The Cinematheque the Wind Will Carry Us, 1999

Total Page:16

File Type:pdf, Size:1020Kb

The Cinematheque the Wind Will Carry Us, 1999 September Sunday Monday Tuesday Wednesday Thursday Friday Saturday 1 Essential Cinema 2 3 New Canadian Cinema 4 New Canadian Cinema 5 The Indie Filmmakers Lab 2019 6 New Canadian Cinema 7 3:30 pm 6:30 pm 6:30 pm 7:00 pm 6:30 pm Vancouver Latin American Stalker Genesis A Colony Premiere Screening A Colony Film Festival Aug 23 – Sept 1 7:00 pm 9:00 pm 8:30 pm 8:30 pm vlaff.org Stalker The Great Darkened Days Genesis The Great Darkened Days New Canadian Cinema 8 New Canadian Cinema 9 10 New Documentary 11 Chan Centre Connects 12 Elaine May 13 Elaine May 14 6:00 pm 6:30 pm 6:30 pm 7:00 pm 6:30 pm 6:30 pm Genesis The Great Darkened Days Barbara Rubin and the The Winding Stream: Mikey and Nicky Ishtar Exploding NY Underground The Carters, the Cashes 8:30 pm 8:20 pm + Christmas on Earth and the Course of 8:35 pm 8:35 pm A Colony A Colony Country Music Ishtar Mikey and Nicky New Canadian Cinema 8:35 pm The Great Darkened Days Film Club Contemporary Iranian Frames of Mind Chan Centre Connects New Restoration New Documentary 15 Cinema 16 17 18 19 20 21 11:00 am 7:30 pm 7:00 pm 6:30 pm 6:30 pm 6:30 pm How to Train Your Dragon Bedlam Sámi Blood A Bigger Splash What You Gonna Do When Amir Contemporary Iranian Cinema the World’s on Fire? 4:00 pm Amir New Documentary New Documentary 8:35 pm 8:45 pm New Restoration Elaine May Barbara Rubin and the What You Gonna Do When 8:50 pm 6:30 pm Ishtar Exploding NY Underground the World’s on Fire? A Bigger Splash 8:35 pm + Christmas on Earth Mikey and Nicky New Restoration 22 New Documentary 23 24 DIM Cinema 25 26 27 28 6:30 pm 6:30 pm 7:30 pm A Bigger Splash What You Gonna Do When Somniloquies Vancouver International the World’s on Fire? Film Festival New Documentary September 26 – October 11 8:30 pm New Restoration viff.org What You Gonna Do When 8:50 pm the World’s on Fire? A Bigger Splash 29 30 October Sunday Monday Tuesday Wednesday Thursday Friday Saturday 1 2 3 4 5 6 7 8 9 10 11 New Restorations 12 6:00 pm La Notte p 11 8:30 pm Distant Voices, Still Lives p 11 New Restorations 13 New Restorations 14 15 Frames of Mind 16 Chan Centre Connects 17 Abbas Kiarostami 18 Abbas Kiarostami 19 6:30 pm 4:00 pm 7:30 pm 7:00 pm 6:30 pm 6:30 pm Distant Voices, Still Lives Distant Voices, Still Lives More Earth Will Fall Paco de Lucía – A Journey Where is the Friend’s Through the Olive Trees House? 8:15 pm 6:00 pm 8:30 pm La Notte La Notte 8:15 pm Close-Up And Life Goes On 8:30 pm Distant Voices, Still Lives Film Club 11:00 am 20 Abbas Kiarostami 21 22 Abbas Kiarostami 23 Abbas Kiarostami 24 British Folk Horror 25 British Folk Horror 26 Kiarostami for Kids! 6:30 pm 6:30 pm 6:30 pm 6:30 pm 6:00 pm Where is the Friend’s Close-Up And Life Goes On The Wicker Man Night of the Demon Abbas Kiarostami House? 8:00 pm 4:30 pm 8:30 pm 8:20 pm 8:30 pm The Wicker Man Where is the Friend’s House? 8:10 pm The Traveller + Through the Olive Trees Night of the Demon 6:30 pm Homework The Bread and Alley 10:00 pm And Life Goes On Kill List 8:20 pm Through the Olive Trees Abbas Kiarostami 27 Abbas Kiarostami 28 29 DIM Cinema 30 Halloween Party 31 4:00 pm 6:30 pm 7:30 pm Folk Horror Through the Olive Trees The Traveller + Julia Feyrer: Freak-Out! The Bread and Alley Broken Clocks 7:00 pm Doors 6:30 pm 8:00 pm Homework 8:15 pm What Lab performance A Wedding Suit + 8:10 pm Case No. 1, Case No. 2 8:30 pm Close-Up Kill List 19+ November Sunday Monday Tuesday Wednesday Thursday Friday Saturday Abbas Kiarostami 1 Abbas Kiarostami 2 6:30 pm 6:30 pm Taste of Cherry The Wind Will Carry Us 8:30 pm 8:45 pm The Wind Will Carry Us Taste of Cherry Abbas Kiarostami 3 Abbas Kiarostami 4 5 Abbas Kiarostami 6 6:30 pm 6:30 pm 6:30 pm The Wind Will Carry Us ABC Africa Five Dedicated to Ozu 8:45 pm 8:15 pm 8:10 pm ABC Africa Five Dedicated to Ozu Taste of Cherry Images from top to bottom: A Colony, 2018; Barbara Rubin and the Exploding NY Underground, 2018; A Bigger Splash, 1974; What You Gonna Do When the World’s on Fire?, 2018; More Earth Will Fall, 2017; Distant Voices, Still Lives, 1988; La Notte, 1961; And Life Goes On, 1992; Night of the Demon, 1957; Kill List, 2011; The Cinematheque The Wind Will Carry Us, 1999..
Recommended publications
  • Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
    Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved.
    [Show full text]
  • [Pennsylvania County Histories]
    HEFEI IENCE ^SVM^y fji 7%r COLLEIjTIONS y. ^ Digitized by the Internet Archive in 2018 with funding from This project is made possible by a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries https://archive.org/details/pennsylvaniacoun89unse A Page4 ' . s- p Page S . ; Page1 ■ | - - ' r u v w . _ ... Ml*. v w- XYZ .-Ml j|f • • MV-j | gaveno intimation of a desire to be in~ terviewed or remonstrated with, which 0:j ^lcrricli. motive they even had the bad taste to resent in a very unpleasant manner, did not improve as he had hoped, the writer’s health. So it come to pass that a short Oil- CITY CHROSICrafBS. time after the battle of Wilson’s Creek, he found himself at Cincinnati on board A Brief Compilation,* Incidental and of a river steamer bound for Pittsburg. Otherwise, From 1861 to Bate. At Maysviile a gentleman came on the r Written for the Derrick.] steamer who was en route for the Oil N this and the series of articles Country, where he had been engaged in to follow,the writer proposes to the development. He was a fluent talk¬ relate from the memory of him¬ er, and from him was gleaned the first self and others, such incidents general information in relation to the of the early history of Oil City, new discovery. Yet the revelation he as can be had and may be made was so wild and apparently impos¬ deemed of interest.
    [Show full text]
  • Silence Studies in the Cinema and the Case of Abbas Kiarostami
    SILENCE STUDIES IN THE CINEMA AND THE CASE OF ABBAS KIAROSTAMI by Babak Tabarraee M.A., Tehran University of Art, 2007 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Film Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) January 2013 © Babak Tabarraee, 2013 Abstract This thesis is an attempt to formulate a systematic framework for ‘silence studies’ in the cinema by defining silence in pragmatic terms and suggesting different forms of filmic silence. As an illustration of my model, I examine the variety of silences in the works of Abbas Kiarostami, a notable figure of Art Cinema. The analytical approach suggested here can further be applied to the works of many other Art Cinema auteurs, and, by extension, to other cinematic modes as well, for a better understanding of the functions, implications, and consequences of various forms of silence in the cinema. Chapter 1 provides a working and pragmatic description of silence, applicable to both film and other communicative forms of art. Chapter 2 represents a historical study of some of the major writings about silence in the cinema. Chapter 3 introduces, exemplifies, and analyzes the acoustic silences in the films of Kiarostami, including the five categories of complete , partial (uncovered; covered with noise, music, or perspective), character/dialogue , language , and music silences. Chapter 4 introduces the concept of meta-silence and its trans-sensorial perceptions in communication and in arts, and then defines the four categories of the visual , character/image , narrative , and political silences in Kiarostami’s oeuvre.
    [Show full text]
  • Abbas Kiarostami and Film-Philosophy, by Mathew Abbott
    Abbas Kiarostami and Film-Philosophy, by Mathew Abbott. Edinburgh University Press, 2016, 176 pages. Kelly Houck Mathew Abbott’s book, beautifully adorned with a now iconic still from The Wind Will Carry Us (Bād mā rā khāhad bord, 1999), explores the late Iranian filmmaker Abbas Kiarostami’s later films through the framework of film-as-philosophy. The book offers an analysis of cinema as a medium of serious philosophical production through a chronological case study of Kiarostami’s films, beginning in the introduction with Taste of Cherry (Ta’m-e gīlās, 1997). Abbott draws on the work of philosophers ranging from Ludwig Wittgenstein to Noël Carroll, as well as Middle Eastern scholars such as Hamid Dabashi, to investigate the real theoretical work Kiarostami’s films accomplish. Throughout the text he weaves two major threads of inquiry: what happens to reality when we screen it, and how film creates problems of knowledge. Abbott argues that film does not merely illustrate preexisting philosophical ideas, instead, cinema carries out a specific kind of thinking. The book’s primary concern lies in the philosophical problems, questions and abstractions that Kiarostami’s films formulate, complicate, and negotiate. The central problem Abbott explores is Kiarostami’s characteristic technique of interrupting the viewer’s relationship with the film, and how these moments of interruption function. The author investigates how the filmmaker harnesses technology and directorial techniques to confuse, but ultimately reinforce, the relationship of the spectator to the screened image. Abbott argues that these moments, where the filmmaker abruptly disorients the viewer and upsets their claims to knowledge, rather than separate the viewer from the film, actually pull the viewer in further.
    [Show full text]
  • Pdf-Collections-.Pdf
    1 Directors p.3 Thematic Collections p.21 Charles Chaplin • Abbas Kiarostami p.4/5 Highlights from Lobster Films p.22 François Truffaut • David Lynch p.6/7 The RKO Collection p.23 Robert Bresson • Krzysztof Kieslowski p.8/9 The Kennedy Films of Robert Drew p.24 D.W. Griffith • Sergei Eisenstein p.10/11 Yiddish Collection p.25 Olivier Assayas • Alain Resnais p.12/13 Themes p.26 Jia Zhangke • Gus Van Sant p.14/15 — Michael Haneke • Xavier Dolan p.16/17 Buster Keaton • Claude Chabrol p.18/19 Actors p.31 Directors CHARLES CHAPLIN THE COMPLETE COLLECTION AVAILABLE IN 2K “A sort of Adam, from whom we are all descended...there were two aspects of — his personality: the vagabond, but also the solitary aristocrat, the prophet, the The Kid • Modern Times • A King in New York • City Lights • The Circus priest and the poet” The Gold Rush • Monsieur Verdoux • The Great Dictator • Limelight FEDERICO FELLINI A Woman of Paris • The Chaplin Revue — Also available: short films from the First National and Keystone collections (in 2k and HD respectively) • Documentaries Charles Chaplin: the Legend of a Century (90’ & 2 x 45’) • Chaplin Today series (10 x 26’) • Charlie Chaplin’s ABC (34’) 4 ABBas KIAROSTAMI NEWLY RESTORED In 2K OR 4K “Kiarostami represents the highest level of artistry in the cinema” — MARTIN SCORSESE Like Someone in Love (in 2k) • Certified Copy (in 2k) • Taste of Cherry (soon in 4k) Shirin (in 2k) • The Wind Will Carry Us (soon in 4k) • Through the Olive Trees (soon in 4k) Ten & 10 on Ten (soon in 4k) • Five (soon in 2k) • ABC Africa (soon
    [Show full text]
  • Like Someone in Love
    1 MK2 & Eurospace present A film by Abbas Kiarostami INTERNATIONAL PRESS INTERNATIONAL SALES Vanessa Jerrom & Claire Vorger MK2 11 rue du Marché Saint-Honoré - 75001 Paris (France) 55 rue Traversière - 75012 Paris (France) Email: [email protected] Juliette Schrameck - [email protected] Cell: +33 6 14 83 88 82 (Vanessa Jerrom) Dorothée Pfistner - [email protected] Cell: +33 6 20 10 40 56 (Claire Vorger) Victoire Thevenin - [email protected] In Cannes : Five Hotel 1 rue Notre-Dame - 06400 Cannes France Photos and presskit can be downloaded on www.mk2pro.com 2 3 synopsis An old man and a young woman meet in Tokyo. She knows nothing about him, he thinks he knows her. He welcomes her into his home, she offers him her body. But the web that is woven between them in the space of twenty-four hours bears no relation to the circumstances of their encounter. 4 5 new awakening Without doubt, there was an underlying sense of gnawing depravity that surfaced in Certified Copy and took me by surprise. I was sure that I already had a good understanding of the work of this film-maker that I have been lucky enough to come across so often in the past 25 years. So I was not expecting his latest film to outstrip the already high opinion I have of his work. Some people like to feel that they can describe and pigeonhole his films as ‘pseudo-simplistic modernism’. But Abbas’ films have never failed to surprise and now here, not for the first time, is a new wake-up call, for me, and I am sure many others.
    [Show full text]
  • A Rare Glimpse of Tahereh's Face in Through the Olive Trees
    A rare glimpse of Tahereh’s face in Through the Olive Trees (Zire darakhatan zeyton) (dir. Abbas Kiarostami, France/ Iran, 1994). Courtesy Artifi cial Eye Women in a Widening Frame: (Cross-)Cultural Projection, Spectatorship, and Iranian Cinema Lindsey Moore This article addresses the entwined issues of gendered and cul- tural representation in contemporary Iranian cinema. One of the remarkable features of recent Iranian film is its allegorical use of gendered tropes, in particular the (in)visibility and (im)mobility of women in social space. The female body, which has been defined in historically charged and culturally assertive terms, is constantly reinvested thematically and technically. In Iran, as in more conventionally “postcolonial” sites of knowledge produc- tion,1 the relationship between vision and embodied, gendered objects is both culturally specificand informed by cross-cultural encounter. This article urges continued attention to the import of female representation in relation to a film’s reception both within and outside of the national viewing context. I assess the implications of verisimilitude in three films: Abbas Kiarostami’s Through the Olive Trees (Zire darakhatan zeyton) (France/Iran, 1994), Samira Makhmalbaf’s The Apple (Sib) (Iran/ France, 1998), and Kim Longinotto and Ziba Mir-Hosseini’s Copyright © 2005 by Camera Obscura Camera Obscura 59, Volume 20, Number 2 Published by Duke University Press 1 2 • Camera Obscura Divorce Iranian Style (UK, 1998). The difficulty in generically categorizing these films, particularly the latter two, rests on the exploitation in each case of the hinge between documentary and dramatic technique. It is my intention not only to contextualize this strategy in relation to postrevolutionary Iranian cultural politics, but to investigate the effects of generically hybrid texts that enter the international sphere.
    [Show full text]
  • Contemporary Neorealist Principles in Abbas Kiarostami’S Filmmaking (1997 – 2005)
    Contemporary Neorealist Principles in Abbas Kiarostami’s Filmmaking (1997 – 2005) L A Buckle MA by Research 2011 Contemporary Neorealist Principles in Abbas Kiarostami’s Filmmaking (1997 – 2005) Contemporary Neorealist Principles in Abbas Kiarostami’s Filmmaking (1997 – 2005) Luke Andrew Buckle December 2011 Submitted to the University of Hertfordshire in partial fulfilment of the requirements of the degree of MA by Research 2 Contemporary Neorealist Principles in Abbas Kiarostami’s Filmmaking (1997 – 2005) Contents List of Screenshots 5 Abstract 7 Introduction 8 Chapter 1 – Abbas Kiarostami the Filmmaker 15 Neorealism and Iranian Cinema Origins of Neorealism 19 Neorealism: Theory and Filmmaking Traits 21 Kiarostami the Auteur 25 Censorship 26 Narrative and Narration 30 The Neorealist Narrative Agency of Children 30 The Camera and The Gaze 38 Seen and Unseen 40 Chapter 2 – Mise-en-scène 44 Actors/Acting Style 45 Setting 46 Sound 49 Natural Lighting 51 Colour and Costume 53 3 Contemporary Neorealist Principles in Abbas Kiarostami’s Filmmaking (1997 – 2005) Mise-en-scène and Meaningful Relationships 60 Chapter 3 – Themes and Technology Uncertainties 64 Modernity 66 Technology and Travel 71 Conclusion – Reworking the Directing Role 77 Bibliography 82 Filmography 87 4 Contemporary Neorealist Principles in Abbas Kiarostami’s Filmmaking (1997 – 2005) List of Screenshots 1.1 The Wind Will Carry Us 31 1.2 The Wind Will Carry Us 32 1.3 Ten 34 1.4 ABC Africa 36 1.5 ABC Africa 36 1.6 The Wind Will Carry Us 40 1.7 The Wind Will Carry Us 41 2.1 Taste
    [Show full text]
  • Winter 2020 Film Calendar
    National Gallery of Art Film Winter 20 Special Events 11 Abbas Kiarostami: Early Films 19 Checkerboard Films on the American Arts: Recent Releases 27 Displaced: Immigration Stories 31 African Legacy: Francophone Films 1955 to 2019 35 An Armenian Odyssey 43 Hyenas p39 Winter 2020 opens with the rarely seen early work of Abbas Kiarostami, shown as part of a com- plete retrospective of the Iranian master’s legacy screening in three locations in the Washington, DC, area — the AFI Silver Theatre, the Freer Gallery of Art, and the National Gallery of Art. A tribute to Check- erboard Film Foundation’s ongoing documentation of American artists features ten of the foundation’s most recent films. Displaced: Immigration Stories is organized in association with Richard Mosse: Incom- ing and comprises five events that allow audiences to view the migrant crisis in Europe and the United States through artists’ eyes. African Legacy: Franco- phone Films 1955 to 2019 celebrates the rich tradition of filmmaking in Cameroon, Mauritania, Ivory Coast, Senegal, and Niger, including filmmakers such as Med Hondo, Timité Bassori, Paulin Soumanou Vieyra, Ousmane Sembène, Djibril Diop Mambéty, and Moustapha Alassane as well as new work by contemporary Cameroonian artist Rosine Mbakam. An Armenian Odyssey, organized jointly with Post- Classical Ensemble, the Embassy of Armenia, the National Cinema Center of Armenia, and the Freer Gallery, combines new films and recent restorations, including works by Sergei Parajanov, Kevork Mourad, Hamo Bek-Nazaryan, and Rouben Mamoulian, as well as musical events at Washington National Cathedral. The season also includes a number of special events and lectures; filmmaker presentations with Rima Yamazaki and William Noland; and recent documentaries such as Cunningham; Leaving Home, Coming Home: A Portrait of Robert Frank; Museum Town; The Hottest August; Architecture of Infinity; and It Will Be Chaos.
    [Show full text]
  • Abbas Kiarostami and a New Wave of the Spectator
    ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 3 (2010) 133–142 Abbas Kiarostami and a New Wave of the Spectator Hajnal Király Independent researcher, Lisbon (Portugal) E-mail: [email protected] Abstract. Western references of Kiarostami’s work are often over-estimating the influence of the Western Cinema – especially Modernism, the New Waves, Godard, Bresson – on his films. But self-reflexivity and minimalism here have more to do with the eastern ornamental mode, symbolic iconography and tradition of deconstruction. A close analysis of the issue of spectatorship (and, moreover, that of the woman as spectator) in this self- effacing cinema will show how gaps and even a lack of visual stimuli are turning the image into a mirror reflecting the spectator ‘written into’ the very texture of these films. “The only way to envision a new cinema is to have more regard for the spectator’s role.”1 Abbas Kiarostami In 1995, to celebrate the one hundredth anniversary of cinema, a great number of film directors from all around the world – among them Abbas Kiarostami – engaged in a historical, yet symbolic project: making short movies with the camera of the Lumière brothers.2 On this occasion, they were all asked about the future of the cinema and they all agreed that cinema is mortal. And yet, the spirit of the cinematic paradigm represented by the Lumières seems to be carried on by the so called “World Cinema.” Neo-realism, Modernism and the New Waves – both French and national ones – are all “waving” towards the Middle and Far East: Iran, China, Hong Kong and Korea.
    [Show full text]
  • Nyff Official Selection Isabelle Huppert Will Blow Your Mind Again
    ANNOUNCEMENT OFFICIAL SELECTION COMPLETED AT WAR RADIANCE UNTIL THE BIRDS RETURN STÉPHANE BRIZÉ P. 05 NAOMI KAWASE P. 22 KARIM MOUSSAOUI P. 33 RAMEN SHOP APRIL’S DAUGHTER VR CONTENT ERIC KHOO P. 07 MICHEL FRANCO P. 23 MK2 VR P. 35 SORRY ANGEL CHATEAU CHRISTOPHE HONORÉ P. 09 MODI BARRY & CÉDRIC IDO P. 24 CATALOGUE FOCUS SHOOTING NOW FAITHFULL JACQUES DEMY P. 36 SANDRINE BONNAIRE P. 25 ASH IS PUREST WHITE AGNÈS VARDA P. 37 UPCOMING JIA ZHANGKE P. 10 ABBAS KIAROSTAMI P. 38 COLD WAR MARIA BY CALLAS DAVID LYNCH P. 39 PAWEL PAWLIKOWSKI P. 11 TOM VOLF P. 27 CHARLES CHAPLIN P. 40 OFFICIAL SELECTION AMANDA MIKHAËL HERS P. 28 CLASSIC US ANIMATION P. 41 A SEASON IN FRANCE MAHAMAT-SALEH HAROUN P. 13 THE TROUBLE WITH YOU PIERRE SALVADORI P.29 IF YOU SAW HIS HEART JOAN CHEMLA P. 15 P.E.A.R.L. ELSA AMIEL P. 30 THE HOUSE BY THE SEA PINK FLAMINGO ROBERT GUÉDIGUIAN P. 17 VIRGINIE SAUVEUR P. 31 M ERNESTO SARA FORESTIER P. 19 JUNJI SAKAMOTO P. 32 MRS. HYDE SERGE BOZON P. 21 ANNOUNCEMENT AT WAR STÉPHANE BRIZÉ After promising 1100 employees that they would protect their jobs, the managers of a factory decide to suddenly close up shop. Laurent takes the lead in a fight against this decision. VINCENT LINDON Delivery 2018 – France – Drama – French Production: Nord-Ouest Films Stéphane Brizé reteams with Vincent Lindon after Cannes award winning THE MEASURE OF A MAN, sold in 50+ territories. “HE WHO FIGHTS, CAN LOSE. HE WHO DOESN’T FIGHT, HAS ALREADY LOST” BERTOLT BRECHT 05 ANNOUNCEMENT RAMEN SHOP ERIC KHOO Masato, a young ramen chef, leaves his hometown in Japan to embark on a culinary journey to Singapore to find out the truth about his past.
    [Show full text]
  • British Film Institute Report & Financial Statements 2006
    British Film Institute Report & Financial Statements 2006 BECAUSE FILMS INSPIRE... WONDER There’s more to discover about film and television British Film Institute through the BFI. Our world-renowned archive, cinemas, festivals, films, publications and learning Report & Financial resources are here to inspire you. Statements 2006 Contents The mission about the BFI 3 Great expectations Governors’ report 5 Out of the past Archive strategy 7 Walkabout Cultural programme 9 Modern times Director’s report 17 The commitments key aims for 2005/06 19 Performance Financial report 23 Guys and dolls how the BFI is governed 29 Last orders Auditors’ report 37 The full monty appendices 57 The mission ABOUT THE BFI The BFI (British Film Institute) was established in 1933 to promote greater understanding, appreciation and access to fi lm and television culture in Britain. In 1983 The Institute was incorporated by Royal Charter, a copy of which is available on request. Our mission is ‘to champion moving image culture in all its richness and diversity, across the UK, for the benefi t of as wide an audience as possible, to create and encourage debate.’ SUMMARY OF ROYAL CHARTER OBJECTIVES: > To establish, care for and develop collections refl ecting the moving image history and heritage of the United Kingdom; > To encourage the development of the art of fi lm, television and the moving image throughout the United Kingdom; > To promote the use of fi lm and television culture as a record of contemporary life and manners; > To promote access to and appreciation of the widest possible range of British and world cinema; and > To promote education about fi lm, television and the moving image generally, and their impact on society.
    [Show full text]