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Contemporary Polish Cinema (Spring Term)
University of Pittsburgh Department of Slavic Languages and Literatures Polish 1450 - Contemporary Polish Cinema (Spring Term) Instructor: Jolanta Lapot (visiting from Lodz Film School of Poland, 1999-2000) Course Meets: W CL249 5:45-10:00 Office Hours: Th, Fr 11:00-2:00 Office:1417 Cathedral of Learning e-mail:[email protected]. Phone: 624-5707 General Course Description The course presents contemporary Polish cinema from 1945 to the present. Concepts will be studied in their historical, political, philosophical, and aesthetic perspective. We will examine the important national themes in modern Polish cinema, relating them to the history of Poland and Eastern Europe. The main trends (schools, movements) in Polish cinema will be examined such as the so-called PolishSchool and the Cinema of Moral Concern. The works of most important modern Polish film-makers will be examined, including the works of Andrzej Wajda, Andrzej Munk, Agnieszka Holland, Roman Polanski, Krzysztof Kieslowski, Wladyslaw Pasikowski, Leszek Wosiewicz, and Ryszard Bugajski. Films to be examined may be divided into three general groups 1. Films representing post-war history and, more specifically, films covering important social and political transformations, but made after the fact. These are sometimes called revisionist films in search of historical truth, previously distorted by political ideology. 2. Films dealing with World War II. We will look at different ways in which the war is treated by film-makers over the course of the post-war period. 3. The final group of films is chosen purely on the basis of artistic merit. The role of film as an art form will be examined during the different periods of the post-World-War-Two era. -
Une Fraîcheur Et Une Originalité Toujours Intactes / Deep End De Jerzy Skolimowski]
Document generated on 09/27/2021 11:40 p.m. 24 images Une fraîcheur et une originalité toujours intactes Deep End de Jerzy Skolimowski Marcel Jean Festival du nouveau cinéma 2011 Number 154, October–November 2011 URI: https://id.erudit.org/iderudit/65111ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this review Jean, M. (2011). Review of [Une fraîcheur et une originalité toujours intactes / Deep End de Jerzy Skolimowski]. 24 images, (154), 46–46. Tous droits réservés © 24/30 I/S, 2011 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ DVD Deep End de Jerzy Skolimowski Une fraîcheUr et Une originalité toUjoUrs intactes par Marcel Jean « Mais je pourrais mourir ce soir… »1 QUI AURAIT DIT QU’UN FILM TOURNÉ PRINCIPALEMENT EN ALLEMAGNE ET RÉALISÉ PAR UN Polonais parlant l’anglais comme une vache espagnole allait devenir l’un des classiques du cinéma britannique ? C’est pourtant ce qui est arrivé avec Deep End de Jerzy Skolimowski, d’après un scénario original de Skolimowski, Boleslaw Sulik et Jerzy Gruza (tous trois Polonais), produit par un Allemand et tourné avec une équipe technique allemande. -
December 26-30, 2018 Wheeler Opera House + Paepcke Auditorium
December 26-30, 2018 Wheeler Opera House + Paepcke Auditorium PROGRAM | aspenfilm.org TICKETS | aspenshowtix.com SOCIAL | @aspenfilm GOLD MEDAL DIVERSE WINTER BIKING AND LOCAL RETAIL ARTS AND FREE • Friday, November 9, 2018 RIVERS RECREATION HIKING TRAILS FOOD THERAPY CULTURE THE ASPEN TIMES SINCE 1881 .COM COLORADO | 2018-2019 THE SNOWBELL EFFECT Aspen Mtn. set 4-Season Guide to the Best of to open early Basalt Ski area will open Saturday, Nov. 17; terrain to be determined Scott Condon The Aspen Times spen Mountain will open for the season Saturday, Nov. 17, five days before the scheduled opening — though what exactly will open is yet to be deter- mined, Aspen Skiing Co. announced Thursday. A“We’re opening. We’re happy to be opening. We just don’t know what we’re opening yet,” said Jeff Hanle, Skico vice presi- dent of communications. The amount of terrain that opens will depend on how much snow falls between now and then. “At a minimum, we’ll do Nell and Bell,” Hanle said, referring to the Little Nell chairlift at the base and the old standby Bell Mountain chairlift. If that’s all that opens Nov. 17, Aspen Moun- tain will still offer more vertical feet of skiing than many of the resorts now open in Colorado, according to Hanle. The top of the Bell Mountain chair is at an elevation of about 10,500 feet. The base is at about 7,945 feet. Hanle said the ticket price can’t be set because it’s uncertain how much terrain will open. Ski passes will be able to be used. -
Poland Daily: Economy, Work, Consumption and Social Class in Polish Cinema | Pol-Int
Pol-Int MONOGRAPH Poland Daily: Economy, Work, Consumption and Social Class in Polish Cinema Published: 04.07.2019 Reviewed by M.A. Jon Baldwin Edited by Dr. Andrzej Klimczuk Anna Labentz Ewa Mazierska's book brings together film, identity, economy and class in the entirety of Polish cinema. The role of Polish film in constructing an externally recognised patriotic national identity, often against internal reflection and social reform, is clearly emphasised: "The most critically acclaimed Polish films show Poles fighting against external enemies, rather than dealing with everyday problems and enjoying the small pleasures in life" (p. 3). The book, then, shows how Polish cinema has carried macro-ideologies through its history and marginalised the micro-everyday: indeed, following Ben Highmore, downplaying the everyday risks by neglecting the dominated for the sake of listening to the dominating elites. Mazierska, who has published extensively on European cinema, as well as monographs on Roman Polański and Jerzy Skolimowski, writes of her work that "this project has much to do with listening to voices from below, or finding out why they are silenced or represented in one way rather than another" (p. 4). Mazierska utilises a concise (occasionally restrictive) Marxist approach: "I want to find out where, to use Marxist categories, there is a fit between the base and superstructure" (p. 25). She reverses the 'retreat from class' analysis of national cinema, a retreat caused in part by the disappointment with the defeat of the western working class in the struggle with capital. She also reverses the paucity of Polish film studies: "we barely see any studies analysing how the state of the country's economy and, especially, its transformation, affected representations, except for some general remarks" (p. -
Farragut's Press
Farragut’s Press NEWSLETTER OF THE MARE ISLAND MUSEUM, 1100 Railroad Ave, Vallejo CA 94592 Mare Island Historic Park, a 501(c) (3) Charitable Organization June 2014 Mare Island and the Movies on its seventh patrol in in the fall of 1943 somewhere In the last issue of Farragut’s Press there was an article off the coast of Japan. Remains were located in 2005 on the actors of movies and television who served in and finally in 2006 the U.S. Navy verified that it was, the armed services, but few people are aware of how indeed, the Wahoo. Morton Field on Mare Island is directly involved Mare Island was with the movie named after Commander Morton. community. The second film made at Mare Island and filmed First and foremost was the procession of celebrities primarily on the shipyard was entitled Submarine who came to Mare Island as participants in the war Command, starred William Holden and William Bendix bond programs during WWII. It included such and told the story of a submarine’s executive officer performers as Jack Benny, Bob Hope, Joe E. Brown, who on the last day of the war took his submarine June Allyson, Eddie Cantor, Gabby Hayes, Cary Grant down leaving the captain and several severely injured and many others. Most of these performers also crewman on the bridge. It goes on to explore his guilt visited the wounded at Mare Island Hospital. as he discovers upon surfacing that Japan has The first actual movie with which Mare Island was surrendered and he did not have to sacrifice those involved was Destination Tokyo which starred Cary men. -
ALIENCOVENANT PB Ita 2
! Regia di Ridley Scott Michael Fassbender Katherine Waterston Billy Crudup Danny McBride Demian Bichir *** Uscita: 11 Maggio 2017 Distribuzione: 20th Century Fox Italia Durata: 121 minuti *** Ufficio stampa 20th Century Fox Giancarlo Sozi : <[email protected]> Cristina Partenza: < [email protected]> Ufficio stampa web Alessandra Giovannetti <[email protected]> *** #AlienCovenant https://www.facebook.com/AlienFilmIt/ http://www.aliencovenant-trovasala.it/ www.20thfox.it Nello spazio nessuno può sentirti urlare. Dopo quasi quattro decadi, queste parole rimangono sinonimo dell'assoluta e incessante tensione di quel capolavoro dell’orrore fantascientifico che è stato Alien di Ridley Scott. Ora, il padre del leggendario franchise, ritorna ancora una volta al mondo che ha creato per esplorarne i suoi recessi più oscuri con ALIEN: COVENANT, una nuova avventura al cardiopalma che spinge in avanti i confini del terrore per i film vietati ai minori. A bordo dell’astronave Covenant tutto è tranquillo; l’equipaggio e le altre 2.000 anime sul vascello d’esplorazione sono profondamente addormentate nell’iper-sonno, lasciando che Walter, l’organismo sintetico a bordo, cammini da solo per i corridoi. La nave è in viaggio verso il lontano pianeta Origae-6, sul fianco estremo della galassia, dove i coloni sperano di stabilire un nuovo avamposto per l’umanità. La pacifica tranquillità del viaggio viene interrotta quando una vicina esplosione stellare distrugge le vele di raccolta di energia della Covenant, provocando decine di vittime e facendo deragliare la missione. Ben presto i membri superstiti dell’equipaggio scoprono quello che sembra essere un paradiso inesplorato, un Eden indisturbato con montagne coperte di nuvole e immensi alberi altissimi, molto più vicino di Origae-6 e potenzialmente altrettanto valido per ospitarli. -
Alien: Covenant
ALIEN: COVENANT In space, no one can hear you scream. After nearly four decades, those words remain synonymous with the sheer, relentless intensity of Ridley Scott’s masterpiece of futuristic horror, Alien. Now, the father of the iconic franchise returns once more to the world he created to explore its darkest corners with ALIEN: COVENANT, a pulse-pounding new adventure that pushes the boundaries of R-rated terror. All is quiet aboard the spaceship Covenant. The crew and the rest of the 2,000 souls aboard the pioneering vessel are deep in hyper-sleep, leaving the synthetic Walter to walk the corridors alone. The ship is en route to the remote planet Origae-6, where, on the far side of the galaxy, the settlers hope to establish a new outpost for humanity. The tranquility is shattered when a nearby stellar ignition shreds Covenant’s energy-collection sails, resulting in dozens of casualties and throwing the mission off course. Soon, the surviving crew members discover what appears to be an uncharted paradise, an undisturbed Eden of cloud-capped mountains and immense, soaring trees far closer than Origae- 6 and potentially just as viable as a home. What they’ve found, however, is actually a dark and deadly world full of unexpected twists and turns. Facing a terrible threat beyond their imagination, the embattled explorers must attempt a harrowing escape. Set ten years after the events depicted in Scott’s 2012 hit Prometheus, ALIEN: COVENANT returns to the roots of the director’s groundbreaking saga with a uniquely terrifying tale filled with white-knuckle adventure and monstrous new creatures. -
Catalog 2010
FILM MOVEMENT CATALOG 2010 A b o The Company u t Launched in 2003, Film Movement is a full-service North American distributor of U award-winning American independent and foreign films, based in New York City. s Film Movement has released more than 90 feature films from 40 countries on six continents, including top prize winners from Sundance, Cannes, Venice, Toronto, Berlin, Tribeca, SXSW and other prestigious film festivals. Mission Statement Why did we launch Film Movement? As fans of American independent and for- eign cinema, we had become increasingly frustrated by the lack of access to the year's most critically acclaimed films. We kept reading about films from the ma- jor film festivals, such as Cannes and Sundance, that the top critics raved about, but never reached a theater near you. Film choices are dictated to us by a smaller and smaller group of major studios, which decide to release films based mostly on their star quotient and “marketability”. Many of the films that we want to see get squeezed out of thea- ters by Hollywood blockbusters and face skyrocketing marketing costs that make it daunting—if not impossible—to reach appreciative audiences. We created Film Movement because the system of releasing independent, foreign and documentary films needed to be changed. At its heart, Film Movement is dedicated to getting great films seen by as many people as possible, and providing intelligent, beautiful and compelling art to an ever-growing audience, who does not necessarily live in the top ten metropolitan areas, and who want more than the standard Hollywood fare. -
Or: How Camerimage Festival Tried to Convince Łódź to Stop Worrying and Love Modern Architecture) Konrad Klejsa Uniwersytet Łódzki
varia 269 Dietrich – wchodzi w bezpośredni kontakt padki przełamywania społecznych tabu. Pro- z publicznością, siadając na kolanach jedne- dukcja ta tworzyła swego rodzaju alternatywny mu z mężczyzn, namiętnie całując go w usta, wąski obieg. Jest bowiem rzeczą niezmiernie a w chwilę później zrywając z głowy blond mało prawdopodobną, by podobnie śmiała perukę, aby zaprezentować się widzom jako pod względem obyczajowym scena z przyczyn mężczyzna. Autor etiudy zdokumentował tutaj cenzuralnych mogła się znaleźć w jakimkolwiek coś, co w tamtym czasie mogło funkcjonować ówczesnym fi lmie fabularnym bądź dokumen- jedynie na obrzeżach życia obyczajowego w Pol- talnym w szerokim rozpowszechnianiu. sce, ale – jak widać – torowało już sobie drogę, przynajmniej w widowisku estradowym. Na zakończenie studiów reżyserskich w łódz- Zaskakująca śmiałość opisanej sceny wykra- kiej PWSFTviT Michał Tarkowski zrealizował – cza daleko poza konwencję estradowego spekta- oceniony przez opiekuna pedagogicznego klu erotycznego. Pod tym względem dokument prof. Wojciecha Jerzego Hasa na notę celują- nakręcony przez Tarkowskiego i Szarka stanowi cą – znakomity fi lm absolutoryjny pt. Przerwane niewątpliwy ewenement obyczajowy w kinie śniadanie Braci Montgolfi er (1979–1980). Orygi- polskim dekady lat 70. Obaj ukazali i zanoto- nalność i klasa artystyczna tego utworu, który wali ślad dokonującej się niepostrzeżenie prze- w niczym nie przypomina ćwiczenia warszta- miany obyczajowej. W etiudach powstających towego, będąc pełnoprawnym dziełem sztuki w łódzkiej Szkole -
Jerzy Skolimowski Retrospective Celebrates Polish Director’S Singular Career
FOR IMMEDIATE RELEASE JERZY SKOLIMOWSKI RETROSPECTIVE CELEBRATES POLISH DIRECTOR’S SINGULAR CAREER June 10–July 3, 2011 Director to make personal appearance with June 10 th screening of Essential Killing , new film starring Vincent Gallo With his intense poetic style, Jerzy Skolimowksi has been one of the most distinctive voices in international cinema since he emerged as a leading figure in the 1960s Polish New Wave. A painter, poet, and writer, Skolimowski made films throughout Europe in the 1970s and 1980s, and then abandoned cinema in the 1990s. He made an impressive return to filmmaking in recent years with Four Nights with Anna and his boldly enigmatic film Essential Killing , starring Vincent Gallo. From June 10 through July 3, 2011, Museum of the Moving Image will present a major retrospective devoted to the film director, which will be the first stop in a national tour of the films that also includes the Harvard Film Archive. The series, The Cinema of Jerzy Skolimowski , will include eleven feature films as well as a selection of short films made while he was a student at the prestigious Lodz Film School. The retrospective opens with a personal appearance by Skolimowski on June 10 th with a screening of Essential Killing . [6/6/11 update: personal appearance cancelled.] Many of the films in the retrospective are not in distribution in the United States and not available on DVD. Among the highlights are several semi-autobiographical films, including the rarely shown cult favorite Deep End , starring Jane Asher and John Moulder-Brown set in a London bath house; the Polish films Identification Marks: None (Rysopis ), Walkover , and Hands Up! —known together as the Andrzej Leszczyc trilogy—and all featuring Skolimowski as actor as well as director; his “French” film, Le départ , starring Jean-Pierre Léaud; and Moonlighting , a humorous yet scathing tale of Polish laborers renovating a London flat starring Jeremy Irons. -
P20-21 Layout 1
Established 1961 21 Lifestyle Awards Monday, September 9, 2019 Nigerian director Joel Kachi Benson holds the Venice Producer Rean Mazzone holds the Special Jury Prize award Virtual reality award he received for “Daughters of he received on behalf of Italian director Franco Maresco for Chibok”. the film “La mafia non e piu quella di una volta”. Argentinian director and Jury President of the 76th Venice Film Festival Lucrecia Martel (right) speaks as (from left) Mexican cinematographer and Jury member of the 76th Venice Film Festival Rodrigo Prieto, Canadian director and Jury member of the 76th Venice Film Festival Mary Harron, British actress and Jury member of the 76th Venice Film Festival Stacy Martin and Italian director and Jury member of the 76th Venice Film Festival Paolo Virzi look on during the awards ceremony of the 76th Venice Film Festival at Venice Lido. Golden Lion: Todd Phillips, dir. Joker Silver Lion Grand Jury Prize: An Officer and a Spy, dir: Roman Polanski Silver Lion Best Director: Roy Andersson, dir. About Endlessness Volpi Cup for Best Actress: Ariane Ascaride, Gloria Mundi Volpi Cup for Best Actor: Luca Marinelli, Martin Eden French actress Ariane Ascaride holds the Coppa Volpi Best Screenplay Award: No. 7 Cherry Lane, dir. and written by: Yonfan for Best Actress she received Special Jury Prize: The Mafia is No Longer What it Used to Be, dir: Franco Maresco for the film ‘Gloria Mundi’. Marcello Mastroianni Award: Toby Wallace, Babyteeth, dir: Shannon Murphy HORIZONS AWARDS Best Film: Atlantis, dir: Valentyn Vasyanovych -
Katalóg Catalogue Isbn 978-80-970721-3-1 Poďakovanie Special Thanks To
KATALÓG CATALOGUE ISBN 978-80-970721-3-1 POĎAKOVANIE SPECIAL THANKS TO Festival finančne podporil With the financial support of Festival je realizovaný vďaka finančnej podpore predsedu vlády SR. With the financial support of the Prime Minister of the Slovak Republic. 4 POĎAKOVANIE SPECIAL THANKS TO Andrea Baisová, Forum Film Sharleen Liu, Ablaze Images Rudolf Biermann, IN film Soňa Macejková Jaroslav Bouček, Buc-film Sanam Majedi, Films Distribution Peter Bučko, ad one Přemysl Martínek, Artcam Aleš Danielis, CinemArt Bastian Meiresonne, Shaya Production Silvia Dubecká, Asociácia slovenských filmových klubov Karim Mezoughi Peter Dubecký, Slovenský filmový ústav Rebecca O'Brien Thomas Fernandes, Zero Charisma Martin Pawley, Zeitun Films Didier Guillain Tristan Priimägi Silvia Havelková, Mesto Trenčianske Teplice Mátyás Prikler, MPhilms Ivan Hronec, Film Europe Otto Reiter Tomáš Janísek, Barracuda Movie Jana Sedláčková, Mesto Trenčín Marek Jeníček, CinemArt Christiane Schmidt Kasia Karwan, Premium Films Knut Skinnarmo, Norwegian Film Institute Namyoung Kim, Finecut Co. Karel Spěšný Martin Kohút Alexandra Strelková, Slovenský filmový ústav Anna Kopecká, Artcam Jana Studená, Forum Film Peter Kot, ITAFILM Libuše Šnoblová, CinemArt Dagmar Krepopová, Magic Box Mark Truesdale, Park Circus Eva Križková, Filmtopia Jaroslav Vančo Chiu-yi Leung, Bravos Pictures Nicholas Varley, Park Circus Queenie Li, Bravos Pictures Branislav Volák, HCE 5 ZÁMER STATEMENT OF PURPOSE Zámer Statement of Purpose Dôležitým zámerom Art Film Festu je predstaviť výber z mozaiky