DOCSLIB.ORG

Catalogo-FICVALDIVIA-24-2017.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Catalogo-FICVALDIVIA-24-2017.Pdf PLATAFORMA: FINANCIA FUNDADORA Y ORGANIZADORA PRODUCE INVITAN ALIADOS PRINCIPALES AUSPICIADORES OFICIALES PATROCINAN AUSPICIADORES MEDIA PARTNERS MEDIOS COLABORADORES COLABORADORES DIRAC Ministerio de Relaciones Exteriores Gobierno de Chile Palabras 09 Words FILMS DE Film de Apertura 22 INAUGURACIÓN & Opening Feature CLAUSURA Film de Clausura 26 OPENING & CLOSING FILMS Closing Feature P. 22 Selección Oficial 28 EN COMPETENCIA Largometraje Internacional Official International IN COMPETITION Feature Selection P. 27 Selección Oficial 43 Largometraje Chileno Official Chilean Feature Selection Selección Oficial 53 Cortometraje Latinoamericano Official Latin American Short Film Selection Selección Oficial Cortometraje Infantil Latinoamericano FICVin FICVin Official Latin American 67 Children’s Short Film Selection CINEASTAS Sion Sono 75 INVITADOS Deborah Stratman 85 GUEST Socavón Cine FILMAKERS 92 P. 74 MUESTRA HOMENAJES MUESTRA RETROSPECTIVA PARALELA TRIBUTES RETROSPECTIVE SERIES OUT OF COMPETITION Alice Guy 102 La Lección de Cine 229 PROGRAM Lotte Reiniger 113 The Film Lesson Clásicos 232 P. 101 Maya Deren 121 Classics Colectivo del 126 Cabo Astica Totalmente Salvaje 236 Private Astica’s Collective Totally Wild Claudio Arrau 133 Vhs Erótico 239 Víctor Jara 137 Erotic Vhs 50 años 141 Wavelength MUESTRA UACH Wavelength 50 Years UACH PROGRAM La Gran Ola de Tokio 146 Muestra Facultad de 243 The Great Tokyo Wave Filosofía y Humanidades Espadas Voladoras: 156 Philosophy and Humanities School El Wuxia Japonés Program Flying Swords: Taiwanese Wuxia Muestra Facultad de 246 Giallo: Terror a la 166 Arquitectura y Arte Uach Italiana UACH Arquitecture and Arts Faculty Program MUESTRA DE CINE MUESTRA INFANTIL FICVin CONTEMPORANEO FICVin CHILDREN’S PROGRAM CONTEMPORARY CINEMA SERIES CINEMAS 261 Gala 176 CINEMAS Gala Nuevos Caminos 186 INDUSTRIA New Pathways INDUSTRY Disidencias 197 Dissidences P. 268 Nocturama 204 Nocturama CINE CHILENO 265 Primeras Naciones 206 DEL FUTURO First Nations FUTURE CHILEAN CINEMA Ventana Del Cine Chileno 214 Chilean Cinema Showcase AUSTRALAB 265 Ventana Del Cine Austral 222 AUSTRALAB Austral Cinema Showcase ABREVIATURAS D: Dirección Direction Abbreviations G: Guión Script P: Producción Production F: Fotografía Cinematography E: Montaje Editing S: Sonido Sound M: Música Music A: Animación Animation I: Intérpretes Cast PALABRAS Words PALABRAS 10 [24] FICVALDIVIA Ernesto Ottone Ramírez Ministro Presidente Consejo Nacional de la Cultura y las Artes El Festival Internacional de Cine de Valdivia es quizás uno de los ejemplos más ilustrativos de cómo la gestión cultural, cuando encuentra sus bases en un verdadero amor por lo que se fomenta, puede ser semilla de un fenómeno inusitado. Esto porque si bien comenzó como un espacio muy pequeño, casi como un cineclub universitario, hoy se consolida como uno de los certámenes cinematográficos independientes más importantes de América Latina. En la construcción de este estatus, han sido determinantes tanto el trabajo, pasión y visión de sus gestores, como el apoyo institucional por parte del Estado. Una colaboración de larga data, de la cual en el Consejo Nacional de la Cultura y las Artes nos sentimos orgullosos, especialmente porque hemos ampliado ese compromiso de acuerdo a la forma en que el festival mismo ha ido creciendo y complejizándose. Así, complementariamente al apoyo que entregamos a través del Programa de Apoyo a Festivales de Trayectoria, hemos desarrollado herramientas de colaboración para las nuevas plataformas que el propio certamen ha ido creando. Instancias que sin lugar a dudas están en sintonía con la visión que desde el Consejo de la Cultura tenemos con respecto al desarrollo de esta disciplina y su industria. En este sentido, quisiera destacar cómo el Festival Internacional de Cine de Valdivia está constantemente empujando los límites de su rango de acción más allá del evento mismo, tanto en el calendario anual de actividades, como en su circulación regional. A través de iniciativas de formación artística de nuevas audiencias, como también del fomento a la industria y al audiovisual nacional, poco a poco ha ido abriendo una plaza regional para el cine independiente desde el sur de Chile, acciones que están plenamente en sintonía con cada uno de los ejes estratégicos de la Política Nacional del Campo Audiovisual 2017-2022. Este año es especialmente importante para nuestra institución, ya que por tercer año consecutivo la Comisión Fílmica de Chile mantendrá una alianza en conjunto con el festival enfocada en la capacitación de audiovisualistas y actividades de formación dirigidas a los asistentes del certamen, las cuales contemplan invitados internacionales, talleres y mesas redondas. Además, este año se realizará el Primer Encuentro de Comisiones Fílmicas Regionales de Chile en el marco de esta vigésimo cuarta edición, donde se convocarán a todos los proyectos regionales que participan del Programa de Apoyo para la Creación y Fortalecimiento de Comisiones Fílmicas Regionales de Chile. Sin lugar a dudas estamos ante un espacio que se ha consolidado como un festival de gran prestigio internacional y que además se ha transformado en una instancia que se constituye en un nodo para el desarrollo de esta disciplina en todas sus dimensiones. Un aporte que valoramos tremendamente como institución y que esperamos como futuro Ministerio de las Culturas, las Artes y el Patrimonio, seguir apoyando en pos de su crecimiento y aporte al desarrollo cultural, tanto de esta región, como de todo el país. [24] FICVALDIVIA 11 WORDS Ernesto Ottone Ramírez Minister President National Council for Culture and the Arts The Valdivia International Film Festival is perhaps one of the most illustrative examples of how arts management can be the seed for an unexpected phenomenon, when it finds its basis in a lasting love for what is promoted. This is so because, even if it was born as a very small space, a university cinema club, today, it has consolidated as one of the most important independent cinematographic events in Latin America. In the construction of this status, both the work, passion and vision of its organizers, and the State’s institutional support have been decisive. A long-standing collaboration we at the National Council for Culture and the Arts feel proud of, especially now we have widened this commitment, matching the way in which the festival has grown and become more complex. Thus, in complement to the contributions we furnish via the Support Program for Long-running Festivals, we have developed collaboration tools for the new platforms the festival itself has created. Without a doubt, these instances are in alignment with the vision we have at the Culture Council, regarding the development of this discipline and its industry. In that sense, I would like to highlight how the Valdivia International Film Festival is constantly driving the limits of its range of action beyond the event itself, both in the annual activities calendar, and in its regional circulation. Through initiatives related to artistic education for new audiences, as well as for development of the audiovisual industry in the country, bit by bit, it has opened a regional space for independent cinema in southern Chile, actions that run completely in accordance with each of the strategic aims of the National Policy for the Audiovisual Field 2017-2022. This year is particularly important for our institution, since it is the third consecutive year the Film Commission Chile will maintain an alliance with the festival, focused on offering training for filmmakers and educational activities directed to festival attendees, which include international guests, workshops and round tables. Additionally, this year, the First Gathering of Regional Film Commissions in Chile will take place, as part of the festival’s 24th edition, congregating all the regional projects that participate in the Support Program for the Creation and Strengthening of Regional Film Commissions in Chile. We undoubtedly stand before a space that has consolidated as a greatly prestigious international festival, which has also become hub for the development of this discipline, in all its dimensions. As an institution, we greatly value this contribution, and we hope, as the future Ministry for Cultures, Arts and Heritage, to continue supporting it, in favor of its advancement and the contributions to cultural development it makes, in this region, and in the entire country. PALABRAS 12 [24] FICVALDIVIA Ricardo Millán Gutiérrez Intendente Región de Los Ríos La equidad es un valor fundante que ha identificado al Gobierno de la Presidenta Michelle Bachelet. Las dimensiones de ésta deben alcanzar tantos dominios como sean necesarios para asegurar igualdad de oportunidades que permitan el desarrollo de las potencialidades de los individuos y los colectivos de nuestra sociedad. Por eso hemos sostenido reformas claves en términos políticos, educacionales y laborales. El acceso al arte y la cultura, tanto en el rol de creador como en el rol de espectador, son también básicos para asegurar un desarrollo justo y democrático. Es por esto que hemos trabajado como Gobierno Regional en una serie de iniciativas donde, probablemente las más relevantes están relacionadas con infraestructura, que nos permitirán rescatar históricos teatros de la región y la creación de una Política Regional de Cultura e Identidad. También nos hemos sumado con entusiasmo en apoyar diversas iniciativas culturales que nacen desde bases ciudadanas y que constituyen la matriz básica para un
Load more

Recommended publications
  • A Cura Di Antonia Cava 1 3 a Cura Di Antonia Cava 8 1
    11381.1_cop 1381.1.13 17/02/20 16:36 Pagina 1 1 A cura di Antonia Cava 1 3 A cura di Antonia Cava 8 1 . IL GIOCO DEL KILLER 1 Questo volume raccoglie i contributi di studiosi provenienti da diversi ambiti disciplinari, A . Il gioco del killer accomunati dall’aver preso parte a un’iniziativa di formazione all’avanguardia ideata da C A Domenico Carzo: il Master “Esperto in intervento sociale minori e mafie”. I saggi proposti V analizzano le culture mafiose e la devianza minorile generando un serrato confronto tra dif - A Culture mafiose e minori ( ferenti prospettive teoriche e di ricerca. Una riflessione interdisciplinare che non solo inter - A preta il tema dei “figli di mafia”, ma esplora anche strategie che possano offrire un’alterna - C U tiva sociale, culturale e affettiva. R A D I Antonia Cava è professore associato di Sociologia dei processi culturali e comunicativi ) I presso il Dipartimento di Scienze Cognitive, Psicologiche, Pedagogiche e Studi Culturali L dell’Università degli Studi di Messina. Insegna Industria culturale e media studies e Sociologia G I della comunicazione e coordina il Master “Esperto in intervento sociale minori e mafie”. O Svolge attività di ricerca su pubblici televisivi, consumi culturali e immaginario mediale. Tra le C O sue pubblicazioni: # Foodpeople. Itinerari mediali e paesaggi gastronomici contemporanei D (Aracne 2018) e Noir Tv. La cronaca nera diventa format televisivo (FrancoAngeli 2013). E L K I L L E R SScienze de ll aCcomunicazione Collana diretta da Marino Livolsi Franc oAngeli ISBN 978-88-917-7285-5
    [Show full text]
  • Docenti Scuola Secondaria II Grado Elenco Provvisorio
    Ministero dell’Istruzione, dell’Università e della Ricerca Ufficio Scolastico Regionale per il Lazio Ufficio VI - Ambito territoriale per la provincia di Roma GRADUATORIA PROVVISORIA DIRITTO ALLO STUDIO ANNO 2020 - SECONDO GRADO data prov. classe rapporto servizio titolo da anzianita' rinnovo fuori laurea ammesso n. nominativo nascita nascitaconcorso sede di servizio lavoro * part-time conseguire ** servizio permessi corso part-time con riserva 1 FARINA SILVIA 23/05/1964 RM A012 IPSEOA ARTUSI A NO A 11 SI NO NO NO 2 CARIATI GIANNI 04/10/1970 CS B016 IIS LUCA PACIOLO A NO A 10 SI NO NO SI 3 PELLE TERESA 04/09/1968 RM A046 I.I.S. CONFALONIERI DE CHIRICO A NO A 8 SI NO NO NO 4 PETRILLO RENATA 06/02/1968 NA A046 L.A. CARAVILLANI A SI A 6 SI NO NO NO 5 ORECCHINI CHIARA 31/01/1981 RM A054 IIS COPERNICO A NO A 4 SI NO NO NO 6 TRAPANNONE ALESSANDRA 17/05/1985 RM B011 I.T.A. EMILIO SERENI A NO A 2 SI NO NO NO 7 OLIVADESE SIMONA 08/11/1982 TO AB24 E. ROSSI B NO A 13 SI NO NO NO 8 IEMMA PIERA 20/04/1965 RC AA24 IIS L. LOMBARDO RADICE B NO A 9 SI NO NO NO 9 TARRA VINCENZA 28/07/1969 CE A046 I.I.S. DE AMICIS-CATTANEO B NO A 8 SI NO NO NO 10 BARBA MADDALENA 30/08/1989 SA B016 I.I.S. "ROSSELLINI" B NO A 7 SI NO NO NO 11 AGNELLO LUCA 14/02/1976 SR A020 I.S.I.S.S.
    [Show full text]
  • Catálogo De Shortlatino ÍNDICE INDEX
    European and Latin American short film market Catálogo de Shortlatino ÍNDICE INDEX Bienvenidos / Welcome .................................................... 3 Programa Shortlatino / Shortlatino program ............. 5 PAÍSES EUROPEOS / EUROPEAN COUNTRIES PAÍSES LATINOS / LATIN COUNTRIES Alemania / Germany ........................................................ 11 Argentina / Argentina .................................................. 299 Austria / Austria .............................................................. 40 Brasil / Brazil .................................................................. 303 Bélgica / Belgium ............................................................. 41 Chile / Chile ................................................................... 309 Bulgaria / Bulgaria ......................................................... 49 Colombia / Colombia ...................................................... 311 Dinamarca / Denmark .................................................... 50 Costa Rica / Costa Rica ................................................ 315 Eslovenia / Slovenia ........................................................ 51 Cuba / Cuba ..................................................................... 316 España / Spain ................................................................. 52 México / Mexico ............................................................... 317 Estonia / Estonia ........................................................... 168 Perú / Peru ....................................................................
    [Show full text]
  • JAPAN CUTS: Festival of New Japanese Film Announces Full Slate of NY Premieres
    Media Contacts: Emma Myers, [email protected], 917-499-3339 Shannon Jowett, [email protected], 212-715-1205 Asako Sugiyama, [email protected], 212-715-1249 JAPAN CUTS: Festival of New Japanese Film Announces Full Slate of NY Premieres Dynamic 10th Edition Bursting with Nearly 30 Features, Over 20 Shorts, Special Sections, Industry Panel and Unprecedented Number of Special Guests July 14-24, 2016, at Japan Society "No other film showcase on Earth can compete with its culture-specific authority—or the quality of its titles." –Time Out New York “[A] cinematic cornucopia.” "Interest clearly lies with the idiosyncratic, the eccentric, the experimental and the weird, a taste that Japan rewards as richly as any country, even the United States." –The New York Times “JAPAN CUTS stands apart from film festivals that pander to contemporary trends, encouraging attendees to revisit the past through an eclectic slate of both new and repertory titles.” –The Village Voice New York, NY — JAPAN CUTS, North America’s largest festival of new Japanese film, returns for its 10th anniversary edition July 14-24, offering eleven days of impossible-to- see-anywhere-else screenings of the best new movies made in and around Japan, with special guest filmmakers and stars, post-screening Q&As, parties, giveaways and much more. This year’s expansive and eclectic slate of never before seen in NYC titles boasts 29 features (1 World Premiere, 1 International, 14 North American, 2 U.S., 6 New York, 1 NYC, and 1 Special Sneak Preview), 21 shorts (4 International Premieres, 9 North American, 1 U.S., 1 East Coast, 6 New York, plus a World Premiere of approximately 12 works produced in our Animation Film Workshop), and over 20 special guests—the most in the festival’s history.
    [Show full text]
  • Langues, Accents, Prénoms & Noms De Famille
    Les Secrets de la Septième Mer LLaanngguueess,, aacccceennttss,, pprréénnoommss && nnoommss ddee ffaammiillllee Il y a dans les Secrets de la Septième Mer une grande quantité de langues et encore plus d’accents. Paru dans divers supplément et sur le site d’AEG (pour les accents avaloniens), je vous les regroupe ici en une aide de jeu complète. D’ailleurs, à mon avis, il convient de les traiter à part des avantages, car ces langues peuvent être apprises après la création du personnage en dépensant des XP contrairement aux autres avantages. TTaabbllee ddeess mmaattiièèrreess Les différentes langues 3 Yilan-baraji 5 Les langues antiques 3 Les langues du Cathay 5 Théan 3 Han hua 5 Acragan 3 Khimal 5 Alto-Oguz 3 Koryo 6 Cymrique 3 Lanna 6 Haut Eisenör 3 Tashil 6 Teodoran 3 Tiakhar 6 Vieux Fidheli 3 Xian Bei 6 Les langues de Théah 4 Les langues de l’Archipel de Minuit 6 Avalonien 4 Erego 6 Castillian 4 Kanu 6 Eisenör 4 My’ar’pa 6 Montaginois 4 Taran 6 Ussuran 4 Urub 6 Vendelar 4 Les langues des autres continents 6 Vodacci 4 Les langages et codes secrets des différentes Les langues orphelines ussuranes 4 organisations de Théah 7 Fidheli 4 Alphabet des Croix Noires 7 Kosar 4 Assertions 7 Les langues de l’Empire du Croissant 5 Lieux 7 Aldiz-baraji 5 Heures 7 Atlar-baraji 5 Ponctuation et modificateurs 7 Jadur-baraji 5 Le code des pierres 7 Kurta-baraji 5 Le langage des paupières 7 Ruzgar-baraji 5 Le langage des “i“ 8 Tikaret-baraji 5 Le code de la Rose 8 Tikat-baraji 5 Le code 8 Tirala-baraji 5 Les Poignées de mains 8 1 Langues, accents, noms
    [Show full text]
  • Estudio Sobre El Contexto Económico De Las Prácticas Audiovisuales Independientes En El Ámbito Artístico Catalán
    Estudio sobre el contexto económico de las prácticas audiovisuales independientes en el ámbito artístico catalán: procesos de I+D y nuevos lechos de empleo Diciembre/2009 Estudio realizado por AAVC www.aavc.net (Associació d’Artistes Visuals de Catalunya) con el apoyo de la distribuidora de videoarte HAMACA www.hamacaonline.net y la coordinación de la productora cultural YProductions www.ypsite.net Índice 1. Introducción al objeto de estudio y metodología 3 1.1 Presentación del estudio 4 1.2 Metodología del estudio 6 1.2.1 Equipo investigador 6 1.2.2 Herramientas metodológicas 7 1.2.3 Marco temporal 7 1.2.4 Objeto de estudio 9 2. Aproximación a los perfiles y prácticas del sector 14 2.1 Videoarte 15 2.2 Documental independiente 29 2.3 Animación artística/experimental 38 2.4 Video creación en directo: Veejing y Live Cinema 49 2.5 Performance audiovisual y Videodanza 62 2.6 Cine experimental 70 2.7 Productoras audiovisuales independientes 81 2.8 Plataformas online del audiovisual independiente 94 3. Potencial de Innovación en el audiovisual independiente 113 3.1 Indicadores de Innovación Emergente en el Audiovisual Independiente 114 3.2 La transferencia de conocimiento 117 3.2.1 Áreas beneficiadas por la transferencia 117 3.2.2 Formas de transferencia 119 3.2.3 Conclusiones 123 3.3 Las redes en los procesos de I+D 124 3.3.1 Las redes como forma de trabajo 125 3.3.2 Estructura de las redes en los diferentes ámbitos 126 3.3.3 Redes sociales on-line 129 3.3.4 Conclusiones 129 3.4 La experimentación con nuevas tecnologías y modelos de software libre 131 3.4.1 Cultura Libre en el audiovisual independiente 132 3.4.2 Software libre en el audiovisual independiente 133 3.4.3 Viabilidad económica en proyectos de software libre 135 3.4.4 Conclusiones 137 3.5 Conclusiones 138 4.
    [Show full text]
  • Requests Report
    Received Request ID Requester Name Organization Closed Date Request Description Date 12-F-0001 Vahter, Tarmo Eesti Ajalehed AS 10/3/2011 3/19/2012 All U.S. Department of Defense documents about the meeting between Estonian president Arnold Ruutel (Ruutel) and Secretary of Defense Richard Cheney on July 19, 1991. 12-F-0002 Jeung, Michelle - 10/3/2011 - Copies of correspondence from Congresswoman Shelley Berkley and/or her office from January 1, 1999 to the present. 12-F-0003 Lemmer, Thomas McKenna Long & Aldridge 10/3/2011 11/22/2011 Records relating to the regulatory history of the following provisions of the Department of Defense Federal Acquisition Regulation Supplement (DFARS), the former Defense Acquisition Regulation (DAR), and the former Armed Services Procurement Regulation (ASPR). 12-F-0004 Tambini, Peter Weitz Luxenberg Law 10/3/2011 12/12/2011 Documents relating to the purchase, delivery, testing, sampling, installation, Office maintenance, repair, abatement, conversion, demolition, removal of asbestos containing materials and/or equipment incorporating asbestos-containing parts within its in the Pentagon. 12-F-0005 Ravnitzky, Michael - 10/3/2011 2/9/2012 Copy of the contract statement of work, and the final report and presentation from Contract MDA9720110005 awarded to the University of New Mexico. I would prefer to receive these documents electronically if possible. 12-F-0006 Claybrook, Rick Crowell & Moring LLP 10/3/2011 12/29/2011 All interagency or other agreements with effect to use USA Staffing for human resources management. 12-F-0007 Leopold, Jason Truthout 10/4/2011 - All documents revolving around the decision that was made to administer the anti- malarial drug MEFLOQUINE (aka LARIAM) to all war on terror detainees held at the Guantanamo Bay prison facility as stated in the January 23, 2002, Infection Control Standard Operating Procedure (SOP).
    [Show full text]
  • Italian Films (Updated April 2011)
    Language Laboratory Film Collection Wagner College: Campus Hall 202 Italian Films (updated April 2011): Agata and the Storm/ Agata e la tempesta (2004) Silvio Soldini. Italy The pleasant life of middle-aged Agata (Licia Maglietta) -- owner of the most popular bookstore in town -- is turned topsy-turvy when she begins an uncertain affair with a man 13 years her junior (Claudio Santamaria). Meanwhile, life is equally turbulent for her brother, Gustavo (Emilio Solfrizzi), who discovers he was adopted and sets off to find his biological brother (Giuseppe Battiston) -- a married traveling salesman with a roving eye. Bicycle Thieves/ Ladri di biciclette (1948) Vittorio De Sica. Italy Widely considered a landmark Italian film, Vittorio De Sica's tale of a man who relies on his bicycle to do his job during Rome's post-World War II depression earned a special Oscar for its devastating power. The same day Antonio (Lamberto Maggiorani) gets his vehicle back from the pawnshop, someone steals it, prompting him to search the city in vain with his young son, Bruno (Enzo Staiola). Increasingly, he confronts a looming desperation. Big Deal on Madonna Street/ I soliti ignoti (1958) Mario Monicelli. Italy Director Mario Monicelli delivers this deft satire of the classic caper film Rififi, introducing a bungling group of amateurs -- including an ex-jockey (Carlo Pisacane), a former boxer (Vittorio Gassman) and an out-of-work photographer (Marcello Mastroianni). The crew plans a seemingly simple heist with a retired burglar (Totó), who serves as a consultant. But this Italian job is doomed from the start. Blow up (1966) Michelangelo Antonioni.
    [Show full text]
  • AZ TIFF 2016.Pdf
    4. APERITIFF 27.05 – 05.06.2016 27.05 – 05.06.2016 APERITIFF .5 Paul Dédalus remembers his childhood in Roubaix... GALA DE DESCHIDERE TOATE FILMELE DE LA A LA Z His mother’s insane outbursts... The bond between 6,9 PE SCARA RICHTER himself and his younger brother, Ivan, a pious and (6.9 on the Richter Scale, România- ALL FILMS FROM A TO Z violent child... He remembers when he was nineteen, Bulgaria-Ungaria, 2016) 116’ his sister Delphine, his cousin Bob... And above all, R. Nae Caranfil. Cu: Teodor Corban, Laurenţiu Paul remembers Esther. She was the center of his Bănescu, Maria Obretin, Simona Arsu. life. This year’s César Award for Best Director! Un actor de teatru de 40 şi ceva de ani navighea- ză cu greu între un rol complicat într-un spec- MIDNIGHT DELIRIUM - HORROR tacol de muzical, o nevastă geloasă până la de- LATINOAMERICAN presie şi obsesia marelui cutremur devastator, zie se ia împreună: ce vor face cu pruncul pe care 36 DE PAŞI anunţat ca iminent de toţi experţii. Reapariţia Astrid îl poartă acum, însărcinată în luna a şa- (36 pasos / 36 Steps, Argentina, 2006) 97’ intempestivă, după decenii de absenţă, a pro- sea? Tocmai au aflat ca acesta suferă de un grav R. Adrián García Bogliano. Cu: Noelia Balbo, Inés priului său tată, manipulator şi amoral, îi va da handicap... Sbarra, Victoria Witemburg. viața peste cap. Premieră mondială la TIFF! # The stage lights, the applause - Astrid loves being a Mai multe fete pregătesc o petrecere de aniversa- A Romanian actor in his fourties faces the chal- cabaret performer, and loves her tolerant and sup- re într-o casă din afara oraşului.
    [Show full text]
  • 1. Title: 13 Tzameti ISBN: 5060018488721 Sebastian, A
    1. Title: 13 Tzameti ISBN: 5060018488721 Sebastian, a young man, has decided to follow instructions intended for someone else, without knowing where they will take him. Something else he does not know is that Gerard Dorez, a cop on a knife-edge, is tailing him. When he reaches his destination, Sebastian falls into a degenerate, clandestine world of mental chaos behind closed doors in which men gamble on the lives of others men. 2. Title: 12 Angry Men ISBN: 5050070005172 Adapted from Reginald Rose's television play, this film marked the directorial debut of Sidney Lumet. At the end of a murder trial in New York City, the 12 jurors retire to consider their verdict. The man in the dock is a young Puerto Rican accused of killing his father, and eleven of the jurors do not hesitate in finding him guilty. However, one of the jurors (Henry Fonda), reluctant to send the youngster to his death without any debate, returns a vote of not guilty. From this single event, the jurors begin to re-evaluate the case, as they look at the murder - and themselves - in a fresh light. 3. Title: 12:08 East of Bucharest ISBN: n/a 12:08pm on the 22 December 1989 was the exact time of Ceausescu's fall from power in Romania. Sixteen years on, a provincial TV talk show decides to commemorate the event by asking local heroes to reminisce about their own contributions to the revolution. But securing suitable guests proves an unexpected challenge and the producer is left with two less than ideal participants - a drink addled history teacher and a retired and lonely sometime-Santa Claus grateful for the company.
    [Show full text]
  • PROGRAMA CINEUROPA.Pdf
    ALCALDE DE SANTIAGO: Ana Parga Miguel Ángel Varela Gerardo Conde Roa Ángela Pereira Paula G. Iglesias Luz Verde C0NCELLEIRO DE CULTURA RESPONSABLES DE SALAS: Ángel Currás Fernández GABINETE TÉCNICO TEATRO PRINCIPAL TEATRO PRINCIPAL: Montse Cillero DIRECTOR Deborah Esser Romero e Lucía Ferreiro Xesús Amado José Luis Losa García SALÓN TEATRO: RESPONSABLE DE PRENSA XERENTE CINEUROPA Belen Brandido Paula Roca Luz Guldrís Iglesias SEDE NOVACAIXAGALICIA CSM: ÁREA TÉCNICA DE PROXECCIÓNS: COORDINADOR SECCIÓN CINEMATOGRÁFICA Ana Salgado TÉCNICOS DE SUBTITULADO: GALEGA SOFTITULAR CGAC: Martin Pawley TÉCNICO DE PROXECTORES: Cristina Trigo COORDINACIÓN SECCIÓN DOCS: José Manuel Fuentes PERSOAL AUXILIAR: DOCUMENTOS: Especialista en visionados películas: Proxeccionistas Mike Farthing Emilio Baños Moisés González Responsable tráfico de películas: COORDINADOR SECCIÓN CONEXIÓN BOS Francisco Sánchez Francisco Balado AIRES: José Antonio Tenreiro Javier Porta TRADUCTORES GALEGO: José Manuel Budiño Boquela traductores COORDINACIÓN SECCIÓN DOC-MUSIC: PRESENTADOR DIRECTORES INVITADOS: Xavier Valiño TRADUCTOR INGLÉS: Moncho Lemos Fernando G. Iglesias AUDITORIO DE GALICIA: PERSOAL DE ATENCIÓN DE SALAS: DIRECTOR XERENTE RELACIÓNS PÚBLICAS: Heima Tours José Victor Carou Rosa Portela e Laura Pérez P&P azafatas GABINETE TÉCNICO AUDITORIO TÉCNICO ELABORACIÓN BASE DE DATOS: ASISTENCIA TÉCNICA: David Areán Pedro Lucas HumanPro Chus Busto MONTAXE DE GALAS: DESEÑO GRÁFICO: Miriam F. Louzao Kachet Maizcreativos Carlos Millán Silvia Modia EQUIPO ADMINISTRATIVO: Ángeles Otero Sandra Otero cineuropa.compostelacultura.org • www.compostelacultura.org Novembro é xa sinónimo de Cineuropa en Compostela. E é así porque desde hai 25 anos os composteláns sabemos que neste mes temos unha cita ineludible co mellor cinema do mundo, sabemos que en novembro poderemos gozar, sen saír da nosa cidade, deses títulos dos que escoitamos falar ao longo do ano porque brillaron en festivais internacionais como Berlín, Bos Aires, Cannes, Locarno, Venecia ou San Sebastián.
    [Show full text]
  • Kiejziewicz the Nuclear Technology Debate Returns
    TRANSMISSIONS: THE JOURNAL OF FILM AND MEDIA STUDIES 2017, VOL.2, NO. 1, PP. 117-131. Agnieszka Kiejziewicz Jagiellonian University The nuclear technology debate returns. Narratives about nuclear power in post-Fukushima Japanese films Abstract The presented article revolves around the widespread debate on the Fukushima catastrophe in Japanese cinematography and the artists’ responses to the incident. They give the viewers clues on how to understand the reasons and results of the Fukushima nuclear disaster, as well as how to perceive nuclear technology after the catastrophe. The author analyses the chosen post-Fukushima films, points out the recurring depictions, and deliberates on the ways of presenting nuclear power. The analysis starts with a brief comparison of post-Hiroshima and post-Fukushima cinematography. The author then focuses on activists’ art in the form of anti-nuclear agitation (Nuclear Japan, 2014 by Hiroyuki Kawai) and pictures that can be classified as shōshimin-eiga: Kebo no kuni (The Land of Hope, 2012) and Leji (Homeland, 2014). The third part of the article puts emphasis on the description of the catastrophe as a “new beginning”, as Takashi Murakami presents it in Mememe no kurage (Jellyfish Eye, 2013). The debate on nuclear technology also appears in the remake of the story about the best-known Japanese monster, Godzilla, reactivated by Hideaki Anno in the post-Fukushima film Shin Gojira (New Godzilla, 2016). The last part of the paper presents the Western point of view and covers analysis of films such as Alain de Halleux’s Welcome to Fukushima (2013), Doris Dörrie’s Grüße aus Fukushima (Fukushima, My Love, 2016) or Matteo Gagliardi’s Fukushima: A Nuclear Story (2015).
    [Show full text]