DOCSLIB.ORG

Festival Catalogue 2015

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Festival Catalogue 2015 Jio MAMI 17th MUMBAI FILM FESTIVAL with 29 OCTOBER–5 NOVEMBER 2015 1 2 3 4 5 12 October 2015 MESSAGE I am pleased to know that the 17th Jio MAMI Mumbai Film Festival is being organised by the Mumbai Academy of Moving Image (MAMI) in Mumbai from 29th October to 5th November 2015. Mumbai is the undisputed capital of Indian cinema. This festival celebrates Mumbai’s long and fruitful relationship with cinema. For the past sixteen years, the festival has continued promoting cultural and MRXIPPIGXYEP I\GLERKI FIX[IIR ½PQ MRHYWXV]QIHME TVSJIWWMSREPW ERH GMRIQE IRXLYWMEWXW%W E QYGL awaited annual culktural event, this festival directs international focus to Mumbai and its continued success highlights the prominence of the city as a global cultural capital. I am also happy to note that the 5th Mumbai Film Mart will also be held as part of the 17th Mumbai Film Festival, ensuring wider distribution for our cinema. I congratulate the Mumbai Academy of Moving Image for its continued good work and renewed vision and wish the 17th Jio MAMI Mumbai Film Festival and Mumbai Film Mart grand success. (CH Vidyasagar Rao) 6 MESSAGE Mumbai, with its legacy, vibrancy and cultural milieu, is globally recognised as a Financial, Commercial and Cultural hub. Driven by spirited Mumbaikars with an indomitable spirit and great affection for the city, it has always promoted inclusion and progress whilst maintaining its social fabric. ,SQIXSXLI,MRHMERH1EVEXLM½PQMRHYWXV]1YQFEMMWXLIYRHMWTYXIH*MPQ'ETMXEPSJXLIGSYRXV] +MZIRXLEX&SPP][SSHMWXLIQSWXTVSPM½GMRHYWXV]MRXLI[SVPHMXMWSRP]FI½XXMRKXLEXE*MPQ*IWXMZEP that celebrates world cinema in its various genres is hosted in Mumbai. The 17th Jio MAMI Mumbai Film Festival, organised by the Mumbai Academy of the Moving Image (MAMI), from the 29th October to 5th November is truly worth looking forward to. 'MRIQE[LIRXIEQIH[MXLEWXVSRKWSGMEPQIWWEKIMWEP[E]WMRWTMVEXMSREP%½PQQEOIV´WGVIEXMZMX]MWTYX XSXLIXIWX[LIRLILEWXSMRRSZEXIXSWMQTP]GSQQYRMGEXIERSXLIV[MWIHMJ½GYPXQIWWEKI¯MRJEGXXS me it is nothing short of genius. With the selection of World cinema being laid out to the audience over the course of the Festival, I am certain it will it will be an exhilarating experience for Mumbaikars as also delegates from across the world. MAMI has been a torchbearer in putting together the best of world cinema for almost 2 decades. With their legacy and creative acumen, they have over the years managed to keep audiences engaged and excited about the Festival’s showcase movies. This year should be no different. I once again congratulate MAMI for their efforts in bringing world cinema to Mumbai, and India, through this Festival. A weeklong visual treat awaits and my wishes for the grand success of the 17th Jio MAMI Mumbai Film Festival. (Devendra Fadnavis) 7 MESSAGE It gives me immense pleasure to welcome you to Jio MAMI – the 17th Mumbai Film Festival. 1YQFEMTVMHIWMXWIPJEWFIMRKXLIGYPXYVEPQSWEMGSJXLIREXMSR¯IQFVEGMRKEHMZIVWIQM\SJEVXMWXMG traditions and identities from around the world. A city that is the cradle of Indian cinema, Mumbai has always been in the vanguard of exploring new realms of creative excellence through the wonderful medium of celluloid. 8LMWTVIWXMKMSYW½PQJIWXMZEP[EWGSRGIMZIH]IEVWEKSF]WSQISJ-RHME´WQSWXIQMRIRX½PQTIVWSREPMXMIW Over the years, The Mumbai Academy of Moving Image has built upon its rich legacy and is today entering a new vibrant phase with the enthusiastic participation of a galaxy of contemporary icons from XLI½PQMRHYWXV]ERHXLIWYTTSVXSJQER][IPP[MWLIVW We have always celebrated the unique power of cinema to evoke and experience emotions and see the worlds within, around and beyond us in ecstatic and entertaining ways. The emergence of a digital life and XLIWIEQPIWWSTTSVXYRMXMIWJSVGVIEXMZII\TVIWWMSREVIVIHI½RMRKXLIGVEJXSJ½PQQEOMRKI\XIRHMRKMXW reach to audiences all over the world. 8SHE].MS1%1-IRHIEZSYVWXSWLS[GEWIXLIFIWXSJ[SVPHGMRIQEERH-RHMERGMRIQE;IEVIWYVI½PQ lovers will embrace this momentous event on the cultural calendar of Mumbai, with open arms. I am GSR½HIRXXLEXXLIJIWXMZEPMW[IPPTSMWIHXSRYVXYVIXEPIRXERHTVSNIGXSYVZMWMSRSRXLI[SVPHWGVIIR NITA M. AMBANI Co-Chairperson Jio MAMI 8 MESSAGE %X7XEV-RHME[IFIPMIZIMRXLIXVERWJSVQEXMSREPTS[IVSJGSRXIRXERHMXWTSXIRXMEPXSMR¾YIRGITSWMXMZI change and move the nation forward. We call it ‘Inspiring a Billion Imaginations’ and through our platforms and our stories, we constantly strive to deliver on this promise. Our association with the Mumbai Film Festival is also borne out of this belief. From the beginning, cinema has held a very special place in our society. Tightly woven in its fabric, the WMPZIVWGVIIRLEWWIVZIHEWXLIGERZEWSR[LMGLXLIEWTMVEXMSRWSJEGLERKMRK-RHMELEZIFIIRTVSNIGXIH It is in this milieu that Mumbai Academy of Moving Images (MAMI) plays a very important role, that SJLSPHMRKLMKLXLIPMKLXSJGMRIQEXMGI\GIPPIRGIERHOIITMRKXLI½VIWSJMQEKMREXMSREPMZI7MRGIMXW establishment in 1997, one of the key aims of MAMI has been to nurture and ignite a passion for cinema ERHXSGIPIFVEXIXLIWLIIVNS]XLEXMXFVMRKW3VKERMWMRKXLI1YQFEM*MPQ*IWXMZal is one of the means to realising this goal. 1YQFEMMWW]RSR]QSYW[MXLXLI-RHMER½PQMRHYWXV]%QIXVSTSPMWXLEXLEWFIIRXLIHI½RMXMZILSQI XS-RHMERGMRIQEMXMWSRP]½XXMRKXLEX1YQFEMLSWXWXLIGSYRXV]´WPEVKIWXERHKVERHIWX½PQJIWXMZEP ;IFIPMIZIXLEXXLI1YQFEM*MPQ*IWXMZEPMWWTIGMEPERHE½XXMRKXVMFYXIXSXLMWGMX]SJHVIEQWERHMXMW without hesitation, therefore, that Star India has chosen to support MAMI for the second year in a row. We wish the organisers the very best in their endeavour and look forward to a very successful Mumbai Film Festival 2015! UDAY SHANKAR CEO, Star India 9 Welcome to Jio MAMI 17th Mumbai Film Festival with Star India! -XLEWFIIR]IEVWWMRGI,7&LEXEZHIOEVQEHI-RHME´W½VWXHSGYQIRXEV]½PQThe Wrestlers, which, incidentally, he shot at the Hanging Gardens of Mumbai in November 1899. He could scarcely have MQEKMRIHXLEXQSVIXLEREGIRXYV]PEXIV[I[SYPHFIEQSZMIQEHREXMSRQEOMRKXLIPEVKIWXRYQFIV SJ½PQWMRQSVIPERKYEKIWXLERER]SXLIVGSYRXV]MRXLI[SVPH7SLIVIMRXLIGMX]SJ&LEXEZHIOEVERH 4LEPOIMWERSTTSVXYRMX]XSHMZIMRXSE[IIOPSRKJIEWXSJXLI[SVPH´WFIWXGMRIQE%RHQSVIMQTSVXERXP] EX.MS1%1-]SY[MPPRS[EPWSKIXXSHMWGSZIVERHGIPIFVEXIXLI½RIWX-RHMER½PQWJVSQGPEWWMGERHGYPX XSGYXXMRKIHKIGSRXIQTSVEV]3YVZMWMSRMWXSQEOIXLMWJIWXMZEPEWTVMRKFSEVHERHFVIIHMRKKVSYRH JSVXEPIRXEWTEGIJSVEJVIII\GLERKISJMHIEWEFSYX[LIVIMQEKIQEOMRKMWLIEHIHERH[LEX[ILSTI the cinema landscape will be in the future. Collectively, perhaps, we could make this vision come true. 8LMWJIWXMZEPMWEXVMFYXIXS1YQFEM´WPSRKEWWSGMEXMSR[MXLGIPPYPSMHERH[IEWTMVIXSMRJYWIMXW½PQPSZMRK denizens with renewed energy! So we invite you into a world of images and conversations that could MRWTMVIERHTVSZSOI%RH[ILSTIXLEX]SYNSMRSYVPSRKXIVQIRHIEZSYVXSQEOIXLMWJIWXMZEPEKEXI[E] to exploring new voices and directions in Indian cinema. KIRAN RAO 10 ;L]HS[IRIIHE½PQJIWXMZEP#&IGEYWIEWXLI%QIVMGER4YPMX^IVTVM^I[MRRMRK½PQGVMXMG6SKIV)FIVXTYX it: of all the arts, movies are the most powerful aid to empathy, and good ones make us into better people. %KSSH½PQMWEXVEZIPPIWWNSYVRI]-XXEOIW]SYMRXSSXLIVLIEVXWQMRHWERHKISKVETLMIW-XEPPS[W ]SYXS½RHRI[LSVM^SRWERH[E]WSJWIIMRK%VIEPP]KSSH½PQWLMJXW]SYVWIRWMFMPMXMIWWSXLEX]SY leave the darkened theatre with an altered understanding of the human experience. Both literally and metaphorically, you step into the light. At the Jio MAMI 17th1YQFEM*MPQ*IWXMZEP[MXL7XEV-RHMESYVIRHIEZSYVMWXSFVMRK]SYKSSH½PQW From October 29th to November 5thSZIV½PQW[MPPTPE]MRWM\PSGEXMSRWEGVSWWXLIGMX]*VSQXLMW year’s Palme d’Or winner Dheepan to Deewar[VMXXIRF]SYV)\GIPPIRGIMR'MRIQEE[EVH[MRRIVW7EPMQ /LERERH.EZIH%OLXEV¯MX´WEPPXLIVI;LEXIZIVFI]SYVXEWXI[I[MPPLEZIE½PQJSV]SY3YVEMQMW to reveal, engage, enlighten and provoke. And of course, be an ‘aid to empathy.’ Mumbai is a maniacal, magical city. To live here, you need courage, resilience, ambition and above EPPIQTEXL])EGLHE]ETTVS\MQEXIP]QMPPMSRSJYWRIKSXMEXISYV[E]EVSYRHIEGLSXLIVEGVSWW this narrow peninsula. According to the last Census of India, there are more than 20,000 people in IZIV]WUYEVIOMPSQIXVISJXLIGMX]8LIFVYXEPPSKMWXMGWHSR´XEPPS[JSVPY\YVMIWSJHMZMWMSR)ZIRXLI QSWXMRXSPIVERXERHREVVS[QMRHIHEQSRKYWEVIIZIRXYEPP]JSVGIHXSIRKEKI[MXLTISTPISJSXLIV communities, ethnic groups, languages, political beliefs, sexual orientations, dietary preferences. )QTEXL]MWETVIVIUYMWMXIJSVPMZMRKMR1YQFEM%RH]IXMXWIIQWXSFIWPS[P]JEHMRKJVSQXLIWSGMEP JEFVMGSJSYVGMX])EGLHE][I[EOIYTXSRI[LSVVSVW)EGLHE]XLIWYRWIXWSREWPMKLXP]QSVI LEVHIRIH[SVPH%½PQJIWXMZEPGERRSX½\XLMW&YXTIVLETWXLIZMWMSRSJKVIEX½PQEVXMWXWJVSQ-RHME and around the globe will teach us to have a little more grace. We need it now, more than ever. ANUPAMA CHOPRA 11 If someone asked me right now what it is that I most desire, my answer would be to sleep for six straight hours, to lose the 13 kilos I have gained over the last few months, and smash my phone to JVEKQIRXIHLIPP8LMWJIWXMZEPMWXLILEVHIWXXLMRK-LEZIHSRI-EQEXIPIZMWMSRNSYVREPMWXERHGVIEXMZI HMVIGXSV-LEZIEP[E]WFIIRSRXLISXLIVWMHISJXLIVIHGEVTIX³GSZIVMRK´½PQJIWXMZEPWRSXSVKERMWMRK XLIQ1]TEVXRIVWMRGVMQI%RYTEQE'LSTVEERH/MVER6ESEVIRSXJIWXMZEPZIXIVERWIMXLIVFYXF] WSQIX[MWXSJJEXILIVI[I[IVI[MXLXLIQEQQSXLNSFSJFVMRKMRKXLI1YQFEM*MPQ*IWXMZEPXSPMJI MRSYVLERHW%RHNYWXPMOIXLEX[I[IVIGSRWXVYGXMRKEREPMIRREVVEXMZIFYMPHMRKEFVSOIRWLMTEWOMRK IZIV]SRI[LS[SYPHGEVIXSPMWXIR¯ERHIWTIGMEPP]XLISRIW[LS[SYPHR´XGEVIXSPMWXIR¯XSLEZI JEMXLMRYW[LMPI[IWXVYKKPIHXSOIITSYVS[RMRXEGX8LMWPEWX]IEVLEWFIIRENSYVRI]SJHSKKIH TYVWYMXERHLEVHPIWWSRW&YXJSVIZIV]WXYQFPMRKFPSGOETEXL[E]STIRIHJSVIZIV]HMJ½GYPXTIVWSR three reached out to help, and for every demand made, there was a wish granted. It is a rare opportunity in life to be inspired.
Load more

Recommended publications
  • ANNIVERSARY SPECIAL Millenniumpost.In
    ANNIVERSARY SPECIAL millenniumpost.in pages millenniumpost NO HALF TRUTHS th28 NEW DELHI & KOLKATA | MAY 2018 Contents “Dharma and Dhamma have come home to the sacred soil of 63 Simplifying Doing Trade this ancient land of faith, wisdom and enlightenment” Narendra Modi's Compelling Narrative 5 Honourable President Ram Nath Kovind gave this inaugural address at the International Conference on Delineating Development: 6 The Bengal Model State and Social Order in Dharma-Dhamma Traditions, on January 11, 2018, at Nalanda University, highlighting India’s historical commitment to ethical development, intellectual enrichment & self-reformation 8 Media: Varying Contours How Central Banks Fail am happy to be here for 10 the inauguration of the International Conference Unmistakable Areas of on State and Social Order 12 Hope & Despair in IDharma-Dhamma Traditions being organised by the Nalanda University in partnership with the Vietnam The Universal Religion Buddhist University, India Foundation, 14 of Swami Vivekananda and the Ministry of External Affairs, Government of India. In particular, Ethical Healthcare: A I must welcome the international scholars and delegates, from 11 16 Collective Responsibility countries, who have arrived here for this conference. Idea of India I understand this is the fourth 17 International Dharma-Dhamma Conference but the first to be hosted An Indian Summer by Nalanda University and in the state 18 for Indian Art of Bihar. In a sense, the twin traditions of Dharma and Dhamma have come home. They have come home to the PMUY: Enlightening sacred soil of this ancient land of faith, 21 Rural Lives wisdom and enlightenment – this land of Lord Buddha.
    [Show full text]
  • Download Persmap
    MARC VAN WARMERDAM PRESENTEERT een film van ALEX VAN WARMERDAM Tom Dewispelaere Alex van Warmerdam Maria Kraakman Gene Bervoets Annet Malherbe Loes Haverkort Pierre Bokma Eva van de Wijdeven en Henri Garcin als Gerard SCENARIO EN REGIE ALEX VAN WARMERDAM PRODUCENT MARC VAN WARMERDAM COPRODUCENTEN EURYDICE GYSEL, KOEN MORTIER, ROBERT KIEVIT LINE PRODUCER BERRY VAN ZWIETEN DIRECTOR OF PHOTOGRAPHY TOM ERISMAN NSC PRODUCTION DESIGN GEERT PAREDIS MONTAGE JOB TER BURG NCE MUZIEK ALEX VAN WARMERDAM KOSTUUMONTWERP STINE GUDMUNDSEN-HOLMGREEN MAKE-UP MARIKE WILLARD-HOOGVELD SOUND DESIGN PETER WARNIER CASTING ANNET MALHERBE I.S.M. KEMNA CASTING SCHNEIDER VS. BAX IS EEN PRODUCTIE VAN GRANIET FILM IN COPRODUCTIE MET CZAR FILM, VARA EN MOLLYWOOD www.cineart.nl /cineartnederland /CineartNL 4gt VANAF 28 MEI IN DE BIOSCOOP PERSMAP SYNOPSIS SCHNEIDER vs. BAX een film van Alex van Warmerdam Schneider, een huurmoordenaar, wordt gebeld door Mertens. Hij heeft een spoedopdracht voor Schneider, maar Schneider weigert. Hij is jarig en heeft zijn vrouw Lucy beloofd te helpen met het voorbereiden van het diner dat zij vanavond geven. Mertens benadrukt dat het belangrijk is en dat het vandaag moet gebeuren. “Het gaat om Ramon Bax, een schrijver. Hij woont alleen aan de rand van een afgelegen meer. Het is een makkelijke klus, met een beetje geluk ben je voor de middag weer thuis.” Met tegenzin gaat Schneider akkoord, maar de makkelijke klus blijkt een gecompliceerde. speelduur: 97' Voor meer informatie: land: Nederland, België Cinéart Nederland jaar: 2015 Janneke
    [Show full text]
  • Part 05.Indd
    PART MISCELLANEOUS 5 TOPICS Awards and Honours Y NATIONAL AWARDS NATIONAL COMMUNAL Mohd. Hanif Khan Shastri and the HARMONY AWARDS 2009 Center for Human Rights and Social (announced in January 2010) Welfare, Rajasthan MOORTI DEVI AWARD Union law Minister Verrappa Moily KOYA NATIONAL JOURNALISM A G Noorani and NDTV Group AWARD 2009 Editor Barkha Dutt. LAL BAHADUR SHASTRI Sunil Mittal AWARD 2009 KALINGA PRIZE (UNESCO’S) Renowned scientist Yash Pal jointly with Prof Trinh Xuan Thuan of Vietnam RAJIV GANDHI NATIONAL GAIL (India) for the large scale QUALITY AWARD manufacturing industries category OLOF PLAME PRIZE 2009 Carsten Jensen NAYUDAMMA AWARD 2009 V. K. Saraswat MALCOLM ADISESHIAH Dr C.P. Chandrasekhar of Centre AWARD 2009 for Economic Studies and Planning, School of Social Sciences, Jawaharlal Nehru University, New Delhi. INDU SHARMA KATHA SAMMAN Mr Mohan Rana and Mr Bhagwan AWARD 2009 Dass Morwal PHALKE RATAN AWARD 2009 Actor Manoj Kumar SHANTI SWARUP BHATNAGAR Charusita Chakravarti – IIT Delhi, AWARDS 2008-2009 Santosh G. Honavar – L.V. Prasad Eye Institute; S.K. Satheesh –Indian Institute of Science; Amitabh Joshi and Bhaskar Shah – Biological Science; Giridhar Madras and Jayant Ramaswamy Harsita – Eengineering Science; R. Gopakumar and A. Dhar- Physical Science; Narayanswamy Jayraman – Chemical Science, and Verapally Suresh – Mathematical Science. NATIONAL MINORITY RIGHTS MM Tirmizi, advocate – Gujarat AWARD 2009 High Court 55th Filmfare Awards Best Actor (Male) Amitabh Bachchan–Paa; (Female) Vidya Balan–Paa Best Film 3 Idiots; Best Director Rajkumar Hirani–3 Idiots; Best Story Abhijat Joshi, Rajkumar Hirani–3 Idiots Best Actor in a Supporting Role (Male) Boman Irani–3 Idiots; (Female) Kalki Koechlin–Dev D Best Screenplay Rajkumar Hirani, Vidhu Vinod Chopra, Abhijat Joshi–3 Idiots; Best Choreography Bosco-Caesar–Chor Bazaari Love Aaj Kal Best Dialogue Rajkumar Hirani, Vidhu Vinod Chopra–3 idiots Best Cinematography Rajeev Rai–Dev D Life- time Achievement Award Shashi Kapoor–Khayyam R D Burman Music Award Amit Tivedi.
    [Show full text]
  • Delegates Guide
    Delegates Guide 9–14 March, 2018 Cultural Partners Supported by Friends of Qumra Media Partner QUMRA DELEGATES GUIDE Qumra Programming Team 5 Qumra Masters 7 Master Class Moderators 14 Qumra Project Delegates 17 Industry Delegates 57 QUMRA PROGRAMMING TEAM Fatma Al Remaihi CEO, Doha Film Institute Director, Qumra Jaser Alagha Aya Al-Blouchi Quay Chu Anthea Devotta Qumra Industry Qumra Master Classes Development Qumra Industry Senior Coordinator Senior Coordinator Executive Coordinator Youth Programmes Senior Film Workshops & Labs Coordinator Senior Coordinator Elia Suleiman Artistic Advisor, Doha Film Institute Mayar Hamdan Yassmine Hammoudi Karem Kamel Maryam Essa Al Khulaifi Qumra Shorts Coordinator Qumra Production Qumra Talks Senior Qumra Pass Senior Development Assistant Coordinator Coordinator Coordinator Film Programming Senior QFF Programme Manager Hanaa Issa Coordinator Animation Producer Director of Strategy and Development Deputy Director, Qumra Meriem Mesraoua Vanessa Paradis Nina Rodriguez Alanoud Al Saiari Grants Senior Coordinator Grants Coordinator Qumra Industry Senior Qumra Pass Coordinator Coordinator Film Workshops & Labs Coordinator Wesam Said Eliza Subotowicz Rawda Al-Thani Jana Wehbe Grants Assistant Grants Senior Coordinator Film Programming Qumra Industry Senior Assistant Coordinator Khalil Benkirane Ali Khechen Jovan Marjanović Chadi Zeneddine Head of Grants Qumra Industry Industry Advisor Film Programmer Ania Wojtowicz Manager Qumra Shorts Coordinator Film Training Senior Film Workshops & Labs Senior Coordinator
    [Show full text]
  • Network Review #37 Cannes 2021
    Network Review #37 Cannes 2021 Statistical Yearbook 2020 Cinema Reopening in Europe Europa Cinemas Network Review President: Nico Simon. General Director: Claude-Eric Poiroux Head of International Relations—Network Review. Editor: Fatima Djoumer [email protected]. Press: Charles McDonald [email protected]. Deputy Editors: Nicolas Edmery, Sonia Ragone. Contributors to this Issue: Pavel Sladky, Melanie Goodfellow, Birgit Heidsiek, Ste- fano Radice, Gunnar Rehlin, Anna Tatarska, Elisabet Cabeza, Kaleem Aftab, Jesus Silva Vilas. English Proofreader: Tara Judah. Translation: Cinescript. Graphic Design: Change is good, Paris. Print: Intelligence Publishing. Cover: Bergman Island by Mia Hansen-Løve © DR CG Cinéma-Les Films du Losange. Founded in 1992, Europa Cinemas is the first international film theatre network for the circulation of European films. Europa Cinemas 54 rue Beaubourg 75003 Paris, France T + 33 1 42 71 53 70 [email protected] The French version of the Network Review is available online at https://www.europa-cinemas.org/publications 2 Contents 4 Editorial by Claude-Eric Poiroux 6 Interview with Lucia Recalde 8 2020: Films, Facts & Figures 10 Top 50 30 European movies by admissions Czech Republic in the Europa Cinemas Network Czech exhibitors try to keep positive attitude while cinemas reopen 12 Country Focus 2020 32 France 30 French Resistance Cinema Reopening in Europe 34 46 Germany The 27 Times Cinema initiative Cinema is going to have a triumphant return and the LUX Audience Award 36 Italy Reopening
    [Show full text]
  • Deepa Mehta (See More on Page 53)
    table of contents TABLE OF CONTENTS Introduction Experimental Cinema: Welcome to the Festival 3 Celluloid 166 The Film Society 14 Pixels 167 Meet the Programmers 44 Beyond the Frame 167 Membership 19 Annual Fund 21 Letters 23 Short Films Ticket and Box Offce Info 26 Childish Shorts 165 Sponsors 29 Shorts Programs 168 Community Partners 32 Music Videos 175 Consulate and Community Support 32 Shorts Before Features 177 MSPFilm Education Credits About 34 Staff 179 Youth Events 35 Advisory Groups and Volunteers 180 Youth Juries 36 Acknowledgements 181 Panel Discussions 38 Film Society Members 182 Off-Screen Indexes Galas, Parties & Events 40 Schedule Grid 5 Ticket Stub Deals 43 Title Index 186 Origin Index 188 Special Programs Voices Index 190 Spotlight on the World: inFLUX 47 Shorts Index 193 Women and Film 49 Venue Maps 194 LGBTQ Currents 51 Tribute 53 Emerging Filmmaker Competition 55 Documentary Competition 57 Minnesota Made Competition 61 Shorts Competition 59 facebook.com/mspflmsociety Film Programs Special Presentations 63 @mspflmsociety Asian Frontiers 72 #MSPIFF Cine Latino 80 Images of Africa 88 Midnight Sun 92 youtube.com/mspflmfestival Documentaries 98 World Cinema 126 New American Visions 152 Dark Out 156 Childish Films 160 2 welcome FILM SOCIETY EXECUTIVE DIRECTOR’S WELCOME Dear Festival-goers… This year, the Minneapolis St. Paul International Film Festival celebrates its 35th anniversary, making it one of the longest-running festivals in the country. On this occasion, we are particularly proud to be able to say that because of your growing interest and support, our Festival, one of this community’s most anticipated annual events and outstanding treasures, continues to gain momentum, develop, expand and thrive… Over 35 years, while retaining a unique flavor and core mission to bring you the best in international independent cinema, our Festival has evolved from a Eurocentric to a global perspective, presenting an ever-broadening spectrum of new and notable film that would not otherwise be seen in the region.
    [Show full text]
  • Warriors As the Feminised Other
    Warriors as the Feminised Other The study of male heroes in Chinese action cinema from 2000 to 2009 A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Chinese Studies at the University of Canterbury by Yunxiang Chen University of Canterbury 2011 i Abstract ―Flowery boys‖ (花样少年) – when this phrase is applied to attractive young men it is now often considered as a compliment. This research sets out to study the feminisation phenomena in the representation of warriors in Chinese language films from Hong Kong, Taiwan and Mainland China made in the first decade of the new millennium (2000-2009), as these three regions are now often packaged together as a pan-unity of the Chinese cultural realm. The foci of this study are on the investigations of the warriors as the feminised Other from two aspects: their bodies as spectacles and the manifestation of feminine characteristics in the male warriors. This study aims to detect what lies underneath the beautiful masquerade of the warriors as the Other through comprehensive analyses of the representations of feminised warriors and comparison with their female counterparts. It aims to test the hypothesis that gender identities are inventory categories transformed by and with changing historical context. Simultaneously, it is a project to study how Chinese traditional values and postmodern metrosexual culture interacted to formulate Chinese contemporary masculinity. It is also a project to search for a cultural nationalism presented in these films with the examination of gender politics hidden in these feminisation phenomena. With Laura Mulvey‘s theory of the gaze as a starting point, this research reconsiders the power relationship between the viewing subject and the spectacle to study the possibility of multiple gaze as well as the power of spectacle.
    [Show full text]
  • Intermedialtranslation As Circulation
    Journal of World Literature 5 (2020) 568–586 brill.com/jwl Intermedial Translation as Circulation Chu Tien-wen, Taiwan New Cinema, and Taiwan Literature Jessica Siu-yin Yeung soas University of London, London, UK [email protected] Abstract We generally believe that literature first circulates nationally and then scales up through translation and reception at an international level. In contrast, I argue that Taiwan literature first attained international acclaim through intermedial translation during the New Cinema period (1982–90) and was only then subsequently recognized nationally. These intermedial translations included not only adaptations of literature for film, but also collaborations between authors who acted as screenwriters and film- makers. The films resulting from these collaborations repositioned Taiwan as a mul- tilingual, multicultural and democratic nation. These shifts in media facilitated the circulation of these new narratives. Filmmakers could circumvent censorship at home and reach international audiences at Western film festivals. The international success ensured the wide circulation of these narratives in Taiwan. Keywords Taiwan – screenplay – film – allegory – cultural policy 1 Introduction We normally think of literature as circulating beyond the context in which it is written when it obtains national renown, which subsequently leads to interna- tional recognition through translation. In this article, I argue that the contem- porary Taiwanese writer, Chu Tien-wen (b. 1956)’s short stories and screenplays first attained international acclaim through the mode of intermedial transla- tion during the New Cinema period (1982–90) before they gained recognition © jessica siu-yin yeung, 2020 | doi:10.1163/24056480-00504005 This is an open access article distributed under the terms of the cc by 4.0Downloaded license.
    [Show full text]
  • Proxima D’Alice Winocour
    Divendres 27 de desembre / 19 hores / V.O. en francès subtitulada en castellà Dissabte 28 de desembre/ 20.30 hores / V. doblada 2019 Diumenge 29 de desembre / 19 hores / V.O. en francès subtitulada en castellà Cinema Edison Proxima d’Alice Winocour Fitxa tècnica Fitxa artística Guió: Jean-Stéphane Bron i Alice Winocour / Fotografia: Eva Green, Matt Dillon, Lars Eidinger, Sandra Hüller, Jan Georges Lechaptois / País: França / Any: 2019 / Durada: Oliver Schroeder, Nancy Tate, Marc Fischer, Zélie Boulant, 107 minuts / Apta per a tots els públics. Alexey Fateev, Vitaly Jay i Birger Frehse SINOPSI. Sarah es prepara per ser una de les tres astronautes d’una missió espacial de l’Agència Europea. Tot i que l’entrenament és molt intens, el que la tortura és el sentiment de culpabilitat d’abandonar durant més d’un any l’Stella, la seva filla de 7 anys. La Sarah veu com el somni de la seva vida topa amb el seu instint maternal més primari. Racional- ment sap que no hi ha res de dolent en marxar un temps i que la nena estarà en bones mans amb el seu pare, però la culpa és un corcó que no entén de raons. LA DIRECTORA. Alice Winocour (París, 1976) va realitzar estudis de Dret i més tard es va matricular a l’Escola nacional de cinema de França, la Fémis. Després del seu pas per l’escola, va dirigir tres curtmetratges. El primer, Kitchen (2005) va ser seleccionat en competició oficial a Cannes el 2005, on va rebre el Premi Gras Savoy de Curtmetratge.
    [Show full text]
  • Imran A.K. Surti [email protected]
    ==================================================================== Language in India www.languageinindia.com ISSN 1930-2940 Vol. 18:11 November 2018 India’s Higher Education Authority UGC Approved List of Journals Serial Number 49042 ==================================================================== REPRESENTATION OF HOLOCAUST AND PARTITION: A STUDY OF SELECT TEXTS Thesis Submitted to Veer Narmad South Gujarat University, Surat For the Degree of DOCTOR OF PHILOSOPHY in English Faculty of Arts by Imran A.K. Surti [email protected] Under the Supervision of Dr. Rakesh Desai Professor and Head, Department of English Veer Narmad South Gujarat University, Surat October 2016 ==================================================================== Language in India www.languageinindia.com ISSN 1930-2940 18:11 November 2018 Imran A.K. Surti, Ph.D. English REPRESENTATION OF HOLOCAUST AND PARTITION: A STUDY OF SELECT TEXTS Doctoral Dissertation REPRESENTATION OF HOLOCAUST AND PARTITION: A STUDY OF SELECT TEXTS Thesis Submitted to Veer Narmad South Gujarat University, Surat For the Degree of DOCTOR OF PHILOSOPHY in English (Faculty of Arts) (Registration No. 2793) By Imran A.K. Surti (Research Candidate) Under the Supervision of Dr. Rakesh Desai Professor and Head, Department Of English Veer Narmad South Gujarat University, Surat October 2016 REPRESENTATION OF HOLOCAUST AND PARTITION: A STUDY OF SELECT TEXTS Imran A.K. Surti, Ph.D. DEPARTMENT OF ENGLISH VEER NARMAD SOUTH GUJARAT UNIVERSITY SURAT C E R T I F I C A T E This is to certify that this doctoral thesis entitled REPRESENTATION OF HOLOCAUST AND PARTITION: A STUDY OF SELECT TEXTS is submitted by Mr. Imran A.K. Surti for the degree of DOCTOR OF PHILOSOPHY, in the Department of English, Faculty of Arts, Veer Narmad South Gujarat University, Surat.
    [Show full text]
  • Index to Volume 26 January to December 2016 Compiled by Patricia Coward
    THE INTERNATIONAL FILM MAGAZINE Index to Volume 26 January to December 2016 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND Index 2016_4.indd 1 14/12/2016 17:41 SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 7:25 (magazine) 9:102 7:43; 10:47; 11:41 Orlando 6:112 effect on technological Film review titles are also Agace, Mel 1:15 American Film Institute (AFI) 3:53 Apologies 2:54 Ran 4:7; 6:94-5; 9:111 changes 8:38-43 included and are indicated by age and cinema American Friend, The 8:12 Appropriate Behaviour 1:55 Jacques Rivette 3:38, 39; 4:5, failure to cater for and represent (r) after the reference; growth in older viewers and American Gangster 11:31, 32 Aquarius (2016) 6:7; 7:18, Céline and Julie Go Boating diversity of in 2015 1:55 (b) after reference indicates their preferences 1:16 American Gigolo 4:104 20, 23; 10:13 1:103; 4:8, 56, 57; 5:52, missing older viewers, growth of and A a book review Agostini, Philippe 11:49 American Graffiti 7:53; 11:39 Arabian Nights triptych (2015) films of 1970s 3:94-5, Paris their preferences 1:16 Aguilar, Claire 2:16; 7:7 American Honey 6:7; 7:5, 18; 1:46, 49, 53, 54, 57; 3:5: nous appartient 4:56-7 viewing films in isolation, A Aguirre, Wrath of God 3:9 10:13, 23; 11:66(r) 5:70(r), 71(r); 6:58(r) Eric Rohmer 3:38, 39, 40, pleasure of 4:12; 6:111 Aaaaaaaah! 1:49, 53, 111 Agutter, Jenny 3:7 background
    [Show full text]
  • Half Title>NEW TRANSNATIONALISMS in CONTEMPORARY LATIN AMERICAN
    <half title>NEW TRANSNATIONALISMS IN CONTEMPORARY LATIN AMERICAN CINEMAS</half title> i Traditions in World Cinema General Editors Linda Badley (Middle Tennessee State University) R. Barton Palmer (Clemson University) Founding Editor Steven Jay Schneider (New York University) Titles in the series include: Traditions in World Cinema Linda Badley, R. Barton Palmer, and Steven Jay Schneider (eds) Japanese Horror Cinema Jay McRoy (ed.) New Punk Cinema Nicholas Rombes (ed.) African Filmmaking Roy Armes Palestinian Cinema Nurith Gertz and George Khleifi Czech and Slovak Cinema Peter Hames The New Neapolitan Cinema Alex Marlow-Mann American Smart Cinema Claire Perkins The International Film Musical Corey Creekmur and Linda Mokdad (eds) Italian Neorealist Cinema Torunn Haaland Magic Realist Cinema in East Central Europe Aga Skrodzka Italian Post-Neorealist Cinema Luca Barattoni Spanish Horror Film Antonio Lázaro-Reboll Post-beur Cinema ii Will Higbee New Taiwanese Cinema in Focus Flannery Wilson International Noir Homer B. Pettey and R. Barton Palmer (eds) Films on Ice Scott MacKenzie and Anna Westerståhl Stenport (eds) Nordic Genre Film Tommy Gustafsson and Pietari Kääpä (eds) Contemporary Japanese Cinema Since Hana-Bi Adam Bingham Chinese Martial Arts Cinema (2nd edition) Stephen Teo Slow Cinema Tiago de Luca and Nuno Barradas Jorge Expressionism in Cinema Olaf Brill and Gary D. Rhodes (eds) French Language Road Cinema: Borders,Diasporas, Migration and ‘NewEurope’ Michael Gott Transnational Film Remakes Iain Robert Smith and Constantine Verevis Coming-of-age Cinema in New Zealand Alistair Fox New Transnationalisms in Contemporary Latin American Cinemas Dolores Tierney www.euppublishing.com/series/tiwc iii <title page>NEW TRANSNATIONALISMS IN CONTEMPORARY LATIN AMERICAN CINEMAS Dolores Tierney <EUP title page logo> </title page> iv <imprint page> Edinburgh University Press is one of the leading university presses in the UK.
    [Show full text]