SPECIAL EDITION OF

KVIFF’s MAIN MEDIA PARTNER 2

1/7 2017 FREE

INSIDE Official Selection: Arrhythmia, Men Don’t Cry English Section, page 2 East of The West: This Year’s Competition (Part I) English Section, page 3 Japanese Master: Tribute to English Section, page 4 Photo: Jan Handrejch Photo: Jan Handrejch Casey Affleck says working in new cities and new places keeps him from getting too stale and too boring. A GHOST STORY: STRANGE AND BEAUTIFUL CASEY AFFLECK LIKES THE SHARED SENSIBILITY OF WORKING WITH FRIENDS by Veronika Bednářová travel so much and you meet new people what he wants and has a vision going into And when the screenplay is less fully work with the same people over and over always. That makes it sometimes an added it but he’s also very flexible and open to in- formed in a way, what is it about for you, again and the work keeps getting stronger Four close colleagues are behind the challenge to make a new movie because put from anybody from costumes or David really? and better. Time goes by faster and faster – strange and touching non-, you have to develop some sort of rapport or James or me or the other actors. I’ve What the movie was about for me was I’m getting old so fast. It’s really nice to A Ghost Story, which opens in cinemas with people and the shorthand, you gotta never seen him be strict at all. Sometimes not evident when I first read it. When spend time with people you already like this week, up a successful pre- try to learn what the other person means I wish he were stricter - you give a bunch of David described it to me it just sounded and know. You have some shared interests. miere at Sundance this year: actor Casey and when they want something. ideas to a director and you hope they’re go- like a strange and beautiful experiment that If you find people you work well with you Affleck, writer/director David Lowery and ing to say ‘No that’s bad’ because in your was mostly visual. Like, ‘Oh, you’ll be might as well keep working with them. producers James M. Johnston and Toby And there’s a stronger bond with you heart you know that what you’re saying is wearing a sheet and we’re shooting in one Halbrooks. They will screen the film, guys than just a professional relation- a bad idea. location.’ It was all kind of like what it was Is it different being on the road to pro- which co-stars Rooney Mara, at KVIFF, ship? going to look like and there was some kind mote a film you are personally invested which also follows up a team project with So I get the chance to work with friends Do you have a say in the script devel- of conversation about the relationship be- in rather than, say, a blockbuster? the same players, Ain’t Them Bodies but also I think there’s a shared sensibility opment part? tween me and Rooney. You’re trying to fig- I don’t ever think of a movie as being Saints, which screened here in 2013. The somehow with this group. I like the movies Not really. Let’s say that this movie was ure out if you stay in the house or not. mine. If it belongs to anyone it belongs to team’s next project, Old Man and the Gun that they do and the things that they’ve the most unformed piece of material. the director. Once you’re a part of the with Robert Redford and Elisabeth Moss, done. And I’ve liked everything that I’ve Otherwise, they’re very traditional screen- So do you prefer not to work with peo- movie in any way then you go out and you has just finished filming. gotten to be a part of – not that that was the plays that David gave to me that he’d writ- ple you haven’t formed relationships help to advertise it. There are some most important part, I would say, but it’s ten and he has his own unique voice that is with yet? movies – because of the kind of audience So you’ve formed a stable collabora- a bonus when you have a great experience. on the page and the scenes seem to work I love meeting new people. One of the they’re going for or the kind of money tion, working together regularly. How And then you also feel like the thing that the best when you stick with his voice. things that people who work in movies will that’s being spent to promote them – there does that work for everyone? has been made is something you’re proud But A Ghost Story was something that tell you is that it’s one of the best parts of isn’t a lot of promotion (for the actor) that I like that vocabulary. It’s a stable col- of. I’m always proud when I’m a part of was more experimental in that sense. the job that you go on to new cities and goes into it. So you go to a few film festi- laboration. We’ve done three movies to- something that they’re working on. There was less dialogue and more de- new places and new crews and you learn vals and you go on a talk show and that’s gether and with Toby and James as well, so scription of what this thing is going to be. from other people, the DP, everyone on the all that’s asked of you. And then there are it’s a fairly stable collaboration with all of What’s David Lowery like as a direc- So that was the only time I’ve had any in- crew. It kind of keeps you from getting too other times when the movie is in theaters us. It’s nice to work with friends. You don’t tor? Is he strict? put, really, on what the characters are re- stale or from getting too boring. On the for six months and you still have to go out always get that opportunity because you No, he’s not. He communicates clearly ally saying. other hand I think there are people who there and promote it endlessly. z SEE YOU THERE EXPLAINER

FILM CRITIC, WHEN IN DOUBT, TIME TO PASS GUY LODGE VARIETY Fest fanfare, sheer spectacle, free film- ple at one – and pass holders can reserve maker KVIFF Talks and late, late bars are tickets for many screenings via SMS start- One of the reasons I so enjoy Karlovy 78/52 screens today at 9:30pm [Čas almost enough to justify a summer trip to ing at 7am. Vary is that the breadth and range of the Cinema], July 4 at 11pm [Grand Hall] and bustling Karlovy Vary in themselves. Yet The fest pass also means you can claim programming allows me not just to make July 7 at 10pm [Karlovy Vary Municipal some determined cinema geeks still insist any seats still free five minutes before fresh discoveries, but to catch up with in- Theatre] z on seeing actual movies.For this last group a screening starts – which works well triguing titles that I’ve missed elsewhere of stubborn holdouts, navigating the fest when other folk aren’t quick enough to es- on the festival circuit. The film I regret ticketing system is going to be key. cape their round at F Bar (if a ticket hold- not seeing at Sundance this year was One might assume it’s a straightforward er is not in their seat by that time, the fest Alexandre O. Philippe’s 78/52, which process of walking up to a sales booth, al- is entitled to give it away). I'm told is an ingenious and playful so known as the pokladna, and asking for You can also book tickets online if you documentary examination of one of a ticket 15 minutes before your film starts. register and get a PIN, of course, but only cinema’s most literally and figuratively But that way lies madness and melan- you have a buddy who is already at the fest ten percent of the screenings have tickets breathtaking moments – the shower choly, dear readers (though also a great ex- the day before you arrive. available this way. If you do go this route, scene in Psycho. I’m a geek for both cuse for ordering another round at the F But a cooler way to go is the KVIFF you can buy two tickets per film, though. classic Hollywood lore and postmodern Bar terrace). KVIFF veterans know that pass, easily scored for 250 CZK for a day, Finally, a proven old school method is cinema analysis, and Philippe’s previous, most tickets go on sale the day before 600 CZK for three or 850 CZK for five to check on the bulletin board in the inventive films in this domain – notably a screening – no earlier – and tend to dis- days, which not only forms a groovy sou- breezeway of the Hotel Thermal, near the his witty, informative zombie-movie trib- appear by 9am. venir of your summer of onscreen love but festival cars drop-off point. People post ute Doc of the Dead – have me excited That applies whether you’re just buying also entitles you to lots of useful add-ons. notes when they have extra tickets they to see what fresh angle he has on the a single ticket for 80 CZK, which is sim- You get admission to three films per won’t be using and some surprisingly master of suspense. (MS) ple enough to do if your timing is right or day – that’s separate films, not three peo- great offers do appear there. z (WT) strana 2 / page 2 FESTIVAL DAILY Saturday, July 1, 2017

OFFICIAL SELECTION OFFICIAL SELECTION MEN DON’T CRY – COMING TO GRIPS ARRHYTHMIA – IRREGULAR WITH VETERANS’ PAIN ON THE SCREEN HEARTBEATS IN RUSSIA’S BODY POLITIC Photo: KVIFF Photo: KVIFF In Men Don’t Cry veterans of the war in former Yugoslavia find themselves on a journey toward forgiveness. Katya and Oleg in the back and forth of exasperation and connection, in Arrhythmia.

by Michael Stein make a documentary about this a pious Bosnian Muslim with by Cerise Howard (Yaroslavl) serves in microcosm “At the same time, in his pro- therapeutic process, but as he a seemingly endless well of pa- as an allegory for a crisis in the fessional life we wanted Oleg to In Bosnian director Alen worked on the film idea he real- tience and forgiveness played by Arrhythmia director and co- health system that tenuously em- be very ‘adult’, confident and pre- Drljević’s debut feature Men ized that he had a strong story that Emir Hadžihafizbegović. Each writer Boris Khlebnikov is no ploys them. cise, as if he’s spent more years in Don’t Cry, a group of traumatized deserved fuller treatment. Not veteran in the group though adds stranger to Karlovy Vary, on the Both medicos deal with matters the profession than he really has,” veterans from the various oppos- that he abandoned the film's doc- a strong personality and their own contrary. KVIFF helped launch of life and death – Oleg Khlebnikov says. “We wanted to ing sides of the war in former umentary roots. “I have some wounds from the war, their own his career when his co-directed (Khlebnikov regular Alexander make him full of contradictions.” Yugoslavia are brought together to non-actors, veterans, that play animosity and distrust, and what feature debut Roads to Koktebel Yatsenko) is on the frontline of Correspondingly, for all the re- a mountain resort to face their roles in the group. Also some of becomes clear as they work out was a joint winner of the Philip emergency response as a para- sponsibility he assumes to ensure demons and each other. Even get- the main actors have experiences their pain is that their anger isn't Morris Award at KVIFF 2003. medic, while Katya (Irina people don’t die on his watch, of- ting Serbs, Croats, Bosnians in in the war, they were soldiers,” he just directed towards the other Now an established, original Gorbacheva) is a doctor attending ten in defiance of inflexible a room together is challenge says. sides in the conflict, but often force in contemporary Russian to patients in a hospital casualty clockwatching instructions from enough, but getting them to per- There is an unscripted, impro- even more so towards their own cinema, Khlebnikov’s latest fea- ward, often rushed there by her above, Oleg spends the bulk of form therapeutic exercises pre- visatory and unpredictable feel sides, their own families and to- ture might, on the face of it, bear vexatious husband. his downtime exasperating Katya, tending to be animals and opening that comes through in the shoot- wards themselves. a timeworn premise – that those Oleg’s every day on the job is whose patience with his up about what they did in the war ing which gives both the therapy Drljević is looking forward to who are charged with tending to an endurance test of tragicomic overindulgence in alcohol and proves to be a contentious task for and certain dramatic scenes an the film’s release in the countries the wellbeing of others are often proportions. Highly irascible, he cloying entreaties not to divorce the group leader skillfully played added intensity. According to of former Yugoslavia. “A lot of their own worst patients. But nonetheless has the best interests him wear thin – and betray a mer- by Sebastian Cavazza. Drljević, this was highly inten- people are still dealing with these Arrythmia is just as interested in of his patients at heart, even if he curial brittleness of her own. Director Alen Drljević says the tional. “We tried to put the docu- war issues,” he says. “We never probing a shift towards clinical will resort to unorthodox means One might surmise then that film was originally inspired by mentary style in the filmmaking,” really dealt with the past. I think indifference in the middle man- to ensure they receive the treat- the real premise in this arresting the work of one of the organiza- he says. “I let the actors impro- we need to talk about it to under- agement of the Russian health bu- ment they urgently need, or to new film is that, for all the com- tions that work with veterans in vise. We had a basic idea but we stand the motivation of others.” reaucracy as it is in presenting fobbing off an elderly nuisance petence and dedication possessed the former Yugoslavia: “It’s the let the actors take it and we fol- For Drljević it isn’t only a ques- a compelling character study of caller with a little snake oil and by professionals operating within very strong opinion of psychia- lowed them.” tion of silence but an unwilling- a married couple of late twenty- a humorous choice of placebo. the Russian health system, ad- trists who treat veterans with The film centers on the rela- ness to talk about the war at the somethings whose chemistry is Khlebnikov – together with ministrative incompetence and PTSD that meeting former ene- tionship between a deeply am- right time and in the right way, appreciable, no less than their the script co-writer, Natalia regimented detachment from “the mies is the best way of dealing bivalent Serb, played brilliantly particularly by politicians, who grinding frustration with one an- Meschaninova – had the idea of human factor” are pervasive with the trauma.” by Boris Isaković, and his near use it to their own ends. “We don’t other’s foibles. creating a character who is ex- blights ever threatening to topple Drljević’s background is pri- mirror image Croat, played with face real problems, like poverty Thus, the rotting marriage of tremely weak and immature in his what matters most: quality of hu- marily in documentary filmmak- a brooding intensity by Leon and corruption,” he says. “We al- two health professionals in a mid- personal life, at the level of a 12- man life and connection. In other ing and his initial intention was to Lučev. A triangle is formed by ways go back to war issues.” z size city in current day Russia year-old. words, the human factor itself. z MYSTERY SPOTS THREE PICKS FOR TODAY THE OTHER MOZART’S GRAVE ALISSA SIMON, FILM CRITIC, VARIETY Swedish director-writer-produc- THE NILE HILTON INCIDENT by Pavla Horáková as a music tutor, traveled around er Saleh brings a welcome dose of Director: Tarik Saleh Europe and performed his and his Scandinavian noir to the land of Sweden/Germany/Denmark, As you know from the first in- father’s music. He died a bache- his ancestors with this compelling, 2016, 109min stallment of our new regular sec- lor on July 29 1844 in Karlovy gritty Cairo policier set against the July 1, 9am, Grand Hall tion focusing on the town’s eerie Vary, where he was treated for backdrop of the 2011 political un- spots, even a spa town dedicated stomach cancer. rest. The Lebanon-born Swedish to curing the sick hasn’t been im- The first person to bring us actor Fares Fares is excellent as thanks to his uncle, the police tiful singer, the case brings into mune to disease and death. a photo of F.X. Mozart’s tomb- Detective Noredin, just your ordi- chief. But when he is drawn into question his methods and beliefs Today’s mystery spot will please stone to the Festival Daily offices nary, ambitious cop on the take, the murder investigation of a beau- and even threatens his life. taphophiles, that is, people inter- on the second floor of the ested in cemeteries and the like. Thermal will win two tickets to Baby A reminder for us, the living, to Monday’s screening of Don’t miss this chance to see THE SHOP ON MAIN STREET seize the day while we can. And Driver (July 3 at 11:59pm at Čas the premiere of a new, digitally- incidentally, since we are running cinema). Our mystery tip: After restored version of this fantastic Directors: Ján Kadár, Elmar Klos this competition for tickets, why dark you can spot fireflies hover- Oscar-winning drama on the big Czechoslovakia, 1965, 125min not do it in the cinema? ing above the former cemetery. screen, where the intense black July 1, 2pm, Grand Hall This piece was inspired by the and white cinematography by There is no cure for death and St. Ondřej’s church today. book Zmizelé Karlovy Vary Vladimír Novotný will show to its even all the local thermal springs (Vanished Karlovy Vary) by Lukáš best advantage. The great Ida widow who doesn’t understand her inept Slovak peasant con- combined do not amount to an tered tombstones now reveal its Novotný and published by Kamińska is unforgettable as the that her button shop has been troller is her new assistant. Bring immortality potion. Thus a world former purpose. The most promi- Paseka. z elderly, hard-of-hearing, Jewish Aryanized. Rather, she thinks that tissues. famous spa town, too, regularly nent among them is the renovat- saw its visitors, doctors as well as ed headstone of Franz Xaver venerable citizens, take one for Mozart, the son of none other Set on the last day of World ASHES AND DIAMONDS the team. than the great Wolfgang Amadeus War II, in a small town teeming For a couple centuries, Karlovy himself. with Polish exiles and Soviet Director: Andrzej Wajda Vary’s deceased found their final The great composer’s sixth occupiers, this is one of director Poland, 1958, 105min resting place in St. Andrew’s child, Franz Xaver was born in Wajda’s most iconic films. It July 1, 7pm, Národní dům Cinema graveyard on the hillside not far Vienna in 1791 only five months brilliantly interweaves the fate from today’s Thermal hotel. The before his father’s death. He, too, of one man with the fate of cemetery was eventually aban- started composing at an early age, his nation. It is especially no- matic legend of Polish cinema Home Army veteran who is as- doned and turned into a public writing his first piano concerto at table for the performance of who died far too young. Here he signed to kill a Soviet commis- park in 1913. Only a few scat- the tender age of 14. He worked Yesterday’s winner, Adéla Turanová. Zbigniew Cybulski, a charis- is extremely effective as a tired sar. z

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WHEN BLOODLINES BREAK DAILY RANT MICHAEL STEIN, FESTIVAL DAILY WRITER EAST OF THE WEST COMPETITION SHOWCASES THE REGION’S NEW, EXTRAORDINARY FILMS by Michael Stein MY FIRST and Iva Roze CZECH FILM This year's East of the West Sometimes I make the spirited films don’t only crash the gates but ultimately futile effort to ex- with a range of remarkable films plain what I like about films and but show an evident need – from books from Central and Eastern countries as varied as Ukraine, Europe to my friends back home Estonia and Romania – to tell in the U.S. – that though it's not challenging stories of family ties, exactly that I think they're better whether broken, frayed or com- (though I often do) but that they ing closer together against the contain a spark, a spirit that can't odds. easily be described. It's not only Mariţa is the debut film of a matter of artistic differences. It's Romanian director Cristi Iftime. something else and reminds me of It follows the journey of 30- the very first film I saw upon walked in, shook my hand, pur- year-old Costi, who gets melan- coming to the Czech Republic in posefully not looking in his wife's cholic after an argument with his the early 90s. Reading the above direction. Clearly, they weren't on girlfriend, so he persuades his you might think that would be speaking terms. We sat in the liv- father to take a road trip with a Czech classic or one of the new ing room, the warring spouses him. They travel in their old car, Czech films of the 90s, but not at across from one another while

Mariţa, to meet up with the wife Photo: KVIFF all. their daughter made tea. I sat di- and children Costi has ignored The struggles between fathers and sons make up a big part of this year’s East of the West films. I was visiting my girlfriend rectly across from an equally pan- for years because he had better about 40 minutes outside of icked Martin Sheen, who at this things to do. Russian mafia thugs, but these are nounces he’s going to die soon made worse when Anton is or- Prague in the shadow of a mas- point was stripped down to his un- “The trip from Transylvania to just props set off against the real and will need somebody to look dered into the army and his sive paper mill that made the air derwear doing tai chi in his Moldavia...happens in external drama, the age-old conflict and after him. Written and directed by grandfather’s health falters. smell like rotten eggs. We had her Saigon hotel room with The space but also in the interior deep bond between two genera- Andres and Katrin Maimik, the In Mariam Khatchvani’s fea- parents' place to ourselves, or so Doors' blasting “The End.” This space of memories that attract tions, a drama brilliantly brought film is a touching, bittersweet ture debut family obligation and I thought, and as evening settled was the end, my only friend. Costi to a ‘home’ which is not the to life by actors Evgeny Tkachuk take on a detached generational tradition come up against the de- in she put a tape in the VHS play- When our translator was out of physical house, nor a group of and Alexey Serebryakov. gap. sires of the heart in a compelling er. It was Apocalypse Now. the room I stared at the screen, people (since they have all According to the film’s produc- Another directorial debut is story set in a mountainous region Except it was somehow the watching Sheen lose his mind, changed) but a lost state of mind,” er, Fedor Popov, the renowned Marina Stepanska’s Falling, in of Georgia and inspired by the di- wrong video format so it played nodding to him silently: says Iftime. Serebryakov agreed to play the which recovering addict Anton rector's own grandmother. Edon in a monochrome brown as if she “I know how you feel.” At other In Russian director Alexander former mafioso invalid father for and his strained relationship with Rizvanolli’s Unwanted also had gotten a sepia print of the times a translated conversation Hant’s feature debut How Viktor free for the opportunity to be part the grandfather who raised him is touches on old family wounds as film. This didn't seem to bother took place but it was hard to hear “the Garlic” Took Alexey “the of the low-budget film. the backdrop to the sudden it follows Alban, a rebellious her at all. Naturally, it was over the helicopters. Stud” to the Nursing Home it al- Yet another father-son drama change in his life when he meets teenager, who left Kosovo during dubbed. I found this a bit disturb- It’s this particular spirit of vi- so takes a road trip to begin to comes from Estonia in The Man Katia outside a Kiev nightclub. the war and now lives in ing but not nearly as disturbing as tality and absurdity I see in so forge a relationship between an Who Looks Like Me. A music The intense emotional bond that Amsterdam with his mother. The what came next. many of the films and books estranged father and son. The film critic named Hugo is going arises between the young couple film starts and ends with Alban in I heard the door open and her I love from this part of the world, contains all the potential cliché through a relationship crisis is matched by feelings of fear a fight, a fitting metaphor for mother walked into the room. My so natural and unforced, as if it traps: the pathetic rural disco, when, out of the blue, his father about what the future holds both a story of a kid who tries to fit in girlfriend translated introductions. just slipped in through the door scenes of drunken screaming and shows up on his doorstep and an- for them and for Ukraine, fears but doesn’t. z A few minutes later her father like my old girlfriend’s parents. z

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by Michael Stein Though he died of cancer at the age of only 58, Mizoguchi was an uncommonly prolific director, making almost 90 films starting in the silent era up to his final film in 1956. Sadly, well over half of his output has been lost, but what re- mains has secured his place among the greatest directors of all time. This year’s KVIFF will present ten of the Japanese director’s films spanning a period of over two decades of his illustrious career. It has become something of a critical pastime to debate the merits of the three most famous Japanese directors – Ozu, Kurosawa and Mizoguchi. French New Wave filmmakers, for the most part, came down firmly on

Mizoguchi’s side, revering him to Photo: KVIFF Photo: KVIFF the point that Jean-Luc Godard The role of women in Japanese society was central to Mizoguchi’s films. even went to Kyoto to put flowers on the maestro’s grave. The earliest made Mizoguchi “Mizoguchi was obsessed with Kikunosuke who is forced out of spired by the autobiography of the starkly modern by contrast, both But to many film lovers film screening at the festival is ‘women’s issues’ for much of his his home because of his love for late 19th-century feminist pioneer in the way it films Tokyo’s Mizoguchi is the least known of The Downfall of Osen, a 1934 life. His off-screen behavior was his younger brother’s wet nurse, Kageyama Hideko, fictionalizing Yoshiwara brothel district as well the big three. British writer, cura- film that was shot silent with mu- not especially feminist, but his Otoku. her as a woman who rebels as how it deals with the issue of tor and film critic Tony Rayns, sic and narration added on. It tells films sometimes were, notably in She is the only one who be- against her family, goes into poli- prostitution, intertwining the sto- who selected the Mizoguchi films the story of two former employees the late 1940s, when the US occu- lieves in his acting talent and his tics, but realizes that even in the ries of the women who work at in the KVIFF retrospective, does- of a corrupt art dealer whose var- pation forces mandated ‘democra- expulsion and trials in provincial fight for freedom women are on a brothel, examining their reasons n't think this has anything to do ied fortunes later in life confront tic’ subjects,” says Rayns. and traveling theaters give him the their own. and consequences that can come with the great director’s critical a theme that will remain a signa- “Obviously yes, there is a social experience that bring his talent to Mizoguchi films included in the with the job. standing, but if it is true at all ture one in Mizoguchi’s work. critique in play. There is also fruition while destroying Otoku's tribute also venture into Japan's Festival-goers will also be treat- might be more an issue of avail- Osen, a maid, prostitutes herself a psychological interest in victim- health, who has selflessly sacri- distant past with equally stinging ed to frequent Mizoguchi-collab- ability. to support Sokichi, a messenger, hood, masochism and resistance, ficed everything for the man she and relevant social critiques. orator Kaneto Shindo's 1975 doc- “Ozu’s films are widely avail- so he can continue his education. all issues readily observed in loves and believes in. There is his visually stunning and umentary Kenji Mizoguchi: The able on DVD and Blu-ray largely Much later, when Sokichi has be- women characters abused or con- Rayns notes how the U.S. occu- masterful tale of 11th-century Life of a Film Director, a piece because he worked throughout his come a successful doctor and long trolled by men.” pation army under General slavery, Sansho, the Bailiff shot over two years consisting of career for one company, Shochiku. forgotten her, they meet on a sta- A woman’s sacrifice is also cen- MacArthur imposed social stric- (1954), as well as perhaps his interviews with actors, crew mem- Distributors and home-video pub- tion platform. A woman sacrific- tral to The Story of the Last tures on the industry which actu- most famous film, the 1953 clas- bers and producers who worked lishers can negotiate with one com- ing herself for a man is a staple Chrysanthemum (1939), a film ally allowed Mizoguchi to make sic Tales of the Moon and the with the director over his long ca- pany for the rights to all but two of throughout Mizoguchi’s films, Rayns considers to be one of films about the limitations im- Rain (often titled ) based reer. The selections are rounded his films. Mizoguchi, by contrast, something which Rayns sees as Mizoguchi’s best and the peak of posed on women in Japanese so- on a ghost story and set in the 16th out by Osaka Elegy (1936), Miss changed companies frequently – having both social as well as in- his aesthetic experimentation. The ciety, the best example of which century. Oyu (1951), The Life of Oharu a factor which has slightly reduced tellectual dimensions, besides its film follows the fortunes of he considers My Love Has Been The master’s final completed (1952) and New Tales of the Taira his visibility,” says Rayns. evident aesthetic force. a Meiji era kabuki actor named Burning. The 1949 film is in- film, (1956) is Clan (1955). z FACES EVENTS WHERE TO MEET THE FILMMAKERS CHECK OUT THE FOLLOWING KVIFF TALKS OPEN TO THE PUBLIC Oscar-nominated soundtrack British creative team Ken composer James Newton Loach and Paul Laverty will Howard will be conducting talk with journalist Neil Young a Master Class today at on July 4 at 2:30pm in the Céline Sallette Lambert Wilson Karma Takapa 4:00pm in the Hotel Thermal’s Vodafone Lounge. Loach and Congress Hall, in which he will screenwriter Laverty have present work using excerpts worked together on 12 features from film with live piano, re- and two shorts as pioneers of vealing mysteries of his art and British social realist cinema and profession. American film crit- this year receive a Crystal Globe ic and historian Leonard for Outstanding Artistic Maltin will host along Contribution to World Cinema. with Czech composer Jan Canadian independent film- P. Muchow. maker Denis Côté is hosted by In a new initiative with dramaturg and journalist Aleš Monika Willi Marina Stepanska Mariam Khatchvani Variety, Barrandov Studio and Stuchlý July 5 at 4pm in Czech Anglo Productions, Cinema C discussing his two Among the new arrivals on the second Daliborek. The East of the West compe- Artisans in Focus will spotlight decades of work including more day of KVIFF is the director of the main tition section welcomes Mariam creatives behind images and than 12 features and 16 shorts. competition film Corporate, Nicolas Khatchvani (Dede) and Marina Silhol, as well as the film’s cast, actress Stepanska (Falling). Films in the sounds with a panel on cine- His Vic and Flo Saw a Bear Céline Sallette and actor Lambert Horizon section with guests arriving in- matography, editing, production won the Silver Bear and the Wilson. Main competition film Khibula clude actor Simon Al-Bazoon (The and costume design on July 2 Alfred Bauer Prize at the is represented by director George Other Side of Hope) and director and at 2:30pm in the Hotel Thermal Berlinale in 2013. This year’s Ovashvili while Little Crusader has its editor Monika Willi (Untitled). The Vodafone Lounge. Award-win- KVIFF is showing his first film, director Václav Kadrnka arriving and Special Events section sees the arrival of ning Austrian editor Monika Photo: Petr Hloušek Drifting States, which earned Ralang Road its director Karma actors Martin Hub, Vojtěch Johaník Willi, Polish cinematographer Today’s KVIFF Talk will feature James Newton Howard. the Golden Leopard at Locarno. Takapa. and Leoš Noha from the Czech film Wojciech Staroń, American American actor and musician Future Frames section welcomes this Growroom. costume designer Annell moderated by Scott Feinberg Images: Cinematographer Jeremy Renner will speak fol- year’s mentor Denis Côté who will in- Variety Critics’ Choice section is Brodeur and Czech production of The Hollywood Reporter dis- Jaroslav Kučera’s Media lowing his screening of Wind troduce his film Drifting States and The bringing director Simon Lavoie to designer Ondřej Nekvasil will cussing their joint project, Practices, discussed July 3 at River at 3pm July 7 in the Most Important Thing: Love, which he screen Those Who Make Revolutions reveal insights, moderated by A Ghost Story, which opens in 3:30pm in Cinema A by author Thermal Grand Hall, hosted by selected as his carte blanche. Halfway Only Dig Their Own Graves Variety’s managing editor for cinemas this week. The group Kateřina Svatoňová and Aleš KVIFF Artistic Director Karel Director Jun Geng will present Free and director Greg Zglinski with his film features, Peter Caranicas. first joined forces while work- Najbrt. Excerpts from work Och. Renner’s roles in Oscar- and Easy and director Miransha Naik Animals. Also on Sunday at 4:30pm ing on Ain’t Them Bodies with Věra Chytilová, Vojtěch winning The Hurt Locker and in will show his film Juze, both in the offi- Director György Kristóf is coming in the Congress Hall, actor Saints, which they presented Jasný and Karel Kachyňa, Arrival set him apart as a screen cial selection – out of competition. with his film Out in the section Czech Casey Affleck, director David here in 2013. along with the experimental presence, along with perform- Director and producer Vít Klusák has Films 2016–2017 and the Imagina sec- Lowery, producers Toby Czech director Jaroslav film 1984: The Year of Orwell ances in The Avengers, Mission: come to KVIFF to screen his documen- tion welcomes director Ben Pointeker, Halbrooks and James M. Kučera’s work is chronicled in will also screen. This talk is in Impossible series and American tary The White World According to who will screen his work Impassenger. z Johnston are on deck in a talk a new monograph, In Between Czech with English translation. Hustle. z (WT)

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