SARABAND Directed by Ingmar Bergman Starring Liv Ullmann
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Another Round
Presents ANOTHER ROUND A film by Thomas Vinterberg 116 mins, Denmark, 2020 Language: Danish with English subtitles Official Selection: Cannes 2020 and TIFF 2020 Distribution Publicity Mongrel Media Inc Bonne Smith 217 – 136 Geary Ave Star PR Toronto, Ontario, Canada, M6H 4H1 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Twitter: @starpr2 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com LOG LINE Another Round is a fun, moving, life-affirming and thought-provoking drama about friendship, freedom, love – and alcohol. SYNOPSIS There’s a theory that we should be born with a small amount of alcohol in our blood, and that modest inebriation opens our minds to the world around us, diminishing our problems and increasing our creativity. Heartened by that theory, Martin and three of his friends, all weary high school teachers, embark on an experiment to maintain a constant level of intoxication throughout the workday. If Churchill won WW2 in a heavy daze of alcohol, who knows what a few drops might do for them and their students? Initial results are positive, and the teachers’ little project turns into a genuine academic study. Both their classes and their results continue to improve, and the group feels alive again! As the units are knocked back, some of the participants see further improvement and others go off the rails. It becomes increasingly clear that while alcohol may have fueled great results in world history, some bold acts carry consequences. DIRECTOR’S INTENT THOMAS VINTERBERG “I never drink before breakfast.” The quote is from Churchill, who helped to defeat the Germans and win World War II, while under the excessive and constant influence of alcohol. -
Ingmar Bergman's 100Th Anniversary Celebration in the Czech Republic
[ Theatralia 22 / 2019 / 1 (132—136) ] https://doi.org/10.5817/TY2019-1-16 Ingmar Bergman’s 100th Anniversary Celebration in the Czech Republic Ivona Solčániová ] Project Bergman 100 emerged from the col- SCANDI introduced pictures such as Au- laboration between several different Czech tumn Sonata, Scenes from a Marriage, Fanny institutions having a common interest in and Alexander, and The Silence. events events the work of the principal Swedish direc- [ tor Ingmar Bergman – the Swedish Em- Even though Ingmar Bergman became bassy, the 44th Summer Film School Uherské synonymous with Swedish filmography, Hradiště, the Academy of Performing Arts, he was also a great theatre enthusiast. Scandinavian House, the Ingmar Bergman In multiple events, Scandinavian House Foundation, Kolowrat Palace, the Be2Can showcased Bergman as a theatre and art project and other organizations engaged director who had worked in several Swed- with Swedish culture. The project aimed ish theaters. Lectures with a discussion to organize different events dedicated to ‘Unknown Ingmar Bergman’ and the honoring the professional work and life of showing of a documentary film Trespass- Ingmar Bergman. It introduced Bergman ing Bergman took place in both Brno and as a theatre director, filmmaker, scriptwrit- Prague. er and a respected man who is still influ- The presentation of Bergman in Brno encing artist all over the world. started with talks between the theatrolo- gist David Drozd and the essayist Pavel The very first event took place at the be- Švanda. Drozd introduced different faces ginning of February with the SCANDI1 film of the Swedish director concentrating festival. There were five movies presented mainly on his close relations to theatre in a special ‘Bergman section’, picked by whereas Švanda focused on Bergman’s re- Be2Can2 dramaturges Aleš Stuchlý and ception in the Czech environment. -
The Films of Ingmar Bergman: Centennial Celebration!
The Films of Ingmar Bergman: Centennial Celebration! Swedish filmmaker, author, and film director Ingmar Bergman was born in 1918, so this year will be celebrated in Sweden and around the world by those who have been captivated by his work. Bergman belongs to a group of filmmakers who were hailed as "auteurs" (authors) in the 1960s by French, then American film critics, and his work was part of a wave of "art cinema," a form that elevated "movies" to "films." In this course we will analyze in detail six films by Bergman and read short pieces by Bergman and scholars. We will discuss the concept of film authorship, Bergman's life and work, and his cinematic world. Note: some of the films to be screened contain emotionally or physically disturbing content. The films listed below should be viewed BEFORE the scheduled OLLI class. All films will be screened at the PFA Osher Theater on Wednesdays at 3-5pm, the day before the class lecture on that film. Screenings are open to the public for the usual PFA admission. All films are also available in DVD format (for purchase on Amazon and other outlets or often at libraries) or on- line through such services as FilmStruck (https://www.filmstruck.com/us/) or, in some cases, on YouTube (not as reliable). Films Week 1: 9/27 Wild Strawberries (1957, 91 mins) NOTE: screening at PFA Weds 9/25 Week 2: 10/4 The Virgin Spring (1960, 89 mins) Week 3: 10/11 Winter Light (1963, 80 mins) Week 4: 10/18 The Silence (1963, 95 mins) Week 5: 10/25 Persona (1966, 85 mins) Week 6: 11/1 Hour of the Wolf (1968, 90 mins) -
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. -
Feature Films
NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 .......................... -
“Aspects of Danish Cinema”
Programme of Danish Film Screenings at the Danish Institute at Athens 2018 “Aspects of Danish Cinema”. By Ioanna Athanassatou/Film Historic at the Greek Open University & the University of Athens Screening on the 26th of April 2018 Silent heart (2014) by Bille August In film screening programme of the last 2 years, we have had the chance to see I line of Danish movies from Carl Dreyer, Lars von Trier, Susanne Bier and Thomas Vinterberg. Today we have chosen to screen “Silent heart” - in Danish ”Stille hjerte” and in Greek “Αθόρυβη καρδιά” (2014) by Bille August, the fourth movie this year. Bille August is considered the total opposite to Lars Von Trier and Vinterberg with a great international reputation. The filmography of Bille August includes two movies that both were awarded with the Golden Palms in Cannes: “Pelle the Conqueror” (1988) and “The best intentions” (1992). In these movies, including today´s, the director is closer to the cinematic perception of Swedish director Ingmar Bergman (Valoukos 2003, page 630), avoiding formalistic searching, but focusing on the mental state of his heroes. When August directed the movie in 2014, he was inspired by the Scandinavian drama of Ibsen and Strindberg, but also by the philosophic/religious meditation of Søren Kierkegaard. “Silent heart” touches upon the very complex and emotional issue of euthanasia. It was awarded at International festivals and was admitted at the European Art House. The movie is about the family gathering of three generations, coming together for the weekend inorder to say their last goodbye to Esther (Ghita Nørby) – mother and grandmother – who is sick from the incurable disease, Amyotrophic Lateral Sclerosis. -
Joe Hill Joe Hill
politik und mit seinem gesellschaftlichen Engagement. a quiet, clear lake, and in other details such as a garden LEBEN UM JEDEN PREIS ist überhaupt nicht sentimental. Der gate, a door handle, a door to Widerberg's house and a Film wird getragen von Gefühlen des Vermissens und der Liebe. cemetery. He is present through his criticism of film poli• Monika Tunbäck-Hanson, in: Göteborgs Posten, 18.9.1998 tics and through his social commitment. LIFE AT ANY COST is not sentimental at all. The domi• Biofilmographie nant feelings in the film are a sense of loss and of love. Stefan Jarl wurde am 18. März 1941 im südschwedischen Skara Monika Tunbäck-Hanson, in: Göteborgs Posten, Septem• geboren. Ende der sechziger Jahre gründete er eine Gewerkschaft ber 18th, 1998 für Filmarbeiter, einen nicht-kommerziellen Verleih ('Film Cent• rum'), ein Kino ('Folkets Bio' - Volkskino) sowie eine Filmzeit• Biofilmography schrift. Stefan Jarl was born on March 18th, 1941 in Skara (South Stefan Jarl arbeitete außerdem als Produktionsleiter nicht nur für of Sweden). He made his first films in the late sixties. In Bo Widerberg, sondern auch für andere schwedische Regisseure, the seventies he founded a union for filmworkers, a non• wie z.B. Stig Björkman, Mai Zetterling und Arne Sucksdorff. commercial film distribution company, a cinema ('Folkets-Bio'- People's Cinema) and a magazine. Stefan Jarl also worked as a production manager not only JOE HILL for Bo Widerberg, but also for a number of Swedish di• rectors, such as Stig Björkman, Mai Zetterling and Arne Sucksdorff. Land: Schweden 1971. Produktion: Sagittarius. Regie und Buch: Bo Widerberg. -
Festival Centerpiece Films
50 Years! Since 1965, the Chicago International Film Festival has brought you thousands of groundbreaking, highly acclaimed and thought-provoking films from around the globe. In 2014, our mission remains the same: to bring Chicago the unique opportunity to see world- class cinema, from new discoveries to international prizewinners, and hear directly from the talented people who’ve brought them to us. This year is no different, with filmmakers from Scandinavia to Mexico and Hollywood to our backyard, joining us for what is Chicago’s most thrilling movie event of the year. And watch out for this year’s festival guests, including Oliver Stone, Isabelle Huppert, Michael Moore, Taylor Hackford, Denys Arcand, Liv Ullmann, Kathleen Turner, Margarethe von Trotta, Krzysztof Zanussi and many others you will be excited to discover. To all of our guests, past, present and future—we thank you for your continued support, excitement, and most importantly, your love for movies! Happy Anniversary to us! Michael Kutza, Founder & Artistic Director When OCTOBEr 9 – 23, 2014 Now in our 50th year, the Chicago International Film Festival is North America’s oldest What competitive international film festival. Where AMC RIVER EaST 21* (322 E. Illinois St.) *unless otherwise noted Easy access via public transportation! CTA Red Line: Grand Ave. station, walk five blocks east to the theater. CTA Buses: #29 (State St. to Navy Pier), #66 (Chicago Red Line to Navy Pier), #65 (Grand Red Line to Navy Pier). For CTA information, visit transitchicago.com or call 1-888-YOUR-CTA. Festival Parking: Discounted parking available at River East Center Self Park (lower level of AMC River East 21, 300 E. -
Edith Wharton: Vision and Perception in Her Short Stories Jill Sneider Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) 5-24-2012 Edith Wharton: Vision and Perception in Her Short Stories Jill Sneider Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Sneider, Jill, "Edith Wharton: Vision and Perception in Her Short Stories" (2012). All Theses and Dissertations (ETDs). 728. https://openscholarship.wustl.edu/etd/728 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of English Dissertation Examination Committee: Wayne Fields, Chair Naomi Lebowitz Robert Milder George Pepe Richard Ruland Lynne Tatlock Edith Wharton: Vision and Perception in Her Short Stories By Jill Frank Sneider A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2012 St. Louis, Missouri Copyright by Jill Frank Sneider 2012 Acknowledgments I would like to thank Washington University and the Department of English and American Literature for their flexibility during my graduate education. Their approval of my part-time program made it possible for me to earn a master’s degree and a doctorate. I appreciate the time, advice, and encouragement given to me by Wayne Fields, the Director of my dissertation. He helped me discover new facets to explore every time we met and challenged me to analyze and write far beyond my own expectations. -
1 CRIES and WHISPERS Jean Morris Is a Spanish / French
CRIES AND WHISPERS Jean Morris is a Spanish / French / English translator living in London. She has been collaborating with me since 2015 translating into English the subtitles for most of the poems I choose for my videos. She is an extraordinary and generous professional, and also an amazing poet, sensitive and technically accurate. Cries and Whispers is not the first poem of hers that I have worked with: Domingo después del vendaval (Sunday Morning After Gales), Shelter (an unfinished project) and, of course, Metamorphosis, a happy collaboration made under the direction of filmmaker Marie Craven. As usual, Jean gave me total freedom to work with her poem as I liked. I asked her to explain a little more about the period the poem is set in. She told me that she wrote the poem from her experience spending some time as a student of Spanish in Granada in 1975. What happens in the poem is Jean’s real life; she is able to write good poetry from her own life, so moving and profound. The way she mixes her father's death with the Ingmar Bergman film Cries and Whispers (Gritos y Susurros, or Viskningar och Rop) (1972) astonished me. Then I had the idea of linking her father's death to the historical death that occurred that year of 1975 in Spain and changed the country: Fascist dictator Franco's death (a disgusting and extremely tough “father”, by the way). The weird mix of footages and sounds gave me the idea of the introductory sentence of the video: A film found in a hard disk drive (or the modern place where we store our memories). -
Half a Century with the Swedish Film Institute
Swedish #2 2013 • A magazine from the Swedish Film Institute Film 50Half a century with the Swedish Film Institute CDirector Lisah Langsethe exploresc identityk issuesi nin Hotel g in www.sfi.se scp reklambyrå Photo: Simon Bordier Repro: F&B Repro: Factory. Bordier Simon Photo: reklambyrå scp One million reasons to join us in Göteborg. DRAGON AWARD BEST NORDIC FILM OF ONE MILLION SEK IS ONE OF THE LARGEST FILM AWARD PRIZES IN THE WORLD. GÖTEBORG INTERNATIONAL FILM FESTIVAL IS ALSO THE MAIN INDUSTRY WINDOW FOR NEW NORDIC FILM AND TALENT, FEATURING NORDIC FILM MARKET AND NORDIC FILM LAB. 1,000 SCREENINGS • 500 FILMS • 23 VENUES • 160,000 VISITS • WWW.GIFF.SE WELCOME Director, International Department Pia Lundberg Fifty and counting Phone +46 70 692 79 80 [email protected] 2013 marks the Swedish Film Institute’s various points in time. The films we support 50th anniversary. This gives us cause to look today are gradually added to history, giving back to 1963 and reflect on how society and that history a deeper understanding of the Festivals, features the world at large have changed since then. world we currently live in. Gunnar Almér Phone +46 70 640 46 56 Europe is in crisis, and in many quarters [email protected] arts funding is being cut to balance national IN THIS CONTEXT, international film festivals budgets. At the same time, film has a more have an important part to play. It is here that important role to play than ever before, we can learn both from and about each other. -
Full Cinematic Retrospective of Director Andrei Tarkovsky This Summer at MAD
Full Cinematic Retrospective of Director Andrei Tarkovsky this Summer at MAD Andrei Tarkovsky, Sculpting in Time presents the work of the revolutionary director and includes screenings—all on 35 mm—of all seven feature films and a behind-the-scenes documentary Stalker, 1976. Andrei Tarkovsky. New York, NY (June 8, 2015)—The Museum of Arts and Design presents a full cinematic retrospective of Andrei Tarkovsky’s work this summer with its latest cinema series, Andrei Tarkovsky, Sculpting in Time, from July 10 through August 28, 2015. Over the course of just seven feature films, Tarkovsky produced a poetic and enigmatic body of work that expanded the possibilities of cinema as an art form and transformed a wide range of genres including science fiction, war stories, film essays and historical dramas. Celebrating the legacy of this revolutionary director, the retrospective includes screenings of Tarkovsky’s seven feature films on 35 mm, as well as a behind-the-scenes documentary that reveals the process behind his groundbreaking practice and cinematic achievements. “Few directors have had as large of an influence on cinema as Andrei Tarkovsky,” says Jake Yuzna, MAD’s Director of Public Programs. “Working under censorship and with little support from the Soviet Union, Tarkovsky fought fiercely for his conceptualization of cinema as a singular and vital art form. Reconsidering the role of films in an age of increasing technology, Tarkovsky saw cinema as not merely a tool for communicating information, but as ‘a moral barometer in a sea of competing narratives.’” 2 COLUMBUS CIRCLE NEW YORK, NEW YORK 10019 P 212.299.7777 F 212.299.7701 MADMUSEUM.ORG Premiering on July 10 with Tarkovsky’s science fiction classic, Solaris, the retrospective showcases the director’s distinctive and influential aesthetic, characterized by expressive, sweeping takes, the evocative use of landscapes, and his method of “sculpting in time” with a camera.