Cinema Guild Russia and East Europe Brochure
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World Competition
El Cuento de las Comadrejas - The Weasel's Tale 2019 | 129' | Spanish | Argentina | Spain | Colour Opening Film Director: Juan José Campanella Producer: Juan José Campanella, Gerardo Herrero, Axel Kuschevatzky Cast: Clara Lago, Oscar Martínez, Graciela Borges Screenplay: Juan José Campanella, Darren Kloomok Cinematographer: Félix Monti Editor: Juan José Campanella A beautiful star from the cinema Golden Age, an actor in the Sound Designer: José Luis Díaz twilight of his life, a witty scriptwriter and a cunning director Music Composer: Emilio Kauderer live together in a mansion where they have created an unusual environment. The arrival of a young couple seeking to Costume Designer: Cecilia Monti persuade the actress to sell the house, forces the other Production Designer: Nelson Noel Luty inhabitants to come together and conspire to prevent it. Production Company: 100 Bares, Tornasol, Jempsa World Sales: Latido films World Sales Phone: +34 915 488 877 World Sales Email: [email protected] Festivals: San Sebastian FF 2019, Ventana Sur 2019, IFFI 2019, Valladolid IFF 2019 Juan Jose Campanella (born July 19, 1959) is 2019 The Weasel's Tale an Argentinian film and television director. He 2014 Halt And Catch Fire has won 45 international awards for his work. 2009 The Secret In Their Eyes He is best known for writing and directing The Secret in Their Eyes, which won the Academy 2004 Moon Of Avellaneda Award for Best Foreign Language Picture. 2001 The Son Of The Bride Campanella mostly works on films in his native Argentina, and on television projects in the United States, where he went to film school. -
Russian Cinema Now, an 11-Film Showcase of Contemporary Films, May 31— Jun 13
BAMcinématek presents the 30th anniversary of Andrei Tarkovsky’s Nostalghia for two weeks in a new 35mm print, alongside Russian Cinema Now, an 11-film showcase of contemporary films, May 31— Jun 13 In association with TransCultural Express: American and Russian Arts Today, a partnership with the Mikhail Prokhorov Fund to promote cultural exchange between American and Russian artists and audiences Three North American premieres, three US premieres, and special guests including legendary Fugees producer John Forté and friends and acclaimed directors Sergei Loznitsa and Andrey Gryazev The Wall Street Journal is the title sponsor for BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/May 10, 2013—From Friday, May 31 through Thursday, June 13, BAMcinématek presents a two-week run of Russian master Andrei Tarkovsky’s Nostalghia in a new 35mm print for its 30th anniversary, alongside Russian Cinema Now, a series showcasing contemporary films with special guests and Q&As. Both programs are part of TransCultural Express: American and Russian Arts Today, a collaborative venture to promote cultural exchange and the Mikhail Prokhorov Fund’s inaugural artistic alliance with a US performing arts institution. For more information on TransCultural Express, download the program press release. A metaphysical exploration of spiritual isolation and Russian identity, Tarkovsky’s (Solaris, Stalker) penultimate film Nostalghia (1983) follows Russian expat and misanthropic poet Andrei (Oleg Yankovsky, The Mirror) as he travels to Italy to conduct research on an 18th-century composer. In the course of his study, he is overcome by melancholy and a longing for his home country—a sentiment reflective of the exiled Tarkovsky’s own struggle with displacement, this being his first film made outside of the USSR (the film’s Italian title translates as “homesickness”). -
The Remaining Second World Sokurov and Russian
The Remaining Second World: Sokurov and Russian Ark 1/20/09 8:08 PM contents great directors cteq annotations top tens about us links archive search The Remaining Second World: Sokurov and Russian Ark by Benjamin Halligan Benjamin Halligan's critical biography of Michael Reeves will be published by Manchester University Press in June. He is currently completing a study of European New Wave films. “Sir, [the Russians] have two expressions (I am not speaking of the lackeys who have only one; I am speaking of the nobles). When they come through here on the way to Europe they have a gay, free, happy air. They are like horses turned to pasture, like birds who have flown the cage – men, women, young, old, all are as happy as school children on a holiday. The same people, on their return have long, gloomy, tormented faces; they have a worried look. Their conversation is brief and their speech abrupt. I have concluded from this difference that a country which one leaves with so much joy and returns to with so much regret is a bad country.” “Perhaps you are right,” I reply, “but your observations prove that the Russians are not as deceptive as one paints them. I thought they were more inscrutable.” – The Marquis de Custine, 1839 (1) There is a perverse, contrarian impulse at the heart of Aleksandr Sokurov's new film, Russkij Kovcheg (Russian Ark, 2002). Initially this is manifested in the way in which Russian Ark is patently unlike all other films. But even this base level of difference is only one aspect of the experience of seeing Russian Ark – which is the experience of encountering something genuinely new in itself. -
FRANCOFONIA a Film by Alexander Sokurov
presents FRANCOFONIA A film by Alexander Sokurov 87 min | France/Germany/Netherlands | 2015 | Not Rated | Dolby 5.1 In French, Russian and German with English subtitles Official Website: http://www.musicboxfilms.com/francofonia Press Materials: http://www.musicboxfilms.com/francofonia-press New York/National Press Contacts: Sophie Gluck & Associates Sophie Gluck: [email protected] | 212-595-2432 Aimee Morris: [email protected] | 212-595-2432 Music Box Films Contacts Marketing & Publicity Yasmine Garcia | [email protected] | 312-508-5362 Theatrical Booking Brian Andreotti | [email protected] | 312-508-5361 Exhibition Materials Lindsey Jacobs | [email protected] | 312-508-5365 FESTIVALS AND AWARDS Opening Night Selection – First Look Festival (Museum of the Moving Image) Official Selection – Venice Film Festival Winner, Fedeora Award – Venice Film Festival Official Selection – BFI London Film Festival Official Selection – Toronto International Film Festival Official Selection – San Sebastian Film Festival Official Selection – Reykjavik International Film Festival Official Selection – Thessoloniki International Film Festival SYNOPSIS Set against the backdrop of the Louvre Museum’s history and artworks, master director Alexander Sokurov (Russian Ark) applies his uniquely personal vision onto staged re-enactments and archives for this fascinating portrait of real-life characters Jacques Jaujard and Count Franziskus Wolff-Metternich and their compulsory collaboration at the Louvre Museum under the Nazi Occupation. These two remarkable men - enemies then collaborators - share an alliance which would become the driving force behind the preservation of museum treasures. In its exploration of the Louvre Museum as a living example of civilization, FRANCOFONIA is a stunning and urgently relevant meditation on the essential relationship between art, culture, and history. -
Winter Series Art Films and Events January February Filmmarch Film
Film Program Winter 2008 National Gallery of Art, Washington Winter Series film From the Archives: 16 at 12 England’s New Wave, 1958 – 1964 István Szabó’s 20th Century Alexander Sokurov In Glorious Technicolor Art Films and Events This Sporting Life (Photofest) 19 Sat II March Edward 2:00 England’s New Wave, 1958 – 1964: A Kind of Loving 1 Sat J. M.W. Turner and Film 4:30 England’s New Wave, 1958 – 1964: 2:00 István Szabó’s 20th Century: Mephisto (two-part program) This Sporting Life 4:30 István Szabó’s 20th Century: Colonel Redl 2 Sun The Gates 20 Sun 4:30 England’s New Wave, 1958 – 1964: 4:30 István Szabó’s 20th Century: Hanussen International Festival of Films Saturday Night and Sunday Morning; 4 Tues The Angry Silence on Art 12:00 From the Archives: 16 at 12: The City 22 Tues of Washington Henri Storck’s Legacy: 12:00 From the Archives: 16 at 12: Dorothea 8 Sat Lange: Under the Trees; Eugène Atget (1856 – 1927) Belgian Films on Art 3:00 Event: Max Linder Ciné-Concert 26 Sat 9 Sun 2:00 Event: International Festival of Films on Art England’s Finest Hour: 4:30 Alexander Sokurov: The Sun (Solntse) Films by Humphrey Jennings 27 Sun 11 Tues 4:00 Event: International Festival of Films on Art Balázs Béla Stúdió: 1961 – 1970 12:00 From the Archives: 16 at 12: Washington, 29 Tues City with a Plan Max Linder Ciné-Concert 12:00 From the Archives: 16 at 12: Dorothea 15 Sat Lange: Under the Trees; Eugène Atget (1856 – 1927) 2:30 Alexander Sokurov: Elegy of Life: Silvestre Revueltas: Music for Film Rostropovich Vishnevskaya February 4:30 Alexander -
Aleksandr Sokurov's Days of Eclipse Vs the Strugatskii Brothers
Loyalty by obfuscation: Aleksandr Sokurov’s Days of eclipse vs the Strugatskii brothers’ A billion years before the end of the world1 Andrei Rogatchevski Abstract. This article seeks to rectify two misconceptions that have been following Aleksandr Sokurov’s award-winning sf film Days of Eclipse (Dni zatmeniia; USSR 1988) almost since its release. The first is reflected in the claim that the film – with its odd mix of enigmatic fictional scenes and documentary footage that would not look out of place on a visual anthropology course – is not only difficult to fathom but downright ‘anti-explicatif’ (Ostria 59).2 The second has been expressed in a statement that Days of Eclipse ‘has altered everything but the names of the principal characters’ (Moskvina 45) in the Strugatskii brothers’ story it has adapted, A Billion Years Before the End of the World (Za milliard let do kontsa sveta, 1976-77; see Strugatskie 1988: 3-148).3 Even Boris Strugatskii himself said of the film that, ‘significant, powerful and sui generis exceptional’ as it may be, it is ‘far removed from both the original book and the last version of the authors’ script’ (Strugatskie 2001: 648). I will argue that there is enough left of the source material in the film to help the viewer make sense of it – especially if the viewer has a prior knowledge of the source material. I will also try to explain why Sokurov has opted for obscuring the Strugatskiis’ message as his book adaptation strategy. Finally, I will attempt to categorise Sokurov’s approach to film adaptation in the context of some of his other films, as well as some Strugatskii-related films by other directors. -
November 20, 2012 (XXV:12 Aleksandr Sokurov, RUSSIAN ARK (2002, 99 Min)
November 20, 2012 (XXV:12 Aleksandr Sokurov, RUSSIAN ARK (2002, 99 min) Directed by Aleksandr Sokurov Written by Boris Khaimsky, Anatoli Nikiforov, Svetlana Proskurina and Aleksandr Sokurov Produced by Andrey Deryabin and Jens Meurer Original Music by Sergei Yevtushenko Cinematography by Tilman Büttner Film Editing by Stefan Ciupek, Sergey Ivanov, Betina Kuntzsch Sergei Dontsov…The Stranger (The Marquis de Custine) Mariya Kuznetsova…Catherine The Great Leonid Mozgovoy…The Spy Mikhail Piotrovsky…Himself (Hermitage Director) David Giorgobiani…Orbeli Aleksandr Chaban… Boris Piotrovsky Lev Yeliseyev…Himself Boris Smolkin…Chancellor Nesselrode Oleg Khmelnitsky…Himself Yuri Khomutyansky…Insane Italian Alla Osipenko…Herself Valery Gergiev…Conductor Artyom Strelnikov…Talented Boy The State Hermitage Orchestra…Orchestra Tamara Kurenkova…Herself (Blind Woman) Aleksandr Sokurov…The Time Traveller (voice) Maksim Sergeyev…Peter the Great Natalya Nikulenko…Catherine the Great ALEKSANDR SOKUROV (b. Aleksandr Nikolaevich Sokurov, June 14, Yelena Rufanova…First Lady 1951, Podorvikha, Irkutskaya oblast, RSFSR, USSR [now Russia]) Yelena Spiridonova…Second Lady has 58 directing credits, about half of them documentaries. Some of Konstantin Anisimov…First Cavalier his films are 2011Faust, 2010 Intonatsiya. Vladimir Yakunin, 2007 Aleksey Barabash…Second Cavalier Alexandra, 2006 Elegiya zhizni. Rostropovich. Vishnevskaya., 2005 Ilya Shakunov…Third Cavalier The Sun, 2004 “The Diary of St. Petersburg: Mozart. Requiem”, 2003 Anna Aleksakhina…Alexandra Fyodorovna, -
12 Films/13 Weeks
European Society and Cinema New York University in France - Spring 2012 DRLIT-UA 9502 / FREN-UA 9865 - 4 points Prof. Stephen Monteiro ([email protected]) Course hours: Wednesday, 4:30-7:30 PM (weekly screening time TBA) Office hours: Wednesday, 4:00-4:30 and 7:30-8:00 PM Course description: Hailed as the “seventh art” by European intellectuals and artists, cinema has played a singular role in the continent‟s politics and culture. This course examines film‟s contribution to, and critique of, modernity and contemporary society through the close study of selected European avant-garde and popular films and related historical and cultural topics. It explores not only how film narratives can depict the political and social conditions of a particular place and time, but also the many ways that cinema as an industry, mass medium and idea has been absorbed into constructions of European identity, national sovereignty and globalization. Films and readings will be supplemented by visits to Paris sites and institutions reflecting differing film cultures. Texts: Required: All readings listed in the class schedule are required unless otherwise noted. Readings are available at the course‟s Google Site: https://sites.google.com/a/nyu.edu/european-cinema- and-society---spring-2012 Recommended: Elizabeth Ezra‟s European Cinema (Oxford: Oxford University Press, 2004) is recommended for its overview of European film history, while Mark Mazower‟s Dark Continent: Europe’s Twentieth Century (New York: Vintage Books, 2000) is recommended as a general history of twentieth-century Europe. Evaluation and Grading: Participation (20%) – Students are expected to attend all classes and visits, read required texts for the date due and contribute productively to class discussions. -
IN THIS Issue Building a Career
A PUBLICATION BY AND FOR ALUMNI OF THE EDMUND S. MUSKIE/FREEDOM SUPPORT ACT GRADUATE FELLOWSHIP PROGRAM VOLUME 4: FALL 2003 IN THIS ISSue Building a Career .......................... 3 Job Market Prospectus ................... 4 Re-entering the Job Market ............. 5 Making a Career Transition.............. 6 Career Development..................... 7 Guide to Finding Your Next Job ...... 10 Returning Home ........................ 12 On the Move ............................. 13 Muskie Matters .......................... 14 Opportunity Knocks ................... 16 Informational Interviews .............. 16 Muskies Pix ............................... 18 Contact Information.................... 22 New Muskie Alumni at the End of Program Workshop in Washington, D.C. The Muskie Quarterly is sponsored by the Bureau of Educational and Cultural Affairs, U.S. Department of State, and is produced by American Councils for International Education: ACTR/ACCELS in The Muskie Quarterly is a publication for participants in the Edmund S. Muskie/ cooperation with the FREEDOM Support Act Graduate Fellowship Program. Alumni and current Fellows Open Society Institute are invited to share their Muskie experience, expand the Muskie network, and keep in (OSI). touch with program administrators. MQ strongly encourages participants to contribute to this publication by submitting essays, short articles and photographs for the following regular features: Perspectives Topic for Next Issue: “Making the Most of Your Internship EDITORS Experience.” Current Fellows: Share your experience and valuable insights with new Susan Frarie fellows. Alumni: Tell us how your internship helped your job search and your Lucy Jilka professional development. What advice do you have for other alumni and current Angela Glukhov fellows? Employers: Explain the value of internships from your perspective. Sergey Votyagov On the Move Share your promotions, awards, achievements, conference Elena Orlova participation, new jobs, volunteer activities, and other news with the Muskie Sheila Casey community. -
Tesnota Closeness
EXAMPLE OF INTONATION and LENFILM present TESNOTA CLOSENESS A FILM BY KANTEMIR BALAGOV 118 min/ Russian and Kabardian/Color/5.1 PCM/1.33/Russian INTERNATIONAL SALES INTERNATIONAL PR WILD BUNCH ANYWAYS 4 La Croisette – 1st floor – 06400 Cannes Phone+33(0)493997354 FLORENCE ALEXANDRE [email protected] EVA DIEDERIX +33 (0)6 31 87 17 54 [email protected] ALEXIA COUTANT SILVIA SIMONUTTI [email protected] [email protected] EMILIE SERRES [email protected] OLIVIER BARBIER [email protected] FANNY BEAUVILLE [email protected] PHOTOS AND PRESS KIT CAN BE DOWNLOADED FROM: http://www.wildbunch.biz/movie/tesnota/ SYNOPSIS 1998, Nalchik, North Caucasus, Russia. 24-year-old Ilana works in her father’s garage to help him make ends meet. One evening, her extended family and friends gather to celebrate the engagement of her younger brother David. Later that night, the young couple is kidnapped, and a ransom demand delivered. In this close-knit Jewish enclave, involving the police is out of the question. How will the family raise the money to save David? Ilana and her parents, each in their own way, will go as far as necessary, whatever the risks to themselves… INTERVIEW WITH KANTEMIR BALAGOV What led you to cinema? I was born in Nalchik, in the North Caucasus, in 1991, and went to high school there. To be honest, cinema didn’t come to me right away; I studied economics at Stavropol University, followed by a law correspondence course. But I quickly realized that wasn’t for me and started looking for something else. My father had bought me a camera and I began taking photos; later I started to film things and ended up making web serials in Nalchik. -
Museum, Archive and Historical Narrative In
MUSEUM, ARCHIVE AND HISTORICAL NARRATIVE IN RUSSKII KOVCHEG AND GOROD ZERO Emily Ewers University of Illinois at Urbana Champaign Gorod zero (City Zero) directed by Karen Shakhnazarov in 1989, and Russkii kovcheg (Russian Ark) directed by Aleksandr Sokurov in 2002 both feature museums. In a memorable scene, City Zero’s protagonist takes a tour through the town’s history museum, while the entirety of Russian Ark is a guided museum tour. These two films, when viewed together, have much to say about the way Soviet and post-Soviet historical narratives are constructed. To understand the context in which the later film Russian Ark was created, it is useful to analyze City Zero because the late Soviet-era film allows one to see how Russian Ark earnestly engages in the very process of creating a historical narrative that City Zero is mocking. Ultimately, both films illustrate that the creation of Soviet and Russian archives and historical narratives-- choosing to “remember” certain parts of the past while “forgetting” others (the process that is the subject of Jacques Derrida’s Archive Fever)--is indicative of insecurities about past and future, insecurities lurking underneath the surface from the time of Petrine reforms to the present. Prominent among these insecurities, displayed and possibly perpetuated by these films, is Russia’s uneasiness about its place in the world in relation to Europe and retention of its relevance in world history. A teleological view of history governs the structuring of Soviet and Russian historical narratives. This teleological view is mocked in Shakhnazarov’s City Zero and resurfaces in Sokurov’s Russian Ark. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title The Representation of Forced Migration in the Feature Films of the Federal Republic of Germany, German Democratic Republic, and Polish People’s Republic (1945–1970) Permalink https://escholarship.org/uc/item/0hq1924k Author Zelechowski, Jamie Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles The Representation of Forced Migration in the Feature Films of the Federal Republic of Germany, German Democratic Republic, and Polish People’s Republic (1945–1970) A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Germanic Languages by Jamie Leigh Zelechowski 2017 © Copyright by Jamie Leigh Zelechowski 2017 ABSTRACT OF THE DISSERTATION The Representation of Forced Migration in the Feature Films of the Federal Republic of Germany, German Democratic Republic, and Polish People’s Republic (1945–1970) by Jamie Leigh Zelechowski Doctor of Philosophy in Germanic Languages University of California, Los Angeles, 2017 Professor Todd S. Presner, Co-Chair Professor Roman Koropeckyj, Co-Chair My dissertation investigates the cinematic representation of forced migration (due to the border changes enacted by the Yalta and Potsdam conferences in 1945) in East Germany, West Germany, and Poland, from 1945–1970. My thesis is that, while the representations of these forced migrations appear infrequently in feature film during this period, they not only exist, but perform an important function in the establishment of foundational national narratives in the audiovisual sphere. Rather than declare the existence of some sort of visual taboo, I determine, firstly, why these images appear infrequently; secondly, how and to what purpose(s) existing representations are mobilized; and, thirdly, their relationship to popular and official discourses.