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Dani Felber Big Band Explosion – Glenn Gould Plays Bach (3-DVD-Box), Sony Thank You Fos Stabe Z Fehlt
Das Schweizer Jazz & Blues Magazin Nov./Dez. 6/2012 S Schweiz CHF 11.– / Deutschland € 5.90 / Österreich € 6.10 , ROOT ‚ N BLUES ‘‘ NN ''MMOORREE MICHEL Legrand HowlIN’ WolF Andreas VARADY MATTHIAS SPILLMANN OMRI ZIegele FABIAN Anderhub DAVE FEUSI & FRIends STRAYMONK LESTER MENEZES Don LI'S OrbITAL Garden MALI MUSIC IIRO RANTALA Sarah BÜCHI ANSON Funderburgh Andrew HILL URS LEImgruber ChrIS MARK SATTLER MAX FRANKL ED PARTYKA WIesendanger ORIOXY AUS DEM Innern MEHR ALS 80 CD-BESPRECHUNGEN JNM_06_2012_01_def.indd 1 26.10.12 09:41 Andreas Homoki wird nicht ruhen, das Opernhaus Zürich neuen Künstlern und neuen Besuchern zu öffnen. Qualität. Das verbindet uns mit dem Intendanten des Opernhauses Zürich. Als eine der weltweit erfolgreichsten Bühnen zeigt das Opernhaus Zürich seit Jahren Opern und Ballette auf höchstem Niveau. Andreas Homoki sichert mit Zuhören, präzisen Analysen und harmonischem Zusammenspiel des ganzen Ensembles künstlerische Spitzenleistungen, die ein breites Publikum begeistern. Unermüdliches Streben nach dem Besten und leidenschaftliches Teamwork kennzeichnen auch unsere Arbeit für alle Kunden in der Schweiz. Deshalb unterstützt UBS das Opernhaus Zürich seit 1987 als Partner. Bis Sie von der Nachhaltigkeit unseres Engagements überzeugt sind, dürfen Sie sich auf eines verlassen: Wir werden nicht ruhen www.ubs.com/sponsoring Die Verwendung von Namen oder sonstiger Bezeichnungen Dritter in dieser Werbung erfolgt mit der entsprechenden Genehmigung. © UBS 2012. Alle Rechte vorbehalten. 10157_Ad Andreas Homoki Opernhaus Bühne - Publication Jazz'n'More_2012_10_12.indd 1 10/15/2012 4:03:21 PM JNM_06_2012_02-03.indd 2 26.10.12 09:43 EDITORIAL INHALT Andreas Homoki wird nicht ruhen, das Opernhaus Zürich neuen Künstlern und neuen Besuchern zu öffnen. -
LORE PH Web.Pdf
PRESSESTIMMEN „Spannend und fesselnd bis zum Schluss … Die „Die Geschichte eines Kindes, das nicht nur schlagartig Beziehung zwischen Lore und Thomas, das Misstrauen, erwachsen werden muss, sondern gleichzeitig das Glau- die Feindseligkeit, das Aufeinander-Angewiesensein, wird benssystem verliert, das seine Welt zusammengehalten von Cate Shortland und ihren beiden jungen Schau- hat. Den inneren, persönlichen Kampf, die Auto-Entna- spielern wunderbar erzählt. Vor allem Saskia Rosendahl zifierung, das wurde im Publikumskino noch kaum je so hinterlässt einen tiefen Eindruck. (...) Das Szenenbild direkt in Angriff genommen. Das macht den Film im übri- von Silke Fischer ist perfekt, die Bilder des preisgekrön- gen zu einem überaus aktuellen Drama, schließlich sind ten Kameramanns Adam Arkapaw bringen die Härte fast alle von uns Teil eines Systems, das unmenschliche ebenso wie die satten, nassen Farben der Landschaften Züge zumindest mitbedingt. Keiner von uns kann sicher und Wälder zum Ausdruck.“ SCREEN DAILY sein, dass sein Wertesystem nicht auch dem eigenen Schutz zu dienen hat. Und wenn man Lores Dilemma mit „Einer der Höhepunkte des Filmfestivals Locarno … dem schmerzvollen Ausstieg aus einer Sekte vergleicht, Erinnerungsfilme, gerade solche aus Deutschland, sind kommt einem der Film noch einmal einen Schritt näher.“ wahrlich keine Seltenheit. »Lore« aber brilliert durch die SENNHAUSER.BLOG konsequente Erzählperspektive aus der Sicht der Kinder. In ihrer ersten großen Rolle agiert die 18jährige Saskia „Ein in seinem unbequemen Thema lyrischer, tief bewe- Rosendahl kontrolliert und mit präzisem Gefühl: die gender Film, wunderbar fotografiert … Das eindringliche Rohheit, die ihrer Figur Lore auch innewohnt, ist mehr Drama ist die verdiente Belohnung für alle, die seit Cate Andeutung denn manifester Ausbruch.“ SWISS-INFO Shortlands erstem Film Somersault acht Jahre auf ihren neuen Film gewartet haben.“ „Die Leistung der Hauptdarstellerin Saskia Rosendahl ist THE HOLLYWOOD REPORTER umwerfend. -
The Premiere Fund Slate for MIFF 2021 Comprises the Following
The MIFF Premiere Fund provides minority co-financing to new Australian quality narrative-drama and documentary feature films that then premiere at the Melbourne International Film Festival (MIFF). Seeking out Stories That Need Telling, the the Premiere Fund deepens MIFF’s relationship with filmmaking talent and builds a pipeline of quality Australian content for MIFF. Launched at MIFF 2007, the Premiere Fund has committed to more than 70 projects. Under the charge of MIFF Chair Claire Dobbin, the Premiere Fund Executive Producer is Mark Woods, former CEO of Screen Ireland and Ausfilm and Showtime Australia Head of Content Investment & International Acquisitions. Woods has co-invested in and Executive Produced many quality films, including Rabbit Proof Fence, Japanese Story, Somersault, Breakfast on Pluto, Cannes Palme d’Or winner Wind that Shakes the Barley, and Oscar-winning Six Shooter. ➢ The Premiere Fund slate for MIFF 2021 comprises the following: • ABLAZE: A meditation on family, culture and memory, indigenous Melbourne opera singer Tiriki Onus investigates whether a 70- year old silent film was in fact made by his grandfather – civil rights leader Bill Onus. From director Alex Morgan (Hunt Angels) and producer Tom Zubrycki (Exile in Sarajevo). (Distributor: Umbrella) • ANONYMOUS CLUB: An intimate – often first-person – exploration of the successful, yet shy and introverted, 33-year-old queer Australian musician Courtney Barnett. From producers Pip Campey (Bastardy), Samantha Dinning (No Time For Quiet) & director Danny Cohen. (Dist: Film Art Media) • CHEF ANTONIO’S RECIPES FOR REVOLUTION: Continuing their series of food-related social-issue feature documentaries, director Trevor Graham (Make Hummus Not War) and producer Lisa Wang (Monsieur Mayonnaise) find a very inclusive Italian restaurant/hotel run predominately by young disabled people. -
AACTA Announces Return to Channel Seven, New Hair and Makeup Award for Sixth Awards Season
MEDIA RELEASE – STRICTLY EMBARGOED UNTIL 12:01AM THURSDAY 14 APRIL, 2016 AACTA Announces Return to Channel Seven, new Hair and Makeup Award for Sixth Awards Season • Film, Documentary and Short Film Entries Now Open • Applications for Juries Across All Categories Now Open The Australian Academy of Cinema and Television Arts (AACTA) today announced that it will return to Channel Seven in December, following record viewers for the nation’s top screen awards which moved to Seven last year. The 6th AACTA Awards Ceremony presented by Presto will be held on Wednesday 7 December at The Star Event Centre in Sydney, again capitalising on a primetime telecast and driving great awareness for Australia’s top film and television productions awarded ahead of the Christmas and holiday period. An extended version of the Ceremony will again encore on Foxtel. Launching its sixth awards season, AACTA today announced a new award - the AACTA Award for Best Hair and Makeup, which encompasses film and television - and said a host of new television awards will be announced next month as a result of its new partnership with ASTRA. AACTA today called for entries across feature film, documentary and short film award categories, and jurors across all awards categories, with this year seeing more than 45 peer-assessed awards presented, celebrating Australian stories, culture and creativity captured on the big and small screens. All television entries, as well as jurors for new television categories, will be called for when the newly- expanded television awards are announced in May. AACTA also today announced the date of the industry-exclusive 6th AACTA Awards presented by Presto Industry Luncheon, which will be held on Monday 5 December at The Star Event Centre in Sydney. -
LORE Synopsis and Press
Artificial Eye Presents A Film By Cate Shortland LORE Starring: Saskia Rosendahl, Kai Malina, Nele Trebs, Ursina Lardi, Hans- Jochen Wagner, Mika Seidel, André Frid and Eva-Maria Hagen 1hr 48mins/ Super 16mm colour/ German with English subtitles/ 1:85.1/ Dolby Digital SRD/ 2012 Lore For further information please contact: Hilary Cornwell: [email protected] 0207 923 2861 Sarah Beman:d [email protected] 020 7923 2861 1 Director CATE SHORTLAND Producers KARSTEN STÖTER, LIZ WATTS, PAUL WELSH, BENNY DRESCHEL Writers CATE SHORTLAND, ROBIN MUKHERJEE Based on the novel “The Dark Room” by RACHEL SEIFFERT Executive Producers MARGARET MATHESON, VINCENT SHEEHAN, ANITA SHEEHAN Associate Producer LINDA MICSKO Cinematographer ADAM ARKAPAW Editor VERONIKA JENET ASE Production Designer SILKE FISCHER Composer MAX RICHTER Sound Designer SAM PETTY Costume Designer STEFANIE BIEKER Make-Up & Hair Supervisor KATRIN WESTERHAUSEN Casting JACQUELINE RIETZ, ANJA DIHRBERG Sound Recordist MICHAEL BUSCH Script Editor FRANZ RODENKIRCHEN Dramaturg HANNE WOLHARN Translations ELISABETH MEISTER Line Producer Germany KURT OTTERBACHER Production Manager AXEL UNBESCHEID Production Coordinator MATHIAS KRÄMER LORE ONE LINER Spring 1945 and the German resistance collapses. As the Allied forces sweep across the Motherland, five children embark on a journey which will challenge every notion we have of family, love and friendship. SYNOPSIS Stranded with her younger siblings after their Nazi parents (Ursina Lardi, Hans-Jochen Wagner) are imprisoned, LORE (Saskia Rosendahl) leads the remains of her family across war-torn Germany in 1945. To survive the children must reach their Grandmother's house in the North but amidst the chaos of a defeated nation, Lore encounters the mysterious and intriguing THOMAS (Kai Malina), a young Jewish refugee. -
1 Picturing a Golden Age: September and Australian Rules Pauline Marsh, University of Tasmania It Is 1968, Rural Western Austra
1 Picturing a Golden Age: September and Australian Rules Pauline Marsh, University of Tasmania Abstract: In two Australian coming-of-age feature films, Australian Rules and September, the central young characters hold idyllic notions about friendship and equality that prove to be the keys to transformative on- screen behaviours. Intimate intersubjectivity, deployed in the close relationships between the indigenous and nonindigenous protagonists, generates multiple questions about the value of normalised adult interculturalism. I suggest that the most pointed significance of these films lies in the compromises that the young adults make. As they reach the inevitable moral crisis that awaits them on the cusp of adulthood, despite pressures to abandon their childhood friendships they instead sustain their utopian (golden) visions of the future. It is 1968, rural Western Australia. As we glide along an undulating bitumen road up ahead we see, from a low camera angle, a school bus moving smoothly along the same route. Periodically a smattering of roadside trees filters the sunlight, but for the most part open fields of wheat flank the roadsides and stretch out to the horizon, presenting a grand and golden vista. As we reach the bus, music that has hitherto been a quiet accompaniment swells and in the next moment we are inside the vehicle with a fair-haired teenager. The handsome lad, dressed in a yellow school uniform, is drawing a picture of a boxer in a sketchpad. Another cut takes us back outside again, to an equally magnificent view from the front of the bus. This mesmerising piece of cinema—the opening of September (Peter Carstairs, 2007)— affords a viewer an experience of tranquillity and promise, and is homage to the notion of a golden age of youth. -
Annual Report 2014/15 Report | Annual
Screen Australia | Annual Report 2014/15 Screen Australia Annual Report 2014/15 www.screenaustralia.gov.au Published by Screen Australia October 2015 ISSN 1837-2740 © Screen Australia 2015 The text in this Annual Report is released subject to a Creative Commons BY licence (Licence). This means, in summary, that you may reproduce, transmit and distribute the text, provided that you do not do so for commercial purposes, and provided that you attribute the text as extracted from Screen Australia’s Annual Report 2014/15. You must not alter, transform or build upon the text in this Annual Report. Your rights under the Licence are in addition to any fair dealing rights which you have under the Copyright Act 1968 (Cwlth). For further terms of the Licence, please see http://creativecommons.org/licenses/ by-nc-nd/3.0/au/. You are not licensed to reproduce, transmit or distribute any still photographs contained in this Annual Report without the prior written permission of Screen Australia. TV ratings data Metropolitan and National market data is copyright to OzTAM. The data may not be reproduced, published or communicated (electronically or in hard copy) in whole or part without the prior consent of OzTAM. All Annual Report enquiries should be addressed to: Regional market data is copyright to RegionalTAM. The data may not be reproduced, published or communicated Communications Unit (electronically or in hard copy) in whole Screen Australia or part without the prior consent of Level 7, 45 Jones Street RegionalTAM. Ultimo NSW 2007 This Annual Report is available to download Toll free: 1800 213 099 as a PDF from www.screenaustralia.gov.au Phone: 02 8113 5800 Front cover image from Mad Max: Fury Road. -
Oedipus Schmoedipus
2014 I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being. Oscar Wilde From the Artistic Director 5 Upstairs Oedipus Schmoedipus 8 2014 Once in Royal David’s City 10 The Philadelphia Story 12 Brother’s Wreck 14 Hedda Gabler 16 Season Nora 18 The Glass Menagerie 20 A Christmas Carol 22 20 Questions 24 Downstairs Cain and Abel 28 Oedipus Rex 30 Is This Thing On? 32 Cinderella 34 The Business End This Is Our Company 38 Why You Should Subscribe 39 Loyalty Program & 30-Down Club 43 How to Book 44 Sunday Forum 46 General Information (Box Office hours, performance times) 47 Thank You 52 2014 Season Calendars 54 Subscription Booking Form Hello friends, So, here it is: our 2014 season And that’s not even mentioning book. It’s a ripper of a season the actors, the designers... so I think. many great people. What I’m excited about is how different they Browse away. But before you do, all are. That’s one of the great joys some introductions: you should of being an artistic director and meet our two new Resident curating a season. Juxtaposing Directors, Adena Jacobs and tragedy with comedy, the intimate Anne-Louise Sarks. We’ve stolen with the epic, the gentle with the them both from Melbourne (so rough and tumble. many good people come from Melbourne). We scoured the That is, in fact, the point. -
Capitão Fantástico Livro Em
Escrito e dirigido por Matt Ross 120 Minutos / EUA / 2016 #CapitãoFantástico www.bleeckerstreetmedia.com/captainfantastic Publicidade Internacional PR Works Alyson Dewar [email protected] 1-323-936-8394 CAPITÃO FANTÁSTICO SINOPSE OFICIAL Nas profundezas das florestas no Noroeste do Pacífico, isolado da sociedade, um pai devotado (Viggo Mortensen) dedica sua vida a transformar seus seis filhos em adultos extraordinários. Mas, quando uma tragédia atinge a família, eles são forçados a deixar o paraíso criado e iniciar uma jornada ao mundo exterior, jornada essa que desafia seu conceito do que significa ser pai e coloca em cheque tudo que ele ensinou aos filhos. SINOPSE LONGA Uma família não convencional sai do lugar onde mora, longe da civilização, e tenta se adaptar ao mundo além das florestas da região do Pacífico-Noroeste em Capitão Fantástico, drama bem-humorado, desafiador e comovente do roteirista e diretor Matt Ross. Ben Cash (interpretado por Viggo Mortensen) e sua esposa Leslie (interpretada por Trin Miller) criaram um paraíso para a família longe das cidades e da civilização. Dentro de um espaço autossuficiente que eles mesmos construíram, Ben ensina seus seis filhos as técnicas necessárias para sobrevivência na floresta, e aplica uma rigorosa educação física e intelectual. Mas uma tragédia na família os obriga a retornar ao mundo exterior, os conceitos de paternidade do Ben são postos em cheque, e ele se vê forçado a rever o preço que seus filhos estão pagando pelo seu sonho. Capitão Fantástico é escrito -
Candy Talent: Heath Ledger, Abbie Cornish
Candy Talent: Heath Ledger, Abbie Cornish, Geoffrey Rush, Noni Hazlehurst, Tony Martin, Tom Budge. Director/producer/editor: Neil Armfield Duration: MA (15+) Classification: 108 minutes We rate it: Five stars. It’s my pleasure to announce that Australian cinema audiences can once again rejoice in the arrival of a sterling new Australian film. Candy, based on Luke Davies’ well-received 1997 novel, is the first big-screen feature- film effort from acclaimed theatre director Neil Armfield, and it’s a pretty stunning piece. Davies’ harrowing, immensely moving and often brutal novel gave us vivid portraits of its two central characters, young lovers whose lives were defined by their addiction to heroin. Far from being mere grunge wallowing, Candy told the deeply-felt story of a particular kind of doomed love: love played out against the looming backdrop of an unsustainable addiction. The novel’s appearance in 1997 was quite an event; Davies was rightly recognised as a major new literary presence in Australia, and his subsequent releases have confirmed the promise his debut made to readers. With the level of interest generated by Candy, a film adaptation was a likely thing. Enter Neil Armfield, gifted director of Belvoir St.’s Company B Theatre Group, and the man responsible for some of the most visionary Australian theatre of the last twenty years. Having directed television milestones like Edens Lost in the late 1980s, Armfield has long been in the running as Australia’s “man most overdue to direct a big-screen feature”. Candy is the film that has brought Armfield to the Australian cinema. -
Media Release – Strictly Embargoed Until 4Pm Monday 28 January 2013
Media Release – Strictly embargoed until 4pm Monday 28 January 2013 AUSTRALIAN ACADEMY ANNOUNCES FIRST GROUP OF WINNERS - 2ND AACTA AWARDS The 2nd AACTA Awards Luncheon, presented by Deluxe was held today at Sydney’s The Star Event Centre, where the Australian Academy of Cinema and Television Arts (AACTA) announced the first group of winners for the 2nd AACTA Awards. 2nd AACTA Awards Presenters Presenters at the event included television favourites Diana Glenn, Jane Harber and Jimi Bani as well as acclaimed actors Damon Herriman, Daniel Henshall and Felicity Price. Also taking to the stage were The Sapphires stars Miranda Tapsell and Shari Sebbens. The event was hosted by the always-entertaining and irreverent Oscar® and AFI Awarded Adam Elliot. Special Presentation of the AACTA Raymond Longford Award – Al Clark A special highlight of the 2nd AACTA Awards Luncheon presented by Deluxe was the presentation of the prestigious AACTA Raymond Longford Award, the nation’s highest screen accolade, to one of Australia’s most revered producers, Al Clark. The presentation was accompanied by moving and insightful tributes from Ana Kokkinos, David Stratton and Alan Finney. With a filmmaking career spanning three decades, Al Clark has produced or executive produced 19 feature films including some of Australia’s most iconic, celebrated and internationally significant cinema, with credits including The Adventures of Priscilla, Queen of the Desert, Chopper, Razzle Dazzle, Blessed, Red Hill and the upcoming musical Goddess. In addition to his achievements as an extraordinary and tenacious producer, Clark is also noted by a cross section of the industry as a mentor and educator whom many credit with helping to launch their careers. -
KEEFUS CIANCIA (Discography)
KEEFUS CIANCIA 1/1/19 (Discography) Recording Album / Project Artist Credit Beyond the Palace Walls Paragon Taxi Piano, Keyboards (1993) Jazz in the Present Tense The Solsonics Keyboards (1993) Bop Gun Ice Cube Keyboards (1993) Fo Life Mack 10 Keyboards (1993) Cool Struttin The Pacific Jazz Alliance Keyboards (1994) Keyboards, Moog Synthesizer, N Gatz We Truss South Central Cartel (1994) Claves Nut-Meg Sez "Bozo the Town" Weapon of Choice Keyboards, Vocals (1994) Clavinet, Fender Rhodes, Moog Back to Reality Jeune (1995) Lead Highperspice Weapon of Choice Keyboards, Vocals (1996) I Am L.V. L.V. Keyboards (1996) Radio Odyssey Various Artists Keyboards (1996) The Jade Vincent Moy Producer, Composer, Musician (1996) Experiment Concepto Sol d'Menta Keyboards (1998) Nutmeg Phantasy Weapon of Choice Keyboards (1998) Whitey Ford Sings the Blues [Clean] Everlast Keyboards, Performer (1998) Another True Fiction Jerry Toback Moog Synthesizer (1999) Eat at Whitey's Everlast Bass, Keyboards, Band (2000) Loud Rocks Various Artists Keyboards (2000) Moog Synthesizer, Claves, You Know, for Kids Hate Fuck Trio (2000) Wurlitzer Synthesizer, Farfisa Organ, The ID Macy Gray (2001) Composer Motherland Natalie Merchant Piano, Keyboards (2001) Stimulated, Vol. 1 Various Artists Keyboards (2001) Diana Priscilla Ahn (2001) Organ, Keyboards, Clavinet, C'mon, C'mon Sheryl Crow (2002) String Samples Keyboards, Producer, Engineer, Soul of John Black The Soul of John Black (2003) Associate Producer Piano, Keyboards, Moog Thousand Kisses Deep Chris Botti (2003) Synthesizer,