Curriculum Vitae

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CURRICULUM VITAE Burlac Daniel Producer Phone number : 0033 633260983 0040746242635 E-mail : [email protected] Born in Brasov – Romania, in 1968 EDUCATION : Graduate diploma in film directing, FEMIS, Paris 1995 Promotion 2006 of E.A.V.E. (European Audiovisual Entrepreneurs ), A.C.E 2007 (Ateliers du cinéma européen), TrainEastFilm Training 2009, Producer in the Move – Cannes 2010 International experience in audiovisual production. 2008- present: Head of the ELEFANT FILMS Bucarest office. 1995-2001: Head of the MEDIAPRO Paris office (MEDIAPRO is one of the largest media and entertainment corporations in Eastern Europe). Has produced and directed for Pro TV many news bulletins, entertainment and sports shows, life style shows, talk-shows and documentaries from Paris, Cannes, Bruxelles, Strasbourg, Milano, etc. 2001- 2006 : consultant for TVR (Romanian National Television Network) and Realitatea TV (Romanian news chanel). Selection of films and productions: Feature Films Associate Producer / coproducer: 1. 2007 : 4 months, 3 weeks and 2 days, directed by Cristian Mungiu, Mobra Film, Palm d’Or, Cannes 2007. 2. 2008 :The Silent Wedding, directed by Horatiu Malaele, a Romania- France - Coproduction (Castel Films - Agath Films) 3. 2009 : Une Palme d’Or annoncée (documentaire) by Marius Doicov - production Canal + France 4. 2011 : Sette Opere di Misericordia , directed by Gianluca and Massimiliano De Serio, - Locarno 2011 competition Delegate Producer : 5. Wedding in Basarabia by Napoleon Helmis - Jury Price Tallin 2009 6. Outbound y Bogdan Apetrei ( scenario by Mungiu Cristian ) – Locarno 2010 Competition Production Manager: 2005 : Was There a Revolution in Our Town or Not, directed by Corneliu Porumboiu, 42km Film, Romania, Camera d’Or, Cannes 2005. 2008 : L’Enfance d’Icare, directed by Alexandru Iordachescu - whith : Guillaume Depardieu et Alyssson Paradise 2011 : HISTORIA DE LA MEVA MORT, directed by Alberto Serra. Promotion Manager: 2005 : The Death of Mister Lazarescu, directed by Cristi Puiu, First Prize at Un certain regard, 2005. 2000 : Occident, directed by Cristi Mungiu, Quinzaine des realisateurs, 2000. Production Assistant : 2005 : Jacquou le croquant, directed by Laurent Boutonnat, Pathé Renn Productions, France, (assistant to the producer Jean-Claude Florri). 2001: Amen, directed by Costa Gavras, Renn Productions, France, (assistant to the producer Michele Gavras). 2000 : Entre chiens et loups, directed by Alexandre Arcady, Canal +, France. Other activities : 2007 : Producer and President of the Romanian Film Festival, Paris - 3rd edition. Documentaries Director : 1. 1999 : The Story of King Michael of Romania, 52 min, Beta, PRO TV. Assistant Director : 1. 1993 : La Roumanie en analyse, directed by Henry Chapier, 24 min, Beta, FR .

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Factsheet MEDIA Success Stories
Factsheet MEDIA success stories Saul Fia (Son of Saul, 2015) directed by László Nemes (HU) Oscar for Best Foreign Language Film Grand Prix at Cannes Film Festival Support: € 697,585 for its distribution across Europe Son of Saul is a small-budget film – €1.5 million. MEDIA decided to back the project and contributed to distributed it in 24 countries across Europe – a record on its own. La Grande Bellezza (The Great Beauty, 2013) directed by Paolo Sorrentino (IT) Oscar and Golden Globe for Best Foreign Language Film Support: € 491,531 for its development and its distribution across Europe With La Grande Bellezza, Paolo Sorrentino gained international acclaim as a European director who could encapsulate the human dimension of his characters in a perfect shot. Youth (also funded by MEDIA) continued along the same path. In 2016, Sorrentino made a successful foray into television, with The Young Pope which he considers to be a 10 hour-long movie Ida (2013) directed by Pawel Pawlikowski (PL) Oscar for Best Foreign Language Film Lux Prize Support: € 646,282 for its development and its distribution across Europe MEDIA provided seed money for the development of Ida. It also helped foreign distributors to show the film abroad through distribution schemes: Memento Films in France received €29,000 to show Ida to French audiences. France had the highest proportion of admissions for the film across Europe, with 484,000 viewers, one third of its total admissions. Tabu (2012) directed by Miguel Gomes (PT) 18 prizes and 40 nominations Support: € 192,800 for its development and its distribution across Europe Tabu, by Portugese director Miguel Gomes, was developed with the support of MEDIA.
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CELEBRATING FORTY YEARS of FILMS WORTH TALKING ABOUT 39 Years, 2 Months, and Counting…
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Sight & Sound Films of 2007
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NUOVO CINEMA Rumenoper
NUOVO CINEMA RUMENO 2 febbraio - 4 marzo 2009 Da qualche anno il cinema rumeno ottiene prestigiosi riconoscimenti nei maggiori festival internazionali. Sicuramente è improprio parlare di una “Nouvelle vague” che da Bucarest fa sentire la sua voce e attira l’attenzione del mondo intero, anche perché prima non esisteva nessuna “Vieille vague”, ma c’erano solo degli autori isolati, il più importante dei quali è stato sicuramente Lucian Pintilie, regista maledetto messo all’indice dal regime di Ceausescu. Ma è vero che, in questo primo scorcio del nuovo millennio, dalla Romania ci sono giunti diversi film indipendenti di alto valore, che hanno contribuito alla riflessione sul periodo buio della dittatura e sulla fragile democrazia post-rivoluzionaria. I quattro film che presentiamo vogliono essere un assaggio e una testimonianza di questa innegabile realtà. 1 PROGRAMMA Circolo del cinema Bellinzona Cinema Forum 1+2 mar 3 febbraio, 20.30 COME HO VISSUTO LA FINE DEL MONDO Cum mi-am petrecut sfirsitul lumii di Catalin Mitulescu, Romania 2006 sab 7 febbraio, 18.00 4 MESI, 3 SETTIMANE E 2 GIORNI 4 luni, 3 saptamani si 2 zile di Cristian Mungiu, Romania 2007 mar 10 febbraio, 20.30 LA MORTE DEL SIGNOR LAZARESCU Moartea Domnului Lazarescu di Cristi Puiu, Romania 2005 sab 17 febbraio, 18.00 RYNA di Ruxandra Zenide, Svizzera/Romania 2005 2 Circolo del cinema Locarno Cinema Morettina lun 2 febbraio, 20.30 COME HO VISSUTO LA FINE DEL MONDO Cum mi-am petrecut sfirsitul lumii di Catalin Mitulescu, Romania 2006 ven 6 febbraio, 20.30 4 MESI, 3 SETTIMANE E
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The Philadelphia Inquirer
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Cronfa - Swansea University Open Access Repository _____________________________________________________________ This is an author produced version of a paper published in : The Routledge Companion to World Cinema Cronfa URL for this paper: http://cronfa.swan.ac.uk/Record/cronfa29914 _____________________________________________________________ Book chapter : Rydzewska, J. (2017). Developments in Eastern European Cinema since 1989. R. Stone, P. Cooke, S. Dennison, A. Marlow-Mann (Ed.), The Routledge Companion to World Cinema, Routledge. _____________________________________________________________ This article is brought to you by Swansea University. Any person downloading material is agreeing to abide by the terms of the repository licence. Authors are personally responsible for adhering to publisher restrictions or conditions. When uploading content they are required to comply with their publisher agreement and the SHERPA RoMEO database to judge whether or not it is copyright safe to add this version of the paper to this repository. http://www.swansea.ac.uk/iss/researchsupport/cronfa-support/ Developments in Eastern European Cinemas since 1989 Elżbieta Ostrowska, University of Alberta Joanna Rydzewska, Swansea University ABSTRACT This chapter examines the ways in which Eastern European cinema has become Europeanized. It looks at how the idea of Eastern Europe and its cinema has been shaped vis-à-vis the West, and redefined after the collapse of communism. Contrary to the received wisdom that a new paradigm emerged in 1989, this chapter argues that it is only since 2000 that Eastern European cinema has enjoyed recognition after the near collapse of its film industries in the 1990s. In the three case studies of the Hungarian filmmaker Béla Tarr, Eastern European female directors and the Romanian New Wave, the chapter analyses the emergence in Eastern Europe of a new complex model of film production aligned with its larger European counterpart.
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A Film by Cristian Mungiu
A Mobra Films Production a film by Cristian Mungiu Romania - 2007 - running time: 113 minutes International Press THE PR CONTACT CANNES OFFICE: All Suites Garden Studio All Suites Residence 12 rue Latour Maubourg 06400 Contact numbers, effective only on May 13 - 27: PHIL SYMES cell 06 34 47 37 62 RONALDO MOURAO cell 06 34 48 37 62 VIRGINIA GARCIA cell 06 34 69 37 62 [email protected] International Sales wild bunch CANNES SALES OFFICE: 6 La Croisette, 3rd floor 06400 Phone +33 4 92 59 32 01 VINCENT MARAVAL cell +33 6 11 91 23 93 [email protected] GAEL NOUAILLE cell +33 6 21 23 04 72 [email protected] CAROLE BARATON cell +33 6 20 36 77 72 [email protected] SILVIA SIMONUTTI cell +33 6 20 74 95 08 [email protected] To download high resolution images please see the PRESS section at www.wildbunch.biz Synopsis Otilia and Găbiţa share the same room in a student dormitory. They are colleagues at the University in this small town in Romania, during the last years of communism. Otilia rents a room in a cheap hotel. In the afternoon, they are going to meet a certain Mr. Bebe. Găbiţa is pregnant, abortion is illegal and neither of them have passed through something like this before. 4 months, 3 weeks & 2 days belongs to a larger project called: Tales from the Golden Age – a subjective history of communism in Romania told through its urban legends. The projectʼs aim is to talk about that period with no direct reference to communism but only through different stories focused on personal options in a time of misfortunes that people had to live like normal times.
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The Circulation of European Films Outside Europe Key Figures 2017 European Audiovisual Observatory (Council of Europe), Strasbourg, 2019
The circulation of European films outside Europe Key figures 2017 The circulation of European films outside Europe Key figures 2017 European Audiovisual Observatory (Council of Europe), Strasbourg, 2019 Director of publication Susanne Nikoltchev, Executive Director Editorial supervision Gilles Fontaine, Head of the Department for Market Information Authors Martin Kanzler, Film Analyst, Department for Market Information, [email protected] Patrizia Simone, Film Analyst, Department for Market Information, [email protected] European Audiovisual Observatory Proofreading Anthony A. Mills Press and Public Relations Alison Hindhaugh, [email protected] European Audiovisual Observatory Publisher European Audiovisual Observatory 76 Allée de la Robertsau, 67000 Strasbourg, France Tel.: +33 (0)3 90 21 60 00 Fax. : +33 (0)3 90 21 60 19 [email protected] http://www.obs.coe.int Cover layout – ALTRAN, Neuilly-sur-Seine, France Please quote this publication as Kanzler M., Simone P., The circulation of European films outside Europe - Key figures 2017, European Audiovisual Observatory, Strasbourg, 2019 © European Audiovisual Observatory (Council of Europe), Strasbourg, February 2019 Acknowledgements The Audiovisual Observatory would like to thank the EFARN network and all of our contacts in organisations across Europe who regularly provide us with the necessary data to keep our LUMIERE database up-to-date. This report was prepared with the support of the Creative Europe programme of the European Union. The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.
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Bearing Witness
Edinburgh Research Explorer Bearing witness Citation for published version: Girdwood, M 2016, 'Bearing witness: The sight of a sacrifice in Cristian Mungiu's beyond the hills', Journal of Religion and Film, vol. 20, no. 3, 25. <https://digitalcommons.unomaha.edu/cgi/viewcontent.cgi?article=1350&context=jrf> Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: Journal of Religion and Film 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: 27. Sep. 2021 Journal of Religion & Film Volume 20 Article 25 Issue 3 October 2016 10-2-2016 Bearing Witness: The iS ght of a Sacrifice in rC istian Mungiu's Beyond the Hills Megan Girdwood University of York, [email protected] Recommended Citation Girdwood, Megan (2016) "Bearing Witness: The iS ght of a Sacrifice in Cristian Mungiu's Beyond the Hills," Journal of Religion & Film: Vol. 20 : Iss. 3 , Article 25. Available at: https://digitalcommons.unomaha.edu/jrf/vol20/iss3/25 This Article is brought to you for free and open access by DigitalCommons@UNO.
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Introduction
INTRODUCTION INTRODUCTION Christina Stojanova The New Romanian cinema exploded onto the international film festival scene in the mid-2000s, catching audiences and critics completely by surprise. And if the ‘Un Certain Regard’ Best Film at the 2005 Cannes Film Festival for The Death of Mr Lăzărescu could be ignored as a happenstance, the numerous awards that followed in quick succession for The Paper Will Be Blue, Ryna and How I Spent the End of the World suggested a tendency. The Camera D’Or at the 2006 Cannes for 12:08 East of Bucharest and especially the dual success at Cannes 2007 – Un Certain Regard Award for Cristian Nemescu’s California Dreamin’ and especially the Palm D’Or for Cristian Mungiu’s 4 Months, 3 Weeks and 2 Days – sealed the rise to prominence of this hitherto obscure national cinema. It took however another couple of years for critics to finally agree that a ‘new wave has finally arrived at the Black Sea’ (Scott 2008), and to admit that ‘Romanian filmmaking is now perceived as the hotbed of a fresh, expressive, and pertinent cinematic renewal’ (Kaceanov 2008). A few years later, such sentiments would become a common media occurrence, corroborated by a blogger, who wrote that Romanian cinema ‘never ceases to surprise and impress with the rigour of its execution, its intelligence and moral dimensions’ (Père: 2012). Almost fifteen years later, with more than two hundred prestigious awards for forty or so notable films by world-renowned directors like Cristi Puiu, Cristian Mungiu, Corneliu Porumboiu, Cristian Nemescu, Radu Jude, Radu Muntean, Tudor Giurgiu, Călin Peter Netzer, Cătălin Mitulescu, Nae Caranfil and others, 1 STOJANOVA 9781474442649 PRINT.indd 1 23/11/2018 09:52 CHRISTINA STOJANOVA Romanian cinema remains securely in the limelight of the international film festival circuit.
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