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2000 : 1 Lili Taylor 31 Udi Aloni er 2 Daniel Brühl 32 Andreas Struck 3 Andreas Dresen 33 Jochen Hick 4 Moritz Bleibtreu 34 Ira Sachs 5 Paz Lazáro 35 Sally Potter 1 2 6 Klaus Wowereit 36 Isabel Coixet 7 7 Ventura Pons 37 Fruit Chan 13 6 5 14 8 Agnieszka Holland 38 Bai Ling 9 12 8 3 9 Beki Probst 39 Christopher Doyle 10 16 17 40 Don McKellar 19 41 Coline Serreau 11 15 21 18 4 42 Ingrid Caven 24 31 43 Harry Baer 27 23 20 26 28 44 Brad Anderson 25 32 33 45 Robert Lepage 30 29 22 36 46 Elfi Mikesch 40 39 47 Hal Hartley 35 41 34 42 38 37 48 Sébastien Lifshitz 53 49 Macaulay Culkin 49 43 47 50 Lee Je-yong 45 48 44 56 51 Faye Dunaway 46 50 61 51 57 52 Mario Van Peebles 62 52 58 53 Dieter Kosslick 68 55 64 63 54 54 Madonna 67 66 60 55 Nir Bergman 70 71 65 56 Anahí Berneri 69 72 57 Radu Mihaileanu 82 78 77 58 Michel Gondry 73 75 59 59 Jackie Chan 85 74 60 Oliver Stone 84 76 61 Karim Dridi 83 62 John Cameron Mitchell 79 63 Léa Pool 86 81 80 64 Heike Makatsch 87 65 Jasmin Tabatabai 66 Leon Lai 10 Karl Lagerfeld 67 Julie Delpy 11 Rajendrah Roy 68 Jürgen Vogel 12 Wim Wenders 69 Jean-Jacques Beineix 13 George Michael 70 Anna Thomson 14 Steve Buscemi 71 Rob Epstein 15 John Hillcoat 72 Jeffrey Friedman 16 Robert Wilson 73 Javier Bardem 17 Yousry Nasrallah 74 Naoko Ogigami 18 Pascale Ferran 75 Antonio Banderas 19 Pieter-Dirk Uys 76 Sarah Polley 20 Marc Forster 77 Yoji Yamada 21 Dominik Graf 78 Laetitia Masson 22 Monika Treut 79 Mitchell Lichtenstein 23 Malgosia Szumowska 80 Labina Mitevska 24 Todd Verow 81 Lynn Hershman Leeson 25 Kevin Spacey 82 Gregg Araki 26 Marawan Hamed 83 Tilda Swinton 27 Vanessa Jopp 84 Eran Riklis 28 Zero Chou 85 Patti Smith 29 Guy Maddin 86 Samuel Le Bihan 30 Yesim Ustaoglu 87 Hiam Abbass 1990er: 1 Stephen Frears 2 Bruce Weber 3 Virginie Ledoyen 4 Romuald Karmakar 5 Lasse Hallström 6 Carmen Maura 7 Errol Morris 8 Greta Schiller 9 Andrea Weiss 10 Moritz de Hadeln 11 John Schlesinger 12 Eytan Fox 13 Alejandro Amenabar 14 Cheryl Dunye 15 Ang Lee 16 Xavier Beauvois 17 Kathryn Bigelow 18 Isaac Julien 19 Rumanian Protest (1994) 20 Romy Haag 21 Ray Loriga 22 Edward Zwick 23 Aki Kaurismäki 24 Wilhelm Hein 25 Yonfan 4844 43 26 Lukas Moodysson 45 47 46 27 Jeremy Podeswa 42 28 Todd Haynes 39 40 38 29 Tony Ward 41 36 37 30 Rick Castro 31 Paulus Manker 34 35 29 32 Cedric Klapisch 33 Lone Scherfig 33 26 34 Matthias Glasner 25 30 35 Sergej Paradshanov 32 27 28 31 36 Mike Figgis 14 20 19 37 Helke Sander 24 18 38 Jacques Rivette 22 21 39 Herbert Achternbusch 23 16 17 40 Marlon T. Riggs 11 13 41 Alexander Sokurov 15 42 Maggie Cheung 49 43 Peter Kern 8 44 Gus Van Sant 10 9 45 Tsai Ming-liang 4 46 Kim Ki-duk 7 12 47 Margaret von Schiller 5 6 48 Wieland Speck 3 49 Eduardo Noriega 2 1 1980er: 1 Erika Rabau 2 Christoph Eichhorn 35 3 Heinz Emigholz 34 4 Peter Berling 37 36 5 Werner Schroeter 33 6 Jacques Doillon 7 Derek Jarman 32 29 8 Ula Stöckl 27 31 9 Chantal Akerman 28 30 25 10 Detlev Buck 11 Edgar Reitz 1 19 24 12 Werner Gondolf 18 13 Carmen Maura 14 Pedro Almodovar 23 15 Frederick Wiseman 26 16 15 16 Felipe Cazals 22 17 17 Dieter Schidor 12 18 Catherine Breillat 21 13 19 Valie Export 10 14 20 Lotti Huber 20 11 6 21 Rosa von Praunheim 8 7 22 Manfred Salzgeber 9 23 Bruce Beresford 24 Jean Rouch 25 Kurt Kupferschmid 5 26 Claude Lelouch 3 27 Oswald Wiener 4 28 Mehdi Charef 2 29 Mike Leigh 30 Lothar Lambert 31 Im Kwon-Taek 32 Arthur J. Bressan 33 Carlos Saura 34 John Waters 35 Herrmann Zschoche 36 Doris Dörrie 37 Rosemarie Couture copyright: Internationale Filmfestspiele Berlin Fotos: Erika Rabau, Brigitte Dummer, Annette Frick, Ron Simons, Gertrud Stippl Ekko von Schwichow, Deutsche Kinemathek, Karin Blasig, Petra Nettelbeck, Mathias Bothor/Deutsche Filmakademie e.V..

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Bruce Beresford's Breaker Morant Re-Viewed
FILMHISTORIA Online Vol. 30, núm. 1 (2020) · ISSN: 2014-668X The Boers and the Breaker: Bruce Beresford’s Breaker Morant Re-Viewed ROBERT J. CARDULLO University of Michigan Abstract This essay is a re-viewing of Breaker Morant in the contexts of New Australian Cinema, the Boer War, Australian Federation, the genre of the military courtroom drama, and the directing career of Bruce Beresford. The author argues that the film is no simple platitudinous melodrama about military injustice—as it is still widely regarded by many—but instead a sterling dramatization of one of the most controversial episodes in Australian colonial history. The author argues, further, that Breaker Morant is also a sterling instance of “telescoping,” in which the film’s action, set in the past, is intended as a comment upon the world of the present—the present in this case being that of a twentieth-century guerrilla war known as the Vietnam “conflict.” Keywords: Breaker Morant; Bruce Beresford; New Australian Cinema; Boer War; Australian Federation; military courtroom drama. Resumen Este ensayo es una revisión del film Consejo de guerra (Breaker Morant, 1980) desde perspectivas como la del Nuevo Cine Australiano, la guerra de los boers, la Federación Australiana, el género del drama en una corte marcial y la trayectoria del realizador Bruce Beresford. El autor argumenta que la película no es un simple melodrama sobre la injusticia militar, como todavía es ampliamente considerado por muchos, sino una dramatización excelente de uno de los episodios más controvertidos en la historia colonial australiana. El director afirma, además, que Breaker Morant es también una excelente instancia de "telescopio", en el que la acción de la película, ambientada en el pasado, pretende ser una referencia al mundo del presente, en este caso es el de una guerra de guerrillas del siglo XX conocida como el "conflicto" de Vietnam.
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David Stratton's Stories of Australian Cinema
David Stratton’s Stories of Australian Cinema With thanks to the extraordinary filmmakers and actors who make these films possible. Presenter DAVID STRATTON Writer & Director SALLY AITKEN Producers JO-ANNE McGOWAN JENNIFER PEEDOM Executive Producer MANDY CHANG Director of Photography KEVIN SCOTT Editors ADRIAN ROSTIROLLA MARK MIDDIS KARIN STEININGER HILARY BALMOND Sound Design LIAM EGAN Composer CAITLIN YEO Line Producer JODI MADDOCKS Head of Arts MANDY CHANG Series Producer CLAUDE GONZALES Development Research & Writing ALEX BARRY Legals STEPHEN BOYLE SOPHIE GODDARD SC SALLY McCAUSLAND Production Manager JODIE PASSMORE Production Co-ordinator KATIE AMOS Researchers RACHEL ROBINSON CAMERON MANION Interview & Post Transcripts JESSICA IMMER Sound Recordists DAN MIAU LEO SULLIVAN DANE CODY NICK BATTERHAM Additional Photography JUDD OVERTON JUSTINE KERRIGAN STEPHEN STANDEN ASHLEIGH CARTER ROBB SHAW-VELZEN Drone Operators NICK ROBINSON JONATHAN HARDING Camera Assistants GERARD MAHER ROB TENCH MARK COLLINS DREW ENGLISH JOSHUA DANG SIMON WILLIAMS NICHOLAS EVERETT ANTHONY RILOCAPRO LUKE WHITMORE Hair & Makeup FERN MADDEN DIANE DUSTING NATALIE VINCETICH BELINDA MOORE Post Producers ALEX BARRY LISA MATTHEWS Assistant Editors WAYNE C BLAIR ANNIE ZHANG Archive Consultant MIRIAM KENTER Graphics Designer THE KINGDOM OF LUDD Production Accountant LEAH HALL Stills Photographers PETER ADAMS JAMIE BILLING MARIA BOYADGIS RAYMOND MAHER MARK ROGERS PETER TARASUIK Post Production Facility DEFINITION FILMS SYDNEY Head of Post Production DAVID GROSS Online Editor
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Driving Miss Daisy
COPYRIGHTED MATERIAL FOR RESEARCH USE ONLY: MAY NOT BE DUPLICATED 2012.3.75 MAKING OF THE MOVIE DRIVING MISS DAISY (Transcript of television program The Real Miss Daisy, produced by WAGA-TV, Channel 5, Atlanta, and broadcast in 1990 on public television.) ANNOUNCER VOICE-OVER, with animated numeral 5 rotating and coming to a stop in the center of the screen: Your regular PBS programming will not be seen tonight so that we may bring you the following special program. ANNOUNCER VOICE-OVER: This program is presented as part of WAGA-TV’s year-long project, A World of Difference, in cooperation with the Anti-Defamation League of B’nai Brith and underwritten by Georgia Power Company and the Milken Foundation. ANNOUNCER VOICE-OVER, with title displayed onscreen: The Real Miss Daisy, brought to you by True Value Hardware, your store of first choice. ANNOUNCER (LISA CLARK) VOICE-OVER, with still shot of the three principal actors in Driving Miss Daisy: Dan Aykroyd, Jessica Tandy, and Morgan Freeman: This is the story about the story of three people and the world in which they lived. Screen changes from actors’ photograph to video of three presenters, WAGA-TV journalists: Jim Kaiserski on left, Lisa Clark in center, Ken Watts on right, standing next to vintage black Cadillac [the same one used in the film?] in front of WAGA-TV studios in Atlanta. JIM KAISERSKI: It’s a story about people, it’s a story about places, it’s a story about events that were real and some that weren’t. KEN WATTS: But reality isn’t the important point; truth is.
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Film Reference Guide
REFERENCE GUIDE THIS LIST IS FOR YOUR REFERENCE ONLY. WE CANNOT PROVIDE DVDs OF THESE FILMS, AS THEY ARE NOT PART OF OUR OFFICIAL PROGRAMME. HOWEVER, WE HOPE YOU’LL EXPLORE THESE PAGES AND CHECK THEM OUT ON YOUR OWN. DRAMA 1:54 AVOIR 16 ANS / TO BE SIXTEEN 2016 / Director-Writer: Yan England / 106 min / 1979 / Director: Jean Pierre Lefebvre / Writers: Claude French / 14A Paquette, Jean Pierre Lefebvre / 125 min / French / NR Tim (Antoine Olivier Pilon) is a smart and athletic 16-year- An austere and moving study of youthful dissent and old dealing with personal tragedy and a school bully in this institutional repression told from the point of view of a honest coming-of-age sports movie from actor-turned- rebellious 16-year-old (Yves Benoît). filmmaker England. Also starring Sophie Nélisse. BACKROADS (BEARWALKER) 1:54 ACROSS THE LINE 2000 / Director-Writer: Shirley Cheechoo / 83 min / 2016 / Director: Director X / Writer: Floyd Kane / 87 min / English / NR English / 14A On a fictional Canadian reserve, a mysterious evil known as A hockey player in Atlantic Canada considers going pro, but “the Bearwalker” begins stalking the community. Meanwhile, the colour of his skin and the racial strife in his community police prejudice and racial injustice strike fear in the hearts become a sticking point for his hopes and dreams. Starring of four sisters. Stephan James, Sarah Jeffery and Shamier Anderson. BEEBA BOYS ACT OF THE HEART 2015 / Director-Writer: Deepa Mehta / 103 min / 1970 / Director-Writer: Paul Almond / 103 min / English / 14A English / PG Gang violence and a maelstrom of crime rock Vancouver ADORATION A deeply religious woman’s piety is tested when a in this flashy, dangerous thriller about the Indo-Canadian charismatic Augustinian monk becomes the guest underworld.
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Racial Tragedy, Australian History, and the New Australian Cinema: Fred Schepisi's the Chant of Jimmie Blacksmith Revisited
FILMHISTORIA Online Vol. 28, núms. 1-2 (2018) · ISSN: 2014-668X Racial Tragedy, Australian History, and the New Australian Cinema: Fred Schepisi’s The Chant of Jimmie Blacksmith Revisited ROBERT J. CARDULLO University of Michigan Abstract The Chant of Jimmie Blacksmith (1978) broke ground in its native country for dealing bluntly with one of the most tragic aspects of Australian history: the racist treatment of the aboriginal population. Adapted faithfully from the 1972 novel by Thomas Keneally, the film concerns a young man of mixed race in turn-of-the-century Australia who feels torn between the values and aspirations of white society, on the one hand, and his aboriginal roots, on the other, and who ultimately takes to violence against his perceived white oppressors. This essay re-views The Chant of Jimmie Blacksmith from the following angles: its historical context; its place in the New Australian Cinema; its graphic violence; and the subsequent careers of the film’s director, Fred Schepisi, and its star, Tommy Lewis. Keywords: The Chant of Jimmie Blacksmith; Fred Schepisi; Thomas Keneally; New Australian Cinema; racism and colonialism Prior to the late 1970s, Australia was something of a cinematic backwater. Occasionally, Hollywood and British production companies would turn up to use the country as a backdrop for films that ranged from the classic (On the Beach [1959]) to the egregious (Ned Kelly [1970], starring Mick Jagger). But the local movie scene, for the most part, was sleepy and unimaginative and very few Australian films traveled abroad. Then, without warning, Australia suddenly experienced an efflorescence of imaginative filmmaking, as movies such as Picnic at Hanging Rock (1975), The Getting of Wisdom (1977), My Brilliant Career (1979), and Breaker Morant (1980) began to be shown all over the world.
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We See and All We Seem…” – Australian Cinema and National Landscape
“All we see and all we seem…” – Australian Cinema and National Landscape Nick Prescott Note: The paper as envisioned in this abstract may prove too large in scope to fit within the parameters of the symposium. If this is the case, I propose not to explore those films I have called “transitional” in detail, but to allude to them as significant texts that can be explored elsewhere. The central argument I am making in this paper is that Australian filmmakers’ uses of “landscape” have changed significantly since the mid-1970s, and that this change can be meaningfully described by looking at what characterised 1970s Australian films’ depictions of landscape and contrasting that with current stylistic trends. In this paper I will argue that Australian feature filmmakers’ uses and depictions of “the Australian landscape” in their cinema have undergone a striking and important transformation since the 1970s, and that this transformation, while reflecting a developing and modulating sense of Australian cultural identity, has also been crucially linked with changes and developments in the Australian film industry itself, changes which relate to Government investment initiatives, increasingly complex production and co-production strategies, and, more recently, off-shore production by major Hollywood studios. During the 1970s, following the confluence of numerous different factors, there was an extraordinary revival of Australian film. The graduation of the first group of students from the newly-created Australian Film, Television and Radio School (AFTRS), was one factor; students like Gillian Armstrong and Philip Noyce left their studies and began to work in the industry, and settled alongside filmmakers like Fred Schepisi, Bruce Beresford and Peter Weir, who had entered the industry in other ways.
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Dossier Imatges Dels Antípodes-Bruce Beresford.Pdf
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SHARON HOWARD-FIELD 1 Casting Director
SHARON HOWARD-FIELD 1 Casting Director EMPLOYMENT HISTORY: • Howard-Field Casting, (Los Angeles, London & Europe) 1993-2014 • Director of Feature Casting, Warner Bros. Studios, Los Angeles 1989-1993 • Howard-Field Casting ( London & Europe) 1983-1989 • Casting & Project Consultant RKO, London operations 1983-1985 • Associate Casting Director Royal Shakespeare Company, London 1977-1983 • Production Assistant to director/producer Martin Campbell, London 1975-1977 • Assistant to writer, Tudor Gates, Drumbeat Productions, London 1975-1977 FILMS CURRENTLY IN DEVELOPMENT FOR 2014/15: AMOK – Director: Kasia Adamik. Screenplay: Richard Karpala. Executive producer: Agnieszka Holland. Producers: Beata Pisula, Debbie Stasson - in development for spring 2015 WALKING TO PARIS – Director: Peter Greenaway, Producer: Kees Kasander and Julia Ton. Scheduled to commence pp February 2015 in Romania, Switzerland and France. THE WORLD AT NIGHT – Director: TBC. Screenplay: William Nicholson. Producer: Vanessa van Zuylen, (VVZ Presse, Paris, France), Matthias Ehrenberg, Jose Levy, (Cuatro Films Plus) Ibon Cormenzana, (Arcadia Motion Pictures), – in development to shoot Argentina and France Spring 2015. Daniel Bruhl attached. RACE – In association with Suzanne Smith Casting. Director: Stephen Hopkins. Filming Berlin and Canada, September 2014. Casting a selection of cameo roles from the UK AMERICAN MASSACRE – Director: TBC Producer: Emjay Rechsteiner (Staccato Films); Executive Producer: Harris Tulchin - in development for Spring 2015, shooting New Zealand and Canary Islands LITTLE SECRET (Pequeno Segredo) – Director: David Schurmann; Writer: Marcos Bernstein; Producers: Matthias Ehrenberg (Cuatro Films Plus), Joao, Roni (Ocean Films, Brazil), Emma Slade (Fire Fly Films, NZ), Barrie Osborn – in development to shoot Brazil, October 2014. Finnoula Flanagan attached THE BAY OF SILENCE: - Director: Mark Pellington; Screenwriter & Producer: Caroline Goodall, Executive Producer: Peter Garde.
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Written and Directed by Jeremy Podeswa Produced by Robert Lantos Based Upon the Novel by Anne Michaels Runtime: 105 Minutes to D
Written and Directed by Jeremy Podeswa Produced by Robert Lantos Based upon the novel by Anne Michaels Media Contacts: New York Agency: Los Angeles Agency: IDP/Samuel Goldwyn Films Donna Daniels Lisa Danna New York: Amy Johnson Melody Korenbrot Liza Burnett Fefferman Donna Daniels PR Block-Korenbrot, Inc. Jeff Griffith-Perham 20 West 22nd St., Suite 1410 North Market Building Samuel Goldwyn Films New York, NY 1010 110 S. Fairfax Ave., #310 1133 Broadway – Suite 926 T: 347.254.7054 Los Angeles, CA 90036 New York, NY 10010 [email protected] T: 323.634.7001 T: 212.367.9435 [email protected] [email protected] F: 212.367.0853 [email protected] [email protected] [email protected] LA: Mimi Guethe T: 310.860.3100 F: 310.860.3198 [email protected] Runtime: 105 minutes To download press notes and photography, please visit: www.press.samuelgoldwynfilms.com USER NAME: press LOG IN: golden! 1 FUGITIVE PIECES THE CAST Jakob Stephen Dillane Athos Rade Sherbedgia Alex Rosamund Pike Michaela Ayelet Zurer Jakob (young) Robbie Kay Ben Ed Stoppard Naomi Rachelle Lefevre Bella Nina Dobrev Mrs. Serenou Themis Bazaka Jozef Diego Matamoros Sara Sarah Orenstein Irena Larissa Laskin Maurice Daniel Kash Ioannis Yorgos Karamichos Allegra Danae Skiadi 2 FUGITIVE PIECES ABOUT THE STORY A powerful and unforgettably lyrical film about love, loss and redemption, FUGITIVE PIECES tells the story of Jakob Beer, a man whose life is transformed by his childhood experiences during WWII. The film is based on the beloved and best-selling novel by Canadian poet Anne Michaels.
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Gerard Lee Thesis
i SWELL: A feature-length screenplay set in the world of Australian surfing, and an accompanying exegesis on three-act structure. By Gerard Lee B.A. (University of Queensland), Dip T. (North Brisbane College of Advanced Education), Writing Certificate (Australian Film and Television School). Submitted to Faculty of Creative Industries, Queensland University of Technology Presented for the Master of Arts Degree (by Research) 2003 ii Keywords: Screenplay, surfing, Australian cinema, international cinema, three-act structure in screenplay, one-act structure, post- modern cinema, Field, Aronson, McKee, Dancyger and Rush iii Abstract: Despite many arguments to the contrary, the three-act story structure, as propounded and refined by Hollywood continues to dominate the blockbuster and independent film markets. Recent successes in post- modern cinema could indicate new directions and opportunities for low-budget national cinemas. iv TABLE OF CONTENTS Swell, a feature length screenplay…………… 1 Exegesis……………………………………… 118 Introduction………………………………….. 119 The National Cinema………………………… 122 Structure in the Screenplay…………………... 127 The Structure of Swell………………………... 133 Act I…………………………………………... 137 Act II………………………………………….. 140 Act III…………………………………………. 147 Coda…………………………………………... 149 List of Films Cited…………………………….. 155 List of Works Cited……………………………. 157 (The pages of the screenplay—page 1A to page 117—are exempted from inclusion in the Australian Digital Thesis collection for commercial-in-confidence reasons) v Authorship: The work contained in this thesis has not been previously submitted for a degree or diploma at any other institution. The thesis contains no material previously published or written by another person except where due reference is made. Signed:……………….. Dated:……………….. 1 SWELL (The pages of the screenplay—page 1A to page 117— are exempted from inclusion in the Australian Digital Thesis collection for commercial-in-confidence reasons) Copyright: Gerard Lee.
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Reference Guide This List Is for Your Reference Only
REFERENCE GUIDE THIS LIST IS FOR YOUR REFERENCE ONLY. WE CANNOT PROVIDE DVDs OF THESE FILMS, AS THEY ARE NOT PART OF OUR OFFICIAL PROGRAMME. HOWEVER, WE HOPE YOU’LL EXPLORE THESE PAGES AND CHECK THEM OUT ON YOUR OWN. DRAMA ACT OF THE HEART BLACKBIRD 1970 / Director-Writer: Paul Almond / 103 min / 2012 / Director-Writer: Jason Buxton / 103 min / English / PG English / 14A A deeply religious woman’s piety is tested when a Sean (Connor Jessup), a socially isolated and bullied teenage charismatic Augustinian monk becomes the guest conductor goth, is falsely accused of plotting a school shooting and in her church choir. Starring Geneviève Bujold and Donald struggles against a justice system that is stacked against him. Sutherland. BLACK COP ADORATION ADORATION 2017 / Director-Writer: Cory Bowles / 91 min / English / 14A 2008 / Director-Writer: Atom Egoyan / 100 min / English / 14A A black police officer is pushed to the edge, taking his For his French assignment, a high school student weaves frustrations out on the privileged community he’s sworn to his family history into a news story involving terrorism and protect. The film won 10 awards at film festivals around the invites an Internet audience in on the resulting controversy. world, and the John Dunning Discovery Award at the CSAs. With Scott Speedman, Arsinée Khanjian and Rachel Blanchard. CAST NO SHADOW 2014 / Director: Christian Sparkes / Writer: Joel Thomas ANGELIQUE’S ISLE Hynes / 85 min / English / PG 2018 / Directors: Michelle Derosier (Anishinaabe), Marie- In rural Newfoundland, 13-year-old Jude Traynor (Percy BEEBA BOYS Hélène Cousineau / Writer: James R.
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Mao's Last Dancer
Mongrel Media Presents MAO’S LAST DANCER A Film by Bruce Beresford (117min., Australia, 2010) www.maoslastdancermovie.com Distribution Publicity Bonne Smith 1028 Queen Street West Star PR Toronto, Ontario, Canada, M6J 1H6 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Fax: 416-488-8438 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html SYNOPSIS This is the inspirational true story of Li Cunxin, adapted from his best-selling autobiography and telling how, amidst the chaos of Mao’s Cultural Revolution, he was chosen to leave his peasant family and sent on an amazing journey … as it turned out towards freedom and personal triumph. Li’s story unfolds as China was emerging from Mao’s grand vision. It couldn’t have been a better time for Li Cunxin to discover the west and for the west to discover Li Cunxin. This is about how Li overcame adversity, discovering and exploring his natural abilities and talent as a great classical dancer. This meant not only dealing with his own physical limitations but also eventually the punishment meted out by a highly suspicious Chinese government after Li’s defection to the US. In America Li found a completely different and captivating new world – but there were other difficulties he could never have imagined. Even with the support of many friends there was still isolation and despite his growing fame there was still uncertainty for his future. Here is a poignant yet triumphant story, directed by twice Academy nominated director Bruce Beresford (BREAKER MORANT, DRIVING MISS DAISY, TENDER MERCIES, BLACK ROBE etc) from a stunning adaptation by experienced screenwriter, Jan Sardi (SHINE, THE NOTEBOOK, LOVE’S BROTHER etc) that has the ability to touch both worlds.
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