Bright Future (2002) - News Poster

(2002)

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Rotterdam’s Iffr 2018: Jewish Films

The Netherlands have always had a special place for Jews. Not always loved, but always protected, Amsterdam calls itself “Mokum” meaning “The Place” in Hebrew and Rotterdammers say “Mazel Tov” when they mean congratulations and all toast with “Daar Ga Je” which in Dutch sounds like “Le Cha’im”.

Jewish movies this year included two Russian films and films which while inclusive of Jews were not “Jewish” in nature.

Anna’s War, directed by Alexey Fedorchenko (2018, Russia, 75 minutes), is about a 6-year-old Anna whose entire family dies in the mass coordinated execution of Jews. The mother covers up Anna with her own body, and the girl miraculously survives. For the next few hundred days Anna hides in the disused chimney at the Nazi Commandant’s office. From her shelter she watches as life passes her by until the village is liberated from the Nazis. In these inhuman conditions Anna not
See full article at SydneysBuzz »

"House on Fire"—Tamil Nadu Cinema at Rotterdam 2018

  • MUBI
I Am GodI’ve said it before and I will always be pleased to say it again: For a film festival to be relevant it is absolutely essential it presents to its audience a line connecting cinema’s present with cinema’s past. The education is key, the experience thrilling and the open-mindedness engendered are all requisite to keep the art living and enjoyed, especially in an age where an audience might be attracted to the event of a film festival but otherwise rarely, if ever, go to the cinema anymore. With over 250 feature films and a similar amount of shorts in its 2018 selection, it was easy to get lost in the massive schedule of the 47th International Film Festival Rotterdam. Which is why I greatly appreciated two particular sections at the festival curated by programmers with acute focus and taste that comparatively left the larger, more vaguely collected sections
See full article at MUBI »

“Your Film Will Always Travel More Than You”: Director Sophie Goyette on Independent Distribution

In 2016, Québécois filmmaker Sophie Goyette’s debut feature, Mes nuits feront écho, won the Bright Future Award at the Rotterdam International Film Festival. A poetic rumination on morality, the fragility of relationships, and the bravery that goes into cultivating human connection, the film flows between very distinct, even seemingly disparate, locales: Québec, Mexico and Asia. Goyette, however, links these places through the journeys of a young musician, Eliane (Eliane Préfontaine), who leaves Canada for Mexico City and ends up teaching piano to the son of a middle-aged man, Romes (Gerardo Trejoluna). Romes soon leaves for Asia with his aged father, […]
See full article at Filmmaker Magazine »

‘Black Mirror’ Season 4 Trailer: Imagine A Bright Future With A Late December Release Date

Netflix has been playing a coy game with the upcoming fourth season of Charlie Brooker‘s anxiety-inducing “Black Mirror,” releasing trailer after trailer and posters for each episode and yet hiding the release date. The holiday flavored strategy has been called the 13 Days of Black Mirror, which is now wrapping up and the star of David on top is that final reveal: the Emmy-winning series launches on Friday, December 29th and they’ve delivered a final trailer teasing all the episodes in one big supercut-y mash-up.

Continue reading ‘Black Mirror’ Season 4 Trailer: Imagine A Bright Future With A Late December Release Date at The Playlist.
See full article at The Playlist »

Northern Streams: Future//Present at Viff 2017

  • MUBI
Prototype (Blake Williams)The 36th Vancouver Film Festival recently wrapped, and with it, the second year of the Future//Present program, a selection of eight features (and a number of shorts) dedicated to emerging Canadian filmmakers. If the inaugural edition had the task of distinguishing itself from the rest of the festival's True North “stream,” this year's offered the opportunity to cement its relevancy and expand its vision. That's something for which the admirably varied program proved more or less able, albeit with higher highs and lower lows than in 2016, which speaks, at least, to chances being taken (something that can't necessarily be said of the festival's programming in general). Taken on the whole, there are—beyond the uniting sensibility of critic and programmer Adam Cook—filmmaking trends that one could identify, and patterns that one could connect, for better and for worse, to the larger contemporary arthouse scene. But the most successful selections,
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‘Before We Vanish’ Review: Kiyoshi Kurosawa Inches Towards Relevance With Sedate Alien Invasion Story — Nyff

  • Indiewire
‘Before We Vanish’ Review: Kiyoshi Kurosawa Inches Towards Relevance With Sedate Alien Invasion Story — Nyff
Watching the dreadful and painfully distended films Japanese director Kiyoshi Kurosawa made over the last 10 years, you’d be forgiven for thinking that he was abducted in 2008 and hijacked by a clueless alien parasite trying to keep up appearances. A major figure during the early days of J-horror, Kurosawa distilled the entropy creeping into the digital age before most other artists even felt it — modern classics like “Cure,” “Pulse,” and even the less-horrifying likes of “Bright Future” continue to serve as invaluable time capsules from the era that we’re still trying to escape.

As recently as “Tokyo Sonata,” which is now almost a decade old, it seemed as though Kurosawa could sublimate his obsessions with societal decay into any genre, and the shattering final scene of that film left fans desperate to see where he would go next.

Then, things got bad. The falloff was subtle at first, and it came in small doses,
See full article at Indiewire »

Tiff 2017 Women Directors: Meet Sadaf Foroughi — “Ava”

Ava

Sadaf Foroughi is an Iranian-born, Montreal-based filmmaker. In 2005 she was selected to participate in the Berlinale Talent Campus as a writer-director. She created a short documentary, “Féminin, Masculin,” for Why Democracy? projects, co-produced by Steps International, Zdf/Arte, and Goethe-Institut. She co-wrote, co-produced, and interpreted in “The Pot and the Oak,” a feature film that had its world premiere in the 2017 Bright Future Competition Section of The International Film Festival Rotterdam.

Ava” will premiere at the 2017 Toronto International Film Festival on September 8.

W&H: Describe the film for us in your own words.

Sf: Written and directed in the form of variation in music, “Ava” portrays what women are confronting in Iranian society today with the cinematographic aesthetic of a country in which there are restrictions on portraying women. It tells the story of a 17-year-old girl who is banished from society because she wants to be different.

W&H: What drew you to this story?

Sf: “Ava” depicts a kind of lifestyle that I experienced as a woman in a traditional society like Iran. My main inspiration in making “Ava” is to examine the role and influence of women in Iranian society and the taboos that have been engraved in my mind.

My point of departure is a mother and a daughter in a small society called home — mother as a person who gives birth to and nurtures her daughter as the following generation.

W&H: What do you want people to think about when they are leaving the theater?

Sf: As the writer-director, I would prefer each audience member have a different interpretation of what they see in the film.

W&H: What was the biggest challenge in making the film?

Sf: The biggest challenge was to work as a woman director in a patriarchal society. This experience made me more solid and willful as a female director.

W&H: How did you get your film funded? Share some insights into how you got the film made.

Sf: It was a long process. First, I tried to find a producer. I didn’t find one, so I decided to produce the film along with my colleague. “Ava” couldn’t be created without the love and support of Le Conseil des Arts et des Lettres du Quebec, The Canada Council for the Arts, and Doha Film Institute, who supported us all along this long journey.

W&H: What does it mean for you to have your film play at the Toronto International Film Festival?

Sf: It means a lot to me. I am delighted and cherish this opportunity every morning I wake up. It is my first step toward the professional world, and it’s at an important and prestigious festival! I am grateful.

W&H: What’s the best and worst advice you’ve received?

Sf: Best advice: Work hard on your first feature, which is your launch pad.

Worst advice: It is better for a woman not to make a film about a female subject.

W&H: What advice do you have for other female directors?

Sf: To believe in themselves. To be courageous and share their stories. To work hard and never give up. To help each other and stay tight.

W&H: Name your favorite woman-directed film and why.

Sf: Lynne Ramsay and Agnès Varda are my favorite women directors.

Most of their films are very personal and they are related to their inner feeling as a woman towards the world around them.

W&H: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directors yet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have on this topic.

Sf: I am positive. But I think there is still lot to do and a long way to go.

Tiff 2017 Women Directors: Meet Sadaf Foroughi — “Ava” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

Georgia Mom Says Husband Left Her After She Was Severely Burned in Fire He Accidentally Started: ‘I Was Devastated’

Georgia Mom Says Husband Left Her After She Was Severely Burned in Fire He Accidentally Started: ‘I Was Devastated’
After Courtney Waldon’s 51-day stay in the hospital — which was mostly spent in a medically-induced coma while she recovered from horrific burns she suffered from a fire on Sep. 30, 2016— she couldn’t wait to get home to her 4-year-old daughter, parents and husband.

Her goal was to make it home in time for Thanksgiving, and on Nov. 17, 2016, she was finally able to return to her family in Tallapoosa, Georgia.

But just two weeks later — as she still struggled to walk and eat — her husband of four months walked out on her and her daughter Caroline from her first marriage.
See full article at PEOPLE.com »

California Woman Nearly Bleeds to Death After Childbirth as U.S. Maternal Mortality Rates Double: ‘It Was Frightening’

California Woman Nearly Bleeds to Death After Childbirth as U.S. Maternal Mortality Rates Double: ‘It Was Frightening’
Kristen Terlizzi had no idea that maternal mortality was an issue in the United States until she almost lost her own life after she delivered her son, Leo.

“I had always focused on my baby’s health,” Terlizzi, 35, tells People. “It was scary to realize that I was in danger as well.”

Since 1990, the maternal mortality ratio in the U.S. has more than doubled, according to the Society for Maternal-Fetal Medicine, with an estimated 700 to 900 women dying from pregnancy or childbirth related causes each year.

NPR reports that American women are more than three times as likely as Canadian
See full article at PEOPLE.com »

Richard Linklater Celebrates the Bygone Era of the Video Store

Richard Linklater Celebrates the Bygone Era of the Video Store
The following excerpt serves as the forward to the paperback edition of Tom Roston’s book “I Lost It at the Video Store: A Filmmaker’s Oral History of a Vanished Era,” which is now available here. The new edition features more interviews with younger screen stars, including Paul Dano and Zoe Kazan, as well as new era film visionaries such as Tim League and Burnie Burns.

If you’re a film freak much under the age of 40, you likely have no personal memory of the history of film being anywhere other than at your fingertips. Those of us older than that lived through the last era of “cinematic scarcity.” And it was no joke—I remember putting in for vacation time from work just to be sure I could finally see “Mean Streets”—I saw that it was scheduled to show in a month or so for one night
See full article at Indiewire »

The Same Old Story: England’s Fifty Years of Hurt Set to Continue?

Oh how I wish the title of this article could be different. Sadly when England come up against Germany in any competition (especially in a semi-final) there’s a good chance it will end in defeat. Sad but true. Before the game, I let myself get carried away thinking of different titles for this piece on English football, such as ‘England’s Bright Future’, or ‘Bring on Russia’. But unfortunately as soon as the referee blew his whistle for the end of extra time, the title wrote itself.

After the major success of England winning the U20 ‘s World Cup, the nation inevitably turned their attention to the U21’s European Championships. The U20’s 1-0 win over Venezuela meant it was England’s biggest international title since Bobby Moore lifted the World Cup in 1966. That’s depressing. Not taking anything away from the U20’s impressive feat, but surely
See full article at The Cultural Post »

Rotterdam's Hubert Bals Fund backs 13 projects

  • ScreenDaily
Exclusive: Films by Babak Jalali, Ricardo Silva and Deepak Rauniyar selected.

The Hubert Bals Fund (Hbf), which is administered by International Film Festival Rotterdam, has backed 13 projects in its latest funding round.

The Hbf Voices strand championing filmmakers who are more advanced in their careers, has selected Babak Jalali, pictured (whose film is titled Hymns), Ricardo Silva (Sleepwalk) and Deepak Rauniyar (Raja). Each project will receive script and project development funding worth €10,000.

The Nff+Hbf co-production scheme – a joint initiative by the Netherlands Film Fund and the Hubert Bals Fund – has backed two projects co-produced by Dutch producers.

Those are, Muayad Alayan’s The Reports On Sarah And Saleem, which is co-produced by KeyFilm, and Leonardo Brzezicki’s Almost In Love, which is co-produced by Keplerfilm. Both films receive a production grant of €50,000.

The Hbf Bright Future fund will grant €10,000 to eight features: Arun Karthick (Nasir); Sivaroj Kongsakul (Regretfully At Dawn); John Trengove (Estate); Omar Elzohairy (Feathers
See full article at ScreenDaily »

'The Watchman' takes top prize at Curacao Iffr

  • ScreenDaily
'The Watchman' takes top prize at Curacao Iffr
Dominican Republic drama wins Yellow Robin Award at festival.

The Watchman (El hombre que cuida) by Alejandro Andújar (Dominican Republic) won the Yellow Robin Award at the Curaçao International Film Festival Rotterdam, which wrapped its sixth edition yesterday (April 9).

Andujar’s debut feature is about a young man, recently separated from his wife, who is a watchman at a rich man’s villa; his peace is interrupted when the rich man’s son arrives with his spoiled friends.

The international jury praised the film for tackling “universal issues of race and class, of youth, loyalty and sex in a Caribbean setting”.

They said: “Atmosphere and pace are strong, and the jury was particularly impressed by the brooding lead actor who radiates both the captivity of his personal struggles and that of his confined place in society, in this case the luxury villa he has to take care of when the owner’s spoiled son brings friends and trouble
See full article at ScreenDaily »

Cannes Wish List: 50 Films That Have a Serious Shot at the 2017 Festival Lineup

  • Indiewire
Cannes Wish List: 50 Films That Have a Serious Shot at the 2017 Festival Lineup
In order to make accurate predictions about the potential Cannes Film Festival lineup, it’s first important to explore which films definitely won’t make the cut. The glamorous French gathering is notorious for waiting until the last minute before locking in every slot for its Official Selection. That includes competition titles, out of competition titles, a small midnight section and the Un Certain Regard sidebar. Cannes announces the bulk of its selections in Paris on April 13, but until then, there are plenty of ways to make educated guesses. Much of the reporting surrounding the upcoming festival selection is simply lists of films expected to come out this year. However, certain movies are definitely not going to the festival for various reasons.

That’s why our own list of potentials doesn’t include “Image Et Parole,” Jean-Luc Godard’s followup to “Goodbye to Language,” which sales agent Wild Bunch now anticipates as a 2018 title.
See full article at Indiewire »

Iffr: Hubert Bals Fund restructures

  • ScreenDaily
Changes made to fund which support filmmakers from developing countries.

The Hubert Bals Fund has undergone a makeover. The Fund, founded in 1988 to support filmmakers from developing countries and one of the core parts of International Film Festival Rotterdam, has restructured.

As Iwana Chronis (soon to leave her position as Head of the Fund) explains:

“It seemed like a good a decision to cancel the fall (2016) selection round in order to have a moment to breathe and see how we could organise things differently and then to re-start at the festival with the new team, the new policies and the new financing (structure).”

With Chronis stepping down, Marit van den Elshout (head of Iffr Pro) will take over at the helm. She will be working closely with Iffr Pro Fund coordinator Fay Brennan.

The Fund has a track record for supporting films from talents like Chen Kaige, Carlos Reygadas and Elia Suleiman early in their careers. There
See full article at ScreenDaily »

Iffr: industry veterans debate importance of sales agents

Panelists including Tribeca’s Frederic Boyer and Cercamon’s Sebastien Chesneau weighed in at the Rotterdam event.

The requirement of a sales agent was hotly debated at International Film Festival Rotterdam today (Jan 29) during a panel about how filmmakers can make the most of film festivals.

Speakers included industry veterans Frederic Boyer (artistic director, Tribeca Film Festival); Sebastien Chesneau (partner, Cercamon Sales Agency) and Katharina Suckale (producer, Bombay Berlin Film Production).

Film-maker Gastón Solnicki, whose second feature Kékszakállú is screening in Iffr’s Bright Future section this year, kicked off the discussion stating that his preference is to work without a sales agent in order to be in full control of the process of taking his films to a festival.

“I would rather be the person in direct contact with distributors, making the marketing materials and putting the posters up. I know my film best, and I know I will work hard to secure sales,” said Buenos
See full article at ScreenDaily »

‘We Are the Flesh’ Exclusive Clip: A Mysterious Man Offers Two Siblings The Opportunity to Survive in a Post-Apocalyptic Mexico

Emiliano Rocha Minter’s debut feature film “We Are the Flesh” spent all last year on the festival circuit after its premiere in Iff Rotterdam’s Bright Future Section last February. The film follows two siblings (Diego Gamaliel and Maria Evoli) who wander a post-apocalyptic Mexico searching for food and shelter only to eventually discover one of the last remaining buildings. Inside, they find a man (Noé Hernandez) who will make them a dangerous offer to survive the outside world. Watch an exclusive clip from the film below.

Read More: ‘We Are The Flesh’ Review: A Modern-Day Mexican ‘Saló’

The film screened at numerous high-profile festivals last year, including a gala screening at Cannes’ Blood Window, Fantasia Fest, Fantastic Fest and the Chicago International Film Festival. Arrow Films picked up the U.S. rights to the film at Cannes in May.

Read More: Exclusive: Alfonso Cuarón & Alejandro G. Iñárritu Endorse
See full article at Indiewire »

Rotterdam reveals Bright Future selection

  • ScreenDaily
Rotterdam reveals Bright Future selection
Exclusive: Iffr reveals lineup and jury for programme focused on emerging filmmakers.

International Film Festival Rotterdam (Iffr) (25 Jan – 5 Feb) has announced the full line-up of its Bright Future programme, including the titles that will compete for the Bright Future Award.

Scroll down for the full lineup

The competition for the Bright Future Award 2017 consists of sixteen debut films, including Chinese documentary Children Are Not Afraid of Death, Children Are Afraid of Ghosts by Rong Guang Rong and Caroline Leone’s melancholy Brazilian road movie Pela Janela. Also competing are Belgian title Inside the Distance and German feature Self-Criticism Of A Bourgeois Dog.

The jury for the award will be made up of Italian film producer Marta Donzelli (Le Quattro Volte); Marleen Slot, Netherlands producer for Viking Film (Neon Bull) and chair of Film Producers Netherlands (Fpn); and Jean-Pierre Rehm, director of the French film festival Fid Marseille.

Outside of this competition, Bright Future also presents
See full article at ScreenDaily »

Rotterdam film festival reveals first wave

  • ScreenDaily
Rotterdam film festival reveals first wave
Exclusive: Jackie, Paterson, The Levelling set to play Iffr 2017.

The 46th International Film Festival Rotterdam (Iffr) has unveiled a first wave of titles ahead its 2017 edition, which runs January 25 – February 5.

The festival’s full programme will be divided into four sections.

Bright Future will present rising film-making talent from across the world. Films to play the strand will include the European premiere of Ricardo Alves Jr’s Elon Doesn’t Believe In Death, the Brazilian feature that premiered at the Brazilia Festival in September, Hope Dickson Leach’s The Levelling, which premiered in Toronto’s Discovery strand and played at the BFI London Film Festival, and Dane Komljen’s All The Cities Of The North, which premiered at this year’s Locarno Film Festival.

The strand offers a Bright Future Award worth €10,000 ($10,700), which is open to film-makers whose films are having their international premieres in the programme. Separately, as part of the Bright Future programme, eight directors
See full article at ScreenDaily »
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