DOCSLIB.ORG

Venice&Toronto2017

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Venice&Toronto2017 VENICE&TORONTO2017 CONTACT IN VENICE TANJA MEISSNER (Sept. 5th > 8/9th ) | [email protected] | +33 6 22 92 48 31 CONTACTS IN TORONTO The Hyatt Hotel Mezzanine - Regency Ballroom - Unifrance Booth EMILIE GEORGES (Sept. 7th > 8th) | [email protected] | +33 6 62 08 83 43 NICHOLAS KAISER (Sept. 7th > 14th) | [email protected] | +33 6 43 44 48 99 MATHIEU DELAUNAY (Sept. 7th > 14th) | [email protected] | + 33 6 87 88 45 26 NAIMA ABED (Sept. 7th > 11th) | [email protected] | +44 7 731 611 461 OFFICE IN PARIS MEMENTO FILMS INTERNATIONAL 9 Cité Paradis – 75 010 Paris – France | Tel: +33 1 53 34 90 20 | [email protected] | [email protected] | www.memento-films.com | Follow us on Facebook IN SELECTION – NEW – Sweet Country Thelma Call Me By Your Name The Nothing Factory 3/4 (Three Quarters) by Warwick Thornton by Joachim Trier by Luca Guadagnino by Pedro Pinho by Ilian Metev Venice – In Competition Toronto – Special Presentations Toronto – Special Presentations Toronto – Wavelengths Toronto – Discovery Toronto – Platform Artscope UPCOMING The Apparition Claire Darling Everybody Knows The Wild Pear Tree Piercing by Xavier Giannoli by Julie Bertuccelli by Asghar Farhadi by Nuri Bilge Ceylan by Nicolas Pesce In Post Production In Post Production In Production In Post Production In Post Production COMPLETED Have A Nice Day Good Time by Liu Jian by Josh & Benny Safdie SWEET COUNTRY a film by Warwick Thornton VENICE IN COMPETITION PLATFORM TORONTO PLATFORM - CLOSING FILM Sweet Country A film by Warwick Thornton By the director of Samson & Delilah (Caméra D’Or – Cannes 2009) With Sam Neil (Thor, The Commuter, Jurassic Park), Bryan Brown (Gods Of Egypt, Australia, Cocktail) — Sam, a middle-aged Aboriginal man, works for a preacher in the outback of Australia’s Northern Territory. When Harry, a bitter war veteran, moves into a neighbouring outpost, the preacher sends Sam and his family to help Harry renovate his cattle yards. But Sam’s relationship with the cruel and ill-tempered Harry quickly deteriorates, culminating in a violent shootout in which Sam kills Harry in self-defence. As a result, Sam becomes a wanted criminal for the murder of a white man, and is forced to flee with his wife across the deadly outback, through glorious but harsh desert country. A hunting party led by the local lawman Sergeant Fletcher is formed to track Sam down. But as the true details of the killing start to surface, the community begins to question whether justice is really being served. Screenings in Venice - Competition Wednesday 6 – 9:00 am @ Sala Grande (P&I) Wednesday 6 – 11:15 am @ Sala Darsena (P&I) Wednesday 6 – 4:45 pm @ Sala Grande (Public) Wednesday 6 – 10:00 pm @ PalaBiennale (Public) Thursday 7 – 8:30 am @ PalaBiennale (Public) Screenings in Toronto - Platform Friday 8 – 2:00 pm @ Scotiabank 11 (P&I) Saturday 9 - 3:00 pm @ Tiff Bell Lightbox Cinema 5 (Market Screening - Buyers only) Monday 11 – 6:30 pm @ Scotiabank 12 (P&I) Wednesday 13 – 8:00 pm @ Winter Garden Theatre (Public) Thursday 14 – 3:00 pm @ TIFF Bell Lightbox Cinema 1 (Public) Friday 15 – 2:30 pm @ Scotiabank 7 (P&I) BY THE PRODUCERS OF GOLDSTONE AND TOOMELAH | AUSTRALIA | LANGUAGE ENGLISH | DURATION 113 MIN WATCH TRAILER HERE THELMA a film by Joachim Trier SPECIAL PRESENTATIONS TORONTO Thelma A film by Joachim Trier By the director of Louder Than Bombs (Cannes 2015 – In Competition) and Oslo, August 31st (Cannes 2011 – Un Certain Regard) — Thelma, a shy young student, has just left her religious family in a small town on the west coast of Norway to study at a university in Oslo. While at the library one day, she experiences a violent, unexpected seizure. Soon after, she finds herself intensely drawn toward Anja, a beautiful young student who reciprocates Thelma’s powerful attraction. As the semester continues, Thelma becomes increasingly overwhelmed by her intense feelings for Anja – feelings she doesn’t dare acknowledge, even to herself – while at the same time experiencing even more extreme seizures. As it becomes clearer that the seizures are a symptom of inexplicable, often dangerous, supernatural abilities, Thelma is confronted with tragic secrets of her past, and the terrifying implications of her powers. Screenings in Toronto Saturday 9 – 11:15 am @ Scotiabank 14 (P&I) Sunday 10 – 9:00 pm @ Scotiabank 1 (Public) Tuesday 12 – 12:45 pm @ Scotiabank 3 (Public) Thursday 14 – 1:30 pm @ Scotiabank 4 (P&I) Friday 15 – 3:45 pm @ Scotiabank 3 (Public) PRODUCED BY MOTLYS, SNOWGLOBE AND B-REEL, LE PACTE NORWAY, FRANCE, DENMARK, SWEDEN | LANGUAGE NORWEGIAN | NORWEGIAN RELEASE SEPTEMBER 15th | DURATION 110 MIN WATCH TRAILER HERE CALL ME BY YOUR NAME a film by Luca Guadagnino SPECIAL PRESENTATIONS TORONTO Call Me By Your Name A film by Luca Guadagnino By the director of Suspiria, A Bigger Splash and I Am Love With Armie Hammer, Timothée Chalamet, Michael Stuhlbarg and Amira Casar Adapted from the eponymous novel by André Aciman US Release by Sony Pictures Classics on November 24th — It’s the summer of 1983, in the north of Italy, and Elio Perlman, (Timothée Chalamet) a 17-year- old American-Italian boy spends his days in his family’s 17th century villa lazily transcribing music and flirting with his friend Marzia (Esther Garrel). One day Oliver (Armie Hammer), a charming, 24-year-old American scholar working on his doctorate arrives as the annual summer intern tasked with helping Elio’s father (Michael Stuhlbarg), an eminent professor specializing in Greco-Roman culture. Amidst the sun-drenched splendor of this sensual setting, Elio and Oliver discover the heady beauty of awakening desire over the course of a summer that will alter their lives forever. — “Unforgettable on every level.” Rogertbert.com “A swirling wonder, a true stunner.” Vanity Fair “Love and intimacy have never truly felt this real or emotionally heartbreaking.” The Playlist Screenings in Toronto Thursday 7 – 9:45 am @ Scotiabank 1 (P&I 1) Thursday 7 – 7:15 pm @ Ryerson (Public) Friday 8 - 9:30 am @ TIFF Bell Lightbox Cinema 1 (Public) PRODUCED BY FRENESY (SUSPIRIA, A BIGGER SPLASH, I AM LOVE) AND LA CINEFACTURE (UNDER THE RAINBOW, CIRCLES IN ASSOCIATION WITH RT FEATURES (THE WITCH, FRANCES HA, LOVE IS STRANGE) AND M.Y.R.A. ENTERTAINMENT ITALY, FRANCE | LANGUAGE ENGLISH, FRENCH, ITALIAN | DURATION 130 MIN CANNES MUNICH FF FIPRESCI PRIZE CINEVISION AWARD WAVELENGTHS THE NOTHING FACTORY a film by Pedro Pinho WAVELENGTHS TORONTO CANNES MUNICH FF FIPRESCI PRIZE CINEVISION AWARD WAVELENGTHS The Nothing Factory A film by Pedro Pinho — One night, a group of workers realizes that their administration has organized the stealing of machines from their factory. They soon understand that this is the first signal of a massive layoff. Most of them refuse to cooperate during the individual negotiations and they start to occupy their workplace. So when the administration vanishes to their great surprise, they’re left with a half-empty factory… As the world around them collapses, new desires start to emerge. “An evocative activist — “An adventurous, energetic ensemble piece, The Nothing Factory echoes certain 60s-70s film that blows French screen examinations of labour issues (Godard’s Tout va bien being the most celebrated) but it’s very much its own thing, intelligent and inventive.” Screendaily “Wildly inventive, The Nothing Factory is a grainy, nearly three-hour opus that unexpectedly the boundaries between morphs from vérité-like neorealist drama into that unicorn of cinematic genres: a neorealist musical.” The Hollywood Reporter “To watch The Nothing Factory is to experience something genuinely new in cinema. reality, fiction, theater A curious mix of frugality and exuberance, The Nothing Factory plucks liberally from the full range of devices supported by fiction (aesthetic, visual, auditory and sometimes musical), and yet the impression left by this hyperreal, immersive experience is of film that is almost an sociological discourse a documentary at heart.” Cineuropa leading to an unsettling and provocative Screenings in Toronto Thursday 7 – 7:00 pm @ Jackman Hall (Public) cinematic experience.” Thursday 7 – 12:45 pm @ Scotiabank 8 (P&I) Sunday 17 – 2:30 pm @ TIFF Bell Lightbox Cinema 4 - Paul & Leah Atkinson Family Cinema (Public) CANNES FIPRESCI JURY PRODUCED BY TERRATREME (LOS PERROS) PORTUGAL I FORMAT 16 MM I DURATION 177 MIN 3/4 (THREE QUARTERS) a film by Ilian Metev NEW DISCOVERY TORONTO GOLDEN LEOPARD Filmmakers of The Present 3/4 (Three Quarters) A film by Ilian Metev By the director of Sofia’s Last Ambulance (Cannes Critics’ Week Visionary Award, Karlovy Vary Grand Prix) — Young pianist Mila prepares for an audition abroad. Her brother Niki distracts her with his unwanted talent for the absurd. Their astrophysicist father Todor seems incapable of dealing with his children’s anxieties. A portrait of a family during their last summer together. — “There are moments when life itself seems to unravel on the big screen, erasing the border between reality and fiction. Spending time with this family of three is a rewarding experience, which simultaneously feels both personal and universal. A sincere and touching family study.” Cineuropa “At once both cerebral and light as a feather, Ilian Metev’s feature debut 3/4 is a delicate family study.” Variety “It’s difficult to make a film look this easy. 3/4 favours impeccable performances (from non- professional actors) and note-perfect dialogue in lieu of any exposition or dramatisation.” Little White Lies “Emotionally sincere... an
Load more

Recommended publications
  • Nuri Bilge Ceylan Turquie, 2018
    présente LE POIRIER SAUVAGE THE WILD PEAR TREE Nuri Bilge Ceylan Turquie, 2018 Dossier de presse DISTRIBUTION trigon-film CONTACT MÉDIAS Florence Michel [email protected] Tél. 076 431 43 15 MATÉRIEL PHOTO www.trigon-film.org Sortie Suisse romande: 22 août 2018 FICHE TECHNIQUE Réalisation Nuri Bilge Ceylan Scénario Akin Aksu, Ebru Ceylan, Nuri Bilge Ceylan Image Gokhan Tiryaki Son Andreas Mücke Niesytka, Thomas Robert, Thomas Gauder Montage Nuri Bilge Ceylan Décors Meral Aktan Costumes Selcen Demet Kadizade Production Zeynep Özbatur Atakan, Zeyno Film Pays Turquie Année 2018 Durée 3h08 Langue/ST turc/f/d DISTRIBUTION Sinan Aydin Dogu Demi̇ rkol Idris Murat Cemci̇r Asuman Bennu Yildirimlar Atice Hazar Ergüclü Süleyman Serkan Keskin Grand-pere Recep Tamer Levent Imam Veysel Akin Aksu Imam Nazmi Öner Erkan Riza Ahmet Rifat Sungar Ilhami Kubilay Tuncer Maire Adnan Kadir Cermi̇k Grand-mere Hayriye Özay Fecht Grand-pere Ramazan Ercüment Balakoglu Yasemin Asena Keski̇nci̇ FESTIVALS ET PRIX Festival de Cannes 2018: Compétition SYNOPSIS Passionné de littérature, Sinan a toujours voulu etre écrivain. Ses études terminées à Istanbul, sans projet professionnel, il revient dans la maison familiale de son village des Dardanelles. Il met toute son énergie à trouver l’argent nécessaire pour que son premier roman, Le Poirier sauvage, soit publié. Mais les dettes de son pere instituteur finissent par le rattraper. Confronté à cet homme qu'il juge méprisable, Sinan l'impatient va pourtant devoir apprendre à le connaître. RÉSUMÉ DU FILM A 20 ans, Sinan Karasu est sûr de son talent littéraire et compte bien en vivre. Ses études terminées à Istanbul, n'ayant pas de travail, il revient dans son village de la région de Canakkale, à l’orée du détroit des Dardanelles, pour habiter avec ses parents et sa sœur cadette.
    [Show full text]
  • 18 Jan 19 28 Feb 19
    18 JAN 19 28 FEB 19 1 | 18 JAN 19 - 28 FEB 19 49 BELMONT STREET | BELMONTFILMHOUSE.COM What does it mean, ‘to play against type’? Come January/February you may find many examples. Usually it’s motivated by the opportunity to hold aloft a small gold-plated statue, but there are plenty memorable occasions where Hollywood’s elite pulled this trope off fantastically. Think Charlize Theron in Monster. Maybe Jim Carrey in Eternal Sunshine? Or Heath Ledger as Joker. These performances often come to dominate award season. Directors wrenching a truly transformative rendition out of their leads can be the difference between a potential big winner fading into obscurity, or being written into history. The class of 2019 appears particularly full of these turns. There might well be as much intrigue in figuring out which will be remembered, as in watching the performances themselves. ‘Unrecognisable as’ awards could go out to Margot Robbie as Elizabeth I in Mary Queen Of Scots; Melissa McCarthy in Can You Ever Forgive Me?; Nicole Kidman in Destroyer; Christian Bale as Dick Cheney in Vice. Others of course have been down this road before. Steve Carell has come a long, long way since Michael Scott and he looks tremendous in Beautiful Boy. And Matt Dillon, who we’ll see in The House That Jack Built, has always had a penchant for the slightly off-colour. There’s probably no one more off-colour than Lars von Trier. Screening for one night only. At Belmont Filmhouse we try to play against type as much as possible.
    [Show full text]
  • Philippe Garrel Rétrospective 18 Septembre – 20 Octobre
    PHILIPPE GARREL RÉTROSPECTIVE 18 SEPTEMBRE – 20 OCTOBRE Les Baisers de secours L’ART DE L’INSTANT Digne successeur de la Nouvelle Vague, Philippe Garrel fait des films à la première personne. Le cinéma lui sert à restituer les pulsations de la vie. Vie affective avant tout. Le couple ou la difficulté de rester ensemble, scan- dés de film en film, de façon obsessionnelle. L’enfant, comme onde de choc. Et puis la politique qui entretient avec l’amour passionnel un lien immuable. Expérimental au commencement (Le Révélateur, La Cicatrice intérieure), son cinéma devient plus narratif à partir des Baisers de secours. L’introspection reste intacte. Séparation (J’entends plus la guitare) et fin des idéaux (Les Amants réguliers), autant de variations autour des femmes de sa vie, de la naissance à la mort de l’amour. La dernière fois, c’était il y a quinze ans. La précédente rétrospective de l’œuvre de Philippe Garrel à La Cinémathèque française date de juin 2004. Depuis, ce cinéma de l’expérience n’a ni faibli ni renoncé. N’a pas capitalisé, ni voulu s’édifier en quelconque règle. Il a continué, avec une régularité prodigieuse, à poursuivre une idée, à tisser une ligne de vie. Celle-ci a pris, plusieurs fois, de façon de plus en plus violente, la forme d’un doute, d’une remise en question. Les films se sont enchaînés, intriqués, répondus (avec ceci de drôle, chez Garrel : souvent, quand un film surgit, le titre du film précédent l’éclaire davantage : L’Ombre des femmes aurait pu s’appeler La Jalousie, L’Amant d’un jour pourrait facilement être titré L’Ombre des femmes.
    [Show full text]
  • Introduction
    1 Introduction Philippe Garrel, an irregular auteur In April 2013, a retrospective of Philippe Garrel’s fi lms took place at the Magic Cin é ma, a municipal theatre in Bobigny, outside Paris. Such a location, on the periphery of the French capital, may seem inappropriate for the work of a longstanding director whom the fi lm critic Serge Daney spoke of as ‘le seul grand cin é aste fran ç ais de ma g é n é ration’ 1 (Jousse 1991 : 58). But both the accolade and this peripheral location are revealing of the ambiguous position Garrel has occupied within French fi lm culture during the last half century. While held in high esteem by peers and critics, he is only beginning now to receive some mainstream and popular recognition. This increased recognition is evidenced by the fi rst French international conference on Garrel that took place at Paris Nanterre University in November 2018 and by a more recent retrospective of Garrel’s work at the Cin é math è que Fran ç aise in September 2019. Garrel’s status as a critically respected yet marginal fi gure may be explained by the fact that his cinema occupies an uncertain terrain in the history of French cinema, somewhere between the New Wave and the vast heterogeneous body of French cinema that developed in its aftermath. This anomalous position is compounded by an oeuvre that often resists straightforward exegetical criticism, and challenges traditionally held critical oppositions such as those of the real and the imaginary, documentary and fi ction, political and personal, avant- garde and mainstream.
    [Show full text]
  • AHLAT AĞACI”NIN GÖLGESİNDE, KENTİN VE TAŞRANIN ÖTESİNDE: MODERN GÜNDELİK YAŞAMDA BIKKINLIK RUH HALİNİN YÜKSELİŞİ Sertaç Timur DEMİR1 Öz
    Humanitas, 2020; 8 (15): 64-80 http://dergipark.gov.tr/humanitas ISSN: 2645-8837 DOI: 10.20304/humanitas.670340 “AHLAT AĞACI”NIN GÖLGESİNDE, KENTİN VE TAŞRANIN ÖTESİNDE: MODERN GÜNDELİK YAŞAMDA BIKKINLIK RUH HALİNİN YÜKSELİŞİ Sertaç Timur DEMİR1 Öz Bu çalışma modern kültürün bir uzantısı ve gündelik yaşamın olağan bir dışavurumuna dönüşen bıkkınlık (blasé attitude) sorunsalına odaklanmaktadır. İlk kez Georg Simmel tarafından daha çok kent yaşamına özgü mekânsal bir durum olarak tanımlanan bıkkınlık, bu makalede ise kentin sınırlarına indirgenemeyen genel bir insanlık durumu olarak ele alınmaktadır. Melankoliye kıyasla yıkıcı doku taşıyan bıkkınlık tavrı, bu çalışmada Türk yönetmen Nuri Bilge Ceylan yönettiği Ahlat Ağacı (2018) filminin karakterleri üzerinden tartışılmaktadır. Bir yöntem olarak bu sinemasal izdüşüm, gri, depresif ve karamsar bir duygulanım olan bıkkınlık meselesini yetkin bir şekilde inceleme imkânı sunmaktadır. Ceylan’ın filmlerinden görüldüğü üzere, modern birey artık yalnızca öteki ile değil; kendi varlıkları, vicdanları ve verili değerlerle karşı karşıyadır. Dahası, taraflar arasında açık bir hesaplaşma da söz konusu 64 değildir. Bıkkınlığı kent ve taşra kültürlerinin ötesinde bireysel düzeyde tecrübe edilen bir toplumsal vakıa olarak inceleyen bu makale, bıkkınlığa temelde bir modern insan katastrofisi olarak yaklaşmaktadır. Anahtar Sözcükler: bıkkınlık tavrı, kent, taşra, film, Ahlat Ağacı UNDER THE SHADOW OF “THE WILD PILLOW TREE” AND BEYOND THE CITY AND PROVINCE: THE RISE OF BLASÉ ATTITUDE IN THE MODERN EVERYDAY LIFE Abstract This paper focuses on the question of blasé attitude that has turned into an extent of modern culture and into an ordinary manifestation of everyday life. The term blasé attitude, which was used firstly by Georg Simmel as sociological case peculiar to the urban life, is dealt with in this article as human condition that cannot be reduced to spatial borders.
    [Show full text]
  • L'amant D'un Jour
    L’AMANT D'UN JOUR DIRECTED BY PHILIPPE GARREL // 2017 // FRANCE // 76 MIN Contact Information — U.S. Contact Information — U.K. Media: Julia Pacetti, JMP Verdant Publicity: Chris Boyd, Organic [email protected] / 718 399 0400 [email protected] / 020 3372 0970 Booking: Ian Stimler and Mika Kimoto, KimStim Booking: Martin Myers [email protected] / [email protected] [email protected] For all other questions, contact Lilly Riber, MUBI For all other questions, contact Sanam Gharagozlou, MUBI [email protected] / 803 479 3737 [email protected] / 07407 713406 Synopsis After a devastating breakup, the only place twenty-three-year old Lover for a Day premiered in the Directors’ Fortnight at Cannes, where Jeanne has to stay in Paris is the small flat of her father, Giles. But it was awarded the SACD prize from the French Writers and Directors when Jeanne arrives, she finds that her father’s new girlfriend has Guild, and is an Official Selection of the 2017 New York Film Festival. moved in too: Arianne, a young woman her own age. Each is looking for their own kind of love in a city filled with possibilities. Reviews “Alluring and very elegantly crafted” Variety “A bittersweet, and intoxicating study of relationships in flux” The Film Stage “The images—exquisitely shadowed black-and-white 35mm— give the narrative a timelessness that is precisely the point of Garrel’s enterprise” Film Comment “Delectable” ScreenDaily “The film benefits from the collective contributions of four screenwriters… whose collective insights result in a beautiful
    [Show full text]
  • Eric Caravaca Esther Garrel Louise Chevillotte a Film By
    SAÏD BEN SAÏD & MICHEL MERKT PRESENT ERIC CARAVACA ESTHER GARREL LOUISE CHEVILLOTTE CRÉDITS NON CONTRACTUELS CRÉDITS (L’AMANT D’UN JOUR) A FILM BY PHILIPPE GARREL PHOTOS : © 2016 GUY FERRANDIS / SBS FILMS PHOTOS : © 2016 GUY FERRANDIS / SBS FILMS FILMOGRAPHY PHILIPPE GARREL 2017 LOVER FOR A DAY 2014 IN THE SHADOW OF WOMEN 2013 JEALOUSY In Competition, Venice 2013 2011 THAT SUMMER In Competition, Venice 2011 2005 FRONTIER OF DAWN Official Selection, Cannes 2008 2004 REGULAR LOVERS Silver Lion, Venice 2005 Louis Delluc award 2005 FRIPESCI Prize European Discovery, 2006 2001 WILD INNOCENCE International Critics’ Award, Venice 2001 1998 NIGHT WIND 1995 LE CŒUR FANTÔME films together without the lights being brought up 1993 LA NAISSANCE DE L’AMOUR between them. Before that, Athanor had been SYNOPSIS 1990 J’ENTENDS PLUS LA GUITARE attacked by a critic, who said I was banging my This is the story of a father, his 23-year-old Silver Lion, Venice 1991 head against a wall, against the obvious fact that daughter, who goes back home one day because 1988 LES BAISERS DE SECOURS she has just been dumped, and his new girlfriend, cinema was movement. La Cicatrice was tracking who is also 23 and lives with him. shots and music. Athanor was silence and still 1984 ELLE A PASSÉ TANT D’HEURES shots. Then it was back to Le Berceau with Ash SOUS LES SUNLIGHTS Ra Tempel’s music. So Athanor worked fine as an 1984 RUE FONTAINE (short) interlude between two parts of a concert. This 1983 LIBERTÉ, LA NUIT DIRECTOR’S NOTE time, it is a trilogy; the films are not made to be Perspective Award, Cannes 1984 screened together.
    [Show full text]
  • Thirst Street Press-Notes-Web.Pdf
    A PSYCHOSEXUAL BLACK COMEDY Press Contacts: Kevin McLean | [email protected] Kara MacLean | [email protected] USA/FRANCE / 2017 / 83 minutes / English with French Subtitles / Color / DCP + Blu-ray Alone and depressed after the suicide of her lover, American flight attendant Gina (Lindsay Burdge, A TEACHER) travels to Paris and hooks up with nightclub bartender Jerome (Damien Bonnard, STAYING VERTICAL) on her layover. But as Gina falls deeper into lust and opts to stay in France, this harmless rendezvous quickly turns into unrequited amour fou. When Jerome’s ex Clémence (Esther Garrel) reenters the picture, Gina is sent on a downward spiral of miscommunication, masochism, and madness. Inspire by European erotic dramas from the 70’s, THIRST STREET burrows deep into the delirious extremes we go to for love. DIRECTOR’S STATEMENT THIRST STREET brings together two of my longest-standing, most nagging obsessions: France and Don Quixote. I spent my junior year of high school as an exchange student in France, in a foolish attempt to live out my dream of being a French poet. I realized within days that I wasn’t French (and never would be) and that poetry wasn’t for me, but nearly two decades later, I still find myself just as obsessed with the place. Our protagonist Gina is my Quixote, unflinching in her quest to find that most important (and ridiculous) thing: love. The emotions of THIRST STREET are just as hysterical as those in my last few movies, but the style here is much more fluid and deliberate, with surreal lighting increasingly threatening to devour the picture.
    [Show full text]
  • Father-Son Relationship in Nuri Bilge Ceylan's the Wild Pear Tree
    Wild Pear Trees, Patrimonial Legacies: Father-Son Relationship in Nuri Bilge Ceylan’s The Wild Pear Tree Coşkun Liktor, Independent Scholar [email protected] Volume 8.2 (2020) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2020.233 | http://cinej.pitt.edu Abstract This article analyzes the father-son relationship in Nuri Bilge Ceylan’s latest film The Wild Pear Tree (2018), which tells the story of a son who desires a life as unlike his father’s narrow, provincial life as possible, only to find himself following in his father’s footsteps almost against his will. Drawing upon Freudian and Lacanian psychoanalysis, this article examines the film as an oedipal drama that portrays the predicament of a son who grapples with an ineffectual, humiliated father that fails to embody the paternal function. It undertakes to show how the father-son conflict eventually culminates in the father’s transformation from an object of contempt into an identificatory ideal for his son, who becomes heir to a legacy of disillusionment and thwarted hopes. Keywords: Nuri Bilge Ceylan; The Wild Pear Tree, the Boredom of Provincial Life; Psychoanalysis; Oedipus Complex; Paternal Function; Paternal Imago; Jacques Lacan. New articles in this journal are licensed under a Creative Commons Attribution 4.0 United States License. This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press Wild Pear Trees, Patrimonial Legacies: Father-Son Relationship in Nuri Bilge Ceylan’s The Wild Pear Tree Coskun Liktor Introduction Arguably the most renowned Turkish director in contemporary cinema,1 Nuri Bilge Ceylan has garnered acclaim for his slow-paced, meditative, visually evocative films, which have received glowing reviews and numerous awards in international competitions and festival circuits.
    [Show full text]
  • A “Sensuous” Approach to the Cinema of Nuri Bilge Ceylan
    A “Sensuous” Approach to the Cinema of Nuri Bilge Ceylan Principles of Embodied Film Experience Ali Aydın Department of Media Studies Degree 30 HE credits Cinema Studies Master’s Programme (120 HE credits) Spring 2018 Supervisor: Bo Florin A “Sensuous” Approach to the Cinema of Nuri Bilge Ceylan Principles of Embodied Film Experience Ali Aydın Abstract Over the last decades, film theories with their focus on the mere audiovisual quality of cinema have been questioned by film scholars with a phenomenological interest. According to these critical ap- proaches, the film experience cannot be understood through a mere involvement of the eye (and the ear). In this context, to disregard the significance of a multisensory attachment to the film results in the con- sideration of relationship between the film and the viewer to be a dominating one. This dissertation examines this multisensory attachment and aims to define the film experience as an embodied relation- ship between the film and the viewer by means of a formal analysis of the Turkish director Nuri Bilge Ceylan’s early films. Throughout the dissertation, it is argued that Ceylan encourages his viewer in various forms to have a more sensual and immediate experience of his films rather than to compel them to adhere to symbols and abstractions through a kind of intellectual effort – an intellectual effort that would damage the “sensuous” attachment between the film and the viewer. Keywords Nuri Bilge Ceylan, Cocoon, The Small Town, Clouds of May, Distant, phenomenology, haptic visuality, embodied film experience, senses, sensual/sensuous, body, skin, tactile, mimesis, interpretation, erotics, play/game.
    [Show full text]
  • The Wild Pear Tree
    präsentiert THE WILD PEAR TREE Ein Film von Nuri Bilge Ceylan Türkei, 2018 Mediendossier VERLEIH trigon-film MEDIENKONTAKT Meret Ruggle [email protected] Tel. 056 430 12 35 Bildmaterial: www.trigon-film.org Kinostart DCH: 21. Februar 2019 MITWIRKENDE Originaltitel The Wild Pear Tree Regie Nuri Bilge Ceylan Drehbuch Akin Aksu, Ebru Ceylan, Nuri Bilge Ceylan Montage Nuri Bilge Ceylan Kamera Gökhan Tiryaki Ton Andreas Mücke Niesytka, Thomas Robert, Thomas Gauder Ausstattung Meral Aktan Kostüme Selcen Demet Kadizade Produktion Zeynep Özbatur Atakan, Zeyno Film Land Türkei Jahr 2018 Dauer 188 Minuten Sprache/UT Türkisch/d/f BESETZUNG Sinan Aydin Doğu DEMİRKOL Idris Murat CEMCİR Asuman Bennu YILDIRIMLAR Hatice Hazar ERGÜÇLÜ Süleyman Serkan KESKIN Recep Tamer LEVENT Imam Veyse Akin AKSU Imam Nazmi Öner ERKAN Riza Ahmet RIFAT ŞUNGAR Yasemin Asena KESKİNCİ FESTIVALS & AUSZEICHNUNGEN Cannes Wettbewerb 2018 INHALT KURZ Nach Abschluss seines Studiums in Çanakkale kehrt Sinan in seine heimatliche Provinz zurück, entschlossen, hier seinen ersten Roman zu veröffentlichen. Die Finanzierung des Plans erweist sich als kompliziert, auch deshalb, weil der eigene Vater überall Schulden gemacht hat. Nach dem meisterlichen Cannes-Sieger Winter Sleep scheint Nuri Bilge Ceylan noch tiefer vorzudringen in den Zauber des Literarischen im Kino: Ein Genuss. INHALT LANG Als Sinan Karasu nach Abschluss seines Studiums in der Stadt eher widerwillig in sein Heimatdorf heimkehrt, dauert es nicht lange, bis der Junge, der sich als Romanautor sehen würde, mit der miserablen Figur eines Vaters konfrontiert wird: Seit Jahren Grundschullehrer im Dorf, hat Idris Spielschulden angehäuft und scheint sich für nichts anderes zu interessieren als Pferderennen, seinen Hund, seine armselige Hütte ausserhalb des Ortes und die Idee, auf dem öden Land eine Quelle zu finden – mögen die anderen denken, was sie wollen.
    [Show full text]
  • SALVATORE FERRAGAMO GUEST LIST CO-ED SS21 FASHION SHOW MILAN, SEPTEMBER 26Th, 2020 Rotonda Della Besana
    SALVATORE FERRAGAMO GUEST LIST CO-ED SS21 FASHION SHOW MILAN, SEPTEMBER 26th, 2020 Rotonda della Besana MARISA BERENSON American actress. One of the lead females in film director Luca Guadagnino’s film “I Am Love”. Her latest film releases include “Broken Poet” and is currently working on a new film “Connemara” with Elodie Bouchez. Instagram Followers: 26,8K ESTHER GARREL French actress. Daughter of film-maker Philippe Garrel and actress Brigitte Sy, sister to actor Louis Garrel. Co-starred as Marzia in “Call Me By Your Name” directed by Luca Guadagnino. Her latest film releases include “Adventures of a Mathematician” and a short film “Filles Bleues/peur blanche”. Instagram Followers: 38,1K PAAPA ESSIEDU English actor. Seen as “Kwame” in BBC and HBO’S successful “ I May Destroy You” by Bafta winner director Michaela Coel. Has joined the cast of ITV’S Black Lives Matter inspired drama series “Unsaid Stories”. Also plays the role of Alex Dumani in HBO’S TV series “Gangs of London”. Instagram Followers: 18,1K ALESSANDRO ROJA Italian actor. Known for his role in “Romanzo Criminale – La Serie”. Stars in “Si Muore Solo Da Vivi” directed by Alberto Rizzi. Will also be in theatres with the film “Diabolik” along with Luca Marinelli and Miriam Leone. Instagram Followers: 117K MATILDE GIOLI Italian actress. Known for her role in “Il Capitale Umano” by Paolo Virzì. Her latest projects include TV series “Doc” with Luca Argentero and this week release of the docu- series “Illuminate” where she interprets prolific Italian architect Gae Aulenti. Instagram Followers: 251K FILIPPA LAGERBACK Swedish television presenter and model.
    [Show full text]