You Can Slap Them in the Face

Total Page:16

File Type:pdf, Size:1020Kb

You Can Slap Them in the Face ENGLISH SECTION Festival Daily SPECIAL EDITION OF THE OFFICIAL ENGLISH DAILY OF THE 45TH KARLOVY VARY INTERNATIONAL FILM FESTIVAL Sunday, July 4, 2010 free • page 1 ENG Bilingual program day DIVÁCKÁ CENA / AUDIENCE AWARD Today’s Official Variety Critics’ Choice for tomorrow DENÍKU Selection films Vote for the best film of the 45th Karlovy Vary International Film Festival! (Czech Section: pages 8, 9, 10) page 2 3 page 4 (Czech Section: page 2) THE LOWDOWN You can slap them in the face Don’t mess with the orange- clad KVIFF security guards this year; they may look like Easyjet Thelma Schoonmaker divulges editing dos and don’ts staff, but The Lowdown saw a group of them toying with an Will Tizard Photo: Jan Handrejch American-style police baton one evening, so behave! And perhaps they need to be vigilant Three-time Oscar winner – everyone and their dog seem Thelma Schoonmaker, at to be at KVIFF this year. But KVIFF to present one dog at least has nothing to a meticulously restored version worry about from security; Pés of her late husband Michael Fešák Okatý (“Mr. Dog, Powell and Eric Pressburger’s Handsome Big-eyes” – a well 1948 masterwork The Red deserved sobriquet) wandered Shoes, says that four decades as up to The Lowdown proudly Martin Scorsese’s editor has sporting a KVIFF pass on his taught her much about the collar. Our sources tell us no importance of using the right less than six hounds of various film techniques at the right shapes and sizes are fully times. accredited. If this seems unusu- I al to you, bear in mind that this You’ve said that Scorsese is a country where people take demands quiet on his film sets their dogs to work, to art school, and will often speak to his and even to nightclubs. actors in a whisper off to the On its travels yesterday, The side when he needs something Lowdown picked up two from them. Why is that so invaluable pieces of advice for important? any wannabe filmmakers from When I talk to film students, Nuummioq directors Torben there are so many egos in the film Bech and Otto Rosing. The business I try and tell them that first, and the catchiest: “Never respect is a very critical part of use your own money.” And the how Marty directs. He has so second? Sometimes the most much respect for the actors – important job of a production that’s very important for film- Legendary American editor Thelma Schoonmaker in Karlovy Vary. assistant is guarding an antique makers to learn. There are so toy monkey. In fact, sometimes I many egos and jealousies… that’s In looking over Raging their faces begin to change and never went down – so when Sugar distorted, backwards, and the last that’s the only job of what we love about The Red Bull, for which you took the they realize this is getting to be Ray pulls back and can’t figure sound you hear in the film, when a production assistant. Shoes because it’s just as much 1980 Oscar for editing, there a life-and-death situation. out why he can’t get him to go the door shuts, there’s a drum And oh, the opening party! about filmmaking as about the are mostly conventional shots In Raging Bull, I think Marty down, Frank said, “Take the sound. Brilliant. All that we’ve come to expect – world of ballet. with the dialogue scenes and must have had a sense that the sound away” …and you hear He would audition five differ- I vast amounts of meat, packed Does that obsession with many longish, uncut takes. intense scenes of the fights would nothing but a little bit of animal ent punches. For the big punches, hallways, and a fitting choice of performance limit what you can Have things changed so much work well with other scenes breathing. we would listen to five different music. Who else but smooth do technically afterwards to fix that you could never make around them more simple. It Then he comes back in for the punches. God knows how he Czech rap/urban/soul group problems? a film that way now? would make them more powerful. kill and the camera ramps up to made them. Most people don’t Navigators could so perfectly I We hate to do looping after- No. Scorsese knows how to use It can be like music, speed and the sound comes roar- even realize it. They’re feeling it, complement the giant white wards because Scorsese says, “I the tools. Not every shot has to be I suppose – calm alternating ing back in – that was Frank’s but they don’t realize it. plastic palm trees with glowing I didn’t spend all that time getting a zoom-in, hand held. Is that right with powerful sections for the idea and we’ve used it a lot since. And that’s what great edit- coconuts? that performance to then go into for that scene? Is it right for that whole to work. And sound is so That idea that silence is more ing is in many cases? When you And out in the garden later a room where a man is standing in line? I show students the scene in important in those fight scenes important. Frank used all these don’t notice it at all? on, looking up at the neo- front of a screen with Goodfellas with Joe Pesci where in Raging Bull, isn’t it? beautiful animal sounds in Sometimes. Sometimes you Baroque façade of the Pupp, we a microphone and try to get the it starts out as a funny scene and Absolutely. Frank Warner, our Raging Bull – sometimes when want people to notice it. For were touchingly reminded of same thing.” But sometimes Ray Liotta says “You’re so sound editor, was a genius. One Jake comes in for the kill it’s an example, in the fights, that’s the how perfect the combination of I need the line – it’s not intelligi- funny,” and then Pesci gets angri- of the most important things he elephant bray. Who would ever kind of editing you want people music and filmmaking can be ble, maybe it was poorly recorded er and angrier – “What’s so funny taught us was to take sound away think of that? Or when he knocks to notice. Mainly you don’t want with Bryan Adams’s moving – and he will not, will not [record about me?” – and he shot it all in at critical moments. In the final Sugar Ray down in the second people to see it, but it’s not a rule 1991 classic (Everything I Do) it in the studio]. That’s why he medium shots because he wanted scene where Sugar Ray defeats fight, it’s a horse shuddering. And that can’t be broken. We some- I Do It For You, still bringing gets such great performances – to see the reaction of the men LaMotta but he can’t make him the very beautiful use of one times like to slap the audience in tears to our eyes 19 years on. I it’s the respect! around him, and Ray Liotta, as go down – because Jake LaMotta drum that he played himself – the face. I EXPLAINER SEE YOU THERE So Karlovy Vary is a spa town, right? Despite the relaxing sounding The history is actually pretty Quinn Saunders descriptor, Karlovy Vary’s reputa- rich, dating back to at least the Director of Cherry. tion as a spa town has been built 1300s, when the first of more than on geothermal oddities and proce- 60 hot springs (ranging from 34 to I’m really looking forward to seeing Snap. I met the dures that have very little to do 73°C) in the area was found to director Carmel Winters on the drive here. She told me with lounging in bubbling water have healing properties. They all about her film and it sounds amazing. It did really well at under the stars with a Chardonnay seem to offer their own advan- Tribeca also. I had some friends who saw it there. The in hand. That would be more typi- tages. thing about it that interests me is that it has an unortho- cal of Napa Valley, California – Some are considered beneficial dox structure and narrative. It tells the story of but their idea of spas is not quite to drink, as long as you use the a kidnapping backwards and uses mixed media. how they’re thought of here. with every manner of ailment obvi- special ceramic pitchers that are I also want to see Submarino. Mainly, I simply want to The official website of this ously don’t mind that things here a Karlovy Vary trademark, with the see what Thomas Vinterberg is doing. We don’t get all his resort (www.karlovyvary.cz), are pretty clinical – or are at least spout in the handle (designed to films in America. They’re hard to get sometimes. I’m describes the city’s twelve famous willing to put up with that help you get the water past the a big fan of The Celebration and I’m just really curious to thermal springs under the thrilling approach, which still dominates teeth so its minerals don't damage see what his next film is. title “History of Balneology in most of the city’s spa facilities. their enamel). Karlovy Vary,” adding, for good Some, it must be said, have Others are thought better for Snap screens today at 6:30pm in the Thermal’s Small measure, that doctors prescribe changed little from their portrayal bathing or for other uses, including Hall and tomorrow at 10am in the Drahomíra Cinema.
Recommended publications
  • Polish Cinema for Beginners
    Polish Cinema for Beginners "Polish Cinema for Beginners" is a unique project - the first of its kind - both in Wroclaw and all of Poland, whose first edition took place in 2012 and was very popular with audiences. It is aimed directly at foreigners in order to present them with the masterpieces of Polish cinema. This will be shown, with English subtitles, on the big screen in Kino Nowe Horyzonty (New Horizons Cinema). In order to present the historical and artistic context of the films, each screening is introduced by a lecture in English, led by renowned experts - film scholars , journalists and scientists. Thanks to this, the project has not only entertainment, but also educational value, thus serving as a valuable course in Polish culture. Each screening is followed by an open discussion in which different cultural viewpoints are shared. After the discussion, viewers are cordially invited to a Polish Party in Wroclaw’s Gradient Club (at Solny Square). Our goal Through regular meetings and screenings of Polish films, we want to support the integration process of foreigners living in Wroclaw. We also want to show the history of Polish cinema and, more broadly, Polish culture, by placing the films in a wider socio- historical context. English-speaking Polish viewers will have the opportunity to see their native Polish films from a slightly different perspective, which - as shown by the reactions of foreigners during post-screening discussions – is sometimes surprising. What is more, we want to co-create the identity of Wroclaw as a city that stands out on the Polish map by offering equal- opportunity access to the cultural heritage of our country, by being an open city, and – especially in the context of its being chosen as European Capital of Culture 2016 – by offering an interesting and unique range of cultural and educational activities.
    [Show full text]
  • Painful Past, Fragile Future the Delicate Balance in the Western Balkans Jergović, Goldsworthy, Vučković, Reka, Sadiku Kolozova, Szczerek and Others
    No 2(VII)/2013 Price 19 PLN (w tym 5% VAT) 10 EUR 12 USD 7 GBP ISSN: 2083-7372 quarterly April-June www.neweasterneurope.eu Painful Past, Fragile Future The delicate balance in the Western Balkans Jergović, Goldsworthy, Vučković, Reka, Sadiku Kolozova, Szczerek and others. Strange Bedfellows: A Question Ukraine’s oligarchs and the EU of Solidarity Paweï Kowal Zygmunt Bauman Books & Reviews: Tadeusz Mazowiecki, Mykola Riabchuk, Robert D. Kaplan and Jan Švankmajer Seversk: A New Direction A Siberian for Transnistria? Oasis Kamil Caïus Marcin Kalita Piotr Oleksy Azerbaijan ISSN 2083-7372 A Cause to Live For www.neweasterneurope.eu / 13 2(VII) Emin Milli Arzu Geybullayeva Nominated for the 2012 European Press Prize Dear Reader, In 1995, upon the declaration of the Dayton Peace Accords, which put an end to one of the bloodiest conflicts in the former Yugoslavia, the Bosnian War, US President, Bill Clinton, announced that leaders of the region had chosen “to give their children and their grandchildren the chance to lead a normal life”. Today, after nearly 20 years, the wars are over, in most areas peace has set in, and stability has been achieved. And yet, in our interview with Blerim Reka, he echoes Clinton’s words saying: “It is the duty of our generation to tell our grandchildren the successful story of the Balkans, different from the bloody Balkans one which we were told about.” This and many more observations made by the authors of this issue of New Eastern Europe piece together a complex picture of a region marred by a painful past and facing a hopeful, yet fragile future.
    [Show full text]
  • Obce Ciało Press Kit En
    FOREIGN BODY Directed by Krzysztof Zanussi CAST Angelo Riccardo Leonelli Kris Agnieszka Grochowska Kasia Agata Buzek Mira Weronika Rosati Father Sławomir Orzechowski Tamara Chulpan Khamatova Adam Bartek Żmuda Róża Ewa Krasnodębsk a Alessio Mattia Mor Angelo ’ mother Victoria Zinny Journalist Jacek Poniedziałek Hypnotist Janusz Chabior Mother Superior Stanisława Celińska Priest Maciej Robakiewicz Focolarino Tadeusz Bradecki Police officer Bartosz Obuchowicz CREW Director Krzysztof Zanussi Screenplay Krzysztof Zanussi Director of photography Piotr Niemyjski Costium e designer Katarzyna Lewińska Production designer Joanna Macha Producer Krzysztof Zanussi Executive producer Janusz Wąchała PRODUCTION DETAILS Genre drama Country Pol and / Italy / R ussia Production company TOR Film Production Co -produc tion companies Revolver Film In cooperation with TVCo National Program „Within The Family” WFDiF TVP With suport of TZMO S.A., Bella, Rostec Co -financed by Polish Film Institute Ministry of Culture and National Heritage TOR Film Production, e-mail: [email protected], phone: +48(22)8455303, www.tor.com.pl The Director about the film: “The film, which is intended to be a psychological drama, gives an account of a clash of corporate cynicism with youthful idealism. The perversity of the story comes from the fact that the one persecuted is a young man, an Italian, who is a genuine Christian. On the other side stands a row of liberated women who outperform the men in their cynicism and brutality of conduct. The result of the clash is inconclusive – idealism falters, although it has its Lord, while cynicism cracks, even though it’s far from being converted. The genealogy of the liberated woman catches a glimpse back to the past.
    [Show full text]
  • Agata Buzek | Biography
    AGATA BUZEK | BIOGRAPHY Agata Buzek was born in Gliwice, Poland and trained at the Theatre Academy in Warsaw. Since her film debut in LA BALLATA DEI LAVAVETRI (Peter del Monte, Italy, 1998), she has worked in many international co- productions including LIBRE CIRCULATION (Jean-Marc Moutout, 2002), VALERIE (Birgit Möller, 2007) as well as in films with renowned directors including: THE HIDDEN TREASURE (Skarby Ukryte, Krysztof Zanussi, 2000); THE REVENGE (Zemsta, Andrzej Wajda, 2002) for which Agata was nominated as Best Supporting Actress at the Polish Film Awards; NIGHTWATCHING (Peter Greenaway, 2007) and WITHIN THE WHILRWIND (Marleen Gorris, 2008). For her performance in Borys Lankosz’s REVERSE (Poland’s national submission for the 2010 Academy Award for Best Foreign Language Film), Agata received a Best Actress award at the 34th Polish Film Festival in Gdynia and she was named as Berlinale Shooting Star 2010 for Poland. In 2012 Agata was co-starring alongside Jason Statham in HUMMINGBIRD. IMDb Pro and IMDb www.spiel-kind.com | 28.09.2021 Agata Buzek | CV FEATURE | TELEVISION 2021 | Das Netz - Prometheus (AT) | TV series | Director: Andreas Prochaska, Daniel Prochaska | MR Film, Sommerhaus Serien, Red Bull Media House, Beta Film | ARD Degeto, Servus TV 2020 | Paradis Sale | feature film | Director: Bertrand Mandico | Ecce Films 2019 | Tak ma byc | feature film | Director: Lukasz Grzegorzek | Koskino Natalia Grzegorzek 2019 | The Pit | feature film | Director: Dace Puce | Marana Production, Inland Film Company 2019 | Dune Dreams | feature
    [Show full text]
  • The Innocents
    presents THE INNOCENTS A film by Anne Fontaine 115 min | France/Poland | 2016 | PG-13 | 1.85 In French and Polish with English subtitles Official Website: http://www.musicboxfilms.com/innocents Press Materials: http://www.musicboxfilms.com/innocents-press New York/National Press Contacts: Sophie Gluck & Associates Sophie Gluck: [email protected] | 212-595-2432 Aimee Morris: [email protected] | 212-595-2432 Los Angeles Press Contacts: Marina Bailey Film Publicity Marina Bailey: [email protected] | 323-962-7511 Sara Tehrani: [email protected] | 323-962-7511 Music Box Films Contacts Marketing & Publicity Yasmine Garcia | [email protected] | 312-508-5362 Theatrical Booking Brian Andreotti | [email protected] | 312-508-5361 Exhibition Materials Lindsey Jacobs | [email protected] | 312-508-5365 FESTIVALS AND AWARDS Official Selection – Sundance Film Festival Official Selection – COLCOA Film Festival Official Selection – San Francisco Int’l Film Festival Official Selection – Minneapolis St. Paul Int’l Film Festival Official Selection – Newport Beach Film Festival SYNOPSIS Warsaw, December 1945: the second World War is finally over and French Red Cross doctor Mathilde (Lou de Laage) is treating the last of the French survivors of the German camps. When a panicked Benedictine nun appears at the clinic begging Mathilde to follow her back to the convent, what she finds there is shocking: a holy sister about to give birth and several more in advanced stages of pregnancy. A non-believer, Mathilde enters the sisters’ fiercely private world, dictated by the rituals of their order and the strict Rev. Mother (Agata Kulesza, Ida). Fearing the shame of exposure, the hostility of the occupying Soviet troops and local Polish communists and while facing an unprecedented crisis of faith, the nuns increasingly turn to Mathilde as their beliefs and traditions clash with harsh realities.
    [Show full text]
  • Kinoteka2020 Guide-Compressed.Pdf
    Welcome to Kinoteka 18! 1 kinoteka.org.u k Welcome to Kinoteka 18! Welcome to Kinoteka 18! 1 CONTENTS WELCOME TO KINOTEKA 18! Welcome to KINOTEKA 18! ................................................................ 1 As we enter a new decade, Polish film documentaries with a trio of recent films, continues to go from strength to strength. spanning topics such as loneliness, Japanese While Agnieszka Holland, that tireless voice students’ struggles with learning the Polish SCREENINGS & EVENTS from the old guard of Polish film-making, language, and romantic intimacy among the Opening Night Gala ....................................................................... 4 continues to channel her vision with Mr. tragedy of the Warsaw Ghetto. New Polish Cinema ........................................................................ 6 Jones, a number of newer talents have broken We continue to bring you the best in through – most notably, screenwriter Mateusz exclusive cinematic experiences with a Documentaries ............................................................................ 12 Pacewicz and actor Bartosz Bielenia in Corpus series of interactive events and showcases Focus: Richard Boleslawski ............................................................... 16 Christi, Poland’s short-listed entry for this encompassing the breadth of cinema history. Family Event .............................................................................. 18 year’s Academy Awards. At the 18th Kinoteka The Cinema Museum focuses on the early Tadeusz Kantor
    [Show full text]
  • Martin Scorsese Presents: Masterpieces of Polish Cinema Throughout North America
    INTRODUCTION In December 2011, filmmaker Martin Scorsese traveled to Poland to accept an honorary doctor- al degree from The Polish National Film, Television, and Theatre School in Łódź. There, Mr. Scors- ese met with Jędrzej Sabliński (a digital restoration expert, now with DI Factory), and reviewed a list of new digital restorations of Polish films. In the months following this visit, with the help of The Film Foundation, the two men came up with the idea of a North American tour of a series of restored Polish cinema classics. From an extensive catalogue of digitally restored films, Mr. Scorsese chose twenty-one masterpieces. The Film Foundation executive director, Margaret Bodde then worked with Mr. Sabliński to develop the program and recommended Milestone Films as the North American distributor for the series. Milestone will be touring the 21-film retrospective Martin Scorsese Presents: Masterpieces of Polish Cinema throughout North America. Premiering in New York City at the Film Society of Lincoln Center on February 5th, 2014, the series features films from some of Poland’s most accom- plished and lauded filmmakers, spanning the period from 1957–1987. Curated by Mr. Scorsese, each film has been digitally re-mastered and brilliantly restored on newly subtitled DCPs. The program was created and organized by Mr. Scorsese’s non-profit organization, The Film Foundation. 3 BIST, SIMPORE, TEMPORE, A STATEMENT FROM MARTIN SCORSESE Um volum, audae laccae seque natur, comnis ducienimus excest rendercillam laccupi endicit In 2011, I had the opportunity to visit the Polish National Film School in Łódź, Poland, at the atusda vitisitatur rentem vent.
    [Show full text]
  • Borys Lankosz Jeśli Film Jest Snem
    PISMO STOWARZYSZENIA FILMOWCÓW POLSKICH nr 3 (91)/marzec 2019 ISSN 2353-6357 BORYS LANKOSZ JEŚLI FILM JEST SNEM POLSKA SZKOŁA OPERATORSKA WWW.SFP.ORG.PL SPIS TREŚCI W NUMERZE PISMO STOWARZYSZENIA FILMOWCÓW POLSKICH nr 3 (91)/marzec 2019 ISSN 2353-6357 BORYS LANKOSZ JEŚLI FILM JEST SNEM POLSKA SZKOŁA OPERATORSKA WWW.SFP.ORG.PL TEMAT NUMERU WYWIAD NUMERU Borys POLSKA SZKOŁA 6Lankosz 14 OPERATORSKA WSTĘPNIAK OSCARY 2019 48 RYNEK FILMOWY SHORT MIESIĄCA Od Prezesa SFP 2 Ajith Krishnamoorthy Nair 58 Story 73 FESTIWALE ZA GRANICĄ WYDARZENIA Berlin 50 Brexit a kino 60 PRZEZ SUBIEKTYW Złote Taśmy 3 Sundance 52 Lightcraft 62 Czego nie widać 74 FESTIWALE W POLSCE Genewa 54 Vladek Juszkiewicz 64 Wyobraź sobie 76 Zoom-Zbliżenia 4 Rotterdam 55 Sportowcy na ekranie 66 Krótkometrażowcy 78 POLSKIE PREMIERY POLONICA NA POCZĄTKU Szkiełko i oko 79 Kalendarz premier 22 Polscy filmowcy BYŁ DOKUMENT Moja (filmowa) na świecie 56 Siła kamery cz. II 68 Kobiety mafii 2 26 muzyka 80 Córka trenera 28 Filmowy PEN Club 81 Całe szczęście 30 STUDIO MUNKA 82 Kurier 32 10 PYTAŃ Wspomnienie lata 34 DO MARII DĘBSKIEJ 84 Polskich Placek/Gildia Reżyserów Okładka: fot. Rafał Monument 36 MIEJSCA Władcy przygód. Kina luksusowe Stąd do Oblivio 38 w Polsce 86 Ciemno, prawie noc 40 SWOICH NIE ZNACIE Miłość i Miłosierdzie 42 Agnieszka Matysiak 88 44 Pałka Fot. Robert Wilkołak KSIĄŻKI 90 NA PLANIE VARIA 94 Sala samobójców. Hejter 46 BOX OFFICE 99 Rys. Henryk Sawka MAGAZYN FILMOWY nr 91/marzec 2019 1 WSTĘPNIAK WYDARZENIA ZŁOTE TAŚMY W kategorii zagranicznej WYDAWCA Stowarzyszenie Filmowców Polskich triumfowała Roma Alfonso Cuaróna.
    [Show full text]
  • Gdynia 2015 VOL
    FESTIVAL Introduction – DAY 1 – A Grain of Truth – Body Gdynia 2015 VOL. 57 (SEPTEMBER 2015) BY ROHAN CRICKMAR The Gdynia Film Festival is the major national film festival for Polish Cinema and is supported by Poland’s Ministry of Culture and National Heritage, the Mayor of Gdynia, local politician Mieczysław Struk, the Polish Filmmaker’s Association and, most crucially, the Polish Film Institute. HBO and TVP are the major media organizations involved in promoting the festival, which is partly why there are programmed slots for television series premieres, such as this year’s David Simon vehicle Show Me a Hero. The 2015 edition of the festival is also the 40th anniversary edition, as well as marking the 10th anniversary of the formation of the Polish Film Institute. The latter national organization has been fully rewarded for its pursuit of fostering film education, film development, new filmmaking talent, and supporting established names, because in 2015 alone Polish films have won awards at Berlin, Locarno and Venice, as well as the nation’s first feature film Oscar. 2015 also marks the opening of the Gdynia Film Center, which is a new purpose built structure, beside the Teatr Muzyczny on Plac Grunwaldzki, that now serves as the new festival hub. This infrastructure development has enabled the 40th edition of the festival to ensure almost all of its major screenings and events occur within locations around the central waterside areas of the city’s downtown. This is my second Gdynia Film Festival, having been invited to attend last year’s event, by the then newly appointed artistic director Michał Oleszczyk.
    [Show full text]
  • BORYS LANKOSZ Reżyser, Scenarzysta, Producent. Urodzony
    BORYS LANKOSZ Reżyser, scenarzysta, producent. Urodzony w 1973 roku w Krakowie, absolwent Wydziału Reżyserii Państwowej Wyższej Szkoły Filmowej, Telewizyjnej i Teatralnej im. Leona Schillera w Łodzi. Zdobył rozgłos wstrząsającym filmem dokumentalnym „Rozwój” (2001 r.), o podopiecznych Domu Pomocy Społecznej Zakonu oo. Albertynów w Ojcowie, za który dostał nagrody na międzynarodowych festiwalach w Krakowie i San Francisco. Lankosz jest reżyserem znakomicie przyjętego „Rewersu” (polski kandydat do Oscara w 2009 roku; Złote Lwy i 8 Polskich Nagród Filmowych Orzeł, w tym za Najlepszy Film; nagrody na festiwalach w Seattle, Moskwie i Warszawie) – oryginalnej, przełamującej stereotypy czarnej komedii z czasów stalinowskich. Kolejny film, kryminał „Ziarno prawdy” (2015 r.) potwierdził, że reżyser świetnie sobie radzi z klasycznym, gatunkowym thrillerem. Z kolei powstały w 2016 r. „Autor Solaris”, dokument biograficzny o Stanisławie Lemie, otworzył dyskusje o odczytaniu dzieł wybitnego pisarza w kontekście jego holocaustowych doświadczeń. W styczniu 2019 roku światową premierę miał eksperymentalny film Lankosza „Kobro / Strzemiński. Opowieść fantastyczna” a w marcu tego samego roku na polskie ekrany weszła jego najnowsza fabuła, „Ciemno, prawie noc” na podstawie nagrodzonej Nike powieści Joanny Bator. Borys Lankosz jest członkiem Europejskiej Akademii Filmowej i od trzech kadencji zasiada w Zarządzie Gildii Reżyserów Polskich. Director, screenwriter, producer. Born in 1973 in Cracow, Lankosz graduated from National Film School in Łódź, Poland. Lankosz started his career as a documaker, prized several times for his work on documentary field. His diploma film “Evolution” won a San Francisco International Film Festival (Golden Gate Award) because of its remarkable mood, tone and beauty. “Radegast”, a harrowing documentary tale about Western European Jews, who in 1941 were sent to the Łódź ghetto, received the Silver Phoenix Award at the International Jewish Motifs Film Festival in Warsaw and the Finalist Award Winner of The New York Festivals.
    [Show full text]
  • Press Szablon.Cdr
    PRESSBOOK TRIBECA FILM CENTER November 15-17, 2012 375 Greenwich Str NY, NY 10013. THE NEW GENERATION OF POLISH FILMMAKERS MUNK STUDIO, ONE OF A KIND, DEDICATED TO DEBUT FILMS, IS NEW YORK BOUND. After a series of screenings in Moscow, London, Paris and Berlin, Munk Studio is bringing the new generation of Polish filmmakers to New York City. We cordially invite moviegoers to the TRIBECA FILM CENTER and the NEW GENERATION of POLISH FILMMAKERS, a feast of works by some of Poland’s most outstanding young filmmakers. Running from November 15 to 17, the event will offer audiences a rich and varied bill of shorts, together with two full-length features. Director Bartek Konopka, whose documentary short Rabbit à la Berlin received an Oscar nomination, makes his full-length debut with Fear of Falling and the program will open with the premiere of Women's Day, directed by Maria Sadowska. The event will be crowned by a special screening of Andrzej Munk’s last work, Passenger. There will an open Q&A session with the filmmakers after the screenings. New York Women in Film and Television and Polish Cultural Institute in New York are our Partner organizations for the event, which is co-funded by the Polish Film Institute, to find more and to register for the films please visit wwwpolishfilmmakers.com www.studiomunka.pl FULL-LENGHT FEATURE DEBUTS TO BE PRESENTED IN MUNK STUDIO’S NOVEMBER SHOWCASE OF AWARD WINNING FILMS WOMEN’S DAY 2012, 91' Halina, a modest cashyer in a chain store is dreaming of a better life for herself and her gifted 13 years old daughter-Misia.
    [Show full text]
  • Polish Culture Yearbook 2016
    2016 POLISH CULTURE YEARBOOK 2016 POLISH CULTURE YEARBOOK Warsaw 2016 INTRODUCTION Professor Piotr Gliński, PhD, Deputy Prime Minister, 2016 Minister of Culture and National Heritage 5 PUBLISHER’S NOTE, Mateusz Werner, PhD, Deputy Director for Culture Research and Strategy at the National Centre for Culture, Poland 6 1. FIELDS OF CULTURE AND NATIONAL HERITAGE 9 STATE ARCHIVES (ed. The Head Office of the State Archives) 10 LIBRARIES (ed. The National Library) 19 CULTURAL CENTRES* 31 CINEMATOGRAPHY (ed. The Polish Film Institute) 42 MUSEUMS (ed. The National Institute for Museums and Public Collections) 51 MUSIC (ed. The Institute of Music and Dance) 57 PUBLISHING MARKET (ed. The National Library) 66 PROMOTING POLISH CULTURE ABROAD – CULTURE.PL (ed. The Adam Mickiewicz Institute) 76 POLISH CULTURE YEARBOOK POLISH CULTURE BOOK MARKET (ed. The Book Institute) 83 ART EDUCATION (ed. The Centre for Art Education) 93 DANCE (ed. The Institute of Music and Dance) 101 THEATRE (ed. The Theatre Institute) 107 MONUMENTS (ed. The National Heritage Board of Poland) 116 2. CULTURE FUNDING AND CULTURAL ECONOMICS 133 CULTURE FUNDING BY THE MINISTRY OF CULTURE AND NATIONAL HERITAGE (ed. The Department of State Patronage of the Ministry of Culture and National Heritage) 134 LOCAL GOVERNMENT SPENDING ON CULTURE* 142 EMPLOYMENT AND PRODUCTION IN THE CULTURAL SECTOR* 155 3. PUBLIC MEDIA 165 POLISH TELEVISION (ed. Polish Television) 166 POLISH RADIO (ed. Polish Radio) 174 * Edited by the National Centre for Culture, Poland FIELDS OF CULTURE AND NATIONAL HERITAGE 2 4. CULTURAL PARTICIPATION 185 2016 READERSHIP (ed. The National Library) 186 CULTURAL ACTIVITIES* 198 COLLECTIVE MEMORY* 207 THE INTERNET USE FOR CULTURAL PURPOSES* 217 5.
    [Show full text]