The Vanishing

Total Page:16

File Type:pdf, Size:1020Kb

The Vanishing TF CLASSIC THE VANISHING SPOILER ALERT THE Classic V ANISHING Renowned for its unforgettable ending – and unwatchable Hollywood remake – this traumatic Dutch chiller was forged in a fire of ego and genius, during a production that mirrored its on-screen intensity. Total Film unearths a tale of mafia money, fist fights and premature burial… WORDS MATT GLASBY >> >> 102 | Total Film | July 2016 Subscribe at www.totalfilm.com/subs gamesradar.com/totalfilm July 2016 | Total Film | 103 TFM246.feat_vanishing.indd 100 4/20/16 6:53 PM TFM246.feat_vanishing.indd 101 4/20/16 6:53 PM TF CLASSIC THE VANISHING CLOSE UP The Vanishing, The Remake go against the system.” Then he cut back on down in a tunnel while oncoming vehicles ou start with an idea in your head and you (1993) film stock, negatives, shooting days – even crew scream past them (the glowing lights evoking take a step, then a second. Soon you realise Stalked prey: Lemorne members. “There [were] no concessions made on the Golden Egg dream; the tunnel, their later you’re up to your neck in something intense lays in wait for Saskia. Neutered beyond all recognition by studio story or acting, but on everything else there were entombment), saw the actors braving but that doesn’t matter. You keep at it for the mandate, Sluizer’s US remake has become compromises,” he said. “I told everybody, as the temperatures of -10 degrees in their summer sheer pleasure of it. For the satisfaction it might a byword for Hollywood butchery. Starring producer, if I catch anyone driving less than clothes. “It was freezing,” recalls Bervoets. “But bring you…” These are the words of Raymond Jeff Bridges in the Lemorne role and Kiefer 80mph in town they’re going to get fired. This when we saw the rushes, the whole scene was Lemorne, family man, science teacher and Sutherland as his victim, it cost 10 times was a joke, but it meant we had not a fucking blurred like pea soup. Bernard-Pierre shouted at unrepentant double murderer, but they could the Dutch version, but played out like second to lose.” the cameraman, Toni Kuhn, ‘There’s two young refer to any of the firebrands who brought this Breakdown, complete with a happy ending people in the car for hours in -10 degrees and you haunting Hitchcockian drama to the screen. in which Kiefer escapes and Bridges is killed. “I WANT YOU TO KNOW, let them do those things without getting the Indeed, as Total Film spoke to The Vanishing’s cast “Fox wanted the bad guy punished by the FOR ME KILLING IS NOT shot?’ Toni laughed a bit and then Bernard-Pierre and crew, director/adapter George Sluizer, police or by having a car accident,” said THE WORST THING” just hit him, he fought him, and Toni’s ear was novelist/scriptwriter Tim Krabbé and lead actor Sluizer, who removed a scene showing With a breakneck schedule, a belligerent star and pierced inside so he couldn’t hear anymore. From Bernard-Pierre Donnadieu are all compared to Lemorne caught by police from the original. a director/producer/writer/location scout with a that moment on all the shots of Bernard-Pierre Lemorne, a man who – lest we forget – drugs and “He was not allowed to live having holistic approach to his work, the shoot soon took were shot by the assistant, because Toni didn’t kidnaps a young woman, Saskia (Johanna ter committed a crime. That’s not part of its toll on cast and crew. “There were moments want to shoot with him anymore.” Steege), buries her alive, then does the same to American cinema. There has to be an when I thought, ‘I have to get out of here, this is Although it seethes with implied violence, her distraught partner, Rex (Gene Bervoets), upbeat ending.” Krabbé is a little more not normal!’” recalls Bervoets, who barely had the film only erupts into action once, when three years later, just to see if he can. succinct. “It’s trash. It’s not an adaptation a handful of film credits to his name at that point. Lemorne’s Faustian offer to Rex – follow me and “Well,” says Bervoets of his director, with of the book – they could have had the “One day I just ran away. We were shooting in find out what happened to Saskia – is met with a some affection, “it’s a little bit of a harsh word, ingredients they kept for free: the kidnap France, George had a little house there, and I was flurry of impotent blows. “At that moment George but he’s a maniac.” Said the late Sluizer (who and the burial of the girl [Sandra Bullock]. so fed up I got out of the car and started walking said, ‘Just attack him!’” recalls Bervoets. “I said, died in 2014) of his writer: “I’m not going to say But the real idea I can claim any originality until I was all alone, in the middle of nowhere. ‘I can’t do that, let’s rehearse.’ Normally you Lemorne has some of Tim Krabbé’s character, for is that the hero dies just to know what They had to come and look for me. At that rehearse a scene like that. I just can’t beat a guy, but he does [laughs]… I’m not saying killing, happened to his love, and that’s what they moment I just thought, ‘I don’t care anymore, especially because Bernard-Pierre was very but he also has an extreme way of thinking.” did not use. They just kept the wrapping and they can do whatever they want.’” strong. Then Bernard-Pierre said, ‘Come on, boy, Says Bervoets of Donnadieu: “Bernard-Pierre they threw out the contents. They raped the It wasn’t the only time Bervoets found himself why don’t you attack me? Attack me! Come on, was like a dictator on set.” Perhaps the greatest story, they raped the whole idea.” out in the cold. An early scene in which the attack me! Oh you’re a sissy, you can’t do it!’ mystery of this methodical puzzle that slots protagonists’ car runs out of petrol and breaks He got me so mad that I just kicked him and >> awfully, inexorably, into place was that (almost) no one was hurt during filming. “It was like shooting a documentary of our lives at that the movie’s better than the book.” Certainly moment,” recalls Bervoets, the only surviving Krabbé’s narrative skill cannot be overestimated Love story: The original actor who could bear to be interviewed for this – the movie pulses with metronomic revelations re-unites the lovers in feature. “I needed people who could open the which double and redouble in significance as we, an alternative way to the Hollywood formula. door to hell and not be afraid to step over the and Rex, establish exactly what has befallen his line…” Sluizer explained. lost love. After the devastating, it-could-happen- to-you sequence in which Dutch holidaymaker “THE BEST PLANS CAN BE WIPED Saskia is snatched by Lemorne at a French OUT AT ANY MOMENT BY WHAT service station, the film then flips back and WE CALL FATE” forward in time, contrasting Rex’s obsessive Based on Krabbé’s 1984 novel The Golden Egg, hunt for the truth with Lemorne’s methodical named after an ominous dream of confinement MO and frighteningly mundane home life. It’s that haunts protagonists Saskia and Rex (not to not so much a thriller – we already have an idea mention the author, aged five), Spoorloos (1988), what’s going to happen – as a grim pantomime as it’s known in its native Holland, was scripted of chance and premeditation. “You can plan and by Krabbé and Sluizer. “We’re both not the plan and plan, but things will always happen easiest persons in the world,” explains the author by themselves,” rues the (remarkably affable) (brother of actor, Jeroen). “I wrote the first author. Turns out this could have been the version and we had some personal difficulties mantra for the entire shoot. and he adapted it. I have forgotten what is mine First Sluizer and Donnadieu clashed during and what is his, which is fine.” As Sluizer rehearsals in France (“Colleagues told me you remembered,“Tim is a very clever writer but he’s won’t finish the film without a broken nose,” not an easy person. I did not want to work with remembered Sluizer of his demanding lead), someone who was blaming me for having which resulted in Donnadieu being sent to stand different opinions. He can be very nasty, you in the corner “like a stupid schoolboy” for know, like wishing you, ‘Oh, you’re stupid, you bullying ter Steege. Then financing from the should die today, better than tomorrow.’” film’s Dutch distributor fell through. “For five Although he missed the premiere, Krabbé days we had zero money, not even enough to was rather more generous when he saw the final buy sandwiches,” recalled the director, whose film. “That is Tim,” said the director, resigned to solution was characteristically extreme. “I went each other’s artistic foibles after 30 years. “He to Nice, to the mafia clubs to try to get money was a monster, I could say, in one way, but he was from thieves and gangsters,” he explained. “You also an honest gentleman because he dared to say might get shot, but at least they have the guts to 104 | Total Film | July 2016 gamesradar.com/totalfilm July 2016 | Total Film | 105 TFM246.feat_vanishing.indd 102 4/20/16 6:53 PM TFM246.feat_vanishing.indd 103 4/20/16 6:53 PM TF CLASSIC THE VANISHING alone: the final reveal, which sees Rex, having (knowingly) drunk Lemorne’s drugged coffee, waking in a makeshift coffin in the black bowels of the earth.
Recommended publications
  • Dark Blood Ausser Konkurrenz
    WETTBEWERB DARK BLOOD AUSSER KONKURRENZ George Sluizer Boy, ein verwitweter junger Mann mit indianischen Wurzeln, lebt in ei- Niederlande 2012 ner durch Nukleartests verseuchten Wüste in den USA. Hier wartet er Länge 86 Min. · Format DCP · Farbe auf das Ende der Welt, umgeben von Voodoo-Puppen der Ureinwoh- STABLISTE ner, die magische Kraft besitzen sollen. In dieses Refugium brechen Regie George Sluizer unerwartet Harry und Buffy ein, die eine späte zweite Hochzeitsreise Buch Jim Barton, 1993 angetreten haben, um zu prüfen, ob ihre Ehe noch eine Zukunft hat. Finale Adaption George Sluizer Als ihr Bentley streikt, bietet Boy seine Hilfe an. Doch dann beginnt Kamera Edward Lachman Mark Kohn Foto: er, die beiden wie Gefangene zu halten, weil er hofft, gemeinsam mit Schnitt Michiel Reichwein Buffy in eine bessere Welt hinüberwechseln zu können. Musik Florencia di Concilio BIOGRAFIE Nach dem plötzlichen Tod des Hauptdarstellers River Phoenix zehn Ta- weitere Musik James Michael Taylor Geboren 1932 in Paris, Frankreich. Dort Sounddesign Harold Jalving studierte er ab 1954 an der Filmhochschule. ge vor Abschluss der Dreharbeiten 1993 fiel das Filmmaterial zu DARK BLOOD an die Versicherung, die für den Drehabbruch aufkam. Jahre Production Design Jan Roelfs, Ben van Os Nach dem Studium sammelte er als Kostüm Jane Robinson später konnte Regisseur George Sluizer das Material vor der endgülti- Regieassistent erste Erfahrungen. Sein Produzent George Sluizer Kurzfilm DE LAGE LANDEN wurde 1961 gen Vernichtung bewahren. Im Januar 2012 begann er mit der Endfer- mit einem Silbernen Bären ausgezeichnet. tigung seines Films, wobei er sich entschloss, die fehlenden Szenen im DARSTELLER Bis 1972 realisierte er zahlreiche TV- Off aus dem Drehbuch vorzulesen.
    [Show full text]
  • The Vanishing and Nightwatch
    The Vanishing and Nightwatch By Steven Jay Schneider Spring 2002 Issue of KINEMA REPACKAGING RAGE: THE VANISHING AND NIGHTWATCH It’s the same movie, only completely different. It follows the same plot, except where it changes everything. - Desmond Howe, on The Vanishing(1) As for the work of Bornedal, I’d best reserve comment. ...Maybe he looked at the final cut and said, ”Mik bortaagë dåntü ødån!” (”This is f...in’ great!”). Maybe it’s a great film in Denmark, but it’s a terrible, terrible movie in America. - Shane Ham, on Nightwatch(2) Sometimes the devil is in the details. - Barney Cousins (Jeff Bridges) in The Vanishing In 1988, Spoorloos, a Dutch thriller directed by George Sluizer, premiered in the Netherlands to packed houses and rave reviews. Six years later, in 1994, Ole Bornedal’s Danish thriller Nattevagten was released in its home country, also to critical and commercial acclaim. Besides evincing a clear Hitchcockian influence, both pictures were made on relatively low budgets, both exhibit a bizarre sense of humour, and both took home multiple awards at prestigious European film festivals. In 1993, The Vanishing, a big-budget Hollywood thriller produced by 20th Century Fox, made its debut on screens throughout the United States after a great deal of fanfare. Five years later, Dimension Films (the so-called ”genre division” of Miramax), released a thriller of its own entitled Nightwatch. Both films were financial and critical failures, condemned for their inability to generate more than a modicum ofsuspense. That is not all they have in common: both films star big-name actors, both are distinctly unfunny, and both were completely forgotten during awards time.
    [Show full text]
  • NFF+HBF GUIDE September 2019
    Netherlands Film Fund – Hubert Bals Fund Co-production Scheme NFF+HBF GUIDE September 2019 NFF+HBF: Netherlands Film Fund – Hubert Bals Fund Co-production Scheme Annually, around 25 film productions are realised with the support of the Hubert Bals Fund. In order to stimulate Dutch producers to get involved in international co-productions, and to support Hubert Bals Fund projects in the stage of production, the Netherlands Film Fund and the HBF set up NFF+HBF Netherlands Film Fund - Hubert Bals Fund Coproduction Scheme. The NFF+HBF Co-production Scheme (previously HBF Plus) is a collaboration between the Netherlands Film Fund and the Hubert Bals Fund. Dutch producers can apply for financial support from NFF+HBF. Projects eligible for the NFF+HBF programme are those that have been granted HBF support for Script and Project Development at an earlier stage, and which are now looking for funds to finance the production. Annually the Netherlands Film Fund sets available an amount of € 200,000 for applications from Dutch producers who can be awarded a maximum of €50,000 production support in order to co-produce a film that has received a script development grant by HBF. The NFF+HBF Co-production Scheme offers support twice a year, with application deadlines in Spring and Fall. The next application deadline will be on 25 February 2019. NFF+HBF applications should be done at the Netherlands Film Fund. Criteria Maximum contribution is €50,000 Maximum 10% overhead and producers fee 50% of the committed amount (including overhead and fee) must
    [Show full text]
  • Trop Fugace Phoenix / Dark Blood, Pays-Bas, 2012, 1 H 26]
    Document generated on 10/02/2021 1:27 p.m. Séquences La revue de cinéma Trop fugace Phoenix Dark Blood, Pays-Bas, 2012, 1 h 26 Anne-Christine Loranger Number 285, July–August 2013 URI: https://id.erudit.org/iderudit/69688ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this review Loranger, A.-C. (2013). Review of [Trop fugace Phoenix / Dark Blood, Pays-Bas, 2012, 1 h 26]. Séquences, (285), 32–33. Tous droits réservés © La revue Séquences Inc., 2013 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ 32 ARRÊT SUR IMAGE | Hors-champ Dark Blood Trop fugace Phoenix River Phoenix n’a jamais si bien mérité son nom que depuis la sortie de Dark Blood, le film de George Sluizer interrompu en plein tournage, dû à la mort de son jeune acteur en 1993, sur le trottoir du Viper Room. Hommage au talent de Phoenix et retour sur un décès qui reste mystérieux Anne-Christine Loranger ark Blood émeut avant même de commencer. Avant même – un Britannique incapable de visser une ampoule – à les tirer d’avoir vu l’affiche.
    [Show full text]
  • Curriculum Vitae Anouk Sluizer
    1 CURRICULUM VITAE ANOUK SLUIZER Producer at Sluizer Film Productions B.V. since 2102: Post-production Dark Blood, crowd funding campaign Dark Blood, Festival Coordination, Managing film catalogue + rights, actually the development of 3 new long feature projects and creating a complete DVD box with whole oeuvre of George Sluizer to be distributed from May 2018 on. Between 1984 and 2013 Production Manager or Executive Producer or Post Production : DARK BLOOD director George Sluizer Long Feature GUESTS OF THE ASTORIA director Reza Allemeh Zadeh Feature FORCE MAJEURE director Pierre Jolivet Long Feature L’OEIL DU CYCLONE director Alain Tasma Telefilm MAIGRET director Alain Tasma Tele film 4 KEIZERS EN 1 NACHTEGAAL director Wilbert Bank Documentary NO MAN’S LAND director Peter Bach Documentary ROMANCING THE BEAN director H. Kladowsky Documentary DE BUURTVADERS director Jacques de Koning Documentary UNDYING LOVE director H. Kladowsky Documentary LA NAISSANCE director Valerie Moszynski Documentary BANG ON A CAN director Alejandro Agresti Documentary DIRECTOR & EXECUTIVE PRODUCER: 2011 LUCKY STAR Community Art Project in collaboration with Moving Arts Projects. Documentary about the working process of community art at the Worldhouse with immigrants without papers. 2013 ALINE & WIM EYE FILM INSTITUTE and Film explosion All About Us Film Factory. Community Art Project with Canta drivers. Short film, directing, camera, edit and coach Screened at the Canta Drive Inn cinema night in Amsterdam North. 1 2004 RETURN OR STAY ( 28 min documentary ) Film about the dilemma of older guestworkers from Morocco and Turkey. Once they stop to work do they stay in Holland where they lived most of their lives or do they go back to their native country.
    [Show full text]
  • NFF+HBF Guide | August 2020 NFF+HBF: Netherlands Film Fund – Hubert Bals Fund Co-Production Scheme
    Netherlands Film Fund - Hubert Bals Fund Co-production Scheme NFF+HBF Guide | August 2020 NFF+HBF: Netherlands Film Fund – Hubert Bals Fund Co-production Scheme Annually, around 25 film productions are realised with the support of the Hubert Bals Fund. In order to stimulate Dutch producers to get involved in international co-productions, and to support Hubert Bals Fund projects in the stage of production, the Netherlands Film Fund and the HBF set up NFF+HBF Netherlands Film Fund - Hubert Bals Fund Coproduction Scheme. The NFF+HBF Co-production Scheme (previously HBF Plus) is a collaboration between the Netherlands Film Fund and the Hubert Bals Fund. Dutch producers can apply for financial support from NFF+HBF. Projects eligible for the NFF+HBF programme are those that have been granted HBF support for Script and Project Development at an earlier stage, and which are now looking for funds to finance the production. Annually the Netherlands Film Fund sets available an amount of € 200,000 for applications from Dutch producers who can be awarded a maximum of €50,000 production support in order to co-produce a film that has received a script development grant by HBF. The NFF+HBF Co-production Scheme offers support twice a year, with application deadlines in Spring and Fall. The next application deadline will be on 5 October 2020. NFF+HBF applications should be done at the Netherlands Film Fund. Criteria • Maximum contribution is €50,000 • Maximum 10% overhead and producers fee • 50% of the committed amount (including overhead and fee) must be spent
    [Show full text]
  • Humour and Irony in Dutch Post-War Fiction Film Framing Film
    HUMOUR AND IRONY IN DUTCH POST-WAR FICTION FILM FRAMING FILM FRAMING FILM is a book series dedicated to theoretical and analytical studies in restoration, collection, archival, and exhibition practices in line with the existing archive of EYE Filmmuseum. With this series, Amsterdam University Press and EYE aim to support the academic research community, as well as practitioners in archive and restoration. SERIES EDITORS Giovanna Fossati, EYE Filmmuseum & University of Amsterdam, the Netherlands Leo van Hee, EYE Filmmuseum Frank Kessler, Utrecht University, the Netherlands Patricia Pisters, University of Amsterdam, the Netherlands Dan Streible, New York University, United States Nanna Verhoeff, Utrecht University, the Netherlands EDITORIAL BOARD Richard Abel, University of Michigan, United States Jane Gaines, Columbia University, United States Tom Gunning, University of Chicago, United States Vinzenz Hediger, Goethe University Frankfurt, Germany Martin Koerber, Deutsche Kinemathek, Germany Ann-Sophie Lehmann, University of Groningen, the Netherlands Charles Musser, Yale University, United States Julia Noordegraaf, University of Amsterdam, the Netherlands William Uricchio, Massachusetts Institute of Technology, United States Linda Williams, University of California at Berkeley, United States PETER VERSTRATEN HUMOUR AND IRONY IN DUTCH POST-WAR FICTION FILM AMSTERDAM UNIVERSITY PRESS This publication is made possible by grants from the Nederlands Filmfonds and the Netherlands Society of Cinematographers. Published by EYE Filmmuseum / Amsterdam University Press Cover illustration: Borgman © Drafthouse Films. Design: Brandon Schaefer. Cover design and lay-out: Magenta Ontwerpers, Bussum Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 90 8964 943 0 e-isbn 978 90 4852 837 0 doi 10.5117/9789089649430 nur 670 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) P.
    [Show full text]
  • Crime Thriller Cluster 1
    Crime Thriller Cluster 1 movie cluster 1 1971 Chhoti Bahu 1 2 1971 Patanga 1 3 1971 Pyar Ki Kahani 1 4 1972 Amar Prem 1 5 1972 Ek Bechara 1 6 1974 Chowkidar 1 7 1982 Anokha Bandhan 1 8 1982 Namak Halaal 1 9 1984 Utsav 1 10 1985 Mera Saathi 1 11 1986 Swati 1 12 1990 Swarg 1 13 1992 Mere Sajana Saath Nibhana 1 14 1996 Majhdhaar 1 15 1999 Pyaar Koi Khel Nahin 1 16 2006 Neenello Naanalle 1 17 2009 Parayan Marannathu 1 18 2011 Ven Shankhu Pol 1 19 1958 Bommai Kalyanam 1 20 2007 Manase Mounama 1 21 2011 Seedan 1 22 2011 Aayiram Vilakku 1 23 2012 Sundarapandian 1 24 1949 Jeevitham 1 25 1952 Prema 1 26 1954 Aggi Ramudu 1 27 1954 Iddaru Pellalu 1 28 1954 Parivartana 1 29 1955 Ardhangi 1 30 1955 Cherapakura Chedevu 1 31 1955 Rojulu Marayi 1 32 1955 Santosham 1 33 1956 Bhale Ramudu 1 34 1956 Charana Daasi 1 35 1956 Chintamani 1 36 1957 Aalu Magalu 1 37 1957 Thodi Kodallu 1 38 1958 Raja Nandini 1 39 1959 Illarikam 1 40 1959 Mangalya Balam 1 41 1960 Annapurna 1 42 1960 Nammina Bantu 1 43 1960 Shanthi Nivasam 1 44 1961 Bharya Bhartalu 1 45 1961 Iddaru Mitrulu 1 46 1961 Taxi Ramudu 1 47 1962 Aradhana 1 48 1962 Gaali Medalu 1 49 1962 Gundamma Katha 1 50 1962 Kula Gotralu 1 51 1962 Rakta Sambandham 1 52 1962 Siri Sampadalu 1 53 1962 Tiger Ramudu 1 54 1963 Constable Koothuru 1 55 1963 Manchi Chedu 1 56 1963 Pempudu Koothuru 1 57 1963 Punarjanma 1 58 1964 Devatha 1 59 1964 Mauali Krishna 1 60 1964 Pooja Phalam 1 61 1965 Aatma Gowravam 1 62 1965 Bangaru Panjaram 1 63 1965 Gudi Gantalu 1 64 1965 Manushulu Mamathalu 1 65 1965 Tene Manasulu 1 66 1965 Uyyala
    [Show full text]
  • NFF+HBF GUIDE January 2019
    Netherlands Film Fund – Hubert Bals Fund Co-production Scheme NFF+HBF GUIDE January 2019 NFF+HBF: Netherlands Film Fund – Hubert Bals Fund Co-production Scheme Annually, around 25 film productions are realised with the support of the Hubert Bals Fund. In order to stimulate Dutch producers to get involved in international co-productions, and to support Hubert Bals Fund projects in the stage of production, the Netherlands Film Fund and the HBF set up NFF+HBF Netherlands Film Fund - Hubert Bals Fund Coproduction Scheme. The NFF+HBF Co-production Scheme (previously HBF Plus) is a collaboration between the Netherlands Film Fund and the Hubert Bals Fund. Dutch producers can apply for financial support from NFF+HBF. Projects eligible for the NFF+HBF programme are those that have been granted HBF support for Script and Project Development at an earlier stage, and which are now looking for funds to finance the production. Annually the Netherlands Film Fund sets available an amount of € 200,000 for applications from Dutch producers who can be awarded a maximum of €50,000 production support in order to co-produce a film that has received a script development grant by HBF. The NFF+HBF Co-production Scheme offers support twice a year, with application deadlines in Spring and Fall. The next application deadline will be on 25 February 2019. NFF+HBF applications should be done at the Netherlands Film Fund. Criteria Maximum contribution is €50,000 Maximum 10% overhead and producers fee 50% of the committed amount (including overhead and fee) must be
    [Show full text]
  • JOÃO and the KNIFE a Film by George Sluizer (1971, 95 Min)
    - 1 - SLUIZER FILMS AND STONERAFT FILMS B.V. IN COLLABORATION WITH EYE FILM MUSEUM AND HAGHEFILM DIGITAL PRESENT: JOÃO AND THE KNIFE A film by George Sluizer (1971, 95 min) WORLD DISTRIBUTION: Stoneraft Films B.V. The Netherlands T: +31 (0)6 205 280 98 E: [email protected] www.sluizerfilmproductions.com www.georgesluizer.com PLOT SUMMARY: Based on a Brazilian poem by Odylo Costa Filho and set in the Amazonian and Northeast hinterlands of Brazil, “João and the Knife” is a hauntingly strange and visually stunning picture. A poor and elderly hunter and cattle ranger falls in love with Maria a beautiful 19-year old shy girl from another village. He marries her against logic and advice. As he cannot give his young bride children, he travels to the Amazonian forest, the green hell, to make money collecting rubber. He wants to give her the life of a rich woman as compensation of the childlessness of their marriage. Four years later, on his return as a rich man, he finds Maria carrying a three-year old little girl who strangely resembles her. João, a simple man who has never lied in his life, doubts about the fidelity of his wife. He buys a knife and says he will use it to kill Maria. Frightened Maria seeks help from the police and a priest, but in vain. They then begin a long journey back to their village. Will João be able to refrain from hurting the one he loves so much? RESTORATION: The digital restoration of the long feature JOÃO is the result of a close cooperation between Stoneraft Film b.v, EYE Filmmuseum and Haghefilm Digital.
    [Show full text]
  • An Overview of the Film, Television, Video and Dvd Industries In
    the STATS an overview of the film, television, video and DVD industries 1990 - 2003 contents THIS PDF IS FULLY NAVIGABLE BY USING THE “BOOKMARKS” FACILITY IN ADOBE ACROBAT READER Introduction by David Sharp . i Introduction to 1st edition (2003) by Ray Templeton . .ii Preface by Philip Wickham . .iii the STATS 1990 . .1 1991 . .14 1992 . 32 1993 . 54 1994 . .74 1995 . .92 1996 . .112 1997 . .136 1998 . .163 1999 . .188 2000 . .220 2001 . .251 2002 . .282 2003 . .310 Cumulative Tables . .341 Country Codes . .351 Bibliography . .352 Research: Erinna Mettler/Philip Wickham Design/Tabulation: Ian O’Sullivan Additional Research: Matt Ker Elena Marcarini Bibliography: Elena Marcarini © 2006 BFI INFORMATION SERVICES BFI NATIONAL LIBRARY 21 Stephen Street London W1T 1LN ISBN: 1-84457-017-7 Phil Wickham is an Information Officer in the Information Services Unit of the BFI National Library. He writes and lectures extensively on British film and television. Erinna Mettler is an Information Officer in the Information Services Unit of the National Library and has contributed to numerous publications. Ian O’Sullivan is also an Information Officer in the Information Services Unit of the BFI National Library and has designed a number of publications for the BFI. Information Services BFI National Library British Film Institute 21 Stephen Street London W1T 1LN Tel: + 44 (0) 20 7255 1444 Fax: + 44 (0) 20 7436 0165 Contact us at www.bfi.org.uk/ask with your film and television enquiries. Alternatively, telephone +44 (0) 20 7255 1444 and ask for Information (Mon-Fri: 10am-1pm & 2-5pm) Try the BFI website for film and television information 24 hours a day, 52 weeks a year… Film & TV Info – www.bfi.org.uk/filmtvinfo - contains a range of information to help find answers to your queries.
    [Show full text]
  • Netherlands Film Fund – Hubert Bals Fund Co-Production Scheme NFF+HBF Guide, August 2021
    Netherlands Film Fund – Hubert Bals Fund Co-production Scheme NFF+HBF Guide, August 2021 NFF+HBF: Netherlands Film Fund – Hubert Bals Fund Co-production Scheme In order to encourage Dutch involvement in international co-productions, as well as to help Hubert Bals Fund projects raise funds for their production, the Netherlands Film Fund and the HBF set up the Netherlands Film Fund – Hubert Bals Fund Co-production Scheme: NFF+HBF. The Netherlands Film Fund makes available an annual amount of € 300,000 for applications from Dutch producers who can be awarded a maximum of € 75,000 production support in order to co-produce a project previously supported by the HBF. Projects eligible for the scheme are those that have been granted HBF support for Script and Project Development at an earlier stage, and which are now looking for funds to finance their production. The project must have an attached Dutch producer, who should make the application. The NFF+HBF Co-production Scheme offers support twice a year, with application deadlines in spring and fall. This year’s fall deadline is 4 October 2021. NFF+HBF applications should be made through the Netherlands Film Fund. Criteria ● Maximum contribution is € 75,000 ● Maximum 10% overhead and producer’s fee ● 50% of the committed amount (including overhead and fee) must be spent on Dutch services, cast and crew ● The project must have received Script & Project Development support from the HBF ● The total production budget cannot be more than € 1,000,000 ● The Dutch producer must have produced at least
    [Show full text]