#Busan IFF | Explore Tumblr Posts and Blogs

stiridinromania · 2 years

Text

Cinematograful românesc uimeşte din nou - Avanpremierele Toamnei Les Films de Cannes à Bucarest

La final de an, Les Films de Cannes à Bucarest face un bilanț al numeroaselor succese ale cinematografiei românești și aduce în secțiunea Avanpremierele Toamnei un program bogat ce prezintă viziunile cinematografice diverse ale cineaștilor români în filme premiate la Cannes, Veneția, Sarajevo, Annecy sau Oberhausen. Lucrări de ficțiune, documentar, animație, hibride și experimentale reflectă evoluția admirabilă a cinematografiei românești care continuă să se remarce în circuitul internațional și să uimească publicul local. Invităm așadar spectatorii să exploreze valurile schimbătoare ale cinematografiei românești sub umbrela Avanpremierele Toamnei.

Spre Nord Spre Nord, realizat de Mihai Mincan este inspirat din fapte reale. În 1996, Joel, un marinar credincios filipinez descoperă un pasager român urcat clandestin pe vasul pe care lucrează. Știind că tânărul Dumitru riscă să fie aruncat peste bord dacă va fi descoperit de căpitan și ofițeri, Joel intră într-un joc periculos de a-l salva, implicându-și echipajul, credința în Dumnezeu și deopotrivă, viața unui om nevinovat. Spre Nord este lungmetrajul de debut al regizorului, a cărui premieră mondială a avut loc în cadrul Festivalului de Film de la Veneția 2022, în secțiunea competitivă Orizzonti, unde a primit premiul Criticii de Film Independente - Bisato d’Oro - pentru cel mai bun film, acordat în afara secțiunii.

Oameni de treaba După o serie de comedii de succes, regizorul Paul Negoescu se întoarce la dramă cu Oameni de treabă, selectat în festivalurile de film de la Sarajevo, Namur, Varșovia și recompensat cu premiul pentru cel mai bun regizor la festivalul LIFFE din Serbia. Ilie este polițist într-un sat din Nordul României. Înconjurat de corupție (primarul și preotul din sat fac trafic cu țigări din Ucraina), Ilie are un moment de analiză și vrea să-și facă datoria, să se așeze la casa lui, să aibă o viață normală. În urma unor serii de evenimente violente la care asistă și a tensiunilor care se acumulează, e nevoit să ia decizii importante la muncă și în viața personală. „Ceea ce m-a interesat la aceste personaje a fost incapacitatea lor de a se adapta, pentru că toți sunt incapabili să se conecteze cu emoțiile lor, fugind de realitate până când soarta le forțează o verificare a realității” a declarat autorul pentru site-ul Aarc.ro.

Insula Insula, cea mai nouă peliculă a uneia dintre cele mai celebrate cineaste europene (Anca Damian) este altă animaţie tulburătoare care se adaugă listei din ce în ce mai consistente de opere originale şi provocatoare ale regizoarei. Aici, ea ne invită să descoperim o fabulă muzicală inspirată din mitul lui Robinson Crusoe, ca şi când Micul Prinţ ar fuziona cu Monty Python. Robinson este medic, iar singurătatea lui este voluntară, într-o insulă invadată de migranți, ONG-uri și gardieni. El îl salvează pe Friday, un naufragiat, singurul supraviețuitor al unui grup de refugiaţi ilegali. În timpul călătoriei sale pe insulă, Robinson se întâlnește cu ființe și evenimente extraordinare, într-o lume în care fiecare își caută propriul paradis. „Mă gândeam la povestea lui Robinson Crusoe şi cunoscând concertul lui Alexandru Bălănescu şi Ada Milea (bazat pe o reinterpretare după poetul Gellu Naum), am avut ideea să fac un muzical cu noul Robinson, un doctor care are cele mai bune intenţii şi un Vineri al zilelor noastre, un refugiat de azi într-o realitate în care lumea colapsează”, povesteşte cineasta. Filmul a fost arătat pe marele ecrane ale festivalurilor din Busan, Rotterdam și Göteborg.

Apropierea Prezentat în selecția Sarajevo IFF, Apropierea (regia Botond Püsök) vorbeşte despre ce se întâmplă atunci când frica devine o forţă. După un eveniment traumatizant în viața fiicei sale, o mamă luptă să vindece cicatricile trecutului, într-o comunitate mică de oameni care nu vor să înțeleagă ce s-a întâmplat. Botond Püsök a câştigat trofee în 2016 cu scurtmetrajul Angela pentru cea mai bună regie la festivalul Astra şi la DocuArt Film Festival. Apropierea este primul său documentar de lungmetraj. „Când am început să fac acest film și să vorbesc despre el cu cei pe care îi cunosc, am fost uimit să descopăr cum gândesc oamenii despre abuzul asupra copiilor și despre abuz în general: știu că este ceva teribil, dar atât de îndepărtat, în același timp, încât nu și-ar imagina niciodată că i s-ar putea întâmpla cuiva apropiat. Așa că am știut de la bun început că una dintre cele mai mari provocări a acestui film va fi cum să spun o poveste despre o problemă atât de îngrozitoare cu care mulți sunt reticenți la a se conecta”, spune cineastul.

Al cui caine sunt Al cui câine sunt, în regia lui Robert Lakatos, este un eseu documentar satiric ce vorbește despre politică într-o lume în care cetățenii sunt câinii, politicienii - crescătorii de câini, funcționarii sunt proprietarii, națiunile - rasele naționale câinești, țările sunt federațiile naționale ale crescătorilor, iar forumul suprem internațional este FCI-ul, adică Federația Canină Internațională – regizorul fiind cel care interpretează realitatea și manipulează opinia publică. „Am dorit să fac un film pe care Caragiale ar fi invidios să-l vadă”, mărturiseşte acesta.

Vulturii din Ţaga (regia Iulian Manuel Ghervas şi Adina Popescu) urmărește evoluția echipei în timpul unui campionat în România, precum și la un turneu internațional în Slovacia, folosind fotbalul ca pretext pentru a explora poveștile de viață ale jucătorilor, cu speranțele și eșecurile lor personale, precum și povestea unei comunități rurale prinse într-o lume mică, anonimă și fără speranță. Filmul documentar are o abordare realistă, folosind un stil de filmare observațional, iar povestea este narată într-o manieră ironică, dar cu tandrețe și empatie. Și de data acesta publicul Les Films de Cannes à Bucarest .13 va putea să se discute cu realizatorii filmelor din program și va putea vota filmul favorit, titlurile de mai sus intră în competiția ce va avea ca premiu un sprijin de distribuție în valoare de 2500 euro oferit de Dacin Sara. Discuțiile de după filmele din Avanpremierele Toamnei sunt prezentate de Institutul Cultural Român. Secțiunea este completată, în afara competiției, de alte două filme de lungmetraj și de șapte scurtmetraje grupate în două calupuri. Alis (regia Clare Weiskopf şi Nicolás van Hemelryck) este o coproducție Columbia-Chile-Romania care a fost prezentă la Festivalul de Film de la Berlin din acest an, în secţiunea competiţională Generation. Pelicula îşi propune să răspundă la întrebarea cum îşi poate cineva imagina un viitor, atunci când se naşte fără oportunităţi? Două adolescente care au trăit pe străzile neiertătoare din Bogota, închid ochii și o visează pe Alis, o colegă de clasă fictivă. Narațiunea lor plină de suflet dezvăluie o putere uimitoare de a rupe ciclul violenței și de a îmbrățișa un viitor mai luminos. Reflecții asupra României - 5 fețe ale identității, semnat de Andrei-Nicolae Teodorescu, invită spectatorii să descopere o altfel de Românie prin cinci personalități care activează în cinci domenii diferite, fiecare dintre ele adăugând la patrimoniul cultural, ecologic, tradițional, științific, tehnologic și artistic al unei țări care are un potențial extrem de bogat. „Ideea documentarului a pornit de la discuțiile cu producătorul meu, Dan Dimancescu – cetățean american de origine română, și consulul onorific al României la Boston. Dânsul a început să vină în România din ce în ce mai des, iar atunci când l-am întrebat ce îi place așa mult aici, mi-a răspuns că pentru el este o experiență uimitoare să vadă cum acest loc a revenit la viață după '89. Documentarul încearcă să surprindă tocmai aceste schimbări prin ochii a 5 personaje care au făcut ceva tangibil, pragmatic, după '90 în România și care au contribuit cumva la ceea ce ar putea deveni un brand, o imagine iconică pentru noua Românie.” explică regizorul. Filmul românesc continuă să dovedească, prin premii internaționale și o paletă variată de viziuni originale, potențialul formatului de scurt-metraj în toate variațile sale posible – ficțiunea, documentarul și animația. În animaţia Sasha, regia Serghei Chiviriga, un melc adolescent confuzat de întreaga lume și de propriul său corp, este nevoit să descopere într-un mod ciudat adevărul despre identitatea sa sexuală. Locuri ascunse de Teona Galgoţiu observă cu intimitate emoțională relația unei adolescente cu mama sa, în urma unei dezvăluiri copleșitoare. Inspirat de instalația Section 28 a lui Derek Jarman, filmul lui Bogdan Balla, Eram somnambul când am văzut toate acele culori, compară povești din istoria recentă a comunității cu experiențe personale din prezent, distilând distanța dintre realitățile tăcute ale iubirii queer și isteria reprezentării ei publice. Premiat anul acesta la Annecy International Animation Film Festival și Sarajevo IFF, animația maghiaro-română, Amok, a lui Balázs Turai, descrie povestea lui Clyde care e nevoit să-și înfrunte demonul interior după ce și-a pierdut logodnica și frumusețea într-un accident ciudat. Ńeale azbuirătoare, în regia Alexandrei Gulea, este un documentar experimental care cultivă memoria trecerii aromânilor într-un exil permanent între munți și mări locuite de ecouri de voci răsunând puternic și totuși neauzite. Co-producția româno-germană a fost premiată la faimosul festival Oberhausen drept Cel mai bun film în competiția germană. Alt scurtmetraj documentar – Face-s-ar pământul cer, regizat de Ana Vîjdea, o surprinde pe Maria prinsă între două lumi – una ghidată de asceză, cealaltă de nevoia de comuniune familială. Prin cadre atent compuse și un peisaj sonor minimalist, filmul ne poartă prin viața de zi cu zi a Mariei, prin gândurile și emoțiile ei. Noul film al Roxanei Stroe, Appalachia, e amplasat într-o comunitate profund credincioasă din România provincială, în care doi adolescenți marginalizați se îndrăgostesc – însă totul în jurul lor se destramă. Scurtmetrajul a avut recent premiera la Festival International du Film Francophone de Namur. Casting deschis în cadrul programului Managing Talents .7 La cea de-a 13-a ediție Les Films de Cannes à Bucarest revine și deja bine-cunoscutul program dedicat comunității actorilor din România – Managing Talents care își propune să le ofere instruire, contacte și să le faciliteze oportunități pentru cariera lor de film, în România dar și în străinătate. În cadrul ediției a 7-a va avea loc un casting deschis în urma căruia vor fi selectați actori pentru rolurile principale ale unui film românesc care va fi turnat anul viitor. Filmul va fi regizat de Teodora Ana Mihai, realizatoare care a fost prezentă în 2021 la Cannes, în selecția oficială, cu primul ei lungmetraj intitulat La Civil, pentru care a fost distinsă cu Prix de l’Audace în Un Certain Regard. Sunt eligibili toți actorii români sau vorbitori de limba română cu vârste cuprinse între 18 și 48 de ani. Doritorii sunt invitați să trimită un self-tape (înregistrare video) cu un text prestabilit până la data de 15 octombrie. Toate detaliile se găsesc pe site-ul evenimentului www.filmedefestival.ro, în secțiunea Managing Talents. Actorii înscriși sunt invitați să participe în cadrul festivalului la mai multe evenimente dedicate lor. În data de 22 octombrie, sâmbătă, de la ora 10:00, sunt așteptați la Cinema Muzeul Țăranului pentru o sesiune de lucru practic pe text cu regizoarea proiectului, Teodora Ana Mihai – pornind de la vizionarea self-tape-urilor trimise. Înainte de sesiunea de lucru ce va putea fi urmărită live, online, Dr. David Zitzlsperger, directorul general al companiei germane Denkungsart GmbH, va susține o prezentare despre platforma Castupload, cu care Les Films de Cannes à Bucarest face parteneriat pentru programul Managing Talents de anul acesta. Denkungsart administrează propriile SAAS "Castupload" (www.castupload.com) și "filmmakers" (www.filmmakers.de). Aceste rețele sunt destinate exclusiv cineaștilor profesioniști și se adresează în special actorilor, agenților și directorilor de casting. Împreună, acestea reprezintă cel mai mare grup de actori, agenți și directori de casting profesioniști din Uniunea Europeană. Majoritatea rolurilor relevante din UE sunt distribuite direct sau indirect prin intermediul realizatorilor de filme sau al Castupload. Castupload colaborează pentru producții care variază de la mici filme studențești locale până la filme de lungmetraj produse de studiouri internaționale, companii de producție și de difuzori precum Netflix și AMAZON Studios. Cheia pentru Denkungsart este parteneriatul direct cu asociațiile regionale de actori, agenți, directori de casting și producători. Oferta de software pentru comisiile/oficiile locale de film permite regiunilor mai mici, inclusiv din afara UE, să se integreze direct în rețeaua stabilită de realizatorii de film care lucrează cu sistemele pentru proiectele lor de film, televiziune, teatru și publicitate. Totodată, masterclass-urile susținute de regizorii invitați la Les Films de Cannes à Bucarest .13 vor avea o componentă anume legată de lucrul cu actorul, iar actorii vor avea ocazia să intre în dialog cu realizatorii și să le adreseze întrebări legate de profesia lor și oportunitățile de a evolua spre o carieră internațională. De-a lungul celor șase ediții anterioare Managing Talents a facilitat întâlniri în persoană cu regizori de film, actori și agenți de casting români și internaționali. Astfel participanții au avut ocazia să discute și să lucreze cu agenții internaționali: Avy Kaufman, Richard Cook, Debbie McWilliams, Anja Dihrberg, Frank Moiselle, Vicki Thomson, Nathalie Cheron, Elizaveta Shmakova, Victor Jenkins, William Conacher, Manuel Puro, directorii de casting români: Viorica Capdefier, Domnica Cîrciumaru, Cătălin Dordea, Floriela Grapini, actrița Anamaria Vartolomei, dar și cu regizorul Cristian Mungiu, inițiatorul programului. Managing Talents este un program prezentat de Apa Nova. Festivalul Les Films de Cannes à Bucarest este prezentat de Orange România, partener de tradiție al evenimentului. Inspirat de: UniCredit Bank Cu sprijinul: Catena, Apa Nova, Groupama, Sun Wave Pharma, Proiect cultural finanțat de: Centrul Naţional al Cinematografiei, SACD / Société des Auteurs et Compositeurs Dramatiques, Ambasada Franței și Institutul Francez din România, Institutul Cultural Român, Dacin Sara, Institutul Italian de Cultură, Ambasada Suediei în România Proiect co-finanțat de Primăria Municipiului București prin ARCUB în cadrul Programului București afectiv 2022. Pentru informații detaliate despre programul de finanțare al Primăriei Municipiului București prin ARCUB, puteți accesa www.arcub.ro. Read the full article

#2022 #cinema #film #filme #LesFilmsdeCannesàBucarest #romania

0 notes

ahmedfhendawy · 2 years

Video

vimeo

Patision Avenue by Thanasis Neofotistos from RADIATOR IP Sales on Vimeo.

★★★★★ "Tense & Clever” SIGHT&SOUND ★★★★★ "The most memorable film of 2019” CORTOSFERA ★★★★★ “Breathless!” FLIX ★★★★★ “Masterpiece!” CINEPIVATES

FICTION / 2018 / 12 MINUTES / GREEK (MODERN) / SHORT FILM / 4K-UHD / 25FPS / 5.1 SURROUND / GREECE

Director: Thanasis Neofotistos Production: Argonauts Productions S.A.

Synopsis: Yanni’s mum is running late to an audition as a Shakespearean Viola. After she learns that her son is left home alone, she will fight to balance her most important roles in life through a series of phone calls, in a single-long-take shot in the most controversial area of central Athens: Patision Avenue.

Film credits: AN ARGONAUTS S.A. production in co-production with ERT S.A. Directed by: Thanasis Neofotistos Producer: Ioanna Bolomyti Written By: Yorgos Angelopoulos, Thanasis Neofotistos, Pavlos Sifakis. Executive Producer: Panos Papahadzis Associate Producer: Kyveli Short Cast: Marina Symeou Director of Photography: Yannis Fotou GSC Editing: Panos Aggelopoulos Production Design: Thanasis Neofotistos Costume Design: Eva Gaitanidou Sound Design: Alejandro Cabrera Sound: Alejandro Cabrera, Yannis Antipas Production Manager: Giorgos Karoris Special Thanks: Grigoris Skarakis, Giannis Karantanis, Konstantina Koutsonasiou. International Sales: Radiator IP Sales

Festivals and awards: 75th Venice International Film Festival | World Premiere 41st Clermont-Ferrand International Short FF 2019 | Canal+ Award | Special jury Award | EFA Nomination 36th Busan ISFF | Excellence Award for Best Picture 49th Tampere International SFF 30th Sao Paolo International Short Film Festival 68th Melbourne International Film Festival 25th Encounters International Short Film Festival 28th Aspen ISFF 31st Minimalen Short Film Festival 31st Dresden ISFF | Opening Film 41st Moscow IFF 22nd Brussels ISFF 24th Vilnius IFF Kino Pavasaris 47th FNC Montreal Du Nouveau Cinema IFF 54th Chicago International Film Festival 22nd POFF Shorts-Black Nights IFF 18th Concorto ISFF 14th Show Me Shorts Film Festival 45th Filmets Badalona Film Festival 6th Bosporus IFF | Best International Short Fiction Film 4th Euregion Film Festival Cinesud | Special Jury Award 59th Thessaloniki IFF | National Premiere 16th Tirana IFF 12th NDU International FF 30th Trieste IFF 15th Akbank Sanat ISFF 21s t Mecal Pro Barcelona ISFF 11th Go-Short 33th Leeds IFF 30th LIFFE IFF 44th Cleveland International Film Festival & 70 more

NOMINATION European Film Awards 2019 NOMINATION Greek Film Academy 2019

patisionavenue.com/

#PatisionAvenue #PatisionAvenueFilm

0 notes

festivalists · 7 years

Text

Through the olive trees

This is not the first time we turn our gaze to the cinema of Iran, yet it is the first time we actually had our own envoy in Tehran – we give you the 35th edition of Fajr International Film Festival as seen and instagrammed by Irina Trocan!

Starting with Abbas Kiarostami’s 1987 WHERE IS THE FRIEND’S HOME? / KHANE-YE DOUST KODJAST? (1987) and leading up to Asghar Farhadi’s THE SALESMAN / FORUSHANDE (2016), Iranian cinema has enjoyed great visibility abroad. Since there are strong similarities between many of these films, it even comes across as a unitary style, a national school, with Kiarostami as a mentor and Jafar Panahi as one of the most prominent representatives working today. These films are dramaturgically subtle (and supple), intended to give a sense of the bigger picture of Iranian society, as well as custom, self-reflexive, and with obvious framing devices (observing adult behavior from a child’s perspective, driving through the city with different passengers, summing up a marriage in front of a judge – to refer to just a few high-profile Iranian films from the past decades).

However, as it is the case with many new waves and cinemas, the fragment of yearly production that is visible abroad is a small and misleadingly homogenous one, while the view from within the borders of Iran is radically different. Reza Mirkarimi, Director of Fajr International Film Festival, claims that there were 60 Iranian film submissions for this edition of FIFF, while the total number of films made within a year is even higher – reportedly, 90-100 features every year, with over 130 made between March 2016 and March 2017. The overall production (you guessed it) is trying to do many different things beside emulating Kiarostami and Panahi.

But I would like to properly begin by making a specification about the Fajr festival – the source for a potential confusion that took me the first two days of the festival to clear up completely. A couple of months ahead of the international festival, there is the national event where a larger number of Iranian films is being shown, some of which are only programmed during FIFF as market screenings in order not to affect their chances to have an international-festival premiere somewhere else. What is added with FIFF is, well, the “international” bit of the programming, a line-up of recent festival darlings from around the world. According to the festival regulations, the team is on the lookout for films “that seek justice, defend the oppressed and underline humane and moral values.” Since several of the titles in the selection are by now well-known, I believe it is useful to give an overall impression: Cristian Mungiu’s GRADUATION / BACALAUREAT (2016), Agnieszka Holland's SPOOR / POKOT (2017), Andrzej Wajda's AFTERIMAGE / POWIDOKI (2016), the Dardenne brothers' THE UNKNOWN GIRL / LA FILLE INCONNUE (2016), François Ozon's FRANTZ (2016). The listed films are all tempered social critiques, with most of them taking no sides, although I will say that SPOOR is – due to its ending, which I will not spoil – radically ecologist.

Some of the international films might have worked well as double bills, especially Kim Ki-duk’s THE NET / GEUMUL (2016) and Bulgarian filmmakers Kristina Grozeva & Petar Valchanov’s GLORY / SLAVA (2016). The former – appropriately named for its tightly knit narrative construction – follows a North-Korean fisherman, Nam Chul-woo (Ryoo Seung-bum), whose boat engine malfunctions and, before he knows it, he drifts to the coast of South Korea. Held in awe as the author’s one-off political film, it might after all be about something rather philosophical, like the blight of power and/or the hopelessness of an individual who is unlucky enough to get caught between the wheels of the social machinery. It is hardly more socio-economically precise than, say, Park Chan-wook’s OLDBOY / OLDEUBOI (2003).

In a concrete sense, the fisherman suffers from the strictness of the South Korean intelligence service – he is suspected of being a spy until he is proven innocent and falls into the hands of an agent who does not shy away from using torture to get confessions. Back in North Korea, after having endured a lot, the protagonist is suspected of having been seduced by capitalism with his brief glimpse of a better life, and this time he is a suspect to his own government. Bottom line is: do not get on the wrong side of people who can ruin your life in the name of higher order. Although the protagonist is a larger-than-life honest citizen (and would hardly be believable were it not for the actor’s restrained ferocity in facing his oppressors), several allegorical scenes in the film are pretty effective: Nam Chul-woo is left alone on a Seoul street and desperately tries to keep his eyes closed, to resist taking in images of capitalism and a different way of life than the one he made for himself. The souvenir he takes home from South Korea is so innocent that it only becomes ridiculous when authorities of his homeland classify it as “evidence.” In short, Kim Ki-duk convincingly constructs a negative world view, and there is definitely a lot of craft to how the misery keeps on coming, but it helps to be a pessimist from the start to get on his wavelength.

In GLORY, a stuttered railway worker finds a pile of money on the train tracks and decides to hand it over to the authorities, and his honesty similarly does him in. Before he knows it, he is stuck between, on one side, the Ministry of Transport (they hold a public ceremony in his praise but otherwise neglect to pay him the previous months’ salaries and “award” him by giving him a watch while losing the better one he had already) and, on the other side, the press. The protagonist finds sympathy with a journalist for the way he has been mistreated by the Ministry, but is soon abandoned again and further abused by the Ministry for being a snitch. Again, the story, inspired by actual events and co-authored with screenwriter Decho Taralezhkov, strikes a chord for viewers who are cynical about social order in Eastern Europe – a temptation that is truly hard to resist, especially with the majority of us who work for neither the government, nor the press, and are forced to passively observe as everything goes awry. There are several fine touches in GLORY – for example, Stefan Denolyubov handles his character’s speech impediment as just one element of his life-long aloofness. He never thought to claim his rights before, and when he finally dared to do it, he discovered he does not have the necessary skills. The ceremony in his honor makes for a well-scripted scene: it is mostly a PR show of Ministry insiders, directing an extra to make the Minister look good on stage.

Since I had heard of what Iranian films are not allowed to show (kisses, nudity, women’s uncovered heads, physical contact between male and female performers who are not married in real life) I must admit I was curious as to how these restrictions applied to foreign films, since they did not need to respect them from script development onwards. By themselves, THE NET and GLORY, which I had not seen before FIFF, gave me an introduction to what censorship looked like. A woman wearing (what seemed to be) a sexy red dress in THE NET had her silhouette completely blurred out. Another woman, this time in GLORY, quietly sitting in the background and showing somewhat of a cleavage, had an extra patch of blurred pixels added on top of her blouse. Naked women’s legs (but not men’s legs!) were also hidden. To me, paradoxically, these edits rather had the effect of drawing attention to details that would not have seemed erotic in an unmodified shot. Festival films are less regulated to conform with morality than those aimed at a larger audience, and earnestness could not have been unflinchingly observed as the programmers selected Werner Herzog’s SALT AND FIRE (2016), but it seems to still be hard to find films that do not need edits.

The most moving film I have seen was Rithy Panh’s EXILE / EXIL (2016), which continues the endeavor of his THE MISSING PICTURE / L'IMAGE MANQUANTE (2013) of retelling recent history, for which no official image archive exists. A poetic reenactment of human suffering in late 1970s Cambodia (then known as Democratic Kampuchea), it takes place entirely inside a hut (or, more precisely, a theatrical set resembling it) and has a sole character – a nameless, quiet young male, whom one might suspect of being the filmmaker’s alter ego. The space is versatile enough to gain cosmic dimensions – a cardboard cut-out of the moon and a flock of menacing seagulls appear on occasion, hovering over the protagonist’s head, the floor magically morphs into a field or a patch of grass.

One scene is a leveled-surface reenactment of a Sisyphean task: as the man rolls a boulder from one wall of the room to the other, another boulder appears (through a cross-fade) where the first one had been. There are biographical allusions in the film, including a picture of a woman we assume to be Rithy Panh’s mother – but it all builds up to an essay film of life in poverty and isolation rather than anything more narratively precise. Close-ups of the protagonist eating an insect, or a chicken that does not come in ready-made crispy nuggets, remind viewers that basic survival is historically not a timeless, universal human right. The soundtrack is made up on meditations on exile that are no less devastating for being abstract – from thinkers and artists (Karl Marx, René Clair) to political leaders (Ho Chi Minh) – and their rapport to the image is always loose, engaging spectators in a poetic guessing-game.

Turning to even more recent history, Fajr IFF had a section of (mostly Iranian) films and documentaries, grouped in the section Broken Olive Trees. Among them was THE DARK WIND / REŞEBA (2016), an Iraqi-German-Qatari coproduction, directed by Hussein Hassan, about a Yazidi woman who escapes after being captured by the Islamic State but upon returning to Kurdistan is rejected by the family of her fiancé for losing her honor. Majed Neisi’s THE BLACK FLAG / PARCHAM E SIAAH (2015) documents the frontline of an Iraqi offensive against ISIS. I have unfortunately missed them due to conflicting scheduling, but I am still hoping to catch up with them somewhere else – they have been previously screened in the Stockholm International Film Festival and Busan, and Visions du Réel, respectively.

Going back full-circle to the Iranian films, let me state again that I was surprised by the diversity of their influences, though I would not necessarily say that all of them bring the influences to a cohesive whole. Fereydoun Jayrani's ASPHYXIA / KHAFEGI (2017) is a bleak film about a nun which might have gotten tricks on how to light somber interiors from Paweł Pawlikowski's IDA (2013). The nun, also facing dilemmas about her future, takes care of a sick woman gone mute who seems to be repressing something about her marriage, so there is a hint of Bergman's PERSONA (1966) in it, too, or is it George Cukor's GASLIGHT (1944)? Sadly, the narrative seems to switch to something else every time a certain element becomes interesting. Rambod Javan’s NEGAR (2017) entangles an investigation, fast-paced chases, the main female character’s rich-girl fascination, and several where-did-this-come-from dream sequences is frustrating in a similar way.

The purest genre film I saw (admittedly missing many, including the top-prize winner, Asghar Yousefinejad's 2017 directorial debut THE HOME / EV) is Alireza Davoodnejad’s FERRARI (2017) – it is mostly a city-traffic road movie featuring a girl whose interests are definitely less than spiritual (jewelry and expensive things in general, plus the eponymous rarity on wheels) and a driver who sees her defencelessly wandering around and has the chivalry to help. Moralizing overtones are hard to miss, but both characters are lively and their obstacle course is sufficiently engaging, although the end goal is by anyone’s perspective rather frivolous (the girl wants to find the Ferrari and take a photo with it to spite a friend), there is enough going on to maintain the suspense.

Certainly, there is a lot more to discover than I could have possibly absorbed in a week – especially since, being in Tehran, it was hard to resist the temptation to wander away from the cinema. Despite the Abbas Kiarostami poster exhibition, commissioned by the festival in his memory and lining the hallway of the Charsou cinema, a large part of recent Iranian production was less familiar than I had expected. I left the festival with the commitment to watch out for films that might otherwise fly under my radar – aside from the promise to fly back to Iran to visit Shiraz, and the Instagram handles of several of the Iranians I have met.

2 notes · View notes

that-thing-that-feeling · 3 years

Note

Hey, just thought while we wait for the premiere tomorrow I’d give some info abt the film in case anyone is curious or interested.

Here’s a schedule of all the film festival premiere dates:

Cannes- July 8 ✅

Jerusalem FF- Aug 27 ✅

SSFF- Sept 21 ✅

NYFF- Sept 26 ✅

Zurich FF- Sept 26 ✅

Aero Theatre- Sept 28 ✅

Dinard FBF- Sept 30 ✅

Busan IFF- Oct 7 ✅

BFI LFF- Oct 8

Hamptons IFF- Oct 9

Filmekimi- Oct 9

FF Ghent- Oct 15

Montclair FF- Oct 23

Philadelphia FF- Oct ?

Austin FF- Oct 28

Here’s the (current) theatrical release schedule:

USA- Oct 29

Ireland- Nov 12

France- Dec 29

UK- Jan 21

I also got curious abt which theaters in the US Sp2 is going to show at since I don’t see it on any major theater chain website like AMC or Regal, so here’s all I could find. It’ll show at the Lincoln Center and the Angelika Film Center in NY, the Gateway Film Center in Ohio, Universal Studios Hollywood in California (yes, the theme park!), the Salem Cinema in Oregon, and the Consolidated Koko Marina in Hawaii. Hopefully it will show at more cinemas than this, but that’s all I could find online. I think a24 has just put a lot more focus on Lamb, which comes out today actually so we’ll see if A24 refocuses now, and it doesn’t help that Last Night in Soho comes out on the same day.

Hey, ooh, thanks anon for putting this all together! Hopefully this helps some people get to see it. Also LFF had some screenings across the UK. And maybe closer to the US release there will be more of a sense of where it will be playing—I imagine it will def be these smaller independent/arthouse/rep theaters.

#the souvenir part ii #charlie heaton #hope he’s there tomorrow 🤞🏻

2 notes · View notes

i-am-skinny-sir · 5 years

Video

youtube

The King - Red Carpet/ Photocall - Busan IFF Oct 8, 2019

#the king #red carpet #busan #timothée chalamet #photocall

8 notes · View notes

artwalktv · 4 years

Video

vimeo

On an ordinary day at work, Paola starts to feel that she is missing out something exciting in her life. PAOLA MAKES A WISH by Zhannat Alshanova Fiction / Comedy - 8 min - Kazakhstan, Switzerland “Envisioned precisely to the detail and edited to perfection by Zhannat Alshanova, realized through the workshop held by Béla Tarr at Locarno Film Festival (where the film premiered before going to Sundance to compete in the official shorts competition), Paola Makes a Wish is the most accurate portrait of [the nature of sex and the female perception of it].” – Ubiquarian CAST Christina Proserpio, Ana Shametaj, Valentina Manzoni CREW Written, directed, produced, edited by : Zhannat Alshanova Creative Producer: Béla Tarr Cinematography : Alex Takacs Sound: Tiago Cardoso, Dinis Henriques (Pulsar Studios) ZHANNAT ALSHANOVA Zhannat is a writer/director from Kazakhstan. She directed short films that played in various international festivals, including Cannes, Locarno, Sundance etc. Her debut feature project Mother Tongue was selected for Asian Project Market 2019 (Busan IFF), where it won ArteKino International Award. She is a London Film School and Berlinale Talents alumna. https://bit.ly/2NqwZ36 https://bit.ly/377Ml3n FESTIVALS Locarno Film Festival Sundance Film Festival PÖFF Shorts Vladivostok International Film Festival Thess Int. Short Film Festival Leeds International Film Festival Guanajuato International Film Festival Calcutta International Film Festival - (WINNER - BEST DIRECTOR) and more+ Zhannat Alshanova on the making-of : http://www.bit.ly/3d3qP3v Learn more about the film : http://www.bit.ly/3d4O50U DISTRIBUTION & SALES Travelling Distribution https://bit.ly/3mtvk9u https://bit.ly/3rRY663 https://bit.ly/2Njm2A8 CONTACT Travelling Distribution / Attn : Tam Dan Vu / [email protected] / 1 514 467-8160 Zhannat Alshanova / [email protected]

#Videos & Films

0 notes

pinoyartist · 4 years

Photo

Sheron Dayoc is a Mindanaon filmmaker, writer, editor, cinematographer and a visual Artist. Born and raised in Zamboanga City, he has started documenting the lives of people in the grassroots level, particularly the marginalized people and different tribes in Mindanao. His exposure to these cultures has allowed him to create factual and culturally-sensitive documentary films on the peoples of Mindanao. His notable films are HALAW/Ways of the Sea (NETPAC Jury -2011 Berlinale, NETPAC Award – APSA 2011, Cinemalaya 2010 Best film), The Crescent Rising (Best Documentary – Busan IFF 2011, Best Documentary - Gawad Urian) and Women of the Weeping River, which won numerous local and international awards. His first short narrative won special jury Citation at the Cinemalaya Film festival 2008. The film is also in competition in 7ème Festival Signes de Nuit Paris 2009 and has screened to various festivals in Europe and US. PinoyArtist.com aims to help the Filipino culture and arts community by highlighting your struggles to turn isolation to inspiration. How do you keep yourself inspired during pandemic? Feel free to email us at [email protected] to get a chance to be featured! #SheronDayoc #HALAW #TheCrescentRising #Visualartist #BestFilm #Filmmaker #Cinemalaya #Zamboanga #Mindanao #FilipinoCulture #Pinoyartist

0 notes

vflouris · 4 years

Video

vimeo

Patision Avenue by Thanasis Neofotistos from RADIATOR IP Sales on Vimeo.

★★★★★ "Tense & Clever” SIGHT&SOUND ★★★★★ "The most memorable film of 2019” CORTOSFERA ★★★★★ “Breathless!” FLIX ★★★★★ “Masterpiece!” CINEPIVATES

FICTION / 2018 / 12 MINUTES / GREEK (MODERN) / SHORT FILM / 4K-UHD / 24FPS / 5.1 SURROUND / GREECE

Director: Thanasis Neofotistos Production: Argonauts Productions S.A.

NOMINATION European Film Awards 2019 NOMINATION Greek Film Academy 2019

patisionavenue.com/

#PatisionAvenue #PatisionAvenueFilm

1 note · View note

armeniaitn · 4 years

Text

Armenian film “Chnchik” included in competition program of Busan IFF

New Post has been published on https://armenia.in-the.news/culture/armenian-film-chnchik-included-in-competition-program-of-busan-iff-58562-15-09-2020/

Armenian film “Chnchik” included in competition program of Busan IFF

The full-length feature “Chnchik” by Aram Shahbazyan has been included in “New Currents” competition section of Busan International Film Festival, the Armenian National Cinema Center informs.

Produced with the financial support of the National Cinema Center of Armenia, the long-awaited film, which came a hard way all through the years, was finally released in 2019.

Busan is the most representative International Film Festival in Asia, which kicks off on October 21-30.

Busan IFF is prominent for its high aesthetic standards and refined film program.

The festival program features 192 films from 68 countries.

Read original article here.

#Armenia #Culture

0 notes

27timescinema · 4 years

Text

INTERVIEW - TERESA CAVINA

By Amalia Mititelu (pics © Daniel Morawitz)

As the 27 Times Cinema programme comes to an end, we had our last panel discussion, Festivals and Markets, where Jean-Christophe Simon and Teresa Cavina talked about the journey a film makes since entering the open calls for festivals, getting through the selection process and also how it is later sold and distributed world-wide.

Teresa Cavina has been part of the programming team for festivals such as the Venice Film Festival (1989-1997) or the Locarno Film Festival, which she later also co-directed from 2001 to 2005. In 2006 she launched the Rome Film Festival, working as a Co-Artistic Director until 2008. She has been Artistic Director of FIPA Biarritz (2009-2012) and Programming Director of Abu Dhabi FF (2009-2014). Currently, she collaborates in the programming of the Venice Days, El Gouna FF and Busan IFF.

As she has a lot of experience in one of the most renowned film festivals in the world, I was curious to find out more about her personal experience as a programmer and artistic director and what drives her to want to be part of initiatives such as Sarajevo Talents and Locarno Open Doors.

I know you have been part of the programming team for many renowned film festivals, so I wanted to ask you what makes a good film? One that you take into consideration when you are programming for a film festival.

I think that something very important to underline is that the selection of a film festival is a question of taste. At the end of the day, there is somebody who signs the selection, even if it’s the result of many people who are doing research and watch the submitted films, there is somebody responsible for the final decision. Just like first time artistic director Gaia Furrer has made the final decision on the Giornate degli Autori selection. If it had been my selection maybe it would have been the same or different but it comes down to the sensitivity of the programmer.

As far as I am concerned, the most important thing is that a film takes you somewhere, it doesn’t matter where, it could be a trip inside the mind, a trip in the universe or an exciting trip in a gripping story, but I need to go somewhere. If at the end I realise that I haven’t had any emotional, intellectual or aesthetic involvement then the film is not for me.

When you make the selection for a specific section, do you think of it as a whole, so you have different films that all work together, or do you only think about the films themselves?

I think about the films in the first place, but of course I am aware of the origin because a film section has 15-20 films maximum, so if I already have 2-3 films from the same country it’s a bit unbalanced. In the end all might be selected, but I am aware that I am making an exception because they all have exceptional ideas. There is something that always happens to me which is very curious: I always end up having like 3 slots left and 5-6 films that I like a lot, but I wonder which ones deserve to take the last places and all of a sudden the selection makes the decision for you. You see which ones are right because it’s like a dialogue that establishes itself among the films without you being aware of it. When this doesn’t happen, I keep checking and rechecking my selection to understand what is not working, because if the selection is done well it should work. In the end you are just looking for good cinema, not certain themes or subjects, and then you see that there is a fil rouge (red line) that was hiding itself and came up without you being aware of it.

I know that film festivals like Locarno have a reputation for its avant-garde and cutting-edge selection, and other film festivals have a certain profile as well. Do you sometimes feel that when you are making the selection you have to follow the profile of the festival?

No, you follow the audience of the festivals. In Locarno, for example, it would be a scene to go traditional, and people are free to like or dislike what they see. The public is also vocal when they don’t like a film, but I have never seen an empty theatre or a scarcely occupied one even for the most daring or avant-garde film. I have been programming for several years for Abu Dhabi, and of course you should try to build bridges so what I was doing in Abu Dhabi was to push a little bit the envelope, but not too far because it’s very different to program for Abu Dhabi than Locarno. But in the end, if you really want to be a good programmer you have to go to the theatres and check the reaction of the audience and learn from them. See what they like and then make the audience grow. In Venice and Giornate degli Autori, that carved its own space of freedom, you are not so related to the local aspect of the festival as it’s very international, but Sarajevo is a fabulous window for the Balkan Cinema, so of course the programmers of Sarajevo have always been more interested in finding great Balkan films to show to their own audience. Also other programmers go especially to Sarajevo to discover the best films of the area.

You are also involved in initiatives such as Sarajevo Talents and Locarno Open Doors. Why is it important for you to help young filmmakers?

I love Sarajevo deeply; I am a mentor for a script platform of the talent campus. I really like it because it’s a very creative and inspiring moment when a script is being born and I like working on it with the director. In a way, I only give technical service, I try to be like a midwife, I just want to give possibilities when the director is stuck, but not influence them in the storytelling, because when you write and rewrite a script you need an external eye to see why you are stuck and try to imagine how the situation can evolve. A trick that I use to help is that, if you have a scene with your main character but they are talking to somebody else, you should try to imagine the situation from the perspective of the other person. Then you can see what works, what doesn’t work and what is missing from the scene.

#venezia77 #interviews #festivals

0 notes