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3RD AACTA INTERNATIONAL AWARDS Winners by Category
3RD AACTA INTERNATIONAL AWARDS Winners by Category AACTA INTERNATIONAL AWARD FOR BEST FILM 12 YEARS A SLAVE AMERICAN HUSTLE CAPTAIN PHILLIPS GRAVITY – WINNER RUSH AACTA INTERNATIONAL AWARD FOR BEST DIRECTION 12 YEARS A SLAVE Steve McQueen AMERICAN HUSTLE David O. Russell CAPTAIN PHILLIPS Paul Greengrass GRAVITY Alfonso Cuarón – WINNER THE GREAT GATSBY Baz Luhrmann AACTA INTERNATIONAL AWARD FOR BEST SCREENPLAY 12 YEARS A SLAVE John Ridley AMERICAN HUSTLE Eric Warren Singer, David O. Russell – WINNER BLUE JASMINE Woody Allen INSIDE LLEWYN DAVIS Joel Coen, Ethan Coen SAVING MR. BANKS Kelly Marcel, Sue Smith AACTA INTERNATIONAL AWARD FOR BEST LEAD ACTOR Christian Bale AMERICAN HUSTLE Leonardo DiCaprio THE WOLF OF WALL STREET Chiwetel Ejiofor 12 YEARS A SLAVE – WINNER Tom Hanks CAPTAIN PHILLIPS Matthew McConaughey DALLAS BUYERS CLUB AACTA INTERNATIONAL AWARD FOR BEST LEAD ACTRESS Amy Adams AMERICAN HUSTLE Cate Blanchett BLUE JASMINE – WINNER Sandra Bullock GRAVITY Judi Dench PHILOMENA Meryl Streep AUGUST: OSAGE COUNTY AACTA INTERNATIONAL AWARD FOR BEST SUPPORTING ACTOR Bradley Cooper AMERICAN HUSTLE Joel Edgerton THE GREAT GATSBY Michael Fassbender 12 YEARS A SLAVE – WINNER Jared Leto DALLAS BUYERS CLUB Geoffrey Rush THE BOOK THIEF Page 1 of 2 AACTA INTERNATIONAL AWARD FOR BEST SUPPORTING ACTRESS Sally Hawkins BLUE JASMINE Jennifer Lawrence AMERICAN HUSTLE – WINNER Lupita Nyong’o 12 YEARS A SLAVE Julia Roberts AUGUST: OSAGE COUNTY Octavia Spencer FRUITVALE STATION Page 2 of 2 . -
Press Release 23/5/2018
THE KARLOVY VARY FESTIVAL TO HONOR ACADEMY AWARD-WINNING DIRECTOR BARRY LEVINSON At this year’s Karlovy Vary festival, screenwriter-producer-director Barry Levinson, who won an Academy Award for Rain Man, will accept the Crystal Globe for Outstanding Artistic Contribution to World Cinema. The Karlovy Vary festival continues its tradition of recognizing the most important personalities of world cinema, the likes of which include directors William Friedkin, Jerry Schatzberg, and Ken Loach, and screenwriter Paul Laverty. In his writing and directing capacity, Academy Award winner and five-time nominee Barry Levinson deftly combines personal stories with an often satirical look at society, and his movies have fundamentally influenced numerous young filmmakers. Barry Levinson established himself as a writer of successful television shows. With his onetime wife, Valerie Curtin, he then wrote the movie script for Norman Jewison’s courtroom drama …and justice for all (1979), which brought them an Oscar nomination. He debuted as a director with the comedy-drama Diner (1982), receiving his second Oscar nomination for the script. Ivan Král, a Czech musician based in the US, co- wrote the film music. Subsequent titles confirmed his reputation with critics and audiences: The Natural (1984) with Robert Redford, Tin Men (1987) with Richard Dreyfuss and Danny DeVito, and Good Morning, Vietnam (1987) with Robin Williams. This year marks the 30th anniversary of the legendary picture Rain Man (1988), awarded four Oscars (e.g. Best Director for Barry Levinson) and numerous other honors, including the Golden Bear at the Berlinale and the David di Donatello for Best Foreign Film. -
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. -
The Honorable Mentions Movies- LIST 1
The Honorable mentions Movies- LIST 1: 1. A Dog's Life by Charlie Chaplin (1918) 2. Gone with the Wind Victor Fleming, George Cukor, Sam Wood (1940) 3. Sunset Boulevard by Billy Wilder (1950) 4. On the Waterfront by Elia Kazan (1954) 5. Through the Glass Darkly by Ingmar Bergman (1961) 6. La Notte by Michelangelo Antonioni (1961) 7. An Autumn Afternoon by Yasujirō Ozu (1962) 8. From Russia with Love by Terence Young (1963) 9. Shadows of Forgotten Ancestors by Sergei Parajanov (1965) 10. Stolen Kisses by François Truffaut (1968) 11. The Godfather Part II by Francis Ford Coppola (1974) 12. The Mirror by Andrei Tarkovsky (1975) 13. 1900 by Bernardo Bertolucci (1976) 14. Sophie's Choice by Alan J. Pakula (1982) 15. Nostalghia by Andrei Tarkovsky (1983) 16. Paris, Texas by Wim Wenders (1984) 17. The Color Purple by Steven Spielberg (1985) 18. The Last Emperor by Bernardo Bertolucci (1987) 19. Where Is the Friend's Home? by Abbas Kiarostami (1987) 20. My Neighbor Totoro by Hayao Miyazaki (1988) 21. The Sheltering Sky by Bernardo Bertolucci (1990) 22. The Decalogue by Krzysztof Kieślowski (1990) 23. The Silence of the Lambs by Jonathan Demme (1991) 24. Three Colors: Red by Krzysztof Kieślowski (1994) 25. Legends of the Fall by Edward Zwick (1994) 26. The English Patient by Anthony Minghella (1996) 27. Lost highway by David Lynch (1997) 28. Life Is Beautiful by Roberto Benigni (1997) 29. Magnolia by Paul Thomas Anderson (1999) 30. Malèna by Giuseppe Tornatore (2000) 31. Gladiator by Ridley Scott (2000) 32. The Lord of the Rings: The Fellowship of the Ring by Peter Jackson (2001) 33. -
P36-40 Layout 1
Asia’s tuk-tuks providing a wheel boost to Africa TUESDAY, MARCH 1, 2016 36 Oscar winners celebrate on stage at the 88th Oscars on Sunday in Hollywood, California. DiCaprio, Brie Larson win Oscars eonardo DiCaprio won his long-awaited first Oscar for George Miller’s stark action epic “Mad Max: Fury Road” was For the second year running, all 20 nominees in the main game.” It was a huge night for “Spotlight” director Tom revenge epic “The Revenant” Sunday but journalism dra- the big winner in the technical categories, taking home Oscars acting categories were white, and an angry social media back- McCarthy, who also picked up the Oscar for best original Lma “Spotlight” took best picture in a surprising end to for best costumes, production design, make-up, film editing, lash under the hashtag #OscarsSoWhite has grabbed the screenplay. Adam McKay and Charles Randolph took the adapt- Hollywood’s glittering awards season. sound editing and sound mixing. awards season headlines. Rock, who hosted despite calls for ed screenplay Oscar for financial crisis satire “The Big Short”- The night was overshadowed by a simmering race row, him to join a boycott, unleashed a fierce monologue-one he which had also been a best picture contender. Mexico’s addressed head-on by black host Chris Rock, who delivered a LEO’S NIGHT apparently rewrote in the wake of the scandal to hold the Emmanuel Lubezki made history with his third consecutive series of caustic jokes targeting the Academy’s overwhelmingly DiCaprio’s success for his grueling star turn as 19th century Academy’s 6,000-plus voting members, overwhelmingly white Oscar for cinematography, for his dramatic work on “The white male membership. -
Post-Postmodern Cinema at the Turn of the Millennium: Paul Thomas Anderson’S Magnolia
Revista de Estudios Norteamericanos, vol. 24, 2020. Seville, Spain, ISSN 1133-309-X, pp. 1-21. DOI: http://dx.doi.org/10.12795/REN.2020.i24.01 POST-POSTMODERN CINEMA AT THE TURN OF THE MILLENNIUM: PAUL THOMAS ANDERSON’S MAGNOLIA JESÚS BOLAÑO QUINTERO Universidad de Cádiz [email protected] Received: 20 May 2020 Accepted: 26 July 2020 KEYWORDS Magnolia; Paul Thomas Anderson; post-postmodern cinema; New Sincerity; French New Wave; Jean-Luc Godard; Vivre sa Vie PALABRAS CLAVE Magnolia; Paul Thomas Anderson; cine post-postmoderno; Nueva Sinceridad; Nouvelle Vague; Jean-Luc Godard; Vivir su vida ABSTRACT Starting with an analysis of the significance of the French New Wave for postmodern cinema, this essay sets out to make a study of Paul Thomas Anderson’s Magnolia (1999) as the film that marks the beginning of what could be considered a paradigm shift in American cinema at the end of the 20th century. Building from the much- debated passing of postmodernism, this study focuses on several key postmodern aspects that take a different slant in this movie. The film points out the value of aspects that had lost their meaning within the fiction typical of postmodernism—such as the absence of causality; sincere honesty as opposed to destructive irony; or the loss of faith in Lyotardian meta-narratives. We shall look at the nature of the paradigm shift to link it to the desire to overcome postmodern values through a recovery of Romantic ideas. RESUMEN Partiendo de un análisis del significado de la Nouvelle Vague para el cine postmoderno, este trabajo presenta un estudio de Magnolia (1999), de Paul Thomas Anderson, como obra sobre la que pivota lo que se podría tratar como un cambio de paradigma en el cine estadounidense de finales del siglo XX. -
22Nd NFF Announces Screenwriters Tribute
FOR IMMEDIATE RELEASE NANTUCKET FILM FESTIVAL ANNOUNCES TOM MCCARTHY TO RECEIVE 2017 SCREENWRITERS TRIBUTE AWARD NICK BROOMFIELD TO BE RECOGNIZED WITH SPECIAL ACHIEVEMENT IN DOCUMENTARY STORYTELLING NFF WILL ALSO HONOR LEGENDARY TV CREATORS/WRITERS DAVID CRANE AND JEFFREY KLARIK WITH THE CREATIVE IMPACT IN TELEVISION WRITING AWARD New York, NY (April 6, 2017) – The Nantucket Film Festival announced today the honorees who will be celebrated at this year’s Screenwriters Tribute—including Oscar®-winning writer/director Tom McCarthy, legendary documentary filmmaker Nick Broomfield, and ground-breaking television creators and Emmy-nominated writing team David Crane and Jeffrey Klarik. The 22nd Nantucket Film Festival (NFF) will take place June 21-26, 2017, and celebrates the art of screenwriting and storytelling in cinema and television. The 2017 Screenwriters Tribute Award will be presented to screenwriter/director Tom McCarthy. McCarthy's most recent film Spotlight was awarded the Oscar for Best Picture and won him (and his co-writer Josh Singer) an Oscar for Best Original Screenplay. McCarthy began his career as a working actor until he burst onto the filmmaking scene with his critically acclaimed first feature The Station Agent, starring Peter Dinklage, Patricia Clarkson, Bobby Cannavale, and Michelle Williams. McCarthy followed this with the equally acclaimed film The Visitor, for which he won the Spirit Award for Best Director. He also shared story credit with Pete Docter and Bob Peterson on the award-winning animated feature Up. Previous recipients of the Screenwriters Tribute Award include Oliver Stone, David O. Russell, Judd Apatow, Paul Haggis, Aaron Sorkin, Nancy Meyers and Steve Martin, among others. -
The Local and the Global in Anthony Minghella's Breaking and Entering
CULTURA , LENGUAJE Y REPRESENTACIÓN / CULTURE , LANGUAGE AND REPRESENTATION ˙ ISSN 1697-7750 · VOL . XI \ 2013, pp. 111-124 REVISTA DE ESTUDIOS CULTURALES DE LA UNIVERSITAT JAUME I / CULTURAL STUDIES JOURNAL OF UNIVERSITAT JAUME I DOI : HTTP ://DX .DOI .ORG /10.6035/CLR .2013.11.7 Cosmopolitan (Dis)encounters: The Local and the Global in Anthony Minghella’s Breaking and Entering and Rachid Bouchareb’s London River CAROLINA SÁNCHEZ - PALENCIA UNIVERSIDAD DE SEVILLA AB STRA C T : Through the postcolonial reading of Breaking and Entering (Anthony Minghella, 2006) and London River (Rachid Bouchareb, 2009), I mean to analyse the multiethnic urban geography of London as the site where the legacies of Empire are confronted on its home ground. In the tradition of filmmakers like Stephen Frears, Ken Loach, Michael Winterbottom or Mike Leigh, who have faithfully documented the city’s transformation from an imperial capital to a global cosmopolis, Minghella and Bouchareb demonstrate how the dream of a white, pure, uncontaminated city is presently «out of focus», while simultaneously confirming that colonialism persists under different forms. In both films the city’s imperial icons are visually deconstructed and resignified by those on whom the metropolitan meanings were traditionally imposed and now reclaim their legitimate space in the new hybrid and polyglot London. Nevertheless, despite the overwhelming presence of the multicultural rhetoric in contemporary visual culture, their focus is not on the carnival of transcultural consumption where questions of class, power and authority conveniently seem to disappear, but on the troubled lives of its agents, who experience the materially local urban reality as inevitably conditioned by the global forces –international war on terror, media coverage, black market, immigration mafias, corporate business– that transcend the local. -
Roger Ebert's
The College of Media at Illinois presents Roger19thAnnual Ebert’s Film Festival2017 April 19-23, 2017 The Virginia Theatre Chaz Ebert: Co-Founder and Producer 203 W. Park, Champaign, IL Nate Kohn: Festival Director 2017 Roger Ebert’s Film Festival The University of Illinois at Urbana–Champaign The College of Media at Illinois Presents... Roger Ebert’s Film Festival 2017 April 19–23, 2017 Chaz Ebert, Co-Founder, Producer, and Host Nate Kohn, Festival Director Casey Ludwig, Assistant Director More information about the festival can be found at www.ebertfest.com Mission Founded by the late Roger Ebert, University of Illinois Journalism graduate and a Pulitzer Prize- winning film critic, Roger Ebert’s Film Festival takes place in Urbana-Champaign each April for a week, hosted by Chaz Ebert. The festival presents 12 films representing a cross-section of important cinematic works overlooked by audiences, critics and distributors. The films are screened in the 1,500-seat Virginia Theatre, a restored movie palace built in the 1920s. A portion of the festival’s income goes toward on-going renovations at the theatre. The festival brings together the films’ producers, writers, actors and directors to help showcase their work. A film- maker or scholar introduces each film, and each screening is followed by a substantive on-stage Q&A discussion among filmmakers, critics and the audience. In addition to the screenings, the festival hosts a number of academic panel discussions featuring filmmaker guests, scholars and students. The mission of Roger Ebert’s Film Festival is to praise films, genres and formats that have been overlooked. -
There's a Lot Going on in 'Australia': Baz Luhrmann's Claim to the Epic
10 • Metro Magazine 159 There’s a lot going on in Australia Baz Luhrmann’s Claim to the Epic Brian McFarlane REVIEWS BAZ LUHRmann’s EAGERLY AWAITED ‘Event’ FiLM. ou’ve got to admire the cheek of scape of a restricted kind. Does Luhrmann a director who calls his film simply believe that it is only Dorothea Mackellarland YAustralia. It implies that what is (all ‘sweeping plains’ and ‘ragged mountain going on in it is comprehensive enough, or ranges’ and ‘droughts and flooding rains’) at least symptomatic enough, to evoke the that the world at large will recognize as Aus- continent at large. Can it possibly live up to tralia? What he shows us is gorgeous be- such a grandiose announcement of intention? yond the shadow of a doubt – gorgeous, that There have been plenty of films named for is, to look at on a huge screen rather than to cities (New York, New York [Martin Scorsese, live in. It is, though, hardly the ‘Australia’ that 1977], Barcelona [Whit Stillman, 1994], most most of its inhabitants will know intimately, recently Paris [Cédric Klapisch, 2008]), but living as we do in our urban fastnesses, but summoning a city seems a modest enterprise the pictorial arts have done their bit in instill- compared with a country or a continent ing it as one of the sites of our yearning. (please sort us out, Senator Palin). D.W. Griffith in 1924 and Robert Downey Sr in Perhaps it’s really a love story at heart, a love 1986 had a go with America: neither director story in a huge setting that overpowers its is today remembered for his attempt to fragile forays into intimacy. -
Révélations 2013
L’Académie des César et CHAUMET présentent RÉVÉLATIONS 2013 par DOMINIQUE ISSERMANN 2013 LA RELIGIEUSE de Guillaume Nicloux 2013 AU BOUT DU CONTE d’Agnès Jaoui 2012 UNE BOUTEILLE À LA MER de Thierry Binisti 2012 CHERCHEZ HORTENSE de Pascal Bonitzer 2012 À MOI SEULE de Frédéric Videau 2010 LE MARIAGE À TROIS de Jacques Doillon 2010 TOUTES LES FILLES PLEURENT de Judith Godrèche Agathe BONITZER 2009 UN CHAT, UN CHAT de Sophie Fillières 2008 LA BELLE PERSONNE de Christophe Honoré 2008 LE GRAND ALIBI de Pascal Bonitzer 2006 JE PENSE À VOUS de Pascal Bonitzer 2003 LES SENTIMENTS de Noémie Lvovsky 2003 UN HOMME UN VRAI d’Arnaud et Jean-Marie Larrieu 2001 VA SAVOIR de Jacques Rivette 1996 TROIS VIES ET UNE SEULE MORT de Raoul Ruiz 2012 TÉLÉ GAUCHO de Michel Leclerc Félix MOATI 2011 LIVIDE d’Alexandre Bustillo et Julien Maury 2009 LOL de Lisa Azuelos 2013 DES GENS QUI S’EMBRASSENT de Danièle Thompson 2012 BYE-BYE BLONDIE de Virginie Despentes 2012 COSIMO E NICOLE de Francesco Amato 2012 LES INFIDÈLES de Fred Cavayé, Alexandre Courtes, Michel Hazanavicius, Emmanuelle Bercot, Eric Lartigau, Jean Dujardin, Gilles Lellouche Clara PONSOT 2011 POUPOUPIDOU de Gérald Hustache-Mathieu 2010 BUS PALLADIUM de Christopher Thompson 2010 COMPLICES de Frédéric Mermoud 2009 LA GRANDE VIE d’Emmanuel Salinger 2008 LA POSSIBILITÉ D’UNE ÎLE de Michel Houellebecq 2013 IL EST PARTI DIMANCHE de Nicole Garcia Benjamin LAVERHNE 2012 RADIOSTARS de Romain Lévy DIVIN ENFANT d’Olivier Doran (à venir) 2013 ZE BIG SLIP de Caroline Chomienne India HAIR 2013 JACKY AU ROYAUME DES -
Wmc Investigation: 10-Year Analysis of Gender & Oscar
WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S.