DOCSLIB.ORG

27 July – 12 August 2018

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
27 July – 12 August 2018 WELLINGTON 27 JULY – 12 AUGUST 2018 BOOK AT NZIFF.CO.NZ BOOK AT NZIFF.CO.NZ Wine and film. Both start with a vision and then take years of skill and craft to become a reality. A director draws the best performance from actors and crew, and a winemaker extracts the potential from the land and the grape. Dedication and the pursuit for perfection define both crafts. It’s no wonder success for each is defined by raising a glass. PARTNER NZ International Film Festival 2010–2018 47th Wellington International Film Festival 27 JULY – 12 AUGUST 2018 Presented by New Zealand Film Festival Trust under the distinguished patronage of Her Excellency PROUDLY SUPPORTED BY The Right Honourable Dame Patsy Reddy, Governor-General of New Zealand EMBASSY THEATRE READING CINEMAS PENTHOUSE CINEMA ROXY CINEMA LIGHT HOUSE PETONE NGĀ TAONGA SOUND & VISION Director: Bill Gosden General Manager: Sharon Byrne Communications Manager: Rebecca McMillan Wellington Festival Manager: Caroline Palmer Assistant to the General Manager: Lisa Bomash Publicist (Auckland): Sally Woodfield Programmer: Sandra Reid Programme Manager: Michael McDonnell Animation NOW! Programmer: Malcolm Turner All Ages Programmer: Nic Marshall Incredibly Strange Programmer: Anthony Timpson Programme Consultant: Chris Matthews Online Content Manager: Kailey Carruthers Content Manager: Ina Kinski Materials and Content Assistant: Matt Wilshere Publications Coordinator: Tim Wong Audience Development Manager: Alice Vilardel Social Media Coordinator: Rebecca Shannon Guest Coordinator: Pamela Harvey-White Technical Adviser: Ian Freer Festival Accounts: Alan Collins Ticketing Supervisor: Jane Simons Festival Interns: Jean Teng (Auckland) Zoe Pattinson Fan, Liam Reid (Wellington) Publication Design: Ocean Design Group Publication Production: Greg Simpson Cover Design: Matt Bluett Cover Illustration: Ken Samonte Animated Title: Anthony Hore (designer), Aaron Hilton (animator), Tim Prebble (sound), Catherine Fitzgerald (producer) THE NEW ZEALAND FILM FESTIVAL TRUST Chair: Catherine Fitzgerald Trustees: Louise Baker, Adrienne Bonell, James Every-Palmer, Tearepa Kahi, Robin Laing, Andrew Langridge, Helen Marie O’Connell, Chris Watson Financial Controller: Chris Prowse The New Zealand Film Festival Trust Box 9544, Marion Square Wellington 6141, New Zealand ph: (64 4) 385 0162 [email protected] Resene Resene Wellywood Piha Sand Resene Resene Pohutukawa Gumboot Resene Resene Pukeko Koru Resene Resene Gorse Pavlova Bringing colour to kiwi life since 1946 Resene’s big screen story began back in 1946 when Ted Nightingale started making paint from his Wellington garage. Over 70 years later and the Resene name lives on as a truly homegrown success story, known for its quality paint, colour and innovation. Our paints are designed and made in New Zealand for our harsh weather conditions and our colours are inspired by everyday kiwi life. So you can be sure they will look great in your home, while also looking after it. Proud supporters of the NZ fi lms in the International Film Festival. CONTENTS Resene Resene Wellywood Piha Sand 07 12 14 22 50 Big Nights Retro Aotearoa World Fresh 58 60 68 70 76 For All Framing News / Music Portrait Ages Reality Fake News & Dance of an Artist Resene Resene Pohutukawa Gumboot 80 84 Incredibly Meet the Strange Filmmakers WELCOME Resene Resene We could not be prouder or happier about fronting up, in this winter of 2018, to Pukeko Koru offer you a programme as invigorating and timely as any we have ever presented. If you’ve not joined us before, you have chosen a great year to do so. If you are a regular, this year’s NZIFF is going to feel new and different – unless you have been confining your attendance to the mighty Embassy, or to one of our lovely satellite venues, where it’s business as usual. At age 47, we have lost the 100-year-old Paramount, the cinema that brought us into the world, and found a new home down the street at Reading Cinemas. Comfortable seating, heating, legroom, and a finely tuned picture and sound: it just won’t be the same. We are very grateful to Reading Cinemas for taking us in: there are easier ways for cinema operators to make money than receiving the small share NZIFF can afford on the hard-won box office our busy programme usually generates. Be warned, however: bigger seats mean fewer seats and you are Resene Resene advised to book for Reading screenings. Gorse Pavlova The Paramount may be shuttered, but the yin and yang of the NZIFF ecosystem persist: filmmakers produce work that calls for festivity, and audiences love to gather, evaluate and celebrate. NZIFF survives as a non-profit enterprise, dependent on that audience for almost 90% of our income. NZIFF returns 25% of that income to filmmakers. The major sponsorship we receive from the New Zealand Film Commission is a gratifying institutional endorsement of that principle. Some other crucial supporters should also be acknowledged. Resene joins us for their fifth year as sponsors of another stimulating strand of films from Aotearoa. The Wellington Community Trust is behind us for the third year, and the Wellington City Council provides grant money – though we thank them above all for their custodianship of mothership Embassy. Flicks.co.nz, RadioLIVE, nzherald.co.nz and Metro magazine are exactly the media partners an event like ours Bringing colour to kiwi life since 1946 can work with, engaging directly with the films we present. In 2018 we welcome a new Artistic Development Partner in Creative New Zealand. Resene’s big screen story began back in 1946 when Ted Nightingale started making paint from his Wellington garage. Over 70 years later and the Resene name lives on as a truly homegrown success story, known for its quality paint, colour and innovation. Though we encounter numerous not-quite contenders as we go, the thing we NZIFF programmers do for work, we also do for fun. There are debates, difficult decisions and hallelujah moments aplenty, which is exactly Our paints are designed and made in New Zealand for our harsh weather conditions and our colours are inspired by everyday kiwi life. how we hope selecting your NZIFF will turn out for you. May our brave efforts help you spot the movies that So you can be sure they will look great in your home, while also looking after it. mean the most to you. Proud supporters of the NZ fi lms in the International Film Festival. Bill Gosden Director TICKET PRICES BUYING TICKETS BOOKINGS OPEN ON THURSDAY 5 JULY AT 10.00 AM A CODED SESSIONS Advance bookings will be available for all NZIFF screenings. You can select your own Sessions starting after 5.00 pm weekdays and all weekend sessions seats if you book online. Book early to secure your favourite seats, and to ensure your (unless otherwise indicated). tickets for screenings at the smaller venues. » Full Price $18.50 ONLINE www.nziff.co.nz » Film Society/Film Industry Guilds/Nurses $15.00 You have the option to select your own seats if you book online, using the ‘CHANGE SEAT’ button before you complete your purchase. Tickets purchased online will » Student/Community Services Card $15.00 be emailed to you, allowing you to print them at home. Please ensure you print » Child (15 and under)/Senior (65+) $12.50 your ticket, not just your confirmation letter, and bring your ID if you have booked concession discount tickets. You may also present your ticket on your mobile. Please B CODED SESSIONS ensure your ticket is loaded and ready for presentation. Sessions starting before 5.00 pm weekdays or of a shorter duration and IN PERSON BEFORE NZIFF (from Thursday 5 July to Thursday 26 July) others as indicated. Advance tickets for all NZIFF screenings will be available at the NZIFF box office » Full Price $15.00 downstairs at Reading Cinemas Courtenay, 100 Courtenay Place. 10.00 am – 6.00 pm Monday to Friday, 11.00 am – 4.00 pm Saturday and Sunday. » Child (15 and under)/Senior (65+) $12.50 IN PERSON DURING NZIFF (from Friday 27 July) C CODED SESSIONS Embassy, Reading Cinemas Courtenay, Penthouse Cinema, Light House Petone, » All tickets $11.50 Nga¯ Taonga Sound & Vision: The box office at Ngā Taonga Sound & Vision will be open from 9.00 am – 4.00 pm, Monday – Friday. Tickets to all NZIFF screenings are ONLINE DISCOUNT available here. Purchase ten Full Price tickets or more in one online transaction and automatically Roxy Cinema: The box office at the Roxy Cinema can only sell tickets for their receive a discount of $2.00 per ticket. own NZIFF screenings. The box office opens 45 minutes before each NZIFF session TEN-TRIP PASS commences and closes 15 minutes after each session starts. Box office closed between sessions. Valid for all sessions (excluding Special Events), subject to seat availability. Please note: Patrons buying tickets for sessions about to start may be given priority Venue sales only. over patrons seeking advance bookings. » Ten-Trip Pass $150.00 MAIL BOOKINGS The Ten-Trip Pass can be purchased in advance from the NZIFF box office at Reading A booking form can be found on the NZIFF website. Once printed and completed, post Cinemas Courtenay (or from NZIFF venues during NZIFF dates). It can be used to book to: New Zealand International Film Festival, PO Box 9544, Marion Square, Wellington tickets in advance or on the day at NZIFF box offices for any session that is not sold 6141. Alternatively, you can call (04) 802 2579 and we can post you a booking form. out. The Ten-Trip Pass cannot be used for online, phone or mail bookings. TELEPHONE – Please note that we have very limited phone booking services TICKETING FEES Hours prior to NZIFF (Thursday 5 July to Thursday 26 July) 10.00 am – 5.00 pm Monday to Friday, 11.00 am – 4.00 pm Saturday and Sunday.
Load more

Recommended publications
  • One and Only
    Cover Story One and only Fox tackles the loneliest number in ‘The Last Man on Earth’ By Cassie Dresch people after a virus takes out him get into a lot of really silly TV Media all of Earth’s population. His shenanigans. family is gone, his coworkers “It’s all just kind of stupid ello? Hi? Anybody out are gone, the president is gone. stuff that I go around and do,” Hthere? Of course there is, Everyone. Gone. he said in an interview with otherwise life would be very, So what does he do? He “Entertainment Weekly.” very, very lonely. Fox is taking a travels the United States doing “That’s been one of the most stab at the ultimate life of lone- things he never would have fun parts of the job. About once liness in the new half-hour been able to do otherwise — a week I get to do something comedy “The Last Man on sing the national anthem at that seems like it’d be amaz- Earth,” premiering Sunday, Dodger Stadium, smear gooey ingly fun to do: shoot a flame March 1. peanut butter all over a price- thrower at a bunch of wigs, The premise around “Last less piece of art ... then walk have a steamroller steamroll Man” is a simple one, albeit a away with it, break things. The over a case of beer. Just dumb little strange. An average, un- show, according to creator and stuff like that, which pretty assuming man is on the hunt star Will Forte (“Saturday Night much is all it takes to make me for any signs of other living Live,” “Nebraska,” 2013), sees happy.” Registration $25.00 online: www.skseniorsmechanism.ca or phone 306-359-9956 2 Cover Story Flame throwers and steam- ally proud of what has come rollers? Again, it’s a strange out of it so far.” concept, but Fox is really be- Of course, you have to won- Index hind the show.
    [Show full text]
  • This Action Thriller Futuristic Historic Romantic Black Comedy Will Redefine Cinema As We Know It
    ..... this action thriller futuristic historic romantic black comedy will redefine cinema as we know it ..... XX 200-6 KODAK X GOLD 200-6 OO 200-6 KODAK O 1 2 GOLD 200-6 science-fiction (The Quiet Earth) while because he's produced some of the Meet the Feebles, while Philip Ivey composer for both action (Pitch Black, but the leading lady for this film, to Temuera Morrison, Robbie Magasiva, graduated from standing-in for Xena beaches or Wellywood's close DIRECTOR also spending time working on sequels best films to come out of this country, COSTUME (Out of the Blue, No. 2) is just Daredevil) and drama (The Basketball give it a certain edginess, has to be Alan Dale, and Rena Owen, with Lucy to stunt-doubling for Kill Bill's The proximity to green and blue screens, Twenty years ago, this would have (Fortress 2, Under Siege 2) in but because he's so damn brilliant. Trelise Cooper, Karen Walker and beginning to carve out a career as a Diaries, Strange Days). His almost 90 Kerry Fox, who starred in Shallow Grave Lawless, the late great Kevin Smith Bride, even scoring a speaking role in but there really is no doubt that the been an extremely short list. This Hollywood. But his CV pales in The Lovely Bones? Once PJ's finished Denise L'Estrange-Corbet might production designer after working as credits, dating back to 1989 chiller with Ewan McGregor and will next be and Nathaniel Lees as playing- Quentin Tarantino's Death Proof. South Island's mix of mountains, vast comes down to what kind of film you comparison to Donaldson who has with them, they'll be bloody gorgeous! dominate the catwalks, but with an art director on The Lord of the Dead Calm, make him the go-to guy seen in New Zealand thriller The against-type baddies.
    [Show full text]
  • Television Academy Awards
    2021 Primetime Emmy® Awards Ballot Outstanding Music Composition For A Series (Original Dramatic Score) The Alienist: Angel Of Darkness Belly Of The Beast After the horrific murder of a Lying-In Hospital employee, the team are now hot on the heels of the murderer. Sara enlists the help of Joanna to tail their prime suspect. Sara, Kreizler and Moore try and put the pieces together. Bobby Krlic, Composer All Creatures Great And Small (MASTERPIECE) Episode 1 James Herriot interviews for a job with harried Yorkshire veterinarian Siegfried Farnon. His first day is full of surprises. Alexandra Harwood, Composer American Dad! 300 It’s the 300th episode of American Dad! The Smiths reminisce about the funniest thing that has ever happened to them in order to complete the application for a TV gameshow. Walter Murphy, Composer American Dad! The Last Ride Of The Dodge City Rambler The Smiths take the Dodge City Rambler train to visit Francine’s Aunt Karen in Dodge City, Kansas. Joel McNeely, Composer American Gods Conscience Of The King Despite his past following him to Lakeside, Shadow makes himself at home and builds relationships with the town’s residents. Laura and Salim continue to hunt for Wednesday, who attempts one final gambit to win over Demeter. Andrew Lockington, Composer Archer Best Friends Archer is head over heels for his new valet, Aleister. Will Archer do Aleister’s recommended rehabilitation exercises or just eat himself to death? JG Thirwell, Composer Away Go As the mission launches, Emma finds her mettle as commander tested by an onboard accident, a divided crew and a family emergency back on Earth.
    [Show full text]
  • Nz Film Productions, 1990-2016
    NZ FILM PRODUCTIONS, 1990-2016 PRODUCTION TITLE PRODUCERS SCRIPT DIRECTOR DOP PROD. DESIGNER COSTUME DESIGNER EDITOR SOUND DESIGNER 43,000 FEET * Feature 2012 Amber Easby Matt Harris Campbell Hooper Andrew Stroud Campbell Hooper Bruce Langley Heather Lee 800 WORDS * Teleseries 2015-2016 Chris Bailey James Griffin Mike Smith Fred Renata Gary Mackay Sarah Aldridge Eric De Beus John Holmes Maxine Fleming Pino Amenta Dave Garbett Greg Allison Paul Sutorius Kelly Martin Timothy Balme Michael Hurst Gary Hunt Julie McGauran Kate McDermott Murray Keane Chris Hampson Natalie Medlock Sarah-Kate Lynch 50 WAYS OF SAYING FABULOUS * Michele Fantl Stewart Main Stewart Main Simon Raby Ken Turner Kirsty Cameron Peter Roberts Peter Scholes Feature 2005 6 DAYS * Feauture 2016 Matthew Metcalfe Glenn Standring Toa Fraser Aaron Morton Liz McGregor Dan Kircher 7 DAYS * Teleseries 2009 Jon Bridges Josh Samuels Nigel Carpenter Luke Thompson Jason Pengelly A SONG OF GOOD * Feature 2008 Mark Foster Gregory King Gregory King Virginia Loane Ashley Turner Natalija Kucija Jonathan Venz ABANDONED * Telemovie 2014 Liz DiFiore Stephanie Johnson John Laing Grant McKinnon Roger Guise Jaindra Watson Margot Francis Mark Messenger ABERRATION * Feature 1997 Chris Brown Darrin Oura Tim Boxell Allen Guilford Grant Major Chris Elliott John Gilbert David Donaldson ABIOGENESIS * Feature 2012 Richard Mans Michelle Child AFTER THE WATERFALL * Feature Trevor Haysom Simone Horrocks Simone Horrocks Jac Fitzgerald Andy McLaren Kirsty Cameron Cushia Dillon Dick Reade 2010 ALEX * Feature
    [Show full text]
  • October 13, 2019 St
    October 13, 2019 St. Peter the Apostle University & Community Parish The Catholic Center at Rutgers University Celebrating a Marian Year 2018-2019 SACRED HISTORY · St. Peter the Apostle University and Community Parish is one of the oldest Catholic churches in New Jersey. The Cornerstone of the Church was laid in 1856, upon the completion of the lower church, which now serves as the Parish hall and offices. WEEKEND MASS SCHEDULE: NOVENA PRAYERS: Mondays at 7:30pm in the Catholic Saturday: 9:00 a.m. Center Chapel 5:00 p.m. Vigil Sunday: 8:00 a.m., 11:00 a.m., 6:00 p.m. BAPTISMS: Normally scheduled on the second & fourth Sundays of the Holy Days of Obligation: For an updated schedule of Masses, month at 12:30pm (not during Lent). Please observe the please visit StPeterNewBrunswick.org. requirements for sponsors. Must contact the office in advance to register. First-time parents are required to attend a baptism WEEKDAY MASS SCHEDULE: formation session. Monday – Friday: 7:30 a.m. in St. Peter’s Church WEDDINGS: Monday – Thursday: 12:15 p.m. in the Catholic Center Chapel Marriage arrangements should be made one year in advance of the wedding. Please call the parish office before making CONFESSION (Sacrament of Reconciliation): other definitive plans. Once a wedding is approved and the Mondays: 12:45 - 1:30 p.m.; 7:00 p.m. - 8:00 p.m. (CC Chapel) date is confirmed, the required marriage preparation process Saturdays: 11:00 a.m. – 12:00 noon; and by appointment may commence. PASTORAL CARE OF THE SICK: EMERGENCY CONTACT INFORMATION: In the case of an emergency requiring a priest after business Please call the parish office to make arrangements for hours, please call 732-545-6185.
    [Show full text]
  • Horaires Des Projections Screening Times
    HORAIRES DES PROJECTIONS SCREENING TIMES LE POCKET GUIDE 2016 A ÉTÉ PUBLIÉ AVEC DES INFORMATIONS REÇUES JUSQU'AU 29/04/2016 THE POCKET GUIDE 2016 HAS BEEN EDITED WITH INFORMATION RECEIVED UP UNTIL 29/04/2016 Toutes les projections du Marché sont accessibles sur présentation du badge Marché du Film ou invitation délivrée par le Service Projections. Les projections dans les salles Lumière, Debussy, Buñuel, Salle du Soixantième, Théâtre Croisette et Miramar sont accessibles sur présentation du badge Marché ou Festival. Access to Marché du Film screenings is upon presentation of the Marché badge or an invitation given by the Marché Screening Department. Access to screenings taking place in Lumière, Debussy, Buñuel, Salle du Soixantième, Théâtre Croisette and Miramar is upon presentation of either a Marché or Festival badge. CO: Official Competition • HC: Out of Competition • CC: Cannes Classics • CR: Un Certain Regard • BLUE TITLE : Film screened for the first time at a market QR: Directors Fortnight • SC: Semaine de la critique • press: Press allowed • invite only: By invitation only • priority only: Priority badges only SUNDAY 15 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 08:30 (125’) CO 15:30 (158’) CO 19:30 (125’) CO 22:30 (116’) HC LUMIÈRE FROM THE LAND OF THE MOON AMERICAN HONEY FROM THE LAND OF THE MOON THE NICE GUYS TICKET REQUIRED Nicole Garcia Andrea Arnold Nicole Garcia Shane Black 2 294 seats STUDIOCANAL PROTAGONIST PICTURES STUDIOCANAL BLOOM 11:30 (145’) CO 14:30 (162’) CO 17:30 (120’) HC 19:45 (106’) HC SALLE AGASSI, THE
    [Show full text]
  • LE SÉMAPHORE Secondaire Et Autres : 4 € Réservations Par Tél
    Comme chaque année, on s’est dit qu’on n’allait pas Nicolas Botti nous propose deux rétrospectives y arriver. Et pourtant, le voilà, ce 22e festival plein de consacrées à de très grands cinéastes, Carol Reed, qui bonnes surprises. Si, comme chaque année, il n’est pas n’est pas que le réalisateur du Troisième homme, et exactement ce qu’on avait en tête, on se dit que cela nous Nicolas Roeg, trop peu connu et qui vient de nous quitter. laisse des pistes pour les festivals à venir ! Et, pour sa carte blanche, Francis Rousselet, fondateur du C’est un programme très varié que nous vous proposons, festival, nous a réservé de belles et rares surprises. à l’image du thème principal de cette année : la comédie. Des documentaires récents mettent à l’honneur, L’humour British tient en effet une place de choix dans notamment, Eric Clapton. Un autre moment fort du la programmation 2019, avec une sélection de films festival devrait être la série de courts-métrages sur le balayant les périodes, les genres et les sous-genres. Ce Brexit commandités par le Guardian, suivie d’une table sera l’occasion de voir ou revoir des "classiques", mais ronde animée par des journalistes de ce grand quotidien. aussi de découvrir des comédies culte au Royaume-Uni Pour le ciné-concert, les collégiens d’HarmoNîmes, mais méconnues en France. Avec, en point d’orgue, dirigés comme l’an dernier par Zahia Ziouani, un programme de 6 mini-comédies choisies dans la interpréteront une partition écrite par une jeune sélection de notre partenaire, le Festival de Dinard, par Nîmoise et accompagneront un film réalisé par les élèves sa directrice artistique adjointe, qui animera un moment de cinéma du lycée Philippe Lamour, avant la projection d’échanges autour de l’humour britannique au cinéma.
    [Show full text]
  • A Mode of Production and Distribution
    Chapter Three A Mode of Production and Distribution An Economic Concept: “The Small Budget Film,” Was it Myth or Reality? t has often been assumed that the New Wave provoked a sudden Ibreak in the production practices of French cinema, by favoring small budget films. In an industry characterized by an inflationary spiral of ever-increasing production costs, this phenomenon is sufficiently original to warrant investigation. Did most of the films considered to be part of this movement correspond to this notion of a small budget? We would first have to ask: what, in 1959, was a “small budget” movie? The average cost of a film increased from roughly $218,000 in 1955 to $300,000 in 1959. That year, at the moment of the emergence of the New Wave, 133 French films were produced; of these, 33 cost more than $400,000 and 74 cost more than $200,000. That leaves 26 films with a budget of less than $200,000, or “low budget productions;” however, that can hardly be used as an adequate criterion for movies to qualify as “New Wave.”1 Even so, this budgetary trait has often been employed to establish a genealogy for the movement. It involves, primarily, “marginal” films produced outside the dominant commercial system. Two Small Budget Films, “Outside the System” From the point of view of their mode of production, two titles are often imposed as reference points: Jean-Pierre Melville’s self-produced Silence of 49 A Mode of Production and Distribution the Sea, 1947, and Agnes Varda’s La Pointe courte (Short Point), made seven years later, in 1954.
    [Show full text]
  • Film Fest Queer Screen
    queer screen film fest 18-23 September Event Cinemas George Street Blue Mountains 5–7 October Sydney Park 16 September 1 Welcome! The 6th edition of Queer Screen Film Fest is our biggest yet, with 29 films from 12 countries covering a diverse range of the LGBTIQ experience. I’m thrilled that Queer Screen continues to champion the work of female filmmakers, with 55% of the program being directed or co-directed by women, which is a figure not many film festivals can claim. We open the festival with one such film inAnd Breathe Normally, a remarkably assured film from Iceland that took years to make, but is incredibly of the now. Don’t miss it. Immerse yourself in 6 days of the best new LGBTIQ films and see you at the cinema. Lisa Rose, Festival Director OPENING NIGHT SPONSORS Queer Screen Film Principal Queer Screen Fest Partner Venue Partner Sponsors SYDNEY PREMIERE And Breathe Normally TUESDAY 18 SEPTEMBER 7:00PM EVENT GEORGE ST Directed by Ísold Uggadóttir | Iceland, Sweden, Belgium | Icelandic and English with English subtitles Major Broadcast Partner Major Media Partner Venue Partner 95 mins | 15+ In the wake of an economic crisis, single mother Lára strives to start a new life with her son. As an officer for border security, she encounters Adja (Babetida Sadjo), a refugee from Guinea-Bissau who is traveling Media Partners Queer Screen Pitch Off on a forged passport. The Icelandic woman and persecuted refugee forge an unlikely bond, highlighting empathy as the antidote to apathy. Set amidst the sweeping vistas of an inhospitable Icelandic winter, And Supporters Breathe Normally offers an affecting tale of two lives intersecting in this poignant and vital film which has wowed audiences from Sundance to Frameline (the world’s largest LGBTIQ Film Festival).
    [Show full text]
  • Adventures in Film Music Redux Composer Profiles
    Adventures in Film Music Redux - Composer Profiles ADVENTURES IN FILM MUSIC REDUX COMPOSER PROFILES A. R. RAHMAN Elizabeth: The Golden Age A.R. Rahman, in full Allah Rakha Rahman, original name A.S. Dileep Kumar, (born January 6, 1966, Madras [now Chennai], India), Indian composer whose extensive body of work for film and stage earned him the nickname “the Mozart of Madras.” Rahman continued his work for the screen, scoring films for Bollywood and, increasingly, Hollywood. He contributed a song to the soundtrack of Spike Lee’s Inside Man (2006) and co- wrote the score for Elizabeth: The Golden Age (2007). However, his true breakthrough to Western audiences came with Danny Boyle’s rags-to-riches saga Slumdog Millionaire (2008). Rahman’s score, which captured the frenzied pace of life in Mumbai’s underclass, dominated the awards circuit in 2009. He collected a British Academy of Film and Television Arts (BAFTA) Award for best music as well as a Golden Globe and an Academy Award for best score. He also won the Academy Award for best song for “Jai Ho,” a Latin-infused dance track that accompanied the film’s closing Bollywood-style dance number. Rahman’s streak continued at the Grammy Awards in 2010, where he collected the prize for best soundtrack and “Jai Ho” was again honoured as best song appearing on a soundtrack. Rahman’s later notable scores included those for the films 127 Hours (2010)—for which he received another Academy Award nomination—and the Hindi-language movies Rockstar (2011), Raanjhanaa (2013), Highway (2014), and Beyond the Clouds (2017).
    [Show full text]
  • SON 509 S. X-XXV Neu SON
    SON 509_S.XXVI-XL_neu_SON 509 18.02.2015 08:24 Seite XXVI XXVI Introduction Hanns Eisler composed the film music for Nuit et brouillard – d’Ulm in Paris. On 10 November 1954, the day the exhibition “Night and fog” – in the few weeks between late November opened, its two curators – the historians Olga Wormser and and mid-December 1955. Nuit et brouillard was the first com- Henri Michel – mentioned in a radio interview4 that they were prehensive documentary film about the Nazi concentration planning a film about the concentration camp system. camps.1 It was directed by Alain Resnais and the commentary According to Wormser, it would “only contain purely histori- was by the writer Jean Cayrol, who had himself been a prisoner cal documents that are absolutely confirmed by all our experi- in the concentration camp of Mauthausen/Gusen. This short ence with this subject”.5 Wormser and Michel had been film Nuit et brouillard is underlaid throughout its 30 minutes researching the topic of deportation and concentration camps by both Eisler’s music and the commentary, which was spoken for several years. In 1940–41, Wormser had worked in the by the actor Michel Bouquet. The title of the film refers to the Centre d’information sur les prisonniers de guerre (“Centre of “order of the Führer” of the same name from 1941, according information on prisoners of war”) and in September 1944 had to which the Resistance fighters captured in France, Belgium, been employed in the Commissariat aux Prisonniers, Déportés the Netherlands and Norway were placed under the special et Réfugiés (“Commissariat for prisoners, deportees and jurisdiction of the “Reich” in order for them to disappear refugees”, PDR) of the provisional government of the French without trace in prisons and concentration camps in a “cloak Republic under Minister Henri Frenay – this was the board and dagger” operation (in German: “bei Nacht und Nebel”, concerned with registering, returning and resettling deported literally “in night and fog”).2 people and POWS.
    [Show full text]
  • The Cure — Wikipédia
    The Cure — Wikipédia https://fr.wikipedia.org/wiki/The_Cure The Cure 1 The Cure [ðə ˈkjʊə(ɹ)] est un groupe de rock britannique, originaire de Crawley, dans le Sussex The Cure de l'Ouest, en Angleterre. Formé en 1976, le groupe comprend actuellement Robert Smith, Roger O'Donnell aux claviers, Simon Gallup à la basse, Reeves Gabrels à la guitare et Jason Cooper à la batterie. Robert Smith est la figure emblématique du groupe. Il en est le chanteur et le guitariste (il joue également de la basse ou des claviers), le parolier et le principal compositeur. Par ailleurs, il est le seul membre présent depuis l'origine du groupe. The Cure, à Singapour le 1er août 2007. Associé au mouvement new wave, The Cure a Informations générales développé un son qui lui est propre, aux ambiances 2, 3 Pays d'origine Royaume-Uni tour à tour mélancoliques, rock, pop, gothiques Genre musical Cold wave, new wave, et psychédéliques, créant de forts contrastes, où la post-punk, rock alternatif, basse est mise en avant et n’est pas seulement un rock gothique instrument d’accompagnement. Elle est, Années actives Depuis 1976 notamment en raison du jeu particulier de Simon Gallup une composante essentielle de la musique de Labels Fiction Records, Geffen The Cure. L'utilisation conjointe d'une basse six Records cordes (souvent une Fender VI), au son Site officiel www.thecure.com caractéristique, très souvent utilisée dans les motifs (http://www.thecure.com) mélodiques, contribue pour beaucoup à la signature Composition du groupe sonore si singulière du groupe. Membres Robert Smith Cette identité musicale, ainsi qu'une identité Simon Gallup visuelle véhiculée par des clips, contribuent à la Roger O'Donnell popularité du groupe qui atteint son sommet dans Jason Cooper les années 1980.
    [Show full text]