DOCSLIB.ORG

I. Portugal Film Commission

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
I. Portugal Film Commission I. PORTUGAL FILM COMMISSION The Portuguese Film Commission (PFC) was created in June 2019 and it is a body within the dependence of the members of the Portuguese Government responsible for the areas of Culture and Tourism. Our mission is to support and promote cinema and audiovisual and the internationalization of Portugal as a filming destination, as well as ensuring the operationalization of procedures necessary for the cinematographic and audiovisual production in national territory. The objectives of the PFC are, among others: 1. To project and affirm Portugal as a premium destination for cinema and audio-visual production and filming; 2. Contribute to the national and international dissemination of the Fund for Tourism and Cinema; 3. Define best practices and methods to support national and international producers; 4. To define the method of connection to the territory, with special focus on the relationship with the municipalities and the articulation with the Regional Tourism Entities, namely in the local monitoring of the productions; 5. To ensure coordination between all the services to be provided within the scope of the National Film Commission, in particular with the creation and implementation of the one- stop-shop for procedures in the area of support and licensing; 6. To make available databases of the various technical and logistic service providers, ensuring interoperability, including using the integrated digital platform; 7. To ensure the correct identification and reporting of the practical needs and difficulties experienced by the productions in the national territory; 8. Identify necessary legislative or regulatory changes aiming at the simplification and standardization of licensing procedures and administrative authorization of filming throughout the national territory; 9. Collaborate in the preparation of the multiannual strategic plan of cinema and audiovisual, in the context of internationalization, in the international promotion of Portugal as a filming destination, provided for in article 3 of Decree-Law no. 25/2018, of April 24, particularly through the promotion of meetings with industry players. Contact us: [email protected] Praça Bernardino Machado, 2 1750-042 Lisboa | Portugal T: +351 213 230 802 [email protected] www.portugalfilmcommission.com 1/7 II. CASH REBATE INCENTIVE Portugal created one of the most competitive incentive systems in Europe: a cash rebate, funded by the Tourism Board. It applies to film and TV with the minimum qualified Portuguese production expenses (QPPE) of €500.000,00 (around $600.000,00) for fiction and animation and €250.000,00 (around $300.000,00) for documentaries and post-production. Main features: ❖ Films, TV and VOD productions - national and foreign (line/services) films, official and international physical co-productions ❖ Incentive: 25% or 30% of QPPE - rebate rate is determined by a “Cultural Test” that focuses on the project characteristics ❖ First come first served basis ❖ Maximum recap per project of €4M (circa $5M) The €4M cash rebate per production, and yearly fiscal estimates, are just budgetary place markers, not inscribed allocations. The incentive management authority has the funds and legal autonomy to expand them both as to accommodate any particular projects it approves. Projects submitted for appreciation will be notified of a final binding decision of approval within 30 days, upon which cash rebate installments will be made available. ❖ Upfront payments in installments ❖ Above-the-line expenses are considered QPPE until the limit of 35% of total QPPE ❖ Appreciation timing: 20 working days Eligible expenditure: General rule: all production expenditures, either provided by persons or companies, qualify as QPPE if they are subject to tax liability in Portugal. Production expenditures related to production activities carried out in Portugal but contacted in another EU member state qualify as QPPE until the limit of 20% of total QPPE. Expenditure related with development and postproduction qualifies as QPPE. For feature films, eligible expenditure should fall within the following budget lines: • Above-the-line: COPYRIGHT AND ROYALTIES; PRODUCER FEES; DIRECTOR FEES; MAIN ACTORS. • Bellow-the-line: TECHNICAL TEAM; ARTISTIC TEAM; SOCIAL CHARGES; TRAVEL, STAYS AND TRANSPORTATION; CENOGRAPHY; TECHNICAL MEANS; IMAGE AND SOUND SUPPORTS; Praça Bernardino Machado, 2 1750-042 Lisboa | Portugal T: +351 213 230 802 [email protected] www.portugalfilmcommission.com 2/7 IMAGE LABORATORY; FILM EDITING; MISCELLANEOUS PRODUCTION EXPENDITURE; INSURANCE AND MISCELLANEOUS; PRODUCER’S STRUCTURE COSTS. VAT (Value Added Tax) - the Portuguese company will deduct the amount from its own VAT liability. In the case of negative liability, a refund is claimed. The refund right is acquired within a maximum period of 9 months. Tax requirements for foreign cast and crew The expats tax regime only applies to foreign cast and crew that stay in Portugal for more than 180 days/year (so they can be considered as residents), benefiting from a Personal Income Tax flat rate of 20% (plus 3.5%) for 10 years. When cast and crew stay in Portugal is shorter, the U. S. – Portugal Convention for the Avoidance of Double Taxation (DTA – Double Taxation Agreement) is applied. Cast or crew can choose to be paid in Portugal or the U. S.: - Paid in Portugal and taxed in a foreign country – these expenses will not be considered eligible expenditures for cash rebate purposes. - Paid in Portugal and taxed in Portugal – 25% Personal Income Tax flat rate for non-residents. These expenses will be considered as an eligible expenditure for cash rebate purposes. Project (screenplay) analysis/expert boards, objectionable materials The incentive is automatic and expenditure-based but, as the cash rebate is granted pursuant European Union regulation, eligibility of projects and rates (25%-30%) are evaluated through a cultural and economic test analysis grid. Thus, the Portuguese Film Institute needs to read the screenplays, in order to evaluate content items. Note that all applications and documents (including screenplays and other copyright protected material) are processed internally by the Portuguese Film Institute officials only, who are bound by a strict public service rules on reserve, confidentiality on all documents. No other considerations apply concerning content. No censorship. The only exclusions are films whose content is advertising, propaganda or pornography. Films that intentionally promote racism, xenophobia, violence, or other values manifestly contrary to the fundamental rights and freedoms enshrined in the Portuguese Constitution and in International Law. Praça Bernardino Machado, 2 1750-042 Lisboa | Portugal T: +351 213 230 802 [email protected] www.portugalfilmcommission.com 3/7 III. REASONS FOR SHOOTING IN PORTUGAL 1. SUNNIER DAYS: long hours of sunlight and clear skies - almost 300 days of sunshine per year and low levels of precipitation, allowing for year-round production. Average temperature in 2019: 64°F. 2. VARIETY: every imaginable scenario can be found in Portugal: beaches, castles, monuments, impressive old and modern buildings, churches, cathedrals, monasteries, parks, gardens, historical villages, walled cities all types of landscapes (mountains, forests, plains, rocky slopes, valleys, caves, rivers, lagoons and even jungles) http://picportugal.com/en/locations.html 3. ACCESSIBLE LOCATIONS: diversity of scenarios in short distance. Less than 5 hours to travel from North to South by car; 6 international airports (Lisbon, Oporto, Faro, Azores and Madeira) and 5 international harbors. Direct flights between New York, Boston, Philadelphia, Washington D.C., Miami, San Francisco and Lisbon. 4. EXPERIENCED HARD-WORKING PROFESSIONALS: skilled talent available at competitive rates. Portuguese crews are used to working in international productions and have a great deal of experience in film and TV productions as well as in high end commercials. Cast and crew are fluent in English. Spanish and French are also widely spoken. 5. STUDIO FACILITIES & EQUIPMENT: Studios are available in the Lisbon and Oporto areas with professional stages with all the latest equipment and facilities. All types of equipment are available in the Lisbon area and in the whole county: camera, lighting, sound and grip. Post production is mainly located in Lisbon metro area. 6. AFFORDABLE COST OF LIVING & GREAT FOOD 7. COPRODUCTION TREATIES: with more than 50 countries worldwide, including all Portuguese speaking countries, which represent + 250 M Portuguese speakers (such as Brazil, Mozambique, and Angola) and Latin American countries. 8. STABLE AND SAFE COUNTRY – 3rd safest country in the world as per the Global Peace Index in 2019 and 29th in the Corruption Perceptions Index 2017. 9. CASH REBATE FOR FILM PRODUCTIONS 10. SCOUTING PROGRAMM Praça Bernardino Machado, 2 1750-042 Lisboa | Portugal T: +351 213 230 802 [email protected] www.portugalfilmcommission.com 4/7 IV. ADDITIONAL INFORMATION A. CUSTOMS AND VISA ISSUES Customs: equipment arriving by plane is cleared from the airport on the same day. Equipment arriving by ship takes less than 1 week to clear customs. Visas for foreign cast and crew: no visa required for U. S. citizens’ stays of up to 90 days, extendable for another 90 days, to a total of 180. For other nationalities, visas may be required for 90 days stays, which can also be extended for the same period. You can find more information
Load more

Recommended publications
  • International Casting Directors Network Index
    International Casting Directors Network Index 01 Welcome 02 About the ICDN 04 Index of Profiles 06 Profiles of Casting Directors 76 About European Film Promotion 78 Imprint 79 ICDN Membership Application form Gut instinct and hours of research “A great film can feel a lot like a fantastic dinner party. Actors mingle and clash in the best possible lighting, and conversation is fraught with wit and emotion. The director usually gets the bulk of the credit. But before he or she can play the consummate host, someone must carefully select the right guests, send out the invites, and keep track of the RSVPs”. ‘OSCARS: The Role Of Casting Director’ by Monica Corcoran Harel, The Deadline Team, December 6, 2012 Playing one of the key roles in creating that successful “dinner” is the Casting Director, but someone who is often over-looked in the recognition department. Everyone sees the actor at work, but very few people see the hours of research, the intrinsic skills, the gut instinct that the Casting Director puts into finding just the right person for just the right role. It’s a mix of routine and inspiration which brings the characters we come to love, and sometimes to hate, to the big screen. The Casting Director’s delicate work as liaison between director, actors, their agent/manager and the studio/network figures prominently in decisions which can make or break a project. It’s a job that can't garner an Oscar, but its mighty importance is always felt behind the scenes. In July 2013, the Academy of Motion Pictures of Arts and Sciences (AMPAS) created a new branch for Casting Directors, and we are thrilled that a number of members of the International Casting Directors Network are amongst the first Casting Directors invited into the Academy.
    [Show full text]
  • THE BLACK BOOK of FATHER DINIS Directed by Valeria Sarmiento Starring Lou De Laâge, Stanislas Merhar, Niels Schneider
    Music Box Films Presents THE BLACK BOOK OF FATHER DINIS Directed by Valeria Sarmiento Starring Lou de Laâge, Stanislas Merhar, Niels Schneider 103 MIN | FRANCE, PORTUGAL | 2017 | 1.78 :1 | NOT RATED | IN FRENCH WITH ENGLISH SUBTITLES Website: https://www.musicboxfilms.com/film/the-black-book/ Press Materials: https://www.musicboxfilms.com/press-page/ Publicity Contact: MSophia PR Margarita Cortes [email protected] Marketing Requests: Becky Schultz [email protected] Booking Requests: Kyle Westphal [email protected] LOGLINE A picaresque chroNicle of Laura, a peasaNt maid, aNd SebastiaN, the youNg orphaN iN her charge, against a backdrop of overflowing passion and revolutionary intrigue in Europe at the twilight of the 18th century. SUMMARY THE BLACK BOOK OF FATHER DINIS explores the tumultuous lives of Laura (Lou de Laâge), a peasaNt maid, aNd SebastiaN (Vasco Varela da Silva), the youNg orphaN iN her charge, against a backdrop of overflowing passion and revolutionary intrigue in Europe at the twilight of the 18th ceNtury. An uNlikely adveNture yarN that strides the coNtiNeNt, from Rome aNd VeNice to LoNdoN aNd Paris, with whispers of coNspiracies from the clergy, the military, aNd the geNtry, this sumptuous period piece ponders the intertwined nature of fate, desire, and duty. Conceived by director Valeria SarmieNto as aN appeNdix to the expaNsive literary maze of her late partNer Raul Ruiz's laNdmark MYSTERIES OF LISBON, this picaresque chronicle both eNriches the earlier work aNd staNds oN its owN as a graNd meditatioN of the stories we construct about ourselves. THE BLACK BOOK OF FATHER DINIS | PRESS NOTES 2 A JOURNEY THROUGHOUT EUROPE AND HISTORY Interview with Director Valeria Sarmiento What was the origin of the project? OrigiNally, I was supposed to make aNother film with Paulo BraNco called The Ice Track (from Roberto Bolaño’s Novel), but we could Not fiNd fuNdiNg because the rights of the Novel became more aNd more expeNsive.
    [Show full text]
  • Realist Cinema As World Cinema Non-Cinema, Intermedial Passages, Total Cinema Lúcia Nagib Realist Cinema As World Cinema
    FILM CULTURE IN TRANSITION Realist Cinema as World Cinema Non-cinema, Intermedial Passages, Total Cinema lúcia nagib Realist Cinema as World Cinema Realist Cinema as World Cinema Non-cinema, Intermedial Passages, Total Cinema Lúcia Nagib Amsterdam University Press Cover illustration: Photo by Mateo Contreras Gallego, for the film Birds of Passages (Pájaros de Verano, Cristina Gallego and Ciro Guerra, 2018), courtesy of the authors. Cover design: Kok Korpershoek Lay-out: Crius Group, Hulshout isbn 978 94 6298 751 7 e-isbn 978 90 4853 921 5 doi 10.5117/9789462987517 nur 670 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) L. Nagib / Amsterdam University Press B.V., Amsterdam 2020 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise). Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. Table of Contents List of Illustrations 7 Acknowledgements 11 Introduction 15 Part I Non-cinema 1 The Death of (a) Cinema 41 The State of Things 2 Jafar Panahi’s Forbidden Tetralogy 63 This Is Not a Film, Closed Curtain, Taxi Tehran, Three Faces 3 Film as Death 87 The Act of Killing 4 The Blind Spot of History 107 Colonialism in Tabu Part II
    [Show full text]
  • Feature Films
    Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 0.5mm DVD-8746 2012 DVD-4759 10 Things I Hate About You DVD-0812 21 Grams DVD-8358 1000 Eyes of Dr. Mabuse DVD-0048 21 Up South Africa DVD-3691 10th Victim DVD-5591 24 Hour Party People DVD-8359 12 DVD-1200 24 Season 1 (Discs 1-3) DVD-2780 Discs 12 and Holding DVD-5110 25th Hour DVD-2291 12 Angry Men DVD-0850 25th Hour c.2 DVD-2291 c.2 12 Monkeys DVD-8358 25th Hour c.3 DVD-2291 c.3 DVD-3375 27 Dresses DVD-8204 12 Years a Slave DVD-7691 28 Days Later DVD-4333 13 Going on 30 DVD-8704 28 Days Later c.2 DVD-4333 c.2 1776 DVD-0397 28 Days Later c.3 DVD-4333 c.3 1900 DVD-4443 28 Weeks Later c.2 DVD-4805 c.2 1984 (Hurt) DVD-6795 3 Days of the Condor DVD-8360 DVD-4640 3 Women DVD-4850 1984 (O'Brien) DVD-6971 3 Worlds of Gulliver DVD-4239 2 Autumns, 3 Summers DVD-7930 3:10 to Yuma DVD-4340 2 or 3 Things I Know About Her DVD-6091 30 Days of Night DVD-4812 20 Million Miles to Earth DVD-3608 300 DVD-9078 20,000 Leagues Under the Sea DVD-8356 DVD-6064 2001: A Space Odyssey DVD-8357 300: Rise of the Empire DVD-9092 DVD-0260 35 Shots of Rum DVD-4729 2010: The Year We Make Contact DVD-3418 36th Chamber of Shaolin DVD-9181 1/25/2018 39 Steps DVD-0337 About Last Night DVD-0928 39 Steps c.2 DVD-0337 c.2 Abraham (Bible Collection) DVD-0602 4 Films by Virgil Wildrich DVD-8361 Absence of Malice DVD-8243
    [Show full text]
  • Arabian Nights
    produced by O Som e a Fúria, Shellac Sud, Komplizen Film, Box Productions in co-production with Agat Films et Michel Merkt arabian nights a film by miguel g<mes arabian nights In Portugal — a European country in crisis — a film director proposes to build fictional stories from the miserable reality he is immersed in. However, failing to find meaning in his work, he cowardly runs away and leaves the beautiful Scheherazade to stand in his shoes. She will require enthusiasm and courage so as not to bore the King with sad stories of this country. As nights go past, restlessness leads to desolation and in turn to enchantment! Therefore Scheherazade organises the stories she tells the King in three volumes. She begins like this: “It hath reached me, O auspicious King, that in a sad country among all countries...”. v>lume 1 the restless one 2h05 – DCP – 2:40 scope – 16mm, 35 mm – color – sound 5.1 In which Scheherazade tells of the restlessness that befell the country: Portugal, France, Germany, Switzerland – 2015 “It hath reached me, O auspicious King, that in a sad country among all countries, where people dream of mermaids and whales, and cast Crista Alfaiate, Adriano Luz, Américo Silva, Rogério Samora, Carloto Cotta, Fernanda Loureiro unemployment is spreading. In certain places, forests burn into the night despite the falling rain; men and women long to set out to sea in the middle of Winter. Sometimes there are animals that talk although it is highly improbable that they are listened to. In this country, where things are not what they appear to be, men of power promenade on camels and hide permanent and shameful erections; they await the moment when taxes are collected so they can pay a certain wizard whom…” And seeing the morning break, Scheherazade fell silent.
    [Show full text]
  • Mysteries of Lisbon by Duncan Wu
    Times Higher Education – December 8th 2011 Film review: Mysteries of Lisbon By Duncan Wu This set of melodramatic interconnected tales is a visual delight - but take a cushion, says Duncan Wu No one could accuse Mysteries of Lisbon of lacking pace. I'm sorry to say I haven't read Camilo Castelo Branco's classic novel, but I suspect it's the sort of thing that comes in multiple volumes each of which could without difficulty prop open a large baronial door. At any rate, Raul Ruiz crams an epic quantity of narrative into four and a half hours of screen time, every minute of which will keep you on your toes. Mysteries of Lisbon is a labyrinth of complex, interlocking yarns set in the 18th and 19th centuries, involving orphans whose mothers turn out to be countesses; priests disguised as gypsies; reformed assassins; manipulative fathers gone mad; long-lost fathers turned monks; servants with absurdly mincing walks; and gun-toting seductresses. This is a world in which entering a convent or joining a monastery really could be a good idea. A costume melodrama, the film embroils us in lurid episodes of sadism, torture, deathbed repentance, ballroom bitchery and necrophilia. The plotting is more preposterous than Dickens at his most hare-brained, which in film is a huge asset. What is one to make, for instance, of a priest who keeps his mother's skull in an exquisitely carved wooden reliquary, an exhibit in his so-called "temple of sincerity"? Or a henchman called Knife-Eater who later turns up as a smartly kitted-out dandy with a blue parakeet? It's Jane Austen gone feral, as if Pride and Prejudice were rewritten by Hunter S.
    [Show full text]
  • Festival Internacional De Cine De Mar Del Plata 2014
    DEL 22 AL 30 / NOVIEMBRE 2014 NOVIEMBRE / 30 AL 22 DEL FESTIVAL INTERNACIONAL DE CINE DE MAR DEL PLATA MAR DEL PLATA INTERNATIONAL FILM FESTIVAL DEL 22 AL 30 / NOVIEMBRE 2014 MAR DEL PLATA, ARGEntINA Autoridades AUTORIDADES NACIONALES: PRESIDENTA VICEPRESIDENTE MINISTRA DE CULTURA Dra. Cristina Fernández Lic. Amado Boudou Sra. Teresa Parodi INSTITUTO NACIONAL DE CINE Y ARTES AUDIOVISUALES PRESIDENCIA GERENCIA DE ADMINISTRACIÓN GERENCIA DE FOMENTO A LA Sra. Lucrecia Cardoso Dr. Raúl A. Seguí PRODUCCIÓN DE CONTENIDOS PARA TELEVISIÓN, INTERNET Y VICEPRESIDENCIA GERENCIA DE ASUNTOS VIDEOJUEGOS Lic. Juan Esteban Buono Repetto INTERNACIONALES Ing. Germán Calvi Sr. Bernardo Bergeret AUDITORÍA INTERNA GERENCIA DE ACCION FEDERAL Dr. Rolando Oreiro GERENCIA DE ASUNTOS Sr. Félix Fiore JURÍDICOS GERENCIA GENERAL Dr. Orlando Pulvirenti DIRECTORA INCAA TV Sr. Rómulo Pullol Sra. Vanessa Ragone GERENCIA DE FOMENTO GERENCIA DE FISCALIZACIÓN Lic. Alberto Urthiague RECTOR ENERC Tec. Verónica Graciela Sr. Pablo Rovito Sanchez Gelós GOBIERNO DE LA PROVINCIA DE BUENOS AIRES GOBERNADOR PRESIDENTE DEL INSTITUTO DIRECTOR DEL CENTRO Daniel Osvaldo Scioli CULTURAL DE LA PROVINCIA PROVINCIAL TEATRO DE BUENOS AIRES AUDITORIUM DE VICEGOBERNADOR Jorge Alberto Telerman MAR DEL PLATA Lic. Juan Gabriel Mariotto Pablo Martínez del Bosque MUNICIPALIDAD DEL PARTIDO DE GENERAL PUEYRREDÓN INTENDENTE MUNICIPAL ENTE MUNICIPAL DE TURISMO VICEPRESIDENTE Cr. Gustavo Arnaldo Pulti PRESIDENTE Lic. Valeria Méndez Sr. Pablo Fernández SECRETARIO DE CULTURA Dr. Leandro Laserna 3 Staff
    [Show full text]
  • Mysteries of Lisbon
    MYSTERIES OF LISBON (Mistérios de Lisboa) a film by Raúl Ruiz Toronto/New York/San Sebastian/London Film Festivals 2010 Portugal/ France / 2010 / 272 mins / Portuguese and French with English subtitles / Certificate: tbc Release date: Spring 2011 FOR ALL PRESS ENQUIRIES PLEASE CONTACT Sue Porter/Lizzie Frith – Porter Frith Ltd Tel: 020 7833 8444/E‐Mail: [email protected] FOR ALL OTHER ENQUIRIES PLEASE CONTACT Robert Beeson – New Wave Films [email protected] 10 Margaret Street London W1W 8RL Tel: 020 3178 7095 www.newwavefilms.co.uk SYNOPSIS Mysteries of Lisbon plunges us into a veritable whirlwind of adventures and escapades, coincidences and revelations, sentiments and violent passions, vengeance, love affairs, all wrapped in a rhapsodic voyage that takes us from Portugal to France, Italy, and as far as Brazil. In this Lisbon of intrigue and hidden identities, we encounter a series of characters all somewhat linked to the destiny of Pedro da Silva, orphan in a boarding school. Father Dinis, a descendent of the aristocratic libertines, later becomes a hero who defends justice, a countess maddened by her jealousy and set on her vengeance, a prosperous businessman who had mysteriously made his fortune as a bloodthirsty pirate; these and many more all cross in a story set in the 19th century and all searching for the true identity of our main character. CREW Director Raul Ruiz Producer Paulo Branco Screenplay Carlos Saboga Based on the novel by Camilo Castelo Branco Cinematographer André Szankowski (a.i.p) Music Jorge Arriagada
    [Show full text]
  • Listing by Cinematographer-Title-Director-Year-Country-Length Cinematographer Title Director Year Country Length
    Listing by Cinematographer-Title-Director-Year-Country-Length Cinematographer Title Director Year Country Length * 24 Frames Kiarostami, Abbas 2017 IR 114 min * A Constant Forge: The Life and Art of John Cassavetes Kiselyak, Charles 2000 USA 200 min * A Midsummer Nights Dream * 1981 UK 112 min * Adam: Giselle (Dutch National Ballet) * 2010 NL 114 min * Adventures of Errol Flynn, The Heeley, David 2005 USA 87 min * Adventures of Rocky and Bullwinkle and Friends: Complete Ward, Jay; Alex Anderson; Bill Scott 2019 USA 3709 min * Adventures on the New Frontier Leacock, Richard; Albert Maysles; D.A. Pennebaker; et al. 1961 USA 52 min * Aeon Flux - The Complete Animated Collection Chung, Peter; Howard E. Baker 1995 USA 224 min * Albertville 1992 "One Light, One World" Jalbert, Joe Jay; R. Douglas Copsey 1992 FR 104 min * Alfred Hitchcock Presents: Season 1 * 1955 USA 566 min * Alfred Hitchcock Presents: Season 2 * 1956 USA 1014 min * Alfred Hitchcock Presents: Season 3 * 1957 USA 1041 min * Alfred Hitchcock Presents: Season 4 * 1958 USA 931 min * Alfred Hitchcock Presents: Season 5 * 1959 USA 985 min * Amsterdam 1928 "The IX Olympiad in Amsterdam" * 1928 NL 251 min * Amsterdam 1928 "The Olympic Games, Amsterdam 1928" Prager, William; Jules Perel 1928 NL 192 min * An Evening with the Alvin Ailey American Dance Theater Grimm, Thomas 2015 USA 108 min * Animatrix, The Maeda, Mahiro; Kôji Morimoto; Takeshi Koike 2003 USA 88 min * Apocalypse Now: Extras [BD: Disc 5] Coppola, Francis Ford 2010 USA PH 300+ min * Art Blakey & The Jazz Messengers Live in '58 * 2006 BE 55 min * Artifice, Ruse and Subterfuge: The Expert at the Card Table Magic Makers 2008 USA * * As You Like It * 1978 UK 150 min * Athens 2004 "Athens 2004: Stories of Olympic Glory" Greenspan, Bud 2005 GR 96 min * Atlanta 1996 "Atlanta’s Olympic Glory" Greenspan, Bud 1997 USA 206 min * Atomic Bomb Collection Kuran, Peter 2000 USA 249 min.
    [Show full text]
  • Curriculum Paulo Branco
    PAULO BRANCO He was born in Lisbon in 1950. He embarked in cinema in 1974, when he started working at the Olympic cinema, with Frédéric Mitterrand. Shortly thereafter, he became responsible for the management of the Parisian Action-République room. He became a film producer in 1979, working between Paris and Lisbon. Nowadays, he is one of the most internationally renowned personalities in the world of independent production, distribution, and exhibition. With a key role in auteur cinema, Paulo Branco is known for opening the door for innumerous promising directors who would go on to become established names. To date, he has produced more than three hundred films and worked with some of the most highly appraised directors in the world, such as David Cronenberg, Jerzy Skolimowski, Wim Wenders, Chantal Akerman, Alain Tanner, Werner Schroeter, André Téchiné, Andrzej Zulawski, Christophe Honoré, Olivier Assayas, Sharunas Bartas, Paul Auster, Philippe Garrel, Mathieu Amalric, Pedro Costa, João César Monteiro, João Botelho, and João Canijo or Teresa Villaverde. His career was marked by intense collaborations, over a 20 year period, with Raul Ruiz (LE TEMPS RETROUVÉ, THREE LIVES AND ONLY ONE DEATH, MYSTERIES OF LISBON…) e Manoel de Oliveira (FRANCISCA, VALE ABRAÃO, O SAPATO DE CETIM…). Since he started his activity as a producer, he has been a constant presence in the most important film festivals worldwide - such as Cannes, Venice, Locarno, Berlin, New York, Toronto, San Sebastián, Tokyo P A U L O B R A N C O 1 and São Paulo - being recognized as the independent producer who had the most films selected for the Cannes Film Festival.
    [Show full text]
  • Read Ebook {PDF EPUB} the Book of Disappearances & the Book of Tractations by Raul Ruiz
    Read Ebook {PDF EPUB} The Book of Disappearances & the Book of Tractations by Raúl Ruiz Raúl Ruiz (director) The son of a ship's captain and a schoolteacher in southern Chile, Raúl Ruiz abandoned his university studies in theology and law to write 100 plays with the support of a Rockefeller Foundation grant. He went on to learn his craft working in Chilean and Mexican television [2] and studying at film school in Argentina (1964). Back in Chile, he made his feature debut Three Sad Tigers (1968), sharing the Golden Leopard at the 1969 Locarno Film Festival. According to Ruiz in a 1991 interview, Three Sad Tigers "is a film without a story, it is the reverse of a story. Somebody kills somebody. All the elements of a story are there but they are used like a landscape, and the landscape is used like story." [3] He was something of an outsider among the politically oriented Chilean filmmakers of his generation such as Miguel Littín and Patricio Guzmán, his work being far more ironic, surrealistic and experimental. In 1973, shortly after the military coup d'état led by the dictator Augusto Pinochet, Ruiz and his wife (fellow director Valeria Sarmiento) fled Chile and settled in Paris, France. [4] Ruiz soon developed a reputation among European critics and cinephiles as an avant-garde film magician, writing and directing a remarkable number of amusingly eccentric though highly literary and complex low-to-no-budget films in the 1970s and 1980s (often for France's Institut national de l'audiovisuel and then for Portuguese producer Paulo Branco).
    [Show full text]
  • FOREIGN Dvds – As of July 2014
    FOREIGN DVDs – as of July 2014 NRA Adrift (SDH) R After the wedding (SDH) NRA Ajami (SDH) NRA Alain Resnais: A decade in film (4v) NRA Alamar (CC) NRA Alambrista NRA Alexandra NRA Alice’s house NRA All my loved ones NRA All together NRA Almost peaceful NRA Alois Nebel NRA Altiplano NRA Amador (CC) NRA Amantes NRA Amarcord (2v) R Amelie (2v) (CC) R Amores perros (CC) PG-13 Amour R Angela NRA Anita NRA Anthony: Warrior of God R The apartment R Apocalypto (SDH) R Applause R Apres vous NRA Army of crime NRA Army of shadows (2v) NRA Around a small mountain R The artist and the model NRA As it is in heaven NRA As luck would have it (SDH) NRA El Asaltante R At the gate of the ghost (SDH) NRA L’Atalante R The attack R Attack on Leningrad NRA The attorney NRA Au revoir les enfants R L’Auberge espagnole (CC) NRA The aura (SDH) NRA Autumn sonata (2v) NRA Aviva my love R The Baader Meinhof complex (2v) G Babette’s feast (CC) NRA Bad luck NRA Bal NRA Ballad of a soldier (CC) NRA Balzac and the little Chinese seamstress PG-13 The band’s visit (CC) PG-13 Barbara R The Barbarian invasions (CC) NRA Le beau Serge NRA Beaufort NRA The beauty of the devil PG-13 Behind the sun (CC) NRA Belle de Jour FOREIGN DVDs – as of July 2014 NRA Belle Toujours (CC) NRA The best of global lens: Brazil (4v) R The best of youth (2v) (SDH) NRA Beyond the clouds (CC) NRA The bicycle thief R Big girls don’t cry (CC) NRA The big picture (SDH) R Biutiful (CC) PG Black and white in color R Black book NRA Black Orpheus (2v) NRA Blame it on Fidel! NRA Bliss R Blue (CC) NRA The
    [Show full text]