DOCSLIB.ORG

Swedish Film Magazine #1 2009

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Swedish Film IN THE MOOD FOR LUKAS Lukas Moodysson’s Mammoth ready to meet the world Nine more Swedish films at the Berlinale BURROWING | MR GOVERNOR THE EAGLE HUNTEr’s SON | GLOWING STARS HAVET | SLAVES | MAMMA MOO AND CROW SPOT AND SPLODGE IN SNOWSTORM | THE GIRL #1 2009 A magazine from the Swedish Film Institute www.sfi.se Fellow Designers Internationale Filmfestspiele 59 Berlin 05.–15.02.09 BERLIN INTERNATIONAL FILM FESTIVAL 2009 OFFICIAL SELECTION IN COMPETITION GAEL GARCÍA BERNAL MICHELLE WILLIAMS MA FILMA BYM LUKMAS MOOODTYSSHON MEMFIS FILM COLLECTION PRODUCED BY MEMFIS FILM RIGHTS 6 AB IN CO-PRODUCTION WITH ZENTROPA ENTERTAINMENTS5 APS, ZENTROPA ENTERTAINMENTS BERLIN GMBH ALSO IN CO-PRODUCTION WITH FILM I VÄST, SVERIGES TELEVISION AB (SVT), TV2 DENMARK SUPPORTED BY SWEDISH FILM INSTITUTE / COLLECTION BOX / SINGLE DISC / IN STORES 2009 PETER “PIODOR” GUSTAFSSON, EURIMAGES, NORDIC FILM & TV FUND/HANNE PALMQUIST, FFA FILMFÖRDERUNGSANSTALT, MEDIENBOARD BERLIN-BRANDENBURG GMBH, DANISH FILM INSTITUTE/ LENA HANSSON-VARHEGYI, THE MEDIA PROGRAMME OF THE EUROPEAN COMMUNITY Fellow Designers Internationale Filmfestspiele 59 Berlin 05.–15.02.09 BERLIN INTERNATIONAL FILM FESTIVAL 2009 OFFICIAL SELECTION IN COMPETITION GAEL GARCÍA BERNAL MICHELLE WILLIAMS MA FILMA BYM LUKMAS MOOODTYSSHON MEMFIS FILM COLLECTION PRODUCED BY MEMFIS FILM RIGHTS 6 AB IN CO-PRODUCTION WITH ZENTROPA ENTERTAINMENTS5 APS, ZENTROPA ENTERTAINMENTS BERLIN GMBH ALSO IN CO-PRODUCTION WITH FILM I VÄST, SVERIGES TELEVISION AB (SVT), TV2 DENMARK SUPPORTED BY SWEDISH FILM INSTITUTE / COLLECTION BOX / SINGLE DISC / IN STORES 2009 PETER “PIODOR” GUSTAFSSON, EURIMAGES, NORDIC FILM & TV FUND/HANNE PALMQUIST, FFA FILMFÖRDERUNGSANSTALT, MEDIENBOARD BERLIN-BRANDENBURG GMBH, DANISH FILM INSTITUTE/ LENA HANSSON-VARHEGYI, THE MEDIA PROGRAMME OF THE EUROPEAN COMMUNITY CEO’S LETTER Director, International Department Pia Lundberg Phone +46 70 692 79 80 [email protected] Swedish film belongs to children WHEN IT BECAME clear that Sweden had sometimes we need to remind ourselves Festivals, features no fewer than ten films at this year’s of the sterling efforts that lie behind the Gunnar Almér Berlinale, I started to try to cast my mind nurture of this solid tradition, lest we Phone +46 70 640 46 56 back to a year or an earlier festival when should ever take it for granted. In [email protected] we were so well represented. I didn’t get precisely the same way that Mammoth very far. Because it doesn’t matter how far reminds us that we should never take for back in time you look, Sweden’s participa- granted our families and our children. tion in Berlin this year is utterly unique. Features, special projects Petter Mattsson Never before has any Nordic country had I AM SO impressed that Swedish filmmak- Phone +46 70 607 11 34 such a strong presence at the festival. ers regard children with the same respect [email protected] The main spotlight, of course, is on as they regard adults. And it makes me Lukas Moodysson’s Mammoth, which you proud that Swedish films for children and can read about in this issue of Swedish young people do not shy away from Film. More than ten years have passed difficult subjects. When I recently saw Festivals, documentaries since Moodysson was in Berlin picking up Glowing Stars (I taket lyser stjärnorna) Sara Yamashita Rüster Phone +46 76 117 26 78 two awards for his debut feature, Fucking with my own children, all three of us sat [email protected] Åmål (aka Show Me Love). and laughed and cried by turns – out loud! Lukas Moodysson is one of Sweden’s That’s precisely the kind of emotional leading film directors on the internation- reaction you should expect from really al stage, and a major new work for him good films. And it’s precisely in that way Festivals, short films has been keenly anticipated for some that one can sow the seeds in children to Andreas Fock time. And Mammoth certainly lives up to ensure they retain an interest in film for Phone +46 70 519 59 66 [email protected] its name: it’s a big film, with big interna- the rest of their lives. tional stars in a truly global setting. This year for the first time he’s in with I WISH ALL of you – adults and children a chance of winning the prestigious alike – many moving film experiences in Head of Communications Golden Bear with his Mammoth, an your cinema seats in Berlin. & Public Relations agonisingly powerful work that questions Åsa Garnert the way we, in different parts of the Phone +46 70 615 12 41 [email protected] world, choose – or are forced – to relate to our children. Press Officer AND CHILDREN ARE certainly making their Cissi Elwin Frenkel Jan Göransson presence felt this year in Berlin. Six of the CEO, Phone +46 70 603 03 62 Swedish films are aimed primarily at a Swedish Film Institute [email protected] younger audience. This provides an ideal opportunity to reflect on Swedish films for children. We’ve long been spoilt in Sweden by Swedish Film Institute children’s films of world class. And International Department P.O. Box 27126 SE-102 52 Stockholm, Sweden Phone +46 8 665 11 00 Fax +46 8 666 36 98 SWEDISH FILM Contributing Editors Cover photo www.sfi.se ISSUE 1/2009 Anders Dahlbom Per-Anders Jörgensen/ Jennie Dielemans Memfis Film 2009 Issued by Klas Ekman Photography The Swedish Film Institute Henrik Emilson Kristian Bengtson Niklas Eriksson Frans Hällqvist Publisher Emma Gray Munthe Sara Mac Key Pia Lundberg Christina Höglund Editors David Kollnert Translation Mattias Dahlström Paola Langdal Derek Jones Elin Larsson Per Nyström The Swedish Film Institute’s aims include the Art Direction Print promotion, support and development of Swedish films, Markus Edin Fagerblads Print & the allocation of grants, and the promotion of Swedish Packaging, Västerås cinema internationally. (www.sfi.se) ISSN 1654-0050 4 SCREENINGS Feb 6 at 9.30 AM - CinemaxX Studio 12 Feb 9 at 1.15 PM - CinemaxX Studio 12 Feature & Mini-Series (2x90’ approx.) & TV-series (6x45’ approx.) FESTIVAL SCREENINGS Feb 7 at 10.30 AM - Zoo Palast 1 CONTRACTUAL NOT CREDITS Feb 8 at 10.00 AM SCREENING - Filmtheater am Friedrichshain Feb 8 at 3 PM - Feb 10 at 11.30 AM - CinemaxX 3 CinemaxX Studio 17 MARKET SCREENING Feb 7 at 4.15 PM - CinemaxX Studio 18 SCREENING Feb 5 at 6.30 PM - CinemaxX Studio 17 Visit us at Martin-Gropius Bau - Scandinavian Films stand no. 24 Ann-Kristin Westerberg AB Svensk Filmindustri Karin Thun Sr. VP, Head of Int´l Div. E-mail: [email protected] International Sales Manager 5 Phone: +46 705 38 48 48 Website: www.sfinternational.se Phone: +46 765 25 66 21 CONTENTS #1/2009 ensen G R JÖ anders - per / film efis M © , odell onas , J , nsson Å M ns 6 13 14 Å M el Z ent W fredrik , oivisto K nut , K , vist K 20 24 28 annah S vist Q ll Ä H rans , F , nimation G A G Za G Zi Y, Y, ke mac 34 38 40 sara 8 NEWS The latest in Swedish film:Majken , Havet, The Eagle Hunter’s Son, 34 MåNS HERNGREN & JANE MAGNUSSON Buoyant Mr Governor, Glowing Stars, The Ballad of Marie Nord and Her Clients, times for the duo behind The Swimsuit Issue, a comedy about synchronised Instead of Abracadabra and Lies. swimming. 14 LUKAS MOODYSSON After an interlude of smaller films, Sweden’s 37 MALIN CRÉPIN Rising star in drug addiction love story In your Veins. best-known director is back with Mammoth, his biggest production yet. 38 CHILDREn’s FILMS The success story of Swedish films for kids. 20 AcNE They’ve conquered the world with jeans, commercials and magazines. Now it’s time for creative company Acne to take the next step – into the world of 40 HELENA DANIELSSON Producer looking to broaden her horizons. feature films. 42 THE SWEDISH FILM AWARDS Everlasting Moments and Let 24 MILLENNIUM Crime writer Stieg Larsson’s successful Millennium trilogy the Right One In were among the latest Guldbagge winners. hits the big screen. 46 NEW FILMS 28 FREDRIK WENZEL & HENRIK HELLSTRÖM Searching for Everything you need to know about the latest Swedish films. the in-between spaces in Burrowing. 54 COMPANIES 32 JOHAN JONASON Debutant director hits Rotterdam with Guidance. Your guide to the Swedish film industry. 6 FILMING IN SWEDEN Deep forests, archipelagos, mountains, lakes, open landscape, modern cities, medieval towns, villages, midsummer light a minimum of security issues, internationally experienced film crews and equipment houses history to be proud of, Ingmar Bergman, Jan Troell, Greta Garbo, Ingrid Bergman, Lasse Hallström, to name a few we work together - with great locations - all over Sweden Swedish Lapland Film Commission Stockholm Film Commission Oresund Film Commission/ Mid Nordic Film Commission Berit Tilly Ingrid Rudefors Southern Sweden Per Hjärpsgård www.slfc.se www.stofilm.com Mikael Svensson www.midnordicfilm.com [email protected] [email protected] www.oresundfilm.com [email protected] +46 70 330 45 99 +46 70 323 77 71 [email protected] +46 76 800 75 10 +46 70 716 32 02 59th Berlin International Film Festival FILM I VÄST PROUDLY PRESENTS COMPETITION: MAMMOTH GENERATION: MAMMA MOO & CROW • GLOWING STARS • THE GIRL 7 Film i Väst is owned by Region Västra Götaland. WWW.FILMIVAST.SE NEWS ANDREA ÖSTLUND MAJKEN (SHORT) Slaves make good Hanna Heilborn and David Band of mothers Aronowitsch’s animated documentary Slaves (Slavar) will Majken is the result of a chance meet- who are making a stand for the things they be competing in the Berlin Film Festival’s Generation 14plus ing.
Recommended publications
  • Before the Forties

    Before the Forties

    Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY
  • Kvalitetsfilmen Kontra Kommers

    Kvalitetsfilmen Kontra Kommers

    SÖDERTÖRNS HÖGSKOLA Institutionen för ekonomi och företagande Konst, kultur & ekonomi - programmet Kvalitetsfilmen kontra kommers - en undersökning om kvalitetsfilmens villkor utifrån Svensk Filmindustri (SF) och Svenska Filminstitutet (SFI) Kandidatuppsats i Företagsekonomi, 15 p HT 2009 Författare: Miran Marlovic Handledare: Fotis Theodoridis 1 Innehållsförteckning INLEDNING 3 1.2 Problemställningar 4 1.3 Syfte 5 1.4 Avgränsningar 5 1.5 Om begreppet kvalitet 6 1.6 Disposition 6 TEORETISK REFERENSRAM 7 2.1 Val av teori 7 2.2 Institutionell beslutsteori 7 2.3 Systemteori 9 METOD 11 3.1 Val av metod 11 3.2 Datainsamling 11 3.2.1 Intervjuer 11 3.2.2 Litteraturstudier 11 3.3 Tillförlitlighet 12 EMPIRI & ANALYS 12 4.1 En kort introduktion av tiden före filmavtalet 12 4.2Utvalda filmavtal mellan åren 1963 – 2006 13 4.2.1 1963 – 1972 13 4.2.2 Analys 16 4.2.3 1972 – 1983 17 4.2.4 Analys 19 4.2.5 1983 – 2006 21 4.2.6 Analys 27 SF/SF Bio OCH SFI idag 29 5.1 Svenska Filminstitutet 29 5.2 Analys 35 5.3 SF/SF Bio 36 5.3.1 SF Produktion 37 5.3.2 SF Distribution 39 5.3.3 SF Bio 40 5.4. Analys 43 AVSLUTANANDE DISKUSSION 45 KÄLLFÖRTECKNING 46 2 1. Inledning Utvecklingen av svensk film har under en lång period varit, och är, beroende av samspelet mellan filmbranschen och politiken. Debatten har under många år gällt frågan om prioritering av film som bärare av kultur och konstnärlig stimulans kontra film som ren underhållning för den breda massan.
  • Swedish Literature on the British Market 1998-2013: a Systemic

    Swedish Literature on the British Market 1998-2013: a Systemic

    Swedish Literature on the British Market 1998-2013: A Systemic Approach Agnes Broomé A thesis submitted for the degree of Doctor of Philosophy UCL Department of Scandinavian Studies School of European Languages, Culture and Society September 2014 2 I, Agnes Broomé, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. …............................................................................... 3 4 ABSTRACT This thesis examines the role and function of contemporary Swedish fiction in English translation on the British book market in the period 1998-2013. Drawing on Bourdieu’s Field Theory, Even Zohar’s Polysystem Theory and DeLanda’s Assemblage Theory, it constructs a model capable of dynamically describing the life cycle of border-crossing books, from selection and production to marketing, sales and reception. This life cycle is driven and shaped by individual position-takings of book market actants, and by their complex interaction and continual evolution. The thesis thus develops an understanding of the book market and its actants that deliberately resists static or linear perspectives, acknowledging the centrality of complex interaction and dynamic development to the analysis of publishing histories of translated books. The theoretical component is complemented by case studies offering empirical insight into the model’s application. Each case study illuminates the theory from a different angle, creating thereby a composite picture of the complex, essentially unmappable processes that underlie the logic of the book market. The first takes as its subject the British publishing history of crime writer Liza Marklund, as well as its wider context, the Scandinavian crime boom.
  • Karin Franz Körlof + the Nile Hilton Incident, a Hustler’S Diary, up in the Sky and Much More

    Karin Franz Körlof + the Nile Hilton Incident, a Hustler’S Diary, up in the Sky and Much More

    Issue 1 • 2017 SHOOTING STAR Karin Franz Körlof + The Nile Hilton Incident, A Hustler’s Diary, Up in the Sky and much more A magazine from the Swedish Film Institute • sfi.se 25 years Welcome 1 000 co-productions Head of International Pia Lundberg Film i Väst 1992–2017 www.fi lmivast.com Phone: +46 70 692 79 80 [email protected] Festivals, features Petter Mattsson Phone +46 70 607 11 34 Film i Väst congratulates [email protected] its co-productions in Berlin! Festivals, documentaries Sara Rüster A fresh start Phone: +46 76 117 26 78 [email protected] Panta rhei. All things are in flux. They A Hustler’s Diary, a dramedy where a certainly are, and Sweden and the Swedish suburban small-time criminal clashes film industry is no exception. At the time with his past and the very elite of Stock- Festivals, shorts Theo Tsappos of writing we are only weeks into a new holm’s cultural life. We have Sami Blood Phone: +46 76 779 11 33 national film policy. We see it as a chance in Berlin and the TV series Midnight Sun [email protected] to go through the old film funding that’s in Rotterdam – and they both, in com- been around for decades, modernize it – pletely different ways, tell a story about and start afresh. We’re going cherry-pick- the Sami minority. Those are just a few Special projects ing, taking what’s worked for us and other examples of Swedish films that are Josefina Mothander countries before, and putting the pieces selected for various festivals in the first Phone +46 70 972 93 52 together to build something new.
  • Collection Adultes Et Jeunesse

    Collection Adultes Et Jeunesse

    bibliothèque Marguerite Audoux collection DVD adultes et jeunesse [mise à jour avril 2015] FILMS Héritage / Hiam Abbass, réal. ABB L'iceberg / Bruno Romy, Fiona Gordon, Dominique Abel, réal., scénario ABE Garage / Lenny Abrahamson, réal ABR Jamais sans toi / Aluizio Abranches, réal. ABR Star Trek / J.J. Abrams, réal. ABR SUPER 8 / Jeffrey Jacob Abrams, réal. ABR Y a-t-il un pilote dans l'avion ? / Jim Abrahams, David Zucker, Jerry Zucker, réal., scénario ABR Omar / Hany Abu-Assad, réal. ABU Paradise now / Hany Abu-Assad, réal., scénario ABU Le dernier des fous / Laurent Achard, réal., scénario ACH Le hérisson / Mona Achache, réal., scénario ACH Everyone else / Maren Ade, réal., scénario ADE Bagdad café / Percy Adlon, réal., scénario ADL Bethléem / Yuval Adler, réal., scénario ADL New York Masala / Nikhil Advani, réal. ADV Argo / Ben Affleck, réal., act. AFF Gone baby gone / Ben Affleck, réal. AFF The town / Ben Affleck, réal. AFF L'âge heureux / Philippe Agostini, réal. AGO Le jardin des délices / Silvano Agosti, réal., scénario AGO La influencia / Pedro Aguilera, réal., scénario AGU Le Ciel de Suely / Karim Aïnouz, réal., scénario AIN Golden eighties / Chantal Akerman, réal., scénario AKE Hotel Monterey / Chantal Akerman, réal., scénario AKE Jeanne Dielman 23 quai du commerce, 1080 Bruxelles / Chantal Akerman, réal., scénario AKE La captive / Chantal Akerman, réal., scénario AKE Les rendez-vous d'Anna / Chantal Akerman, réal., scénario AKE News from home / Chantal Akerman, réal., scénario, voix AKE De l'autre côté / Fatih Akin, réal., scénario AKI Head-on / Fatih Akin, réal, scénario AKI Julie en juillet / Fatih Akin, réal., scénario AKI L'engrenage / Fatih Akin, réal., scénario AKI Solino / Fatih Akin, réal.
  • Westminsterresearch the Artist Biopic

    Westminsterresearch the Artist Biopic

    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies.
  • Production Notes

    Production Notes

    A Film by John Madden Production Notes Synopsis Even the best secret agents carry a debt from a past mission. Rachel Singer must now face up to hers… Filmed on location in Tel Aviv, the U.K., and Budapest, the espionage thriller The Debt is directed by Academy Award nominee John Madden (Shakespeare in Love). The screenplay, by Matthew Vaughn & Jane Goldman and Peter Straughan, is adapted from the 2007 Israeli film Ha-Hov [The Debt]. At the 2011 Beaune International Thriller Film Festival, The Debt was honoured with the Special Police [Jury] Prize. The story begins in 1997, as shocking news reaches retired Mossad secret agents Rachel (played by Academy Award winner Helen Mirren) and Stephan (two-time Academy Award nominee Tom Wilkinson) about their former colleague David (Ciarán Hinds of the upcoming Tinker, Tailor, Soldier, Spy). All three have been venerated for decades by Israel because of the secret mission that they embarked on for their country back in 1965-1966, when the trio (portrayed, respectively, by Jessica Chastain [The Tree of Life, The Help], Marton Csokas [The Lord of the Rings, Dream House], and Sam Worthington [Avatar, Clash of the Titans]) tracked down Nazi war criminal Dieter Vogel (Jesper Christensen of Casino Royale and Quantum of Solace), the feared Surgeon of Birkenau, in East Berlin. While Rachel found herself grappling with romantic feelings during the mission, the net around Vogel was tightened by using her as bait. At great risk, and at considerable personal cost, the team’s mission was accomplished – or was it? The suspense builds in and across two different time periods, with startling action and surprising revelations that compel Rachel to take matters into her own hands.
  • Filmfestivalen - Och Dess Inverkan På Filmdistribution Och Marknadsföring

    Filmfestivalen - Och Dess Inverkan På Filmdistribution Och Marknadsföring

    Lunds universitet Anders Hagberth Språk- och litteraturcentrum FIVK01, Filmvetenskap:Kandidatkurs Filmvetenskap Handledare: Tommy Gustafsson 2010-01-15 Filmfestivalen - och dess inverkan på filmdistribution och marknadsföring. Innehållsförteckning Inledning .................................................................................................................................. 3 Bakgrund ................................................................................................................................ 3 Syfte ........................................................................................................................................ 4 Frågeställning ......................................................................................................................... 4 Metod och material ............................................................................................................... 5 Teori .......................................................................................................................................... 6 Filmfestivalens historia ........................................................................................................ 7 De tre stora – Venedig, Cannes och Berlin ............................................................................ 7 Filmfestivalen globaliseras ................................................................................................... 10 Fallstudie 1: Låt den rätte komma in .............................................................................
  • February 2018 at BFI Southbank Events

    February 2018 at BFI Southbank Events

    BFI SOUTHBANK EVENTS LISTINGS FOR FEBRUARY 2018 PREVIEWS Catch the latest film and TV alongside Q&As and special events Preview: The Shape of Water USA 2017. Dir Guillermo del Toro. With Sally Hawkins, Michael Shannon, Doug Jones, Octavia Spencer. Digital. 123min. Courtesy of Twentieth Century Fox Sally Hawkins shines as Elisa, a curious woman rendered mute in a childhood accident, who is now working as a janitor in a research center in early 1960s Baltimore. Her comfortable, albeit lonely, routine is thrown when a newly-discovered humanoid sea creature is brought into the facility. Del Toro’s fascination with the creature features of the 50s is beautifully translated here into a supernatural romance with dark fairy tale flourishes. Tickets £15, concs £12 (Members pay £2 less) WED 7 FEB 20:30 NFT1 Preview: Dark River UK 2017. Dir Clio Barnard. With Ruth Wilson, Mark Stanley, Sean Bean. Digital. 89min. Courtesy of Arrow Films After the death of her father, Alice (Wilson) returns to her family farm for the first time in 15 years, with the intention to take over the failing business. Her alcoholic older brother Joe (Stanley) has other ideas though, and Alice’s return conjures up the family’s dark and dysfunctional past. Writer-director Clio Barnard’s new film, which premiered at the BFI London Film Festival, incorporates gothic landscapes and stunning performances. Tickets £15, concs £12 (Members pay £2 less) MON 12 FEB 20:30 NFT1 Preview: You Were Never Really Here + extended intro by director Lynne Ramsay UK 2017. Dir Lynne Ramsay. With Joaquin Phoenix, Ekaterina Samsonov, Alessandro Nivola.
  • 'Let's Pretend We Are the Only People in the Universe'

    'Let's Pretend We Are the Only People in the Universe'

    Scandinavica Vol 53 No 1 2014 ‘Let’s pretend we are the only people in the universe’: Entangled Inequalities in Lukas Moodysson’s Mammoth Elina Nilsson Uppsala Universitet (Uppsala University) Abstract This article utilizes an intersectional approach to examine Lukas Moodysson’s film Mammoth (2009). When the film premiered it was by some criticized for its over-explicit critique of globalization and its portrayals of the female characters as scapegoats. My aim is to show how the film’s critique of globalization entails even more complexity. An intersectional reading of Mammoth reveals that the film employs a structure of pronounced narrative layers to illustrate how different axes of stratifications are entangled on a global level, such as how the situation of the characters are determined by an interplay of their gender, class and race. The film is thus a rich example of why a sensitivity to intersectionality when mapping processes of globalization is highly important. At the same time there is an ambivalence with regard to how the female characters are represented, as the film in some respects fails to acknowledge their agency. Keywords Lukas Moodysson, Mammoth (film), globalization, intersectionality, gendered labour 55 Scandinavica Vol 53 No 1 2014 My first encounter with Lukas Moodysson’s international film Mammut (Mammoth, 2009) was at a movie theatre in Uppsala, Sweden, just shortly after its premiere.1 I remember stepping out of the theatre in the February cold feeling somewhat dispirited and sad, having read the film both as a critique of how contemporary parenthood (motherhood) fails to take care of children and as an over-explicit criticism of capitalist-driven globalization,2 consumption and Western exploitation of the South.
  • 89Th Annual Academy Awards® Oscar® Nominations Fact

    89Th Annual Academy Awards® Oscar® Nominations Fact

    ® 89TH ANNUAL ACADEMY AWARDS ® OSCAR NOMINATIONS FACT SHEET Best Motion Picture of the Year: Arrival (Paramount) - Shawn Levy, Dan Levine, Aaron Ryder and David Linde, producers - This is the first nomination for all four. Fences (Paramount) - Scott Rudin, Denzel Washington and Todd Black, producers - This is the eighth nomination for Scott Rudin, who won for No Country for Old Men (2007). His other Best Picture nominations were for The Hours (2002), The Social Network (2010), True Grit (2010), Extremely Loud & Incredibly Close (2011), Captain Phillips (2013) and The Grand Budapest Hotel (2014). This is the first nomination in this category for both Denzel Washington and Todd Black. Hacksaw Ridge (Summit Entertainment) - Bill Mechanic and David Permut, producers - This is the first nomination for both. Hell or High Water (CBS Films and Lionsgate) - Carla Hacken and Julie Yorn, producers - This is the first nomination for both. Hidden Figures (20th Century Fox) - Donna Gigliotti, Peter Chernin, Jenno Topping, Pharrell Williams and Theodore Melfi, producers - This is the fourth nomination in this category for Donna Gigliotti, who won for Shakespeare in Love (1998). Her other Best Picture nominations were for The Reader (2008) and Silver Linings Playbook (2012). This is the first nomination in this category for Peter Chernin, Jenno Topping, Pharrell Williams and Theodore Melfi. La La Land (Summit Entertainment) - Fred Berger, Jordan Horowitz and Marc Platt, producers - This is the first nomination for both Fred Berger and Jordan Horowitz. This is the second nomination in this category for Marc Platt. He was nominated last year for Bridge of Spies. Lion (The Weinstein Company) - Emile Sherman, Iain Canning and Angie Fielder, producers - This is the second nomination in this category for both Emile Sherman and Iain Canning, who won for The King's Speech (2010).
  • Quentin Tarantino Retro

    Quentin Tarantino Retro

    ISSUE 59 AFI SILVER THEATRE AND CULTURAL CENTER FEBRUARY 1– APRIL 18, 2013 ISSUE 60 Reel Estate: The American Home on Film Loretta Young Centennial Environmental Film Festival in the Nation's Capital New African Films Festival Korean Film Festival DC Mr. & Mrs. Hitchcock Screen Valentines: Great Movie Romances Howard Hawks, Part 1 QUENTIN TARANTINO RETRO The Roots of Django AFI.com/Silver Contents Howard Hawks, Part 1 Howard Hawks, Part 1 ..............................2 February 1—April 18 Screen Valentines: Great Movie Romances ...5 Howard Hawks was one of Hollywood’s most consistently entertaining directors, and one of Quentin Tarantino Retro .............................6 the most versatile, directing exemplary comedies, melodramas, war pictures, gangster films, The Roots of Django ...................................7 films noir, Westerns, sci-fi thrillers and musicals, with several being landmark films in their genre. Reel Estate: The American Home on Film .....8 Korean Film Festival DC ............................9 Hawks never won an Oscar—in fact, he was nominated only once, as Best Director for 1941’s SERGEANT YORK (both he and Orson Welles lost to John Ford that year)—but his Mr. and Mrs. Hitchcock ..........................10 critical stature grew over the 1960s and '70s, even as his career was winding down, and in 1975 the Academy awarded him an honorary Oscar, declaring Hawks “a giant of the Environmental Film Festival ....................11 American cinema whose pictures, taken as a whole, represent one of the most consistent, Loretta Young Centennial .......................12 vivid and varied bodies of work in world cinema.” Howard Hawks, Part 2 continues in April. Special Engagements ....................13, 14 Courtesy of Everett Collection Calendar ...............................................15 “I consider Howard Hawks to be the greatest American director.