Conference speakers to include Rikke Ennis, Philip Knatchbull and Walter Iuzzolino.
The Broken Circle Breakdown and Tabula Rasa actress Veerle Baetens will pitch her directorial debut, The Melting, at the fourth edition of Flanders Image’s annual film and TV showcase CONNeXT (October 6-9).
The Melting is adapted from Lize Spit’s novel about a woman looking back on one pivotal summer with the two boys who were her best friends in the small Flemish town of Bovenmeer.
CONNeXT invites international experts to Ghent to preview or screen features and TV series made in Flanders and Brussels. In past years,...
The Broken Circle Breakdown and Tabula Rasa actress Veerle Baetens will pitch her directorial debut, The Melting, at the fourth edition of Flanders Image’s annual film and TV showcase CONNeXT (October 6-9).
The Melting is adapted from Lize Spit’s novel about a woman looking back on one pivotal summer with the two boys who were her best friends in the small Flemish town of Bovenmeer.
CONNeXT invites international experts to Ghent to preview or screen features and TV series made in Flanders and Brussels. In past years,...
- 9/16/2019
- by Wendy Mitchell
- ScreenDaily
Flemish Cultural Affairs Minister Joke Schauvliege has greenlit the Flanders Distribution Grant, a new initiative aimed at boosting Flemish productions which are being released theatrically abroad. The selective system, which will run as a pilot project throughout 2013. The initiative is run by Flanders Image, the Flanders Audiovisual Fund’s (Vaf) audiovisual export and promotion agency. The budget for the first year is €389,000 ($526,000).
Belgian cinema from Flanders has been doing increasingly well in recent years: the number of films being invited to festivals, and winning awards at those festivals, has been growing, while local hits such as Bullhead, Come As You Are and North Sea Texas also enjoyed healthy international sales. But while filmmakers were able to apply for financial support to travel to festivals, or to increase the visibility of their films at these festivals, until now there has been no comparable initiative to support the releases of Flemish films overseas.
‘This is another step forward towards the better and wider introduction of Flemish cinema abroad,’ says Flemish Cultural Affairs Minister Joke Schauvliege, who greenlit the scheme. 'We are no longer just supporting films at festivals, but are now also supporting distribution, so that Flemish productions can be seen in even more cinemas around the world.’
A Flanders Distribution Grant can only be obtained by a foreign distributor after they have acquired the rights to the film for their territory. They can then apply for support if they can demonstrate that the grant will make a significant difference to the theatrical release of the film. The money might, for example, be used for organising press junkets, for widening the campaign, or for dubbing the film into the local language. The plan also needs to be approved by the film’s Flemish producer. Only majority-produced Flemish creations are eligible for a Flanders Distribution Grant, and films that have already received distribution support from Media or any other public body are excluded from the scheme. Full regulations can be obtained from Flanders Image.
The selective system, which will have a €389,000 budget in its pilot year, will only be looking to support the most convincing and the strongest applications. ‘We expect distributors to present us with something that is more than just a basic release,’ says Christian De Schutter of Flanders Image. ‘With the Flanders Distribution Grant, we want to make the release of a Flemish film stand out from a regular opening in that territory.’ A jury is to select the best proposals.
On show from Flanders at the European Film Market (Efm) this year are Felix van Groeningen's The Broken Circle Breakdown (int'l sales: The Match Factory), which is invited to the Panorama Special programme where Bullhead premiered two years ago; Allez, Eddy! by Gert Embrechts (Global Screen); Offline by Peter Monsaert (Lumière Publishing); and The Fifth Season by Peter Brosens and Jessica Woodworth (Films Boutique).
Belgian cinema from Flanders has been doing increasingly well in recent years: the number of films being invited to festivals, and winning awards at those festivals, has been growing, while local hits such as Bullhead, Come As You Are and North Sea Texas also enjoyed healthy international sales. But while filmmakers were able to apply for financial support to travel to festivals, or to increase the visibility of their films at these festivals, until now there has been no comparable initiative to support the releases of Flemish films overseas.
‘This is another step forward towards the better and wider introduction of Flemish cinema abroad,’ says Flemish Cultural Affairs Minister Joke Schauvliege, who greenlit the scheme. 'We are no longer just supporting films at festivals, but are now also supporting distribution, so that Flemish productions can be seen in even more cinemas around the world.’
A Flanders Distribution Grant can only be obtained by a foreign distributor after they have acquired the rights to the film for their territory. They can then apply for support if they can demonstrate that the grant will make a significant difference to the theatrical release of the film. The money might, for example, be used for organising press junkets, for widening the campaign, or for dubbing the film into the local language. The plan also needs to be approved by the film’s Flemish producer. Only majority-produced Flemish creations are eligible for a Flanders Distribution Grant, and films that have already received distribution support from Media or any other public body are excluded from the scheme. Full regulations can be obtained from Flanders Image.
The selective system, which will have a €389,000 budget in its pilot year, will only be looking to support the most convincing and the strongest applications. ‘We expect distributors to present us with something that is more than just a basic release,’ says Christian De Schutter of Flanders Image. ‘With the Flanders Distribution Grant, we want to make the release of a Flemish film stand out from a regular opening in that territory.’ A jury is to select the best proposals.
On show from Flanders at the European Film Market (Efm) this year are Felix van Groeningen's The Broken Circle Breakdown (int'l sales: The Match Factory), which is invited to the Panorama Special programme where Bullhead premiered two years ago; Allez, Eddy! by Gert Embrechts (Global Screen); Offline by Peter Monsaert (Lumière Publishing); and The Fifth Season by Peter Brosens and Jessica Woodworth (Films Boutique).
- 3/30/2013
- by Sydney Levine
- Sydney's Buzz
Still from English Vinglish
Gauiri Shinde’s English Vinglish is one of the runners – up of the Mercedes-Benz Audience Award for Best Narrative Feature at the Palm Springs International Film Festival that concludes on Monday. The 24th edition of the festival screened 182 films from 68 countries.
The other runners-up are Gert Embrechts’ Allez, Eddy! (Belgium/ Luxembourg / The Netherlands), Travis Fine’s Any Day Now (USA), Peter Webber’s Emperor (Japan), Thomas Vinterberg’s The Hunt (Denmark), Glenn Gaylord’s I Do (USA), Inuk (Greenland), Kon-Tiki (Norway/UK) by Joachim Rønning and Espen Sandberg, Nikolaj Arcel’s A Royal Affair (Denmark), Michael McGowan’s Still (Canada) and Darko Mitrevski’s The Third Half (Macedonia).
The Sapphires by Wayne Blair won the Mercedes-Benz Audience Award for Best Narrative Feature. Don’t Stop Believin’: Everyman’s Journey by Ramona Diaz was awarded the Audience Award Best for Documentary Feature. The Fipresci Prize for...
Gauiri Shinde’s English Vinglish is one of the runners – up of the Mercedes-Benz Audience Award for Best Narrative Feature at the Palm Springs International Film Festival that concludes on Monday. The 24th edition of the festival screened 182 films from 68 countries.
The other runners-up are Gert Embrechts’ Allez, Eddy! (Belgium/ Luxembourg / The Netherlands), Travis Fine’s Any Day Now (USA), Peter Webber’s Emperor (Japan), Thomas Vinterberg’s The Hunt (Denmark), Glenn Gaylord’s I Do (USA), Inuk (Greenland), Kon-Tiki (Norway/UK) by Joachim Rønning and Espen Sandberg, Nikolaj Arcel’s A Royal Affair (Denmark), Michael McGowan’s Still (Canada) and Darko Mitrevski’s The Third Half (Macedonia).
The Sapphires by Wayne Blair won the Mercedes-Benz Audience Award for Best Narrative Feature. Don’t Stop Believin’: Everyman’s Journey by Ramona Diaz was awarded the Audience Award Best for Documentary Feature. The Fipresci Prize for...
- 1/14/2013
- by NewsDesk
- DearCinema.com
Love Life
Guest Review by Dog Ate My Wookie
Stars: Anna Drijver, Barry Atsma, Carice van Houten | Written by Gert Embrechts | Directed by Reinout Oerlemans
When I got the press release for Love Life (aka Stricken), I didn’t read it… I like to judge books by their covers and this one was littered with boobies and a naked man! Little did I know I’d need tissues for a whole other reason by the time Love Life had come to a close. I don’t know who Yellow Knife (the distributors) are but if this is the drama, the calibre of film they’re bringing to the UK market then perhaps they’re a label to watch.
It’s human nature to take life for granted and successful ad exec Stijn (Atsma) is a man who likes to dip his wick over and over again, he’s riding the...
Guest Review by Dog Ate My Wookie
Stars: Anna Drijver, Barry Atsma, Carice van Houten | Written by Gert Embrechts | Directed by Reinout Oerlemans
When I got the press release for Love Life (aka Stricken), I didn’t read it… I like to judge books by their covers and this one was littered with boobies and a naked man! Little did I know I’d need tissues for a whole other reason by the time Love Life had come to a close. I don’t know who Yellow Knife (the distributors) are but if this is the drama, the calibre of film they’re bringing to the UK market then perhaps they’re a label to watch.
It’s human nature to take life for granted and successful ad exec Stijn (Atsma) is a man who likes to dip his wick over and over again, he’s riding the...
- 6/16/2011
- by Guest
- Nerdly
Trailers are an under-appreciated art form insofar that many times they’re seen as vehicles for showing footage, explaining films away, or showing their hand about what moviegoers can expect. Foreign, domestic, independent, big budget: I celebrate all levels of trailers and hopefully this column will satisfactorily give you a baseline of what beta wave I’m operating on, because what better way to hone your skills as a thoughtful moviegoer than by deconstructing these little pieces of advertising? Some of the best authors will tell you that writing a short story is a lot harder than writing a long one, that you have to weigh every sentence. What better medium to see how this theory plays itself out beyond that than with movie trailers? Love Life Trailer A few weeks ago I talked about a trailer called New Kids Turbo. I received a good amount of e-mail letting me...
- 12/4/2010
- by Christopher Stipp
- Slash Film
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