426: December

Total Page:16

File Type:pdf, Size:1020Kb

426: December AANGEBODEN DOOR UW FILMTHEATER, FDN & NVB IDFA OVER OUDE EN NIEUWE OORLOGEN RIAN JOHNSON IN DE VOETSPOREN VAN AGATHA CHRISTIE THE IRISHMAN EEN GRAF VOOR DE MAFFIA MARRIAGE STORY HET EINDE VAN HET BURGERHUWELIJK SERGEI LOZNITSA OVER STALINISTISCHE SHOWPROCESSEN VARDA PAR AGNÈS EEN LEVEN IN FILM 20 #426 1 9 DECEMBER PARASITE OMHOOG WERKEN IN KOREA Toronto International Film Festival 2018 NETPAC AWARD ‘GORGEOUSLY INTIMATe’ VARIETY THE THIRD EEN FILM VAN ‘SENSUOUSLY ELEGANT’ ASASHH SCREEN DAILY WIFE MAYMAYFAIRFAIR nu te zien in de filmtheaters EEN FILM VAN LJUBO STEFANOV EN TAMARA KOTEVSKA vanaf 12 december in de filmtheaters vanaf 9 januari in de filmtheaters DE FILMKRANT #426 DECEMBER 2019 3 REDACTIONEEL Een week nadat de Academy de Nigeriaanse inzending Lionheart diskwalificeerde voor de Oscar-uitreiking, besloot de organisatie dat de Oostenrijkse inzending Joy volgend jaar februari ook niet mee mag dingen naar de Oscar voor Best International Feature Film. Die blunder maakt pijnlijk duidelijk hoezeer de organisatie achter de feiten aanloopt. Reden voor de dis- kwalificatie is in beide gevallen dat er te veel Engels wordt gesproken in de films, ook al heet de categorie officieel niet meer de Best Foreign Language Oscar. Lionheart van Genevieve Nnaji was de eerste Nigeriaanse inzending ooit voor de Oscars. De film gaat over een vrouw in een door mannen gedomineerde wereld die haar vaders bedrijf voor de ondergang probeert te behoeden. Per- sonages spreken afwisselend Igbo, een van de drie meest gesproken talen in Nigeria, en dan weer Engels, de officiële taal van het land. In Joy, over een Nigeriaanse vrouw die in Wenen het slachtoffer wordt van vrouwenhandelaren, wordt een mix van Duits en Engels gesproken. De regie is van Sudabeh Mortezai, een Oosten- rijkse filmmaker met een Duits-Iraanse achter- grond. De Amerikaanse regisseur Ava DuVernay rea- geerde op Twitter verbolgen op de uitsluiting van Lionheart: “Zullen we landen gewoon eens de kans geven de film in te sturen waarvan zij vinden dat het hun belangrijkste film van het afgelopen jaar is?” De eis dat er niet overwegend Engels mag worden gesproken in de films uit zo ongeveer alle landen van de wereld, is ouderwets en ach- terhaald. Het sluit namelijk al die personages en verhalen van mensen uit die niet de taal spre- ken van het land waarin ze leven. Dan kun je dus nooit een Oscar winnen met een verhaal over vrouwenhandel in Wenen, want de slachtoffers van vrouwenhandel zullen nooit overwegend van Oostenrijkse afkomst zijn. Het idee achter de bepaling dat er niet over- wegend Engels mag worden gesproken, was oorspronkelijk om de vaak kleinere films uit de rest van de wereld te beschermen tegen de omvangrijke filmindustrie en de films met gro- tere budgeten uit het Verenigd Koninkrijk. Maar de realiteit is complexer geworden. Films uit een bepaald land zouden niet verplicht in de moedertaal van dat land gemaakt moeten wor- den. Mag wel. Moet niet. Ook al dromen som- mige mensen nog steeds van een mythisch wit avondland waar mannen zwaarden uit stenen trekken en vrouwen de hele dag liggen te baren, “De beste datingtruc sinds de begindagen van de cinema.” de realiteit is dat we in een geglobaliseerde wereld leven die godzijdank dichter bij de cultu- rele mix van Blade Runner ligt dan bij de mono- cultuur van, zeg, de smurfen. Taal is niet meer Marriage Story 4 18 gebonden aan grond en grenzen. De Academy zou over die realiteit na moeten denken. Het is simpel. Hou de categorie in stand. Schrap de taaleis. RONALD ROVERS DE FILMKRANT #426 DECEMBER 2019 4 STEUN DE DE VOLGENDE FILMKRANT VERSCHIJNT OP DONDERDAG 19 DECEMBER FILMKRANT: WORD #426 ABONNEE Word nu abonnee van de Film— krant en ontvang It’s a Wonderful Life van Frank Capra op blu-ray. Als u nu een jaarabonnement neemt, dan ontvangt u niet alleen een jaar lang de Filmkrant in de bus, maar als welkomst- geschenk ook de blu-ray van de klassieker It’s a Wonderful Life van Frank Capra. Bent u al abonnee maar brengt u een nieuwe abonnee aan? Dan ontvangt u allebei het welkomstgeschenk.* It’s a Wonderful Life uit 1946 groeide door de ja- ren heen uit tot de ultieme kerstfilm – hoewel nooit zo bedoeld – en vindt regelmatig een plekje in ‘beste films aller tijden’-lijstjes. Jimmy Ste- wart is George Bailey uit Bedford Falls, een man IDFA 2019 die zo in de problemen zit dat hij er een eind aan wil maken, op kerstavond. Maar dan duikt de Alles over het documentairefestival 4 9–17 engel Clarence op en laat Bailey zien hoe zijn stadje erbij zou liggen als hij er niet was ge- weest. SUNLESS SHADOWS 49 Saillant detail: de film flopte bij de release en betekende het einde van de carrière van Capra, die het zelf de mooiste film vond die hij ooit maakte. Pas in de jaren zeventig won de film THE THINKING VIDEO aan populariteit – mede omdat de copyrights per abuis niet waren verlengd, waardoor elk #34 ESSAY filmkrant.nl tv-station de film ineens gratis kon uitzenden – MACHINE om uiteindelijk de status te bereiken die hij van- daag de dag nog heeft. HOOG & LAAG | In hun video-essay voor filmkrant.nl vergelijken Cristina Álvarez López en Adrian Martin deze * Stort €42,50 (meer mag ook, dan steunt u de maand twee films op de creatieve grenzen van het slasher- Filmkrant ook als donateur) op rekeningnum- genre. Zowel in Psycho (Alfred Hitchcock, 1960) als in mer NL28 INGB 0005 3933 95 t.n.v. Stichting Cruising (William Friedkin, 1980) dalen personages dwang- Fuurland te Amsterdam, o.v.v. ‘nieuwe abonnee’ matig af naar de diepte, naar een onderwereld. Maar die en vermeld daarbij uw adresgegevens + e-mail- neiging is voorgeprogrammeerd; ze worden bezeten door adres. Deze aanbieding is geldig tot 18 decem- autoritaire ouderfiguren – moeder en vader. Alles in deze ber 2019, met dank aan Universal Home Enter- twee films is gestructureerd langs uitersten van hoog en laag: tainment. locaties, gebaren, stemmen. DE FILMKRANT #426 DECEMBER 2019 5 NIET TE MISSEN: GA DEZE MAAND IN IEDER GEVAL NAAR 4 1 PARASITE 47 2 MARRIAGE STORY 418 3 THE TRIAL 421 4 VARDA PAR AGNÈS 431 5 MARTIN EDEN 425 NINA WU KNIVES OUT 28 SLACHTOFFERROLLEN 23 RIAN JOHNSON PLUS ARTIKELEN OVER 4 10 IDFA Generatiekloof in de hoofdcompetities 4 14 IDFA It PLUS INTERVIEWS MET 4 6 Bong Joon-ho over Parasite 4 12 Maasja Ooms over Still Hurts De balans van de Tweede Wereldoorlog 4 18 Marriage Story De teloorgang van Rotjochies 4 17 Andrej A. Tarkovski over Andrey Tarkovsky: A Cinema Prayer 4 20 Sergei het burgerlijk huwelijk in film Loznitsa over The Trial 4 24 Pietro Marcello over Martin Eden 4 26 Jérémy Clapin over J’ai perdu mon corps 34 THE FAREWELL 48 ANATOMY OF A MURDER PLUS RECENSIES VAN 4 7 Parasite 4 9 Sunless Shadows 4 18 Marriage Story PLUS DE RUBRIEKEN 4 3 Redactioneel 4 4 The Thinking Machine 4 5 Niet te missen 4 21 The Trial 4 5 Martin Eden 4 27 J’ai perdu mon corps 4 31 Varda par Agnès 4 13 Prénom Carmen 4 29 Het nieuwe kijken 4 32 Kort 4 38 Agenda en 4 32 The Irishman | Echo 4 33 Hors normes | De grote boze vos 4 34 King of the Cruise evenementen 4 44 Filmsterren 4 47 Boeken 4 48 Thuiskijken 4 50 Actie! 4 35 The Invisible Life of Eurídice Gusmão | Wiren 4 36 Samen | The Third Wife 4 37 Ze noemen me Baboe | Intieme belichting DE FILMKRANT IS EEN UITGAVE FILMKRANT.LIVE GER LINDA HEYWEGEN, LIVE@ LARABI, DANA LINSSEN, ADRIAN MARTIN, KRANT.NL | DE FILM KRANT WORDT MEDE COLOFON VAN STICHTING FUURLAND, FILMKRANT.NL | AGENDA ROMY VAN KRIEKEN, NICOLE SANTÉ, GUUS SCHULTING, BERI MOGELIJK GEMAAKT DOOR FINAN CIËLE PRIN SEN GRACHT 770, 1017 LE AMSTERDAM, 020 623 [email protected] | BUREAUREDACTIE VANESSA SHALMASHI, EBELE WYBEN GA, ALEXANDER BIJDRAGEN VAN DE NEDER LANDSE 0121, [email protected], WWW.FILMKRANT.NL | GROENE WEGEN | VORMGEVING BART OOSTER HOORN & ZWART | DRUK RODI ROTATIE DRUK, DIEMEN | VERENIGING VAN BIOSCOOP EXPLOI TAN TEN EN OPRICH TERS JAN HEIJS & HENK RABBERS | ZAKELIJKE ROLF HERMSEN | BEHEER WEBSITE HENK RABBERS | OPLAGE 25.000 | ©2019 STICHTING FUURLAND/DE FILM THEATERS (NVBF), FILM DISTRI BUTEURS LEIDING & ADVER TENTIE-ACQUISITIE ILONA VAN COVER PARASITE | FOTOGRAFIE BOB BRONS HOFF, FILMKRANT, AMSTER DAM | ISSN 01698109 | DE FILM­ NEDERLAND (FDN) EN HET NEDERLANDS FILM FONDS GENDEREN STORT, ILONA@FILM KRANT.NL | HOOFD- GIOVANNA GORASSINI, ANGELIQUE VAN WOERKOM | KRANT HEEFT GEPROBEERD DE RECHTHEBBEN DEN VAN EN WORDT U MEDE AAN GE BODEN DOOR UW FILM- REDACTIE RONALD ROVERS | EIND REDACTIE JOOST VERDER WERKTEN MEE CRISTINA ÁLVAREZ LÓPEZ, LEO HET GEBRUIKTE BEELDMATERIAAL TE ACHTERHALEN THEATER BROEREN-HUITENGA, MARISKA GRAVELAND | REDACTIE BANKERSEN, BASJE BOER, KEES DRIESSEN, JAN PIETER EN IN TE LICH TEN. MOCHT U DESONDANKS MENEN DAT JOS VAN DER BURG, HUGO EMMERZAEL | WEB REDACTIE EKKER, CARMEN FELIX, SANDRA HEERMA VAN VOSS, U RECHTEN BEZIT OP EEN VAN DE GEBRUIKTE BEELDEN, EDO DIJKSTERHUIS (NIEUWS), ERIK SCHUMACHER | NOA JOHANNES, FRITZ DE JONG, IVO DE KOCK, OMAR NEEM CONTACT OP MET DE UITGEVER VIA INFO@FILM- DE FILMKRANT PORTRET ANGELIQUE VAN WOERKOM #426 DECEMBER 2019 6 BONG JOON-HO OVER PARASITE ‘MIJN FILMS TONEN MIJN ANGST VOOR DE TOEKOMST’ Hij is de eerste Zuid-Koreaanse winnaar ooit van een Gouden Palm verhoudingen tussen arm en rijk. De film begint in het krappe kelderhuis van de werkloze Kim Ki-taek op het filmfestival van Cannes, ligt inmiddels goed in de race bij de (Bongs muze Song Kang-ho), waar vader, moeder, Oscars en heeft een groeiende schare idolate online fans die zich de zoon en dochter amper rondkomen van het opvou- wen van pizzadozen.
Recommended publications
  • Return from Exile: How Extreme Metal Culture Found Its Niche with Dethklok and Postnetwork TV
    Journal of Popular Music Studies, Volume 27, Issue 2, Pages 163–183 Return from Exile: How Extreme Metal Culture Found Its Niche with Dethklok and Postnetwork TV Joe Tompkins Allegheny College In the premiere episode of Metalocalypse, an original animated series entering its fifth season on the Adult Swim channel,1 300, 000 metalheads travel to the Artic Circle to witness Dethklok, “the world’s greatest cultural force,” as they perform a coffee jingle for the Duncan Hills Coffee Corporation. Despite adverse conditions and a mere single song set list, thousands of fans risk life and limb for the chance to witness the legendary death metal band as they perform a raucous musical ode to the virtues of “ultimate flavor.” As one reporter on the scene observes, “Never before have so many people traveled so far for such a short song.” In a further testament to the band’s outstanding popularity and market value, concertgoers eagerly sign “pain waivers” excusing Dethklok from legal liability in the all too likely event they are somehow “burned, lacerated, eaten alive, poisoned, de-boned, crushed, or hammer-smashed” during the show. Meanwhile, the performance launches the international coffee mogul Duncan Hills to monopoly status, “obliterating” the competition. When asked by news reporters if such an act of corporate sponsorship means that Dethklok is “selling out,” frontman Nathan Explosion growlingly rejoins: “We are here to make coffee metal. We will make everything metal. Blacker than the blackest black . times infinity.” Touting “the biggest
    [Show full text]
  • Mister America
    Presents MISTER AMERICA A film by Eric Notarnicola 86 mins, USA, 2019 Language: English Distribution Mongrel Media Inc 217 – 136 Geary Ave Toronto, Ontario, Canada, M6H 4H1 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] www.mongrelmedia.com 49 west 27th street 7th floor new york, ny 10001 tel 212 924 6701 fax 212 924 6742 www.magpictures.com ABOUT THE PRODUCTION Filming took place on location in San Bernardino and the Los Angeles area. Using a mix of actors and non-actors, the small crew used documentary techniques to give the experience of a true story unfolding in real time. Often filming in four to five locations a day and using a script in which specific dialogue was scarce but the intention for each scene was detailed, actors improvised fully in the moment to allow their characters to develop naturally. What resulted was a team in-sync and fully ready to capture the chaotic world around them. 49 west 27th street 7th floor new york, ny 10001 tel 212 924 6701 fax 212 924 6742 www.magpictures.com 1. ABOUT THE CAST As one half of comedy duo “Tim and Eric” and creator of Abso Lutely Productions, Tim Heidecker can easily be viewed as a godfather of subversive, alt-comedy. With roles in “Us”, “Eastbound & Down”, “Awesome Show”, “Portlandia” and more, Mr. Heidecker has helped to affect the comedy landscape for years to come. As a co-creator of On Cinema and its ensuing worlds with Gregg Turkington, he’s been able to prod at multiple facets of society.
    [Show full text]
  • Apocalypse Now the Lost Photo Archive
    Leseprobe Chas Gerretsen Apocalypse Now The Lost Photo Archive Bestellen Sie mit einem Klick für 45,00 € Seiten: 256 Erscheinungstermin: 27. September 2021 Mehr Informationen zum Buch gibt es auf www.penguinrandomhouse.de Inhalte Buch lesen Mehr zum Autor Zum Buch "Chas's stunning photos bring back the experience." —Francis Ford Coppola</w:p><w:p><w:pPr><w:pStyle w:val="ds12f" /></w:pPr>Hired in 1976 by Francis Ford Coppola as the still photographer for his masterpiece Apocalypse Now, Chas Gerretsen’s private archive of hundreds of photographs propels readers immediately into the chaos and drama surrounding one of the most important movies ever made. Gerretsen was a renowned freelance photographer who had previously worked in Chile and Vietnam when he got the call from Coppola, who was looking for a combat photographer for a war movie. Given unprecedented access to the film’s stars, extras, crew, and legendary behind-the-scenes drama he spent six months in the Philippines, shooting thousands of images. Culled from that archive, these full-color photographs offer an intimate glimpse of the turmoil and excitement of a Hollywood spectacle rising out of the unpredictable climate of the Philippine rainforest. Capturing the star power of Marlon Brando, Martin Sheen, and Dennis Hopper, as well as the sprawling sets, he takes us into the beauty of the Southeast Asian jungle and shows us how its inhabitants were incorporated into the filming. Throughout the book, Gerretsen’s astute reflections of his experience on set are as fascinating as his photography. While Apocalypse Now remains one of the most critically acclaimed movies of all time, the making of the film is equally legendary.
    [Show full text]
  • Delegates Guide
    Delegates Guide 15–20 March, 2019 Cultural Partners Supported by Friends of Qumra Media Partners Cover: ‘Six Months and One Day’, directed by Yassine Ouahrani 1 QUMRA DELEGATES GUIDE Qumra Programming Team 5 Qumra Masters 7 Master Class Moderators 13 Qumra Project Delegates 15 Industry Delegates 63 QUMRA PROGRAMMING TEAM Fatma Al Remaihi CEO, Doha Film Institute Director, Qumra Aya Al-Blouchi Quay Chu Anthea Devotta Mayar Hamdan Qumra Master Classes Development Qumra Industry Senior Qumra Shorts Coordinator Senior Coordinator Executive Coordinator Development Assistant Youth Programmes Senior Film Workshops & Labs Coordinator Senior Coordinator Elia Suleiman Artistic Advisor, Doha Film Institute Yassmine Hammoudi Karem Kamel Maryam Essa Al Khulaifi Meriem Mesraoua Qumra Industry Qumra Talks Senior Qumra Pass Senior Grants Senior Coordinator Coordinator Coordinator Coordinator Film Programming Senior QFF Programme Manager Hanaa Issa Coordinator Animation Producer Director of Strategy and Development Deputy Director, Qumra Vanessa Paradis Majid Al-Remaihi Nina Rodriguez Alanoud Al Saiari Grants Coordinator Film Programming Qumra Industry Senior Qumra Pass Coordinator Assistant Coordinator Film Workshops & Labs Coordinator Wesam Said Rawda Al-Thani Jana Wehbe Ania Wojtowicz Grants Coordinator Film Programming Qumra Industry Senior Qumra Shorts Coordinator Assistant Coordinator Film Workshops & Labs Senior Coordinator Khalil Benkirane Ali Khechen Jovan Marjanović Head of Grants Qumra Industry Industry Advisor Manager Film Training Senior Manager 4 5 Qumra Masters Eugenio Caballero Kiyoshi Kurosawa In 2015 and 2016 he worked on the film ‘A at Cannes in 2003, ‘Doppelganger’ (2002), Monster Calls’, directed by J.A. Bayona, ‘Loft’ (2005), and ‘Retribution’ (2006), which earning him a Goya on his third nomination screened at that year’s Venice Film Festival.
    [Show full text]
  • Museum of the Moving Image Presents Month-Long Screening Series 'No Joke: Absurd Comedy As Political Reality'
    FOR IMMEDIATE RELEASE MUSEUM OF THE MOVING IMAGE PRESENTS MONTH-LONG SCREENING SERIES ‘NO JOKE: ABSURD COMEDY AS POLITICAL REALITY’ Personal appearances by The Yes Men and PFFR, new work by Tim Heidecker and Gregg Turkington, and films by Chaplin, Spike Lee, Scorsese, Bruno Dumont, and more October 9–November 10, 2019 Astoria, New York, September 12, 2019—MoMI presents No Joke: Absurd Comedy as Political Reality, a fourteen-program series that chronicles some of the most inventive and ingenious ways artists—from Charlie Chaplin to The Yes Men—have reckoned with their political environments. The series features work by filmmakers and other entertainers who are producing comedy and satire at a time when reality seems too absurd to be true. Organized by guest curator Max Carpenter, No Joke opens October 7 with Mister America, the new pseudo-documentary by the comedy duo Tim Heidecker and Gregg Turkington—which will be presented at multiple venues on the same night—and continues through November 10, with films including General Idi Amin Dada: A Self Portrait; William Klein’s Mr. Freedom; Bruno Dumont’s Li’l Quinquin and Coincoin and the Extra-Humans; Spike Lee’s Bamboozled; Chaplin’s Monsieur Verdoux; Scorsese’s The Wolf of Wall Street; the Adult Swim TV series Xavier: Renegade Angel, with creators PFFR in person; Dusan Makavejev’s The Coca-Cola Kid; Starship Troopers; and TV Carnage, by Ontario artist Derrick Beckles. Among other special events are Heidecker and Turkington’s 2017 comic epic The Trial, followed by a live video conversation with the duo, and An Evening with The Yes Men, featuring the activist prankster team of Andy Bichlbaum and Mike Bonnano in person for a conversation with clips of their greatest stunts.
    [Show full text]
  • Janáčkova Akademie Múzických Umění V Brně
    JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Divadelní fakulta Diplomová práca Brno 2017 BcA. Bibiána Rybárová JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Divadelní fakulta Ateliér rozhlasové a televizní dramaturgie a scenáristiky Adaptácie svetovo úspešných formátov reality šou na Slovensku Diplomová práca Autor práce: BcA. Bibiána Rybárová Vedoucí práce: doc. MgA. Marek Hlavica, Ph.D Oponent práce: prof. Mgr. Jan Gogola Brno 2017 Bibliografický záznam RYBÁROVÁ, Bibiána. Adaptácie svetovo úspešných formátov reality šou na Slovensku [Adaptations of worldwide succesful formats of reality shows in Slovakia]. Brno: Janáčkova akademie múzických umění v Brně, Divadelní fakulta, Ateliér rozhlasové a televizní dramaturgie a scenáristiky, rok. 2017 s.93. Vedúci diplomovej práce doc. MgA. Marek Hlavica, Ph.D. Anotácia Reality šou je televízny žáner obsahujúci množstvo rozličných formátov. Viaceré z nich vzbudili záujem po celom svete a prostredníctvom licencií boli predané do rozličných krajín. Hoci bolo nevyhnutné dodržiavať základné rysy formátu, každá jedna národná adaptácia sa v niečom musela prispôsobiť publiku, prípadne dala programu iný ráz. Táto diplomová práca sa zaoberá slovenskými verziami vybraných zahraničných formátov. Konkrétne ide o Farmár hľadá ženu, Mama, ožeň ma, Návštevníkov a Ostrov. Annotation Reality show is a television genre which includes various broadcasts. Many of them excited worldwide interest and were sold to diverse countries. Even thought it’s inevitable to respect the basic format, every country had to adapt to their own spectators or modified the character of a TV show in some way. This thesis deals with the slovakian versions of selected foreign reality show formats. Concretely it refers to Farmer Wants a Wife, Who Wants to Marry My Son, Anno (The Visitors in slovak) and Survivor (The Island in slovak).
    [Show full text]
  • Increasing Contribution of News Photo Agencies Into Journalism by Evolving Technology
    The Online Journal of Communication and Media – April 2015 Volume 1, Issue 2 INCREASING CONTRIBUTION OF NEWS PHOTO AGENCIES INTO JOURNALISM BY EVOLVING TECHNOLOGY Assist.Prof. Dr. Kerim KARAGÖZ1, Prof.Dr. Özer KANBUROĞLU2 1,2Kocaeli University, Turkey [email protected],[email protected] Abstract:The publication of news photos in the journals directly begun in the beginning of 20th Century although news photos had emerged as a profession in the last quarter of 19th century. At the same time, the photos taken immediately distributed among and used in different media organs. In the beginning, the news were distributed by using a specific technique in the emerging agencies, before the photos. The economic reasons were determining factors at establishment of the news agencies in different European countries and in Northern America. Before that, hand-written commercial news letters were disseminated by copying them again by hand-writing. The qualified news coming on time in commercial and capitalist system became important as much as production. Thus, the new circles and groups emerged which were ready to pay for reaching quickly to news. When those increased in numbers, it was realized that the dissemination of news to large areas could be a profitable job. Consequently, the ‘news agencies’ as institutions emerged as a response to a rising need. Today, the news agencies with specific responsibilities in the global communication network just transmit the news and visual material. But some agencies only work on the photos. These agencies transmit photos to all news centers in a short time by connecting with a contracted photographer in that region, or in a region close to the event.
    [Show full text]
  • The European Film Forum
    Creating the buzz around movies: Promotion, Festivals and MEDIA after 2020 SATURDAY, 1 SEPTEMBER 2018 – 16.00 ANGLE-RIGHT 18.00 #EuropeanFilmForum @MEDIAprogEU The aim of the European Film Forum (EFF) is to develop a strategic policy agenda, opening up new perspectives on the challenges and opportunities brought about by the digital revolution. It was set up as the result of a proposal by the European Commission in its 2014 Communication on “European Film in the Digital Era”. In the context of the Commission’s Digital Single Market Strategy, it is essential to discuss how the competitiveness, visibility and innovation capacity of the European audiovisual sector can be enhanced. THE 2018 EUROPEAN FILM FORUM AT THE 75TH VENICE INTERNATIONAL FILM FESTIVAL The European Film Forum will seize Secondly, a panel of Festivals will the opportunity of the 75th anniversary discuss the power of collaboration of the Venice Film Festival to discuss in enabling them to scale up, share the role of Festivals and MEDIA and make better use of resources and support to Festivals post-2020. reach wider audiences. Collaboration is a flexible principle and can be Europe’s Festivals play a key role in implemented in different ways, promoting European audiovisual works allowing Festivals to maintain their and this role is more important than unique identities. ever in the light of intense international competition and changing audience The European Commission proposal behaviours and preferences. The for the Creative Europe Programme Film Forum will therefore address for the period 2021-2027 was adopted how Festivals should respond to the on 30 May.
    [Show full text]
  • Mockumentary Mister America Has World Premiere U.S. President
    October 12, 2019 № 1 Mockumentary Mister tion, he sets out to run for Dis- secretary, announced US troops America has world premiere trict Attorney of San Bernardino would be leaving Syria. The County and fails to even be on the announcement was made after ballot. Trump had a phone conversa- October 7, 2019 The premiere was accompa- tion with Turkish President Re- nied by a question-and-answer cep Tayyip Erdoğan. The state- session moderated by Canadian ment also said U.S. troops had comedian Nathan Fielder, delv- defeated ISIS and Turkey would ing into the logistics of shoot- be moving into Northern Syria. ing with a ve-person crew over Turkey would also take over the course of three days on a guarding captured ISIS ghters shoestring budget. Fans in the which, the statement said, Eu- audience probed the stars about ropean nations have refused to From left to right: Alessandro their comedic backgrounds, in- repatriate. Serradimigni, Terri Parks, Curtis cluding Turkington’s alias of in- The U.S. had been allied with Webster, and Manuel Giusti. Photo by sult comedian Neil Hamburger Kurdish groups in ghting ISIS. anonymous, public domain. and Heidecker’s interest in polit- One of these groups, the Syr- ical comedy. ian Democratic Forces (SDF), op- The evening of October 4, the In addition to the cast of posed the withdrawal and said it mockumentary Mister America the lm, additional On Cinema was previously given "assurances had its world premiere at Grau- alumni including Alessandro from the U.S. that it would not man’s Egyptian Theatre in Holly- Serradimigni, Joe Estevez, and allow any Turkish military oper- wood, California as part of Hulu’s Manuel Giusti were in atten- ations against the region." Kino Beyond Fest lm festival.
    [Show full text]
  • 9 - 15 Januari 2020
    9 - 15 januari 2020 REPRISES APOCALYPSE NOW: FINAL CUT Regie: Francis Ford Coppola | VS | 1979 | 183 min. Digitale restauratie van het fameuze epos over de waanzin van de Vietnamoorlog met legendarische rollen van Martin Sheen, Robert Duvall als napalm kolonel, Dennis Hopper als geflipte oorlogsfotograaf. En natuurlijk Marlon Brando met zijn onvergetelijke mompeldialoog als een losgeslagen Kurtz. De absolute succesfilm van Filmhuis O42! ‘Dit is geen film over Vietnam. Deze film is Vietnam‘ aldus F.F.Coppola. (‘Hoe meer Apocalypse Now, hoe beter.’ ★★★★★ VPRO Cinema) KNIVES OUT Regie: Rian Johnson | VS | 2019 | 130 min. Een wervelende klassieke whodunit in een nieuw jasje, waarbij EEN FILM VAN LJUBO STEFANOV EN TAMARA KOTEVSKA iedereen een verdachte kan zijn. Daniel Craig schittert als detective in de beste traditie van Hercule Poirot. In de voetsporen van Agatha Christie, deze hit van de kerstvakantie! (‘Schmierende cast maakt van detective Knives Out een traktatie.’ ★★★★ de Volkskrant) A LAND IMAGINED Regie: Yeo Siew Hua | Singapore, Nederland | 2018 | 95 min. Oververmoeide rechercheur onderzoekt in Singapore de verdwijning van een Chinese bouwvakker en stuit zo op de duistere keerzijde van de hedendaagse bouwwoede in de metropool. Winnaar Gouden Luipaard filmfestival Locarno. (‘Een droomachtige trip naar het zwarte hart van het globale markt-kapitalisme.’ de Filmkrant) HONEYLAND PREMIÈRE Regie: Tamara Kotevska | Noord-Macedonië MARRIAGE STORY 2019 | 87 min. Regie: Noah Baumbach | VS | 2019| 136 min. Drie jaar lang volgden de makers de laatste Meesterlijk echtscheidingsdrama vol hartverscheurende momenten vrouwelijke honingjager. Hafidze speurt de tussen Adam Driver en Scarlett Johansson. Maar tegelijk ook een steile bergflanken af op zoek naar bijenkolo- instant klassieker, veertig jaar na Kramer versus Kramer, met veel nies.
    [Show full text]
  • Ladder to Damascus a Film by Mohamad Malas
    Ladder to Damascus a film by Mohamad Malas سلم إلى دمشق (Ladder to Damascus (Sulam Ila Dimashq Content Ghalia is possessed by Zeina’s spirit. Haunted by the life of a girl, who drowned the day she was born, Ghalia travels to Damascus, where she studies acting. There, she meets Fouad, an aspiring film-maker who becomes fascinated by Ghalia's duality. He takes her under his wing and helps her find a place to live. Fouad's love for Ghalia and Zeina blossoms, while the tumultuous events in Syria start unfolding in the streets around them and gradually encroaches on their idyllic isolation. Credits Syria/Lebanon/Qatar 2013, Arabic with English subtitles, Colour, 97 minutes Director Mohammad Malas Producer Georges Schoucair Scriptwriter Mohammad Malas, Samer Mohamed Ismail Cinematographer Joude Gorani Editor Ayhan Ergursel Composer Toufic Farroukh, Charbel Haber Cast Najla El Wazza, Bilal Martini, Gianna Aanid Distribution Rights The distribution rights are with our colleagues of MC Distribution in Beirut. We are happy to put you in contact. Film-maker Mohamad Malas Mohamad Malas was born in 1945 in Quneitra on the Golan Heights. He is a prominent Syrian filmmaker whose films garnered him international recognition. Malas is among the first auteur filmmakers in Syrian cinema. Malas worked as a school teacher between 1965 and 1968 before moving to Moscow to study filmmaking at the Gerasimov Institute of Cinematography (VGIK). During his time at VGIK he directed several short films. After his return to Syria Malas started working at the Syrian Television. There he produced several short films including Quneitra 74, in 1974 and al-Zhakira (The Memory) in 1975.
    [Show full text]
  • 1 Cinematic Friendships: Intercessors, Collectives, Perturbations
    1 Cinematic Friendships: Intercessors, Collectives, Perturbations Independent and experimental cinema in Arabic-speaking countries, as elsewhere, often arises from affinities, shared interests, and temporary collaborations, character- ized by fluidity and adaptability. Friendship is a useful way to think about the flexible and sometimes nonlocal relationships in which experimenting cinema and media art get made, similar to the term hubs that Thomas Burkhalter uses to analyze the Beirut music scene’s local-transnational networks.1 This chapter cannot survey all the sites for training, production, exhibition, distri- bution, and archiving of experimental media art, in the broad sense this book under- stands, for there are so many organizations. Instead I present some case studies of cinematic friendships, grounded in concepts of self-organization, metastability, pertur- bation, and individuation. The guiding question is, “Looking at the various kinds of infrastructures for experiments in Arab cinema, how can we tell which ones best sup- port and sustain an experimental and creative practice?” It’s practically a truism that top-down institutional structures are bad for creativity. It’s also usually the case that funding comes with strings and imposes unwanted criteria on creative practices. But rather than reject institutions and outside influence out of hand, this chapter examines how creative practice individuates under the influence of these structures. Does it pro- duce more interesting connections? Does its output become more rewarding, more complex? Similarly, though I begin with the assumption, based on observation, that local organizations are best at nurturing creativity, I don’t want to fetishize the local. Friendship, an Emergent Form of Organization The most radical understandings of friendship cast it as a corrosive force.
    [Show full text]