74Èmegrand Prix De Monaco
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Filmvilág 2016/9)
új raj új raj új raj új raj új raj új raj új raj új raj új raj új raj új raj új raj új raj meg főszereplőnek, akinek a hétköz- NAOMI KAWASE napi életét rögzíti (főzés, kertészke- dés), egy alkalommal azonban játéko- san átadja a kamerát az idős hölgynek, hogy az alkotóról is készüljön néhány jó kedélyű felvétel. Még közelebb Az 1995-ös Yamagata Nemzetközi Dokumentumfilm Fesztiválon Kawase TESZÁR DÁVID megismerkedett Takenori Sentóval, aki vállalkozott arra, hogy producerként tető alá hozza a fiatal rendezőnő első egészestés játékfilmjét. A végered- mény a Suzaku (1997) lett, amely olyan A KORTÁRS JAPÁN FILM LEGHÍRESEBB RENDEZŐNŐJE MÉLIÈS HELYETT A LUMIÈRE- közel maradt a dokumentumfilmes for- TESTVÉREK ÖRÖKÖSE: AKKOR IS DOKUMENTÁL, AMIKOR JÁTÉKFILMET KÉSZÍT. mához, amennyire csak lehetett (ama- tőr színészek szerepeltetése a saját aomi Kawase filmes előképzettség korán elváltak és lemondtak a lányuk- vidéki közegükben, ahol gyakorlatilag nélkül vált minden idők leghíresebb ról: Kawase idős nagynénje volt az, önmagukat alakítják), és még a hely- Njapán rendezőnőjévé: rendhagyó pá- aki örökbefogadta és felnevelte őt. szín sem változott (Nara prefektúra). lyája a japán független filmes (jishu eiga) Az oszakai egyetem fotóművészeti A minimális történettel rendelkező vonalról indult önéletrajzi ihletettségű, szakán végezte a tanulmányait, ahol (Nara egyik eldugott hegyi falvában a rövid dokumentumfilmekkel, és az első 1989-ben diplomázott. Érdeklődése családfő elvesztése után széthullik a egészestés nagyjátékfilmje (Suzaku, már az egyetemi évek alatt a film felé família), minimalista mozi ráérős tem- 1997) hozta meg számára a nemzetközi fordult, ezt példázzák a ’80-as évek vé- póban váltogatja a természeti táj- és a ismertséget. Azóta a cannes-i filmszemle gén forgatott, néhány perces, 8mm-es hétköznapi családi életképeket, ahol ünnepelt auteurje és állandó meghívott- barkács-dokumentumfilmjei. -
Filmgilde Biel-Bienne
Guilde biennoise du film Filmgilde Biel 2016 | 2 0 1 7 Inhaltsverzeichnis – Table des matières L’invitation Claude Goretta 2 – 3 Theeb Naji Abu Nowar 4 – 5 El abrazo de la serpiente Ciro Guerra 6 – 7 Keeper Guillaume Senez 8 – 9 My Name Is Salt Farida Pacha 10 – 11 Köpek Esen Isik 12 – 13 Fúsi Dagur Kàri 14 – 15 Les êtres cher s Anne Émond 16 – 17 Under the Skin Jonathan Glazer 18 – 19 Chce sie z yc Maciej Pieprzyca 20 – 21 Anime nere Francesco Munzi 22 – 23 Die Ab enteuer des Prinzen Achmed Lotte Reiniger 24 – 25 Eisenstein in Guanajuato Peter Greenaway 26 – 27 L a loi du marché Stéphane Brizé 28 – 29 Futat sume no mado Naomi Kawase 30 – 31 Mita Tova Tal Granit/Sharon Maymon 32 – 33 Victoria Sebastian Schipper 34 – 35 Imagine Waking Up Tomorrow and All Music Has Disappeared Stefan Schwietert 36 – 37 Gestaltung und Satz – Création et composition : Stiftung/Fondation Battenberg, Biel-Bienne editorial Liebe Filmfreundinnen, liebe Filmfreunde, Mit der 68. Saison der Filmgilde Biel beginnt vermutlich eine neue Ära. Während früher die 35mm-Filmkopien mit Untertitel auf Deutsch und Französisch versehen wurden, sehen wir uns diese Saison mit einem umständlichen Trend konfrontiert. Die bilinguale Tradition kann sich anscheinend in den digitalisierten Kinosälen nicht behaupten. Kinofilme werden heute im DCP-Format (Digital Cinema Package) vermehrt ledig - lich mit Untertiteln auf Deutsch oder Französisch hergestellt. Entspre- chend müssen diese Saison leider eine Handvoll Filme mit getrennten Untertiteln gezeigt werden. Ein paar Filme haben gar Untertitel aus- Chères amies et chers amis cinéphiles, schliesslich in einer Sprache. -
Fringe Law & Economics
LUISS GUIDO CARLI , ROME DOTTORATO DI RICERCA IN DIRITTO ED ECONOMIA XXV CICLO FRINGE LAW & ECONOMICS GOOGLE , COMPETITION COMPETITION LAW IN ECONOMICS OF FAILURE POLICY AND THE DEVELOPING IN MOVIES AFTER THE HEGEL 'S OWL COUNTRIES . BIG CRISIS INDIA , A CASE STUDY Rosamaria Bitetti 15th January, 2013 2 | P a g e Index 1 Contents RINGRAZIAMENTI .................................................................................................... 6 GENERAL INTRODUCTION ....................................................................................... 7 SECTION I GOOGLE , COMPETITION POLICY AND THE HEGEL 'S OWL ..................................... 11 1 Can the Hegel's owl spread its wings and fly? ............................................. 12 2 The new economy: did the dusk begun to fall? ............................................ 14 3 The breeze of Behavioral antitrust ................................................................ 20 4 Google, a tale of a virtuous monopolist? ...................................................... 22 5 The trouble with dominance ......................................................................... 26 6 The trouble with abuses ................................................................................ 32 6.1 Refusal to supply ................................................................................................................... 34 6.2 Tying or bundling ................................................................................................................. 36 7 The -
Jaarverslag 2007-2008 (PDF)
1 Het International Film Festival Rotterdam (IFFR) toont de nieuwste onafhankelijke en vernieuwende films uit de wereld en is een platform voor actuele filmkunst, opkomend en gevestigd filmtalent en filmgerelateerde kunst. Naast de vertoning van films steunt het filmfestival actief de totstandkoming van auteurscinema en de deskundigheid van filmtalent, de onafhankelijke filmindustrie en filmkritiek. Een internationale coproductiemarkt (CineMart), een fonds voor filmmakers in ontwikkelingslanden (Hubert Bals Fonds), trainingprojecten (Rotterdam Lab, Trainee Project for Young Film Critics) en debatten voor filmprofessionals maken deel uit van het filmfestival. Behalve via het filmfestival en de internationale activiteiten van Hubert Bals Fonds en CineMart, zorgt de Stichting Filmfestival Rotterdam ervoor dat de kunstzinnige film in Nederland op andere wijzen te zien blijft: via de filmtheaters (Rotterdam en route), op dvd (Tiger Releases) en televisie (NPS Wereldcinema). Op landelijk, regionaal en lokaal niveau brengt IFFR studenten en scholieren in contact met onafhankelijke filmkunst via de Rotterdam Film Course, Meet the Maestro, Filmblik Rotterdam en schoolvoorstellingen. WOORD VOORAF Het was in een aantal opzichten een vrij radicaal Tegelijk was ook de 37ste editie een feest van jaar voor het International Film Festival Rot- diversiteit met 244 lange, 383 korte films en terdam (IFFR). In de eerste plaats letterlijk: ruim 100 performances en installaties. Daarbij het festival legde dit jaar de nadruk op het is gestreefd naar een overzichtelijker opzet thema Free Radicals. Door dit accent op een door het aantal programmaonderdelen terug te specifieke esthetische traditie van filmmakers brengen. De reacties, in de (internationale) pers, en kunstenaars die geen technische perfectie en van de gasten en professionals die onder nastreven, maar kiezen voor een puur en direct andere de 25 jaar jonge CineMart bezochten, werk, maakten we nog eens duidelijk waar het maakten het weer een festival om trots op te IFFR voor stond én staat: het werk van film- zijn. -
Festa Del Cinema Di Roma
Sidney Poitier e Paul Newman sono i protagonisti dell’immagine ufficiale della quindicesima edizione della Festa del Cinema di Roma, in una foto FESTA che celebra, oltre al glamour del grande cinema, il senso di comunione e amore interrazziale. Lo scatto, in occasione delle riprese di Paris Blues di Martin Ritt (1961), film candidato all’Oscar® per la miglior colonna sonora firmata da Duke DEL CINEMA Ellington, rappresenta un omaggio a due icone della storia del cinema. Il senso di complicità, la gioia di stare insieme, la condivisione delle esperienze, il valore della collaborazione umana e artistica sono il beat DI ROMA della Festa del Cinema 2020. Sidney Poitier and Paul Newman are the protagonists of the official poster of the 15th Rome Film Fest. This is an image that celebrates the glamour of great cinema but also a sense of communion and interracial love.The photo, taken during the shooting of Paris Blues by Martin Ritt (1961), the film est ® F nominated for the Oscar for Best Soundtrack, composed by Duke Ellington, is a tribute to two icons in the history of film. That sense of complicity, the joy of being together, the sharing of experiences, the value of human and artistic collaboration are the beat of Rome Film Fest 2020. ome Film R oma | R 15 25 10 2020 esta del Cinema di F 20 Edizione 0 2 Edition © Everett Collection Sidney Poitier e Paul Newman sono i protagonisti dell’immagine ufficiale della quindicesima edizione della Festa del Cinema di Roma, in una foto FESTA che celebra, oltre al glamour del grande cinema, il senso di comunione e amore interrazziale. -
Daily Screening & Events Schedule
TIFF Industry Online Daily Screening & Events Schedule SEPTEMBER 12, 2020 A new world of color and contrast RealLaser advances RGB pure laser illumination. Approaching Rec. 2020 with color realism, RealLaser delivers rich, deep and intense color that doesn’t require fi ltering or correction. Bring new worlds of color and contrast to your theatre. Christie CP4315-RGB / CP4320-RGB (Other 2K and 4K models available in range) christiedigital.com/cinema ® Toronto International Film Festival Inc. used under license. ® Christie Digital Systems USA, Inc. I Industry user access P Press user access Press & Industry B Buyer user access * Availability per country on the schedule at TIFF.NET/INDUSTRY Daily Schedule Access TIFF Digital Cinema Pro September 12, 2020 at DIGITALPRO.TIFF.NET NEW TODAY Films are available for 48 hours from start time. 10 AM THE BIG HIT KILL IT AND LEAVE THIS TOWN THE PEOPLE UPSTAIRS SILVER SKATES: EDT 106 min. | TIFF Digital Cinema Pro 88 min. | TIFF Digital Cinema Pro 81 min. | TIFF Digital Cinema Pro MAKING OF & FOOTAGE Private Screening TIFF Industry Selects Private Screening 0 min. | TIFF Digital Cinema Pro I P B P B I B Private Screening B CURVEBALL - A TRUE STORY. THE MACALUSO SISTERS THE REASON UNFORTUNATELY. 94 min. | TIFF Digital Cinema Pro 82 min. | TIFF Digital Cinema Pro THE SPACEWALKER 108 min. | TIFF Digital Cinema Pro Private Screening Private Screening 100 min. | TIFF Digital Cinema Pro Private Screening I B I P B Private Screening B I B MAGIC MOUNTAINS ROCKFIELD: THE STUDIO IN BETWEEN DYING 82 min. | TIFF Digital Cinema Pro ON THE FARM THE UNFAMILIAR 89 min. -
Descarcă Catalogul Festivalului
PERGOLA GRĂDINII VERONA OUTDOOR FABRICA GRIVIŢA OUTDOOR CINEMA DRIVE-IN SNAGOV PARK DRIVE-IN Orange TV Go ONLINE LES FILMS DE CANNES À BUCAREST PREZENTAT DE: INSPIRAT DE CU SPRIJINUL PROIECT CULTURAL PARTENAIRE FINANŢAT DE PRIVILÉGIÉ , PARTENERI PARTENERI MEDIA PRINCIPALI PARTENERI MEDIA Caiet de brand Negru Galben cinefilia.ro CMYK 0, 0, 0, 100 CMYK 0, 21, 100, 0 Font: Candara / Bold ALL ABOUT ROMANIAN CINEMA AaRC LES FILMS DE CANNES À BUCAREST Desigur, cel mai important în perioada aceasta este să fim sănătoşi şi să facem ca lucrurile să continue să meargă cât de cât într-o normalitate, de la şcoală şi familiile noastre şi până la joburi – care sunt în pericol, în special cele ale freelancerilor din domeniul cultural şi al organizării de evenimente. Altfel însă, e important şi să încercăm să ne păstrăm pe cât se poate obiceiurile din viaţa noastră de dinainte – inclusiv cele care nu sunt necesare supravieţuirii imediate, cum sunt cele culturale în general şi un festival de film în particular. Căci da, nu se oprea lumea în loc dacă nu organizam noi ediţia a 11-a a Les Films de Cannes à Bucarest – însă ne-am încăpăţânat tocmai pentru fărâma de normalitate pe care continuarea acestei tradiţii o aduce în viaţa noastră. – Cristian Mungiu, iniţiatorul festivalului CUPRINS ANOTHER ROUND / Druk | 9 LE DISCOURS / The Speech | 9 ÉTÉ 85 / Summer of 85 | 10 MALMKROG | 10 MANDIBULES / Mandibles | 11 STILL THE WATER / Futatsume no mado | 11 SWEAT | 12 SWEET BEAN / An | 12 TRUE MOTHERS / Asa Ga Kuru | 13 LA VÉRITÉ / The Truth | 13 BORDER / Gräns | -
A Film by Naomi Kawase Kino Films Presents
True Mothers A film by Naomi Kawase Kino films presents True Mothers [ASA GA KURU] A film by Naomi Kawase WITH HIROMI NAGASAKU, ARATA IURA, AJU MAKITA, MIYOKO ASADA Japan | 139 min. INTERNATIONAL SALES www.playtime.group ©2020 “Asa ga Kuru” FILM PARTNERS/ KINOSHITA GROUP, KUMIE GROUP, KINOSHITA ©2020 “Asa ga Kuru” FILM PARTNERS/ SYNOPSIS “I want my son back,” But one day, a phone call threatens Satoko’s hap- One day when Asato is at school, Satoko receives a piness and the careful balance she has found. The call visit from Hikari. The slender young woman at her door that was what the woman was from a woman named Hikari: “I want my son back, bears no resemblance to the teenager who gave birth and if that’s not possible, I want my money.” to their adopted son. But more importantly, Satoko on the phone said…” feels instinctively that this woman is not Hikari. And if Hikari was Asato’s birth mother. Satoko and Kiyokazu she is not Hikari, then who is she? What will Satoko do After suffering through a long and unsuccessful series had met her once, when they adopted Asato. At the when Hikari’s shocking past is revealed? of fertility treatments, Satoko and her husband Kiyo- time, Hikari was 14 years old. The couple has not heard kazu make the decision to adopt a child. Six years after from Hikari, who is now 20, in over six years. Satoko adopting a boy they named Asato, Satoko has quit her had just assumed that the birth mother was living a job to concentrate fully on her husband and son. -
Sweet Bean (PG) Dir: Naomi Kawase Starring: Kiki Kirin, Nagase Masatoshi Sponsor: the Venue Cinema This Review Contains Plot Details
Patron: Jim Broadbent Registered Charity No. 1156478 Friday May 11th 2018 Sweet Bean (PG) dir: Naomi Kawase Starring: Kiki Kirin, Nagase Masatoshi Sponsor: The Venue cinema This review contains plot details. It is reproduced with the kind permission of Sight and Sound magazine Synopsis: Tokyo, the present. Sentaro manages a small café selling dorayaki, a traditional pancake filled with sweet bean paste. The café is not successful. He employs 76 year old Tokue as a kitchen assistant. He learns that she has a secret recipe for sweet bean paste; customers love it and start flocking to the café. Sentaro then learns that Tokue has spent time in a sanitorium. She resigns suddenly. Sentaro reveals he too has a secret. He visits Tokue at the sanatorium but discovers that she has died. invisible issue of the outsider status of the several thousand leprosy patients The café owner decides her nephew will take over the café. Sentaro currently housed in specialist sanatoriums across Japan. (Previous films receives details of Tokue’s sweet bean recipe and begins to sell broaching the subject include Toyoda Shiro’s Spring on Leper’s Island, pancakes on his own. 1940, Nomura Yoshitaro’s The Castle of Sand, 1974, and Kumai Kei’s, To It is easy to forget what a breath of fresh air Kawase Naomi seemed Love, 1977.) within Japanese film-making circles when she first emerged, aged just 18, at For viewers unfamiliar with Kawase’s oeuvre, Sweet Bean provides a the turn of the 1990s with a series of highly personal Super 8 diaries and better entry point than its laboured predecessor, Still the Water, which experimental films. -
Directors' Statements
2 Directors’ Statements If the UK holds a distinctive place in the history Welcome to the 2019 edition of Open City of non-fiction film, this is in part because of Documentary Festival. As a festival, we are the support from public subsidy throughout committed to creating a platform for non-fiction the twentieth century. For better or worse, that as an artform and seek to build a community Sponsors & Cultural Partners time is passing. A decade ago, when I began for those makers who weave their stories in the to formulate the idea that became Open City realm of the real. This year’s programme brings Documentary Festival, I was aware that should together a collection of documentary works that we wish to preserve the uniquely rich form of will provoke, move and inspire you. We continue storytelling that is non-fiction, we would need to interrogate the boundaries between fact and to begin exploring new forms of funding and fiction as well as the delineation between modes collaboration between different parts of society. - placing films, audio and cross-media projects in For us this meant working from within a great dialogue with each other. 2019 sees us looking university like UCL. forward, creating space for authored, urgent narratives, while contextualising these new voices Our festival is part of a new kind of ecosystem with historical work. in which education, production and exhibition THE BOTANIST ISLAY DRY G IN come together to support each other, and where This year’s film programme offers radical ways the work we promote and that of our students of representing reality and distinct perspectives is inspired by the research ambition of all those on the political and the personal. -
Japan Now Press Conference Featuring Naomi Kawase, with A
PRESS INFORMATION September 6, 2017 Press Conference to Announce the 30th TIFF Lineup: September 26 To the Members of the Press: The Tokyo International Film Festival (TIFF) will hold a press conference on Tuesday, September 26 to announce the full lineup of the main sections and related special events of the 30th edition. We cordially invite you to join us at Roppongi Hills Mori Tower as we announce TIFF Official Selections. The 30th TIFF will be held from October 25 – November 3, 2017, at Roppongi Hills, EX Theater Roppongi and other venues in Tokyo. All press members must complete the press accreditation procedure to attend this press conference. Application Deadline: September 22, 2017. Date and time: September 26 (Tue), 2017 Doors open at 12:00 pm Press conference starts at 1:00 pm (tentative) Place: Tower Hall, Roppongi Academyhills Address: Roppongi Hills Mori Tower 49th Floor, 6-10-1 Roppongi, Minato-ku, Tokyo URL: http://www.roppongihills.com.e.nt.hp.transer.com/facilities/access/ Speakers*: Takeo Hisamatsu – Festival Director, 30th TIFF Nobushige Toshima – Managing Director, 30th TIFF Yoshi Yatabe – Competition Programming Director Kenji Ishizaka – Asian Future Programming Director Kohei Ando – Japan Now Programming Advisor Ryusuke Hikawa – Animation Focus Programming Advisor Guests: Special Guests (TBA) Topics: Lineups for all sections and outline of events during 30th TIFF *Simultaneous interpretation (J/E) to be provided. *Please RSVP by email to arrange your seat and headset for simultaneous interpretation (J/E) by September 22 (Fri) 5:00pm: [email protected] Japan Now Press Conference featuring Naomi Kawase, with a special screening of Radiance: October 3 TIFF is also pleased to hold a separate Japan Now Press Conference featuring internationally acclaimed writer and director Naomi Kawase, with a very special English-subtitled screening of her latest film, Radiance at the Foreign Correspondents’ Club of Japan (FCCJ) on Tuesday, October 3, 2017. -
Notes to Editors PRESS
EMBARGOED UNTIL 00:01, MONDAY 4 MAY 2020. Page 2 – Full Programme Information, including: BFI Player collections Akira Kurosawa Classics Yasujirō Ozu Cult Anime Independence 21st Century Early Films of Japan (1894-1914) J-Horror BFI Blu-ray and DVD The Japanese Cinema Book UK wide activity Seasons at BFI Southbank: The Golden Age Radicals and Rebels Anime 21st Century Japanese cinema Mediatheque collection – Lost in Japan International partnerships Page 10 – Stills and moving image assets Page 11 – Notes to Editors PRESS CONTACTS: General enquiries about BFI JAPAN: Liz Parkinson – PR Manager, BFI Cultural Programme - [email protected] | 020 7957 8918 / 07810 378203 Judy Wells – Director, Press and PR, BFI - [email protected] | 020 7957 8919 / 07984 180501 Interviews with BFI spokespeople and selected talent available on request via Liz Parkinson FULL PROGRAMME HIGHLIGHTS EMBARGOED UNTIL 00:01, MONDAY 4 MAY 2020. BFI PLAYER COLLECTIONS The BFI’s VOD service BFI Player will be the premier destination for Japanese film this year with thematic collections launching over a six month period (May – October): Akira Kurosawa (11 May), Classics (11 May), Yasujirō Ozu (5 June), Cult (3 July), Anime (31 July), Independence (21 August), 21st Century (18 September) and J-Horror (30 October). All the collections will be available to BFI Player subscribers (£4.99 a month), with a 14 day free trial available to new customers. There will also be a major new free collection Early Films of Japan (1894-1914), released on BFI Player on 12 October, featuring material from the BFI National Archive’s significant collection of early films of Japan dating back to 1894.