Lim, Rachael Rakes, and David Schwartz, occasions an invigorating mixture of moods and approaches from established as well as emerging directors. It’s indicative of the series’ dedication to distinctive, often divisive cinematic voices that Bruno Dumont’s decidedly non-crowd-pleasing Hors Satan was chosen as the opening night film nearly two years following its Cannes premiere.
Whereas earlier films like Twentynine Palms or Hadewijch pushed the French director’s worldview in new directions, Hors Satan sits solidly in Dumont’s comfort zone, down to the cryptically religious title that links it to his debut, The Life of Jesus. His protagonist is a drifter with a scruffy, narrow face like Pasolini’s proletarian Christ,...
Whereas earlier films like Twentynine Palms or Hadewijch pushed the French director’s worldview in new directions, Hors Satan sits solidly in Dumont’s comfort zone, down to the cryptically religious title that links it to his debut, The Life of Jesus. His protagonist is a drifter with a scruffy, narrow face like Pasolini’s proletarian Christ,...
- 1/11/2013
- by Fernando F. Croce
- MUBI
Montreal’s Festival Du Nouveau Cinema (10.10 – 10.21) announced their line-up today for their 41st edition and among the smorgasbord of subtitle offerings dating back to this year’s Rotterdam, Berlin, Cannes, Locarno, Venice and Tiff editions, we’re knee-deep in avant-garde world cinema from the established auteurs Assayas, Vinterberg, Ozon, Sang-Soo, Joao Pedro Rodriguez, Larrain, Loach, Reygadas, Ghobadi, Mungiu and Miguel Gomes. Heavy on offerings from Quebec and France, the fest also manages to offer a stellar snapshot of the up-and-comers from all corners of the globe. Among the notable titles in the (Competition category) International Selection we’ve got Pablo Berger’s Blancanieves, Ursula Meier’s Sister, Brian M. Cassidy and Melanie Shatzky’s Francine (which received its theatrical release earlier this month) and Rodrigo Plá’s La Demora. Loaded in Cannes items, the Special Presentations is the fest’s A-list selections (see filmmakers named above) and the one pic...
- 9/25/2012
- by Eric Lavallee
- IONCINEMA.com
This week's announcement that Olivier Père, former programmer of Cannes's Directors' Fortnight, will be stepping down from his post at the helm of the Festival del Film Locarno marks the end of brief but important era for this film festival, one of the longest-running in the world. In just three years, Père has helped to put the annual event back on the festival map, drawing an annual influx of celebrities and industry-types for red-carpet world premieres, jury prizes, and lifetime achievement awards. Perhaps more than ever in its sixty-six-year history, Locarno is an important station on the fall festival circuit, forecasting the slates of Toronto and New York and providing useful international gateway for cinema from all over the world.
This year's festival featured a characteristically dizzying mix of international festival ephemera, an Otto Preminger retrospective, and much-heralded appearances by the likes of Kylie Minogue, Alain Delon, and Harry Belafonte on the festival's main stage,...
This year's festival featured a characteristically dizzying mix of international festival ephemera, an Otto Preminger retrospective, and much-heralded appearances by the likes of Kylie Minogue, Alain Delon, and Harry Belafonte on the festival's main stage,...
- 8/29/2012
- MUBI
While Cannes’ Quinzaine struggles to reframe its identity, its former artistic director Olivier Père continues to impress in his new job at the Locarno Film Festival. On Wednesday, he and his programming team unveiled a lineup that is absolutely salivatory, a who’s who for high-minded cinephiles. Perhaps most impressive of all, he has managed to once again nudge the festival’s selection aesthetic even deeper into esoteric ‘experimental’ territory without seeming all that radical. More than any other festival, Locarno is the home for the edgy projects that are too sophisticated for Cannes, whose cold shoulder to avant-garde narrative filmmaking becomes more glaring with each passing year. Check out the complete line-up at the bottom of this page.
In their International Competition, in which films compete for the increasingly prestigious Golden Leopard, we have a collaboration between João Pedro Rodrigues and his partner João Rui Guerra da Mata called...
In their International Competition, in which films compete for the increasingly prestigious Golden Leopard, we have a collaboration between João Pedro Rodrigues and his partner João Rui Guerra da Mata called...
- 7/13/2012
- by Blake Williams
- IONCINEMA.com
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