2015 Cannes Film Festival Multiple Points of View
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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 -
Cinemabreweryarts.Co.Uk | 01539 725133 Jan-Mar 2019
Cinema Jan-Mar 2019 breweryarts.co.uk | 01539 725133 Capernaum | Mar 01 For listings, information and online bookings, go to breweryarts.co.uk/cinema 02 Island of Hungry Ghosts The Brewery Cinema USEFUL INFO Doors open 10 minutes prior to January-March 2019 advertised start time and includes adverts & trailers All screenings have allocated seating; choose your preferred view when elcome to a new season of films We’ll also be welcoming back the booking Destroyer at the Brewery Cinema. Japan Foundation Touring Film You are welcome to enjoy alcoholic Programme with a selection of This winter/spring we will drinks in our cinema screens - served films, based around the theme of be bringing you the best in in plastic glasses only. Please drink love, in the intimate surroundings mainstream film and a selection responsibly TICKETS & OFFERS of British independent and of our Warehouse Cinema. The first W Only food & drink purchased at *Ticket Prices unless stated: specialist films from around the film in the series will be Tonight at the Brewery may be taken into the £8.50 | £7.50 OAP/NUS | £7.00 U18 world. the Movies which will be screened cinemas on Valentine’s Day – perfect timing! Book online: breweryarts.co.uk/cinema The 2019 Awards Season is This year, the Brewery will be Please note that hot drinks or via our box office: 01539 725133 well under way, and we’re are not permitted in Screen 3 looking forward to screening celebrating Inspirational Women some of the main contenders. in the Arts with special theatre, Screens 1 & 2 are equipped with an The Reel Deal Enjoy a movie & a pizza for only £15 Titles to look out for include comedy and spoken word infra-red assisted listening system & audio description facility. -
SMALL CRIMES DIAS News from PLANET MARS ALL of a SUDDEN
2016 IN CannES NEW ANNOUNCEMENTS UPCOMING ALSO AVAILABLE CONTACT IN CANNES NEW Slack BAY SMALL CRIMES CALL ME BY YOUR NAME NEWS FROM NEW OFFICE by Bruno Dumont by E.L. Katz by Luca Guadagnino planet mars th Official Selection – In Competition In Pre Production In Pre Production by Dominik Moll 84 RUE D’ANTIBES, 4 FLOOR 06400 CANNES - FRANCE THE SALESMAN DIAS NEW MR. STEIN GOES ONLINE ALL OF A SUDDEN EMILIE GEORGES (May 10th - 22nd) by Asghar Farhadi by Jonathan English by Stephane Robelin by Asli Özge Official Selection – In Competition In Pre Production In Pre Production [email protected] / +33 6 62 08 83 43 TANJA MEISSNER (May 11th - 22nd) GIRL ASLEEP THE MIDWIFE [email protected] / +33 6 22 92 48 31 by Martin Provost by Rosemary Myers AN ArtsCOPE FILM NICHolas Kaiser (May 10th - 22nd) In Production [email protected] / +33 6 43 44 48 99 BERLIN SYNDROME MatHIEU DelaUNAY (May 10th - 22nd) by Cate Shortland [email protected] / + 33 6 87 88 45 26 In Post Production Sata CissokHO (May 10th - 22nd) [email protected] / +33 6 17 70 35 82 THE DARKNESS design: www.clade.fr / Graphic non contractual Credits by Daniel Castro Zimbrón Naima ABED (May 12th - 20th) OFFICE IN PARIS MEMENTO FILMS INTERNATIONAL In Post Production [email protected] / +44 7731 611 461 9 Cité Paradis – 75010 Paris – France Tel: +33 1 53 34 90 20 | Fax: +33 1 42 47 11 24 [email protected] [email protected] Proudly sponsored by www.memento-films.com | Follow us on Facebook NEW OFFICE IN CANNES 84 RUE D’ANTIBES, 4th FLOOR -
Phoenix Films 1999-2019/20 Sorted by Film Title 10
Phoenix Films 1999-2019/20 Sorted by Film Title Film Date Rating(%) 2046 1-Feb-2006 68 120BPM (Beats Per Minute) 24-Oct-2018 75 3 Coeurs 14-Jun-2017 64 35 Shots of Rum 13-Jan-2010 65 45 Years 20-Apr-2016 83 5 x 2 3-May-2006 65 A Bout de Souffle 23-May-2001 60 A Clockwork Orange 8-Nov-2000 81 A Fantastic Woman 3-Oct-2018 84 A Farewell to Arms 19-Nov-2014 70 A Highjacking 22-Jan-2014 92 A Late Quartet 15-Jan-2014 86 A Man Called Ove 8-Nov-2017 90 A Matter of Life and Death 7-Mar-2001 80 A One and A Two 23-Oct-2001 79 A Prairie Home Companion 19-Dec-2007 79 A Private War 15-May-2019 94 A Room and a Half 30-Mar-2011 75 A Royal Affair 3-Oct-2012 92 A Separation 21-Mar-2012 85 A Simple Life 8-May-2013 86 A Single Man 6-Oct-2010 79 A United Kingdom 22-Nov-2017 90 A Very Long Engagement 8-Jun-2005 80 A War 15-Feb-2017 91 A White Ribbon 21-Apr-2010 75 Abouna 3-Dec-2003 75 About Elly 26-Mar-2014 78 Accident 22-May-2002 72 After Love 14-Feb-2018 76 After the Storm 25-Oct-2017 77 After the Wedding 31-Oct-2007 86 Alice et Martin 10-May-2000 All About My Mother 11-Oct-2000 84 All the Wild Horses 22-May-2019 88 Almanya: Welcome To Germany 19-Oct-2016 88 Amal 14-Apr-2010 91 American Beauty 18-Oct-2000 83 American Honey 17-May-2017 67 American Splendor 9-Mar-2005 78 Amores Perros 7-Nov-2001 85 Amour 1-May-2013 85 Amy 8-Feb-2017 90 An Autumn Afternoon 2-Mar-2016 66 An Education 5-May-2010 86 Anna Karenina 17-Apr-2013 82 Another Year 2-Mar-2011 86 Apocalypse Now Redux 30-Jan-2002 77 Apollo 11 20-Nov-2019 95 Apostasy 6-Mar-2019 82 Aquarius 31-Jan-2018 73 -
Fragments of the Past in Pedro Almodóvar's Broken
Oceánide 5 2013 Fecha de recepción: 27 diciembre 2012 Fecha de aceptación: 11 enero 2013 Fecha de publicación: 25 enero 2013 URL:http://oceanide.netne.net/articulos/art5-4.php Oceánide número 5, ISSN 1989-6328 The Shortcomings of Simulacra: Fragments of the Past in Pedro Almodóvar’s Broken Embraces Marcela T. GARCÉS (Siena College, New York, United States) RESUMEN: La obra de Pedro Almodóvar abarca una colección de temas y referencias a sus propias películas, al mismo tiempo que hace referencias a varios otros directores conocidos. Los abrazos rotos (2009) reproduce varias escenas de Mujeres al borde de un ataque de nervios. No obstante, las referencias a ésta en Los abrazos rotos nos dejan con una sensación de desencanto. Las referencias crean una fragmentación del pasado y en última instancia no cumplen con su meta original. La relación entre estas dos películas demuestra las debilidades inherentes en la reconstrucción de filmes dentro de otros filmes, lo cual se conecta con la idea de Baudrillard que el cine está constantemente cometiendo plagio a la hora de rehacerse. Palabras clave: Almodóvar, nostalgia, Baudrillard, flashback, Los abrazos rotos ABSTRACT: Pedro Almodóvar’s oeuvre encompasses a collection of themes and references to his own back catalogue, all the while referencing many other well-known directors. Broken Embraces (2009) refers to and re-enacts scenes from Women on the Verge of a Nervous Breakdown (1988). Yet the references to the latter in Broken Embraces fail to enchant, instead creating a fragmentation of the past and ultimately shifting from a breakdown to being simply broken. -
Bruce Jackson & Diane Christian Video Introduction To
Virtual May 5, 2020 (XL:14) Pedro Almodóvar: PAIN AND GORY (2019, 113m) Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. Bruce Jackson & Diane Christian video introduction to this week’s film Click here to find the film online. (UB students received instructions how to view the film through UB’s library services.) Videos: “Pedro Almodóvar and Antonio Banderas on Pain and Glory (New York Film Festival, 45:00 min.) “How Antonio Banderas Became Pedro Almodóvar in ‘Pain & Glory’” (Variety, 4:40) “PAIN AND GLORY Cast & Crew Q&A” (TIFF 2019, 24:13) CAST Antonio Banderas...Salvador Mallo “Pedro Almodóvar on his new film ‘Pain and Glory, Penélope Cruz...Jacinta Mallo Penelope Cruz and his sexuality” (27:23) Raúl Arévalo...Venancio Mallo Leonardo Sbaraglia...Federico Delgado DIRECTOR Pedro Almodóvar Asier Etxeandia...Alberto Crespo WRITER Pedro Almodóvar Cecilia Roth...Zulema PRODUCERS Agustín Almodóvar, Ricardo Marco Pedro Casablanc...Doctor Galindo Budé, and Ignacio Salazar-Simpson Nora Navas...Mercedes CINEMATOGRAPHER José Luis Alcaine Susi Sánchez...Beata EDITOR Teresa Font Julieta Serrano...Jacinta Mallo (old age) MUSIC Alberto Iglesias Julián López...the Presenter Paqui Horcajo...Mercedes The film won Best Actor (Antonio Banderas) and Best Rosalía...Rosita Composer and was nominated for the Palme d'Or and Marisol Muriel...Mari the Queer Palm at the 2019 Cannes Film Festival. It César Vicente...Eduardo was also nominated for two Oscars at the 2020 Asier Flores...Salvador Mallo (child) Academy Awards (Best Performance by an Actor for Agustín Almodóvar...the priest Banderas and Best International Feature Film). -
Women Directors in 'Global' Art Cinema: Negotiating Feminism And
Women Directors in ‘Global’ Art Cinema: Negotiating Feminism and Representation Despoina Mantziari PhD Thesis University of East Anglia School of Film, Television and Media Studies March 2014 “This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution.” Women Directors in Global Art Cinema: Negotiating Feminism and Aesthetics The thesis explores the cultural field of global art cinema as a potential space for the inscription of female authorship and feminist issues. Despite their active involvement in filmmaking, traditionally women directors have not been centralised in scholarship on art cinema. Filmmakers such as Germaine Dulac, Agnès Varda and Sally Potter, for instance, have produced significant cinematic oeuvres but due to the field's continuing phallocentricity, they have not enjoyed the critical acclaim of their male peers. Feminist scholarship has focused mainly on the study of Hollywood and although some scholars have foregrounded the work of female filmmakers in non-Hollywood contexts, the relationship between art cinema and women filmmakers has not been adequately explored. The thesis addresses this gap by focusing on art cinema. It argues that art cinema maintains a precarious balance between two contradictory positions; as a route into filmmaking for women directors allowing for political expressivity, with its emphasis on artistic freedom which creates a space for non-dominant and potentially subversive representations and themes, and as another hostile universe given its more elitist and auteurist orientation. -
Treasures from the Yale Film Archive
TREASURES FROM THE YALE FILM ARCHIVE SUNDAY AN ONGOING SERIES OF CLASSIC AND CONTEMPORARY FILMS PRESENTED IN 35MM BY THE YALE FILM STUDY CENTER SEPTEMBER 17, 2017 2:00PM • WHITNEY HUMANITIES CENTER PRESENTED WITH SUPPORT FROM VOLVERVOLVER PAUL L. JOSKOW ’70 M.PHIL., ’72 PH.D. All about mothers, Pedro Almodóvar’s 2006 quiet masterpiece blends tragedy, melodrama, magical realism, and farce in a story of three generations of working-class Spanish women and the secrets they carry between La Mancha and Madrid. Penélope Cruz o. gives the performance of her career as Raimunda, struggling to protect her teenage daughter (Yohana Cobo) while haunted by N the ghost of her estranged mother (Carmen Maura). A.O. Scott said of the film, “To relate the details of the narrative—death, cancer, S 1 E 4 betrayal, parental abandonment, more death—would create an impression of dreariness and woe. But nothing could be further from A S O N the spirit of VOLVER which is buoyant without being flip, and consoling without ever becoming maudlin.” One of Almodóvar’s most assured and mature works, it foregoes the flashy visuals and assertive soundtracks of his earlier comedies, as well as the complex plots of the dramas that immediately preceded it, TALK TO HER and BAD EDUCATION. Other than MATADOR and KIKA, it was his first film to be released in the U.S. under its untranslated Spanish title. Volver means return, and the many returns throughout the film help bring the characters and their director overdue resolutions to unfinished business from the past. -
Gilles Lellouche INTERNATIONAL PRODUCTION NOTES
A FILM BY Gilles Lellouche INTERNATIONAL PRODUCTION NOTES CONTACTS INTERNATIONAL MARKETING INTERNATIONAL PUBLICITY Lucie MICHAUT Alexandre BOURG [email protected] [email protected] SYNOPSIS A group of 40-something guys, all on the verge of a mid-life crisis, decide to form their local pool’s first ever synchronized swimming team – for men. Braving the skepticism and ridicule of those around them and trained by a fallen champion trying to pull herself together, the group set out on an unlikely adventure, and on the way will rediscover a little self-esteem and a lot about themselves and each other. After Narco and The Players, Sink or Swim is the first film you’ve made as a solo director. Did you have difficulty launching a solo project, or was it just a question of timing? A little of both! Most of all, I needed to find a subject that really spoke to me and would enable me to make a film even more personal than Narco. As for The Players, that was a group project. I really enjoyed making both of those films, but neither was intimately linked to who I am. All of this took some time because after Narco, my “actors’ films” were the center of attention. How long has it taken to bring Sink or Swim to life? Five years. In fact, it was eight years ago that I began writing a script that already contained a few of the ideas in Sink or Swim. I wanted to examine the weariness – or perhaps the somewhat latent depression – that I sensed in people of my generation or even more generally in France. -
Haitian Creole – English Dictionary
+ + Haitian Creole – English Dictionary with Basic English – Haitian Creole Appendix Jean Targète and Raphael G. Urciolo + + + + Haitian Creole – English Dictionary with Basic English – Haitian Creole Appendix Jean Targète and Raphael G. Urciolo dp Dunwoody Press Kensington, Maryland, U.S.A. + + + + Haitian Creole – English Dictionary Copyright ©1993 by Jean Targète and Raphael G. Urciolo All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without the prior written permission of the Authors. All inquiries should be directed to: Dunwoody Press, P.O. Box 400, Kensington, MD, 20895 U.S.A. ISBN: 0-931745-75-6 Library of Congress Catalog Number: 93-71725 Compiled, edited, printed and bound in the United States of America Second Printing + + Introduction A variety of glossaries of Haitian Creole have been published either as appendices to descriptions of Haitian Creole or as booklets. As far as full- fledged Haitian Creole-English dictionaries are concerned, only one has been published and it is now more than ten years old. It is the compilers’ hope that this new dictionary will go a long way toward filling the vacuum existing in modern Creole lexicography. Innovations The following new features have been incorporated in this Haitian Creole- English dictionary. 1. The definite article that usually accompanies a noun is indicated. We urge the user to take note of the definite article singular ( a, la, an or lan ) which is shown for each noun. Lan has one variant: nan. -
Index to Volume 29 January to December 2019 Compiled by Patricia Coward
THE INTERNATIONAL FILM MAGAZINE Index to Volume 29 January to December 2019 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 SUBJECT INDEX Film review titles are also Akbari, Mania 6:18 Anchors Away 12:44, 46 Korean Film Archive, Seoul 3:8 archives of television material Spielberg’s campaign for four- included and are indicated by Akerman, Chantal 11:47, 92(b) Ancient Law, The 1/2:44, 45; 6:32 Stanley Kubrick 12:32 collected by 11:19 week theatrical release 5:5 (r) after the reference; Akhavan, Desiree 3:95; 6:15 Andersen, Thom 4:81 Library and Archives Richard Billingham 4:44 BAFTA 4:11, to Sue (b) after reference indicates Akin, Fatih 4:19 Anderson, Gillian 12:17 Canada, Ottawa 4:80 Jef Cornelis’s Bruce-Smith 3:5 a book review; Akin, Levan 7:29 Anderson, Laurie 4:13 Library of Congress, Washington documentaries 8:12-3 Awful Truth, The (1937) 9:42, 46 Akingbade, Ayo 8:31 Anderson, Lindsay 9:6 1/2:14; 4:80; 6:81 Josephine Deckers’s Madeline’s Axiom 7:11 A Akinnuoye-Agbaje, Adewale 8:42 Anderson, Paul Thomas Museum of Modern Art (MoMA), Madeline 6:8-9, 66(r) Ayeh, Jaygann 8:22 Abbas, Hiam 1/2:47; 12:35 Akinola, Segun 10:44 1/2:24, 38; 4:25; 11:31, 34 New York 1/2:45; 6:81 Flaherty Seminar 2019, Ayer, David 10:31 Abbasi, Ali Akrami, Jamsheed 11:83 Anderson, Wes 1/2:24, 36; 5:7; 11:6 National Library of Scotland Hamilton 10:14-5 Ayoade, Richard -
Colcoa-Press-2019-Part IV
September 19, 2019 COLCOA French Film Festival Monday, September 23 – Saturday, September 28 DGA in Hollywood $$ This film festival showcases the latest work from France. It only looks like it the Coca Cola Film Festival if you read it too fast. September 3, 2019 Critic's Picks: A September To-Do List for Film Buffs in L.A Alain Delon in 'Purple Moon' (1960) A classic lesbian drama, French noirs starring Alain Delon and Jean Gabin and a series of matinees devoted to Katharine Hepburn are among the plentiful vintage and classic options for SoCal film buffs this month. OLIVIA AT THE LAEMMLE ROYAL | 11523 Santa Monica Blvd. Already underway and screening daily through Sept. 5 at the Laemmle Royal is a new digital restoration of Jacqueline Audry’s trailblazing 1951 feature Olivia, one of the first films, French or otherwise, to deal with female homosexuality. Set in a 19th-century Parisian finishing school for girls, the film depicts the struggle between two head mistresses (Edwige Feuillere and Simone Simon) for the affection of their students, and how one girl’s (Marie-Claire Olivia) romantic urges stir jealousy in the house. Audry, one of the key female filmmakers of post-World War II France, stages this feverish chamber drama (based on a novel by the English writer Dorothy Bussy) with a delicate yet incisive touch, allowing the story’s implicit sensuality to simmer ominously without boiling over into undue hysterics. Lesbian dramas would soon become more explicit, but few have matched Olivia’s unique combination of elegance and eroticism. FRENCH FILM NOIR AND KATHARINE HEPBURN MATINEES AT THE AERO | 1328 Montana Ave.