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Adolf Eichmann in Buenos Aires
CAPTURING THE DEVIL The real story of the capture of Adolph Eichmann Based on the memoirs of Peter Zvi Malkin A feature film written and directed by Philippe Azoulay PITCH Peter Zvi Malkin, one of the best Israeli agents, is volunteering to be part of the commando set up to capture Adolf Eichmann in Buenos Aires. As the others, he wants to take revenge for the killing of his family, but the mission is to bring Eichmann alive so that he may be put on trial in Jerusalem. As Peter comes to consider his prisoner an ordinary and banal being he wants to understand the incomprehensible. To do so, he disobeys orders. During the confrontation between the soldier and his prisoner, a strange relationship develops… CAPTURING THE DEVIL HISTORICAL CONTEXT 1945 The Nuremberg trial is intended to clear the way to for the rebuilding of Western Europe Several Nazi hierarchs have managed to hide or escape Europe 1945 Adolph Eichmann who has organized the deportations and killings of millions of people is hiding in Europe. 1950 Eichmann is briefly detained in Germany but escapes to South America thanks to a Red Cross passport. In Europe and in Israel, Jews who survived the camps try to move into a new life. The young state of Israel fights for its survival throughout two wars in 1948 and 1956. The Nazi hunt is considered a “private“ matter. 1957 the Bavarian General Attorney Fritz Bauer, who has engaged into a second denazification of Germany’s elite, gets confirmation that Eichmann may be located in Argentina. -
International Casting Directors Network Index
International Casting Directors Network Index 01 Welcome 02 About the ICDN 04 Index of Profiles 06 Profiles of Casting Directors 76 About European Film Promotion 78 Imprint 79 ICDN Membership Application form Gut instinct and hours of research “A great film can feel a lot like a fantastic dinner party. Actors mingle and clash in the best possible lighting, and conversation is fraught with wit and emotion. The director usually gets the bulk of the credit. But before he or she can play the consummate host, someone must carefully select the right guests, send out the invites, and keep track of the RSVPs”. ‘OSCARS: The Role Of Casting Director’ by Monica Corcoran Harel, The Deadline Team, December 6, 2012 Playing one of the key roles in creating that successful “dinner” is the Casting Director, but someone who is often over-looked in the recognition department. Everyone sees the actor at work, but very few people see the hours of research, the intrinsic skills, the gut instinct that the Casting Director puts into finding just the right person for just the right role. It’s a mix of routine and inspiration which brings the characters we come to love, and sometimes to hate, to the big screen. The Casting Director’s delicate work as liaison between director, actors, their agent/manager and the studio/network figures prominently in decisions which can make or break a project. It’s a job that can't garner an Oscar, but its mighty importance is always felt behind the scenes. In July 2013, the Academy of Motion Pictures of Arts and Sciences (AMPAS) created a new branch for Casting Directors, and we are thrilled that a number of members of the International Casting Directors Network are amongst the first Casting Directors invited into the Academy. -
Sight & Sound Films of 2007
Sight & Sound Films of 2007 Each year we ask a selection of our contributors - reviewers and critics from around the world - for their five films of the year. It's a very loosely policed subjective selection, based on films the writer has seen and enjoyed that year, and we don't deny them the choice of films that haven't yet reached the UK. And we don't give them much time to ponder, either - just about a week. So below you'll find the familiar and the obscure, the new and the old. From this we put together the top ten you see here. What distinguishes this particular list is that it's been drawn up from one of the best years for all-round quality I can remember. 2007 has seen some extraordinary films. So all of the films in the ten are must-sees and so are many more. Enjoy. - Nick James, Editor. 1 4 Months, 3 Weeks and 2 Days (Cristian Mungiu) 2 Inland Empire (David Lynch) 3 Zodiac (David Fincher) = 4 I’m Not There (Todd Haynes) The Lives of Others (Florian Henckel von Donnersmarck) 6 Silent Light (Carlos Reygadas) = 7 The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik) Syndromes and a Century (Apichatpong Weerasethakul) No Country for Old Men (Ethan and Joel Coen) Eastern Promises (David Cronenberg) 1 Table of Contents – alphabetical by critic Gilbert Adair (Critic and author, UK)............................................................................................4 Kaleem Aftab (Critic, The Independent, UK)...............................................................................4 Geoff Andrew (Critic -
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 -
Alles Wird Gut
ALLES WIRD GUT a film by PATRICK VOLLRATH www.everythingwillbeokay-film.com CONTENTS Overview ...........................................................................................................3 Synopsis ...............................................................................................................3 About the movie............................................................................................4 Cast ........................................................................................................................5 Crew .....................................................................................................................6 CV Leading Actors ........................................................................................7 Director & Producer ....................................................................................8 Contact ................................................................................................................9 www.everythingwillbeokay-film.com EVERYTHING WILL BE OKAY SYNOPSIS ALLES WIRD GUT Country: Germany / Austria A divorced father picks up his eight-year-old daughter Lea. It Language: german seems pretty much like every second weekend, but after a while Year: 2015 Lea can‘t help feeling that something isn‘t right. Runtime: 30 min So begins a fateful journey. Framerate: 24 fps Ratio: 2,35:1 Format: 2K DCP Subtitles: english, french Sound: 5.1 Dolby Digital Genre: Drama / Thriller Form: Narrative Fiction Short Film Shooting days: 6 Location: -
Uk Films for Sale in Cannes 2009
UK FILMS FOR SALE IN CANNES 2009 Supported by Produced by 1234 TMoviehouse Entertainment Cast: Ian Bonar, Lyndsey Marshal, Kieran Bew, Mathew Baynton Gary Phillips Genre: Drama Rés. Du Grand Hotel 47 La Croisette, 6Th Director: Giles Borg Floor Producer Simon Kearney Tel: +33 4 93 38 65 93 Status : Completed [email protected] Home Office Tel: +44 20 7836 5536 Synopsis Ardent musician Stevie (guitar, vocals) endures a day-job he despises and can't find a girlfriend but... at least he has his music! With friend Neil (drums) he's been kicking around for a while not achieving much but when the pair of misfits team-up with the more-experienced Billy (guitar) and his cute pal Emily (bass) the possibility they might be on to something really good presents itself. For Stevie this is the opportunity he's been waiting for with the band and just maybe... Emily too! 13 Hrs TEyeline Entertainment Cast: Isabella Calthorpe, Gemma Atkinson, Tom Felton, Joshua Duncan Napier-Bell Bowman Lerins Stand R10 Genre: Horror Tel: +33 4 92 99 33 02 Director: Jonathan Glendening [email protected] Writer: Adam Phillips Home Office Tel: +44 20 8144 2994 Producer Nick Napier-Bell, Romain Schroeder, Tom Reeve Status : Post-Production Synopsis A full moon hangs in the night sky and lightning streaks across dark storm clouds. Sarah Tyler returns to her troubled family home in the isolated countryside, for a much put-off visit. As the storm rages on, Sarah, her family and friends shore up for the night, cut off from the outside world. -
Revisiting Andrzej Wajda's Korczak (1990)
Studia Filmoznawcze 39 Wroc³aw 2018 Marek Haltof Northern Michigan University THE CASUALTY OF JEWISH-POLISH POLEMICS: REVISITING ANDRZEJ WAJDA’S KORCZAK (1990) DOI: 10.19195/0860-116X.39.4 Emblematic of Wajda’s later career is Korczak (1990), one of the most important European pictures about the Holocaust. Steven Spielberg1 More interesting than the issue of Wajda’s alleged an- ti-Semitism is the question of Korczak’s martyrdom. East European Jews have suffered a posthumous violation for their supposed passivity in the face of the Nazi death machine. Why then should Korczak be exalted for leading his lambs to the slaughter? It is, I believe, because the fate of the Orphan’s Home hypostatizes the extremity of the Jewish situation — the innocence of the victims, their utter abandonment, their merciless fate. In the face of annihilation, Janusz Korczak’ tenderness is a terrifying reproach. He is the father who did not exist. J. Hoberman2 1 S. Spielberg, “Mr. Steven Spielberg’s Support Letter for Poland’s Andrzej Wajda,” Dialogue & Universalism 2000, no. 9–10, p. 15. 2 J. Hoberman, “Korczak,” Village Voice 1991, no. 6, p. 55. Studia Filmoznawcze, 39, 2018 © for this edition by CNS SF 39.indb 53 2018-07-04 15:37:47 54 | Marek Haltof Andrzej Wajda produced a number of films dealing with the Holocaust and Polish-Jewish relationships.3 His often proclaimed ambition had been to reconcile Poles and Jews.4 The scriptwriter of Korczak, Agnieszka Holland, explained that this was Wajda’s “obsession, the guilt.”5 Given the above, it should come as no surprise that he chose the story of Korczak as his first film after the 1989 return of democracy in Poland. -
The Holocaust in French Film : Nuit Et Brouillard (1955) and Shoah (1986)
San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research 2008 The Holocaust in French film : Nuit et brouillard (1955) and Shoah (1986) Erin Brandon San Jose State University Follow this and additional works at: https://scholarworks.sjsu.edu/etd_theses Recommended Citation Brandon, Erin, "The Holocaust in French film : Nuit et brouillard (1955) and Shoah (1986)" (2008). Master's Theses. 3586. DOI: https://doi.org/10.31979/etd.y3vc-6k7d https://scholarworks.sjsu.edu/etd_theses/3586 This Thesis is brought to you for free and open access by the Master's Theses and Graduate Research at SJSU ScholarWorks. It has been accepted for inclusion in Master's Theses by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. THE HOLOCAUST IN FRENCH FILM: NUITETBROUILLARD (1955) and SHOAH (1986) A Thesis Presented to The Faculty of the Department of History San Jose State University In Partial Fulfillment of the Requirements for the Degree Master of Arts by Erin Brandon August 2008 UMI Number: 1459690 Copyright 2008 by Brandon, Erin All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 1459690 Copyright 2008 by ProQuest LLC. -
Stefan Zweig Farewell to Europe
Austria’s Official Entry for the Best Foreign Language Film - 89th Academy Awards® A DOR FILM, X FILME CREATIVE POOL, IDÉALE AUDIENCE, MAHA PRODUCTION STEFAN ZWEIG FAREWELL TO EUROPE A film by: Maria Schrader Starring: Josef Hader, Barbara Sukowa, Aenne Schwarz, Matthias Brandt, Charly Huebner, Stephen SInger Screenplay: Maria Schrader and Jan Schomburg press contact in US: SashaBerman at Shotwell Media 310-450-5571 [email protected] Table of Contents Short synopsis & press note …………………………………………………………………… 3 Cast ……............................................................................................................................ 4 Crew ……………………………………………………………………………………………… 6 Long Synopsis …………………………………………………………………………………… 7 Persons Index…………………………………………………………………………………….. 14 Interview with Maria Schrader ……………………………………………………………….... 17 Backround ………………………………………………………………………………………. 19 In front of the camera Josef Hader (Stefan Zweig)……………………………………...……………………………… 21 Barbara Sukowa (Friderike Zweig) ……………………………………………………………. 22 Aenne Schwarz (Lotte Zweig) …………………………….…………………………………… 23 Behind the camera Maria Schrader………………………………………….…………………………………………… 24 Jan Schomburg…………………………….………...……………………………………………….. 25 Danny Krausz ……………………………………………………………………………………… 26 Stefan Arndt …………..…………………………………………………………………….……… 27 Contacts……………..……………………………..………………………………………………… 28 ! ! ! ! ! ! ! Technical details Austria/Germany/France, 2016 Running time 106 Minutes Aspect ratio 2,39:1 Audio format 5.1 ! 2! “Each one of us, even the smallest and the most insignificant, -
Of Gods and Men
A Sony Pictures Classics Release Armada Films and Why Not Productions present OF GODS AND MEN A film by Xavier Beauvois Starring Lambert Wilson and Michael Lonsdale France's official selection for the 83rd Academy Award for Best Foreign Language Film 2010 Official Selections: Toronto International Film Festival | Telluride Film Festival | New York Film Festival Nominee: 2010 European Film Award for Best Film Nominee: 2010 Carlo di Palma European Cinematographer, European Film Award Winner: Grand Prix; Ecumenical Jury Prize - 2010Cannes Film Festival Winner: Best Foreign Language Film, 2010 National Board of Review Winner: FIPRESCI Award for Best Foreign Language Film of the Year, 2011 Palm Springs International Film Festival www.ofgodsandmenmovie.com Release Date (NY/LA): 02/25/2011 | TRT: 120 min MPAA: Rated PG-13 | Language: French East Coast Publicist West Coast Publicist Distributor Sophie Gluck & Associates Block-Korenbrot Sony Pictures Classics Sophie Gluck Ziggy Kozlowski Carmelo Pirrone 124 West 79th St. Melody Korenbrot Lindsay Macik New York, NY 10024 110 S. Fairfax Ave., Ste 310 550 Madison Avenue Phone (212) 595-2432 Los Angeles, CA 90036 New York, NY 10022 [email protected] Phone (323) 634-7001 Phone (212) 833-8833 Fax (323) 634-7030 Fax (212) 833-8844 SYNOPSIS Eight French Christian monks live in harmony with their Muslim brothers in a monastery perched in the mountains of North Africa in the 1990s. When a crew of foreign workers is massacred by an Islamic fundamentalist group, fear sweeps though the region. The army offers them protection, but the monks refuse. Should they leave? Despite the growing menace in their midst, they slowly realize that they have no choice but to stay… come what may. -
Titel Kino 1 2000, Endversion
EXPORT-UNION OF GERMAN CINEMA 1/2000 GERMAN MASTERS Schlöndorff, Thome and Wenders in Competition at the Berlin International Film Festival Special Report SELLING GERMAN FILMS Spotlight on GERMAN TV-MARKETS Kino Scene from:“THE MILLION DOLLAR HOTEL” Thanks to our national and international customers subtitling film video dvd 10 years of Film und Video Untertitelung dubbing post-production 10 years of high-quality subtitles editing telecine 10% reduction on our regular prices standard conversion video transfer inspection of material during 10 celebratory months graphic design from 10 July 1999 to 10 May 2000 dvd mastering you will see the difference www.untertitelung.de [email protected] tel.: +49-2205/9211-0 fax: +49-2205/9211-99 www. german- cinema. de/ INFORMATION ON GERMAN FILMS. now with links to international festivals! Export-Union des Deutschen Films GmbH Tuerkenstrasse 93 · D-80799 München · phone +49-89-39 00 95 · fax +49-89-39 52 23 · email: [email protected] KINO 1/2000 6 Selling German Films 25 In Competition at Berlin Special Report 25 The Million Dollar Hotel 10 Opening Reality OPENING FILM Wim Wenders For Illusions 26 Paradiso – Sieben Tage mit Portrait of Director Sherry Hormann sieben Frauen PARADISO 11 ”I Sold My Soul To Rudolf Thome The Cinema“ 27 Die Stille nach dem Schuss Portrait of Director Tom Tykwer RITA’S LEGENDS Volker Schlöndorff 12 Purveyors Of Excellence Cologne Conference 13 German TV Fare Going Like Hot Cakes German Screenings 15 A Winning Combination Hager Moss Film 16 KINO news 28 German -
Jewish Experience on Film an American Overview
Jewish Experience on Film An American Overview by JOEL ROSENBERG ± OR ONE FAMILIAR WITH THE long history of Jewish sacred texts, it is fair to characterize film as the quintessential profane text. Being tied as it is to the life of industrial science and production, it is the first truly posttraditional art medium — a creature of gears and bolts, of lenses and transparencies, of drives and brakes and projected light, a creature whose life substance is spreadshot onto a vast ocean of screen to display another kind of life entirely: the images of human beings; stories; purported history; myth; philosophy; social conflict; politics; love; war; belief. Movies seem to take place in a domain between matter and spirit, but are, in a sense, dependent on both. Like the Golem — the artificial anthropoid of Jewish folklore, a creature always yearning to rise or reach out beyond its own materiality — film is a machine truly made in the human image: a late-born child of human culture that manifests an inherently stubborn and rebellious nature. It is a being that has suffered, as it were, all the neuroses of its mostly 20th-century rise and flourishing and has shared in all the century's treach- eries. It is in this context above all that we must consider the problematic subject of Jewish experience on film. In academic research, the field of film studies has now blossomed into a richly elaborate body of criticism and theory, although its reigning schools of thought — at present, heavily influenced by Marxism, Lacanian psycho- analysis, and various flavors of deconstruction — have often preferred the fashionable habit of reasoning by decree in place of genuine observation and analysis.