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Centrespread Centrespread 15 OCTOBER 23-29, 2016 OCTOBER 23-29, 2016
14 centrespread centrespread 15 OCTOBER 23-29, 2016 OCTOBER 23-29, 2016 As the maximum city’s cinephiles flock to the 18th edition of the Mumbai Film Festival (October 20-27), organised by the Mumbai Academy of Moving Image, ET Magazine looks at some of its most famous counterparts across the world and also in India Other Festivals in IndiaInddia :: G Seetharaman International Film Festivalstival of Kerala Begun in 1996, the festivalstival is believed to be betterter curated than its counterparts in thee Cannes Film Festival (Cannes, France) Venice Film Festival (Italy) country. It is organisedanised by the state governmenternment STARTED IN: 1946 STARTED IN: 1932 TOP AWARD: Palme d’Or (Golden Palm) TOP AWARD: Golden Lion and held annually in Thiruvananthapuram NOTABLE WINNERS OF TOP AWARD: Blow-Up, Taxi Driver, Apocalypse Now, Pulp Fiction, Fahrenheit 9/11 NOTABLE WINNERS OF TOP AWARD: Rashomon, Belle de jour, Au revoir les enfants, Vera Drake, Brokeback Mountain ABOUT: Undoubtedly the most prestigious of all film festivals, Cannes' top awards are second only to the Oscars in their Internationalnal FilmF Festival of India cachet. Filmmakers like Woody Allen, Wes Anderson and Pedro Almodovar have premiered their films at Cannes, which is ABOUT: Given Italy’s great filmmaking tradition — think Vittorio de Sica, as much about the business of films as their aesthetics; the distribution rights for the best of world cinema are acquired by Federico Fellini and Michelangelo Antonioni — it is no surprise that the Run jointly by the information and giants like the Weinstein Company and Sony Pictures Classics, giving them a real shot at country hosts one of the finest film festivals in the world. -
Rashomon Revisited
RESOURCES ESSAYS Rash¯omon Revisited By Alan Chalk be Rash¬mon. The following foreignness of the film, they see discussion grows out of my it, with some guidance, as an work with high school world entertaining detective story with literature and world history themselves as the detectives. classes, grades nine through In the literature class the film twelve, and also with adult con- can be compared and contrasted tinuing education classes. with two short stories by Ryuno- The main plot-interest in suke Akutagawa, Rash¬mon, Rash¬mon is the twelfth-century 1915, and In a Grove, 1922, the mystery story of how a samurai sources for Kurosawa’s film died and his wife’s relationship script. In the history class, the with the bandit who apparently film can be approached histori- killed the samurai and possibly cally as a metaphorical work raped the woman. But in Kuro- reflecting the impact of the dev- sawa’s film nothing is definite. astating defeat of Japan in the The viewer is faced with a mur- Asia Pacific War on Japanese der mystery complicated by society and culture. In either multiple, overlapping narratives; case, possible themes are the © RKO Radio Pictures, Inc. MCMLII Distributed by Public Media Incorporated, Janus Films One of the most teachable of Kurosawa’s films continues to be Rash¯omon. The following hen the Japanese film director Akira Kuro- discussion grows out of my work W sawa died on Sep- tember 6, 1998, the Venice Film with high school world literature Festival honored him with a and world history classes . -
The Golden Door
THE GOLDEN DOOR Nuovomondo (The Golden Door) Directed by Emanuele Crialese Produced by Bernard Bouix Tommaso Calevi Alexandre Mallet-Guy Written by Emanuele Crialese Starring Charlotte Gainsbourg Vincenzo Amato Francesco Casisa Filippo Pucillo Vincent Schiavelli Music by Antonio Castrigano Editing by Maryline Monthieux Distributed by Miramax Release date(s) May 25, 2007 (US limited) September 22, 2006 (Italy) Running time 120 min. Country Italy Language Italian, English Budget ~ €10,000,000 Nuovomondo literally, new world (The Golden Door) is a 2006 drama based around a family's migration from Italy to New York during the beginning of the 20th Century. The film is set in both Italy and The United States. The film is written and directed by Emanuele Crialese. Vincent Schiavelli, whose character was originally planned to play a major part, died during the filming, forcing his role to become a supporting character. The movie premiered at the Venice Film Festival on September 8, 2006 to critical praise and seven nominations (with six wins) at the Festival. Many praised the director's focus on sound and visual composition. Others focused on the lack of typical iconography of the time (such as the Statue of Liberty). Martin Scorsese will be featured in the marketing for the film. He will also introduce the film at the Tribeca Film Festival. Plot summary During the turn of the 20th Century, the poor Mancuso family (headed by the widowed Salvatore, Vincenzo Amato), from Sicily, Italy, emigrates to the United States. They dream of the land of opportunity, where giant vegetables are grown, people swim in milk, and coins fall from the sky. -
Festival Schedule
T H E n OR T HWEST FILM CE n TER / p ORTL a n D a R T M US E U M p RESE n TS 3 3 R D p ortl a n D I n ter n a tio n a L film festi v a L S p O n SORED BY: THE OREGO n I a n / R E G a L C I n EM a S F E BR U a R Y 1 1 – 2 7 , 2 0 1 0 WELCOME Welcome to the Northwest Film Center’s 33rd annual showcase of new world cinema. Like our Northwest Film & Video Festival, which celebrates the unique visions of artists in our community, PIFF seeks to engage, educate, entertain and challenge. We invite you to explore and celebrate not only the art of film, but also the world around you. It is said that film is a universal language—able to transcend geographic, political and cultural boundaries in a singular fashion. In the spirit of Robert Louis Stevenson’s famous observation, “There are no foreign lands. It is the traveler who is foreign,” this year’s films allow us to discover what unites rather than what divides. The Festival also unites our community, bringing together culturally diverse audiences, a remarkable cross-section of cinematic voices, public and private funders of the arts, corporate sponsors and global film industry members. This fabulous ecology makes the event possible, and we wish our credits at the back of the program could better convey our deep appreci- ation of all who help make the Festival happen. -
Tabla 1:Festivales Y Premios Cinematográficos
Tabla 1:Festivales y premios American Choreography Arts and Entertainment Critics cinematográficos Awards, USA Awards, Chile http://www.imdb.com/Sections/ American Cinema Editors, USA Artur Brauner Award Awards/Events American Cinema Foundation, Ashland Independent Film USA Festival American Cinematheque Gala Asia-Pacific Film Festival 2300 Plan 9 Tribute Asian American Arts 30th Parallel Film Festival American Comedy Awards, Foundation 7 d'Or Night USA Asian American International American Film Institute, USA Film Festival - A – American Independent Film Asianet Film Awards Festival Aspen Filmfest A.K.A. Shriekfest American Indian Film Festival Aspen Shortsfest ABC Cinematography Award American Movie Awards Association for Library Service ACTRA Awards American Screenwriters to Children AFI Awards, USA Association, USA Athens Film Festival, Georgia, AFI Fest American Society of USA AGON International Meeting of Cinematographers, USA Athens International Film Archaeological Film Amiens International Film Festival ALMA Awards Festival Athens International Film and AMPIA Awards Amnesty International Film Video Festival, Ohio, USA ARIA Music Awards Festival Athens Panorama of European ARPA International Film Amsterdam Fantastic Film Cinema Festival Festival Atlanta Film Festival ASCAP Film and Television Amsterdam International Atlantic City Film Festival Music Awards Documentary Film Festival Atlantic Film Festival ASIFA/East Animation Festival Anchorage International Film Atv Awards, Spain ATAS Foundation College Festival Aubagne International -
Friday 24 February to Sunday 12 March
Friday 24 February to Sunday 12 March borderlinesfilmfestival.org @borderlines #borderlines2017 2 / 3 Programmers’ Picks Central Box Office 01432 340555 / #borderlines2017 / www.borderlinesfilmfestival.org FILM PROGRAMMERS DAVID SIN & JONNY COURTNEY PUT A DOZEN FILMS IN THE SPOTLIGHT FENCES p21 GRADUATION p23 THE HANDMAIDEN p24 THE HEADLESS WOMAN p26 Towering performances from Denzel Washington The moral dilemmas faced by a small town Sarah Waters’ novel Fingersmith sumptuously A road accident triggers an inscrutable chain and Viola Davis in Washington’s adaptation doctor surgically reveal in miniature the layers transposed to 1930s Korea and an intriguing of events in Lucrecia Martel’s exceptional and of August Wilson’s Pulitzer prize-winning play. of corruption that persist in Romanian society. game of seduction and betrayal. subversive psychological thriller. I AM NOT YOUR NEGRO p28 JACKIE p30 JULIETA p31 LADY MACBETH p33 From James Baldwin’s final novel, director This remarkable study of Jackie Kennedy after Almodóvar at his best in this colourful and British period drama from a dark 19th century Raoul Peck creates a stunning meditation the JFK assassination by Chilean director Pablo intense exploration of the interior lives Russian novella about a passionate young on what it means to be Black in America. Larrain stars Oscar contender Natalie Portman. of women, from three Alice Munro stories. woman trapped in a loveless marriage. MANCHESTER BY THE SEA p36 MOONLIGHT p38 THE SALESMAN p45 TONI ERDMANN p50 Deceptively low-key, Casey Affleck is janitor The coming-to-age of a young gay black man Drama takes the centre, onstage and off, in Sidesplittingly funny and achingly sad, this tale Lee, thrust back into his home town, to face up in present day Miami is a “nuclear-fission- the latest from Iranian director, Asghar Farhadi won Maren Ade Best Director at the European to new responsibilities and a traumatic past. -
To Stick Distinct Tranquillity
0123456789 THE EMPIRE INTERVIEW IN CONVERSATION WITH explosion and you’re the director, you get special effects in and they make it explode and you just choose the camera positions. It’s much harder to do a good scene in a council flat than it is to blow up a car — from the director’s point of view. Ken EMPIRE: Because in a flat you don’t have anything to rely on but faces and emotion? LOACH: And quite a constricting location. From the directing point of view, the endless chases and Loach technical stuff are quite tedious, because they all take a hugely long time. showed the ’60s could be sour as well as Swinging — EMPIRE: So that wasn’t the part that was the most to the Palme d’Or-winning The Wind That Shakes The engaging for you… Barley (2006), which deals with the sensitive politics LOACH: It was the easiest part, in some ways. of Ireland’s partition within a gripping combat The difficult part was deciding whether this was context and a touching family tragedy. Even in his the right film to make about war, and about this Words: Nev Pierce Portrait: Mitch Jenkins lesser features it’s rare to find moments that don’t particular war. feel true. Famously, he films everything in sequence, EMPIRE: Why difficult? handing screenplay pages to actors only a day or so in LOACH: Well, because we’re still quite close to advance, so they discover their character’s journey as the actual event of it. And to do something about HE PENSIONER WITH THE the production progresses. -
Screenwriters' Lecture
Screenwriters on Screenwriting The BAFTA and BFI Screenwriters’ Lecture Series in association with The JJ Charitable Trust Paul Laverty 29 September 2011 at BFI Southbank Paul Laverty: First of all, thanks very much for mean, it’s the only word you can smell and by turning up. As Jeremy [Brock, curator of the Christ did it stink. Vengeance. It’s a word you Screenwriter Lecture series] said, it’s such a can feel too, it’s a sort of nasty rumbling in your beautiful evening. I couldn’t give a lecture to gut. I’m not a wordy prick, but the chaplain, he save myself, so my friend Jamie Michie – a gave me a wee quote that stuck in my head. I wonderful actor I had the great privilege to didnae understand it then. ‘Before you start meet on Route Irish – is going to help us out. This your journey of revenge dig two graves – is a little piece. It’ll take about ten minutes so Confucius.’ there’s not even enough time to fall asleep. It was written in a blur, very quickly, and I felt “Well I’ll let youse into a wee secret, armies some compulsion to get it out on 11 September never use a smelly word, like ‘aftershave’. 2011. Words give away your position. So they baptised it Operation Phantom Fury, and that’s I’m always fascinated by what public memory not a joke by the way. It’s what they called it. is, and what anniversaries are, and who’s It’s so long ago my f**kin’ memory’s going, you remembered and who’s not. -
BFI Film Quiz – August 2015
BFI Film Quiz – August 2015 General Knowledge 1 The biographical drama Straight Outta Compton, released this Friday, is an account of the rise and fall of which Los Angeles hip hop act? 2 Only two films have ever won both the Palme D’Or at the Cannes Film Festival and the Academy Award for Best Picture. Name them. 3 Which director links the films Terms of Endearment, Broadcast News & As Good as it Gets, as well as TV show The Simpsons? 4 Which Woody Allen film won the 1978 BAFTA Award for Best Film, beating fellow nominees Rocky, Net- work and A Bridge Too Far? 5 The legendary Robert Altman was awarded a BFI Fellowship in 1991; but which British director of films including Reach for the Sky, Educating Rita and The Spy Who Loved Me was also honoured that year? Italian Film 1 Name the Italian director of films including 1948’s The Bicycle Thieves and 1961’s Two Women. 2 Anna Magnani became the first Italian woman to win the Best Actress Academy Award for her perfor- mance as Serafina in which 1955 Tennessee Williams adaptation? 3 Name the genre of Italian horror, popular during the 1960s and ‘70s, which includes films such as Suspiria, Black Sunday and Castle of Blood. 4 Name Pier Paolo Pasolini’s 1961 debut feature film, which was based on his previous work as a novelist. 5 Who directed and starred in the 1997 Italian film Life is Beautiful, which won the Academy Award for Best Foreign Language Film and the Grand Prix at the Cannes Film Festival, amongst other honours. -
Sweet Sixteen
Edinburgh Research Explorer Sweet Sixteen Citation for published version: Murray, J 2015, Sweet Sixteen. in B Nowlan & Z Finch (eds), Directory of World Cinema: Scotland. 1st edn, Intellect Ltd., Bristol/Chicago, pp. 253-256. Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Directory of World Cinema: Scotland Publisher Rights Statement: © Murray, J. (2015). Sweet Sixteen. In B. Nowlan, & Z. Finch (Eds.), Directory of World Cinema: Scotland. (1st ed., pp. 253-256). Bristol/Chicago: Intellect Ltd . General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 25. Sep. 2021 Title: Sweet Sixteen Countries of Origin: UK, Germany, Spain Year: 2002 Language: English Production Companies: Alta Films, British Broadcasting Corporation, Road Movies Filmproduktion, Scottish Screen, Sixteen Films, Tornasol Films Filming Locations: Greenock, Glasgow Director: Ken Loach Producers: Rebecca O’Brien, Michael André, Ulrich Felsberg, Gerardo Herrero Screenwriter: Paul Laverty Cinematographer: Barry Ackroyd Art Director: Fergus Clegg Editor: Jonathan Morris Runtime: 106 minutes Cast (Starring): Martin Compston, William Ruane, Annmarie Fulton Synopsis: Fifteen-year-old Liam may be a boy, but he is also a seasoned businessman. -
Hofstra University Film Library Holdings
Hofstra University Film Library Holdings TITLE PUBLICATION INFORMATION NUMBER DATE LANG 1-800-INDIA Mitra Films and Thirteen/WNET New York producer, Anna Cater director, Safina Uberoi. VD-1181 c2006. eng 1 giant leap Palm Pictures. VD-825 2001 und 1 on 1 V-5489 c2002. eng 3 films by Louis Malle Nouvelles Editions de Films written and directed by Louis Malle. VD-1340 2006 fre produced by Argosy Pictures Corporation, a Metro-Goldwyn-Mayer picture [presented by] 3 godfathers John Ford and Merian C. Cooper produced by John Ford and Merian C. Cooper screenplay VD-1348 [2006] eng by Laurence Stallings and Frank S. Nugent directed by John Ford. Lions Gate Films, Inc. producer, Robert Altman writer, Robert Altman director, Robert 3 women VD-1333 [2004] eng Altman. Filmocom Productions with participation of the Russian Federation Ministry of Culture and financial support of the Hubert Balls Fund of the International Filmfestival Rotterdam 4 VD-1704 2006 rus produced by Yelena Yatsura concept and story by Vladimir Sorokin, Ilya Khrzhanovsky screenplay by Vladimir Sorokin directed by Ilya Khrzhanovsky. a film by Kartemquin Educational Films CPB producer/director, Maria Finitzo co- 5 girls V-5767 2001 eng producer/editor, David E. Simpson. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. ita Flaiano, Brunello Rondi. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. -
'The Angels' Share' at the 2012 Cannes Film Festival
EUROPEAN JOURNAL OF MEDIA STUDIES www.necsus-ejms.org NECSUS Published by: Amsterdam University Press Festival Reviews edited by Marijke de Valck and Skadi Loist of the Film Festival Research Network ‘The Angels’ Share’ at the 2012 Cannes Film Festival David Archibald Subverting the usual touristic signifiers of Scottishness – tartanry, whisky, and so on – The Angels’ Share (Loach, 2012) follows four young people from Glasgow’s impoverished East End as they embark on what might be considered a victimless crime in the north of Scotland. Predominantly comic in tone, the film was shot in 2011 and received its world premiere at the 2012 Cannes Film Festival. I attended the festival as part of a research project tracking the film’s journey from initial concept and screenplay through the production process and into exhibition, distribution, and reception.1 This report opens by outlining Loach’s relationship with Cannes before com- menting on the film’s press screening, press conference, and premiere. It draws on material provided from an interview conducted at the festival with Loach’s long-term producer, Rebecca O’Brien, and explores how the filmmakers utilised the platform Cannes afforded to foster debate on the film’s thematic concerns and controversies that arose from it. Finally, this report explores how inclusion at the world’s leading film festival might assist the film’s reception and distribution. Cannes and Loach: Background As Marijke de Valck and Cindy Hing-Yuk Wong have documented,2 the Cannes Film Festival was initiated in 1939 as an alternative to the increasingly politicised Venice Film Festival, which had been inaugurated under Mussolini’s fascist regime in 1932.