Paulo Branco
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International Casting Directors Network Index
International Casting Directors Network Index 01 Welcome 02 About the ICDN 04 Index of Profiles 06 Profiles of Casting Directors 76 About European Film Promotion 78 Imprint 79 ICDN Membership Application form Gut instinct and hours of research “A great film can feel a lot like a fantastic dinner party. Actors mingle and clash in the best possible lighting, and conversation is fraught with wit and emotion. The director usually gets the bulk of the credit. But before he or she can play the consummate host, someone must carefully select the right guests, send out the invites, and keep track of the RSVPs”. ‘OSCARS: The Role Of Casting Director’ by Monica Corcoran Harel, The Deadline Team, December 6, 2012 Playing one of the key roles in creating that successful “dinner” is the Casting Director, but someone who is often over-looked in the recognition department. Everyone sees the actor at work, but very few people see the hours of research, the intrinsic skills, the gut instinct that the Casting Director puts into finding just the right person for just the right role. It’s a mix of routine and inspiration which brings the characters we come to love, and sometimes to hate, to the big screen. The Casting Director’s delicate work as liaison between director, actors, their agent/manager and the studio/network figures prominently in decisions which can make or break a project. It’s a job that can't garner an Oscar, but its mighty importance is always felt behind the scenes. In July 2013, the Academy of Motion Pictures of Arts and Sciences (AMPAS) created a new branch for Casting Directors, and we are thrilled that a number of members of the International Casting Directors Network are amongst the first Casting Directors invited into the Academy. -
Lab9e Édition 13—14 Ju
9 e é dition Lab 201713 — 14 juillet Sommaire / Index 05 Éditorial CNC 06 Éditorial FIDLab 07 FIDLab Editorial 08 Prix / Awards 09 Jury 10 A Portuguesa Lab The Portuguese Plateforme 12 AN(N)A/GRAM internationale 14 As Far As We Could Get de coproduction 16 Barchini International Motorboats coproduction 18 Kafka Le-Ktanim platform Kafka for Kids 20 Letters to Paul Morrissey 22 Michelle Remembers 24 Mon Ami Gadhgadhi My Friend Gadhgadhi Nous remercions pour leur accueil / We wish to thank for their welcome 26 Penal Cordillera → Chambre de Commerce et d’Industrie 28 Re-Re : Méditerranée Marseille-Provence 30 Sparrow 32 Projets FIDLab finalisés / Completed FIDLab projects 46 Partenaires, équipe / Partners, team Lab 2017 3 Éditorial CNC Un festival de cinéma permet de déceler les voix qui A film festival is an opportunity to discover voices that matter comptent dans le cinéma contemporain, celles qui in today’s cinema, voices that describe a certain state of décrivent avec force et originalité un état du monde. the world with strength and originality. In that respect, last Ainsi, l’édition précédente du FIDMarseille dépeignait une year, FIDMarseille depicted mankind as nomadic, migrant, humanité nomade, migrante, ballottée par l’histoire et la tossed about by history and geography. This year, beside the géographie. Cette année, outre la sélection extrêmement extremely rich selection, the retrospective of the work of riche, la rétrospective consacrée à la légende du legendary Roger Corman, notably known for his films based fantastique Roger Corman, connu pour ses adaptations on Edgar Allan Poe’s stories and for being an incredible talent au cinéma d’Edgar Allan Poe, et défricheur de talent scout, will give prominence to genre films. -
The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author -
THE BLACK BOOK of FATHER DINIS Directed by Valeria Sarmiento Starring Lou De Laâge, Stanislas Merhar, Niels Schneider
Music Box Films Presents THE BLACK BOOK OF FATHER DINIS Directed by Valeria Sarmiento Starring Lou de Laâge, Stanislas Merhar, Niels Schneider 103 MIN | FRANCE, PORTUGAL | 2017 | 1.78 :1 | NOT RATED | IN FRENCH WITH ENGLISH SUBTITLES Website: https://www.musicboxfilms.com/film/the-black-book/ Press Materials: https://www.musicboxfilms.com/press-page/ Publicity Contact: MSophia PR Margarita Cortes [email protected] Marketing Requests: Becky Schultz [email protected] Booking Requests: Kyle Westphal [email protected] LOGLINE A picaresque chroNicle of Laura, a peasaNt maid, aNd SebastiaN, the youNg orphaN iN her charge, against a backdrop of overflowing passion and revolutionary intrigue in Europe at the twilight of the 18th century. SUMMARY THE BLACK BOOK OF FATHER DINIS explores the tumultuous lives of Laura (Lou de Laâge), a peasaNt maid, aNd SebastiaN (Vasco Varela da Silva), the youNg orphaN iN her charge, against a backdrop of overflowing passion and revolutionary intrigue in Europe at the twilight of the 18th ceNtury. An uNlikely adveNture yarN that strides the coNtiNeNt, from Rome aNd VeNice to LoNdoN aNd Paris, with whispers of coNspiracies from the clergy, the military, aNd the geNtry, this sumptuous period piece ponders the intertwined nature of fate, desire, and duty. Conceived by director Valeria SarmieNto as aN appeNdix to the expaNsive literary maze of her late partNer Raul Ruiz's laNdmark MYSTERIES OF LISBON, this picaresque chronicle both eNriches the earlier work aNd staNds oN its owN as a graNd meditatioN of the stories we construct about ourselves. THE BLACK BOOK OF FATHER DINIS | PRESS NOTES 2 A JOURNEY THROUGHOUT EUROPE AND HISTORY Interview with Director Valeria Sarmiento What was the origin of the project? OrigiNally, I was supposed to make aNother film with Paulo BraNco called The Ice Track (from Roberto Bolaño’s Novel), but we could Not fiNd fuNdiNg because the rights of the Novel became more aNd more expeNsive. -
43E Festival International Du Film De La Rochelle Du 26 Juin Au 5 Juillet 2015 Le Puzzle Des Cinémas Du Monde
43e Festival International du Film de La Rochelle du 26 juin au 5 juillet 2015 LE PUZZLE DES CINÉMAS DU MONDE Une fois de plus nous revient l’impossible tâche de synthétiser une édition multiforme, tant par le nombre de films présentés que par les contextes dans lesquels ils ont été conçus. Nous ne pouvons nous résoudre à en sélectionner beaucoup moins, ce n’est pas faute d’essayer, et de toutes manières, un contexte économique plutôt inquiétant nous y contraint ; mais qu’une ou plusieurs pièces essentielles viennent à manquer au puzzle mental dont nous tentons, à l’année, de joindre les pièces irrégulières, et le Festival nous paraîtrait bancal. Finalement, ce qui rassemble tous ces films, qu’ils soient encore matériels ou virtuels (50/50), c’est nous, sélectionneuses au long cours. Nous souhaitons proposer aux spectateurs un panorama généreux de la chose filmique, cohérent, harmonieux, digne, sincère, quoique, la sincérité… Ambitieux aussi car nous aimons plus que tout les cinéastes qui prennent des risques et notre devise secrète pourrait bien être : mieux vaut un bon film raté qu’un mauvais film réussi. Et enfin, il nous plaît que les films se parlent, se rencontrent, s’éclairent les uns les autres et entrent en résonance dans l’esprit du festivalier. En 2015, nous avons procédé à un rééquilibrage géographique vers l’Asie, absente depuis plusieurs éditions de la programmation. Tout d’abord, avec le grand Hou Hsiao-hsien qui en est un digne représentant puisqu’il a tourné non seulement à Taïwan, son île natale mais aussi au Japon, à Hongkong et en Chine. -
The Drift Along a Traumatic Past in the Cinematic Worlds of Šarūnas Bartas*
RENata ŠUKAITYTė 122 The Drift along a Traumatic Past in the Cinematic Worlds of Šarūnas Bartas* Renata ŠUKAITYTė This paper examines the reflections of a recent past and formations of post-1990s subjectivities in the films of the Lithuanian film-maker Šarūnas Bartas, namely Three Days (1991), The Corridor (1995), Few of Us (1996), Seven Invisible Men (2005) and Eastern Drift (2010), and presents an analysis of the interrelation of aural and visual layers in Bartas’s films, which fall under the discourse of trauma culture (Hal Foster) and de-territorialisation (Gilles Deleuze and Félix Guattari). All the films tackle the relationship between the past and the present, local and transcultural, stillness and mobility, individual and communal in a sustained and complex way. Therefore, Bartas’s films reflect geopolitical and aesthetic perspectives. Bartas’s protagonists are nomads glimpsed through the Deleuzian crystalline image. They trek from one place or community to another in quest of lost belonging, freedom or adventure. Their national or cultural identity is not clearly articulated. However, they can be recognised as Eastern Europeans whose land has always been a corridor for different nations and a temporary home or place of freedom. They are like Vilém Flusser’s digital apparitions operating in Deleuzian any-space-whatevers. The nation’s land, represented by the archetypical images of a bridge, a corridor, a harbour and a home, signifies a period of historical transformations and mental transitions in society. Introductory notes about the cultural and theoretical framework Šarūnas Bartas is one of those few Lithuanian film-makers who consistently deal with the traumatic experiences of communism and the constitution of the post-Soviet identities of those living in former Soviet territory. -
Realist Cinema As World Cinema Non-Cinema, Intermedial Passages, Total Cinema Lúcia Nagib Realist Cinema As World Cinema
FILM CULTURE IN TRANSITION Realist Cinema as World Cinema Non-cinema, Intermedial Passages, Total Cinema lúcia nagib Realist Cinema as World Cinema Realist Cinema as World Cinema Non-cinema, Intermedial Passages, Total Cinema Lúcia Nagib Amsterdam University Press Cover illustration: Photo by Mateo Contreras Gallego, for the film Birds of Passages (Pájaros de Verano, Cristina Gallego and Ciro Guerra, 2018), courtesy of the authors. Cover design: Kok Korpershoek Lay-out: Crius Group, Hulshout isbn 978 94 6298 751 7 e-isbn 978 90 4853 921 5 doi 10.5117/9789462987517 nur 670 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) L. Nagib / Amsterdam University Press B.V., Amsterdam 2020 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise). Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. Table of Contents List of Illustrations 7 Acknowledgements 11 Introduction 15 Part I Non-cinema 1 The Death of (a) Cinema 41 The State of Things 2 Jafar Panahi’s Forbidden Tetralogy 63 This Is Not a Film, Closed Curtain, Taxi Tehran, Three Faces 3 Film as Death 87 The Act of Killing 4 The Blind Spot of History 107 Colonialism in Tabu Part II -
Abraham's Uncircumcised Children
ABRAHAM’S UNCIRCUMCISED CHILDREN: THE ENOCHIC PRECEDENT FOR PAUL’S PARADOXICAL CLAIM IN GALATIANS 3:29 by Amy Genevive Dibley A dissertation submitted in partial satisfaction of the requirements for the degree of Joint Doctor of Philosophy with Graduate Theological Union in Near Easter Religions in the Graduate Division of the University of California at Berkeley Committee in charge: Professor LeAnn Snow Flesher, Chair Professor Daniel Boyarin Professor Eugene Eung-Chun Park Professor Yair Zakovitch Professor Erich S. Gruen Fall 2013 ABSTRACT Abraham’s Uncircumcised Children: The Enochic Precedent for Paul’s Paradoxical Claim in Galatians 3:29 by Amy Genevive Dibley Joint Doctor of Philosophy with Graduate Theological Union in Near Easter Religions in the Graduate Division University of California, Berkeley Professor LeAnn Snow Flesher, Chair This study proposes the Book of Dreams as the precedent for Paul’s program of gentile reclamation qua gentiles predating the composition of the Epistles by two centuries. 1 Dedication To my husband Peter, for whom the words loving and supportive and partnership hardly begin to encompass the richness of our journey together through this process. For our girls, Langsea and Lucia (5 and 4 years old as I submit this), who when playing “mommy” pause from dressing and feeding baby dolls to write their own dissertations. In thanks to the women of First Covenant Church in Rockford, Illinois and Kerry Staurseth (Langsea’s godmother) who watched those most precious to me so that this first child could at last be born, proving that it also takes a village to write a dissertation. -
Kahlil Gibran a Tear and a Smile (1950)
“perplexity is the beginning of knowledge…” Kahlil Gibran A Tear and A Smile (1950) STYLIN’! SAMBA JOY VERSUS STRUCTURAL PRECISION THE SOCCER CASE STUDIES OF BRAZIL AND GERMANY Dissertation Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Susan P. Milby, M.A. * * * * * The Ohio State University 2006 Dissertation Committee: Approved by Professor Melvin Adelman, Adviser Professor William J. Morgan Professor Sarah Fields _______________________________ Adviser College of Education Graduate Program Copyright by Susan P. Milby 2006 ABSTRACT Soccer playing style has not been addressed in detail in the academic literature, as playing style has often been dismissed as the aesthetic element of the game. Brief mention of playing style is considered when discussing national identity and gender. Through a literature research methodology and detailed study of game situations, this dissertation addresses a definitive definition of playing style and details the cultural elements that influence it. A case study analysis of German and Brazilian soccer exemplifies how cultural elements shape, influence, and intersect with playing style. Eight signature elements of playing style are determined: tactics, technique, body image, concept of soccer, values, tradition, ecological and a miscellaneous category. Each of these elements is then extrapolated for Germany and Brazil, setting up a comparative binary. Literature analysis further reinforces this contrasting comparison. Both history of the country and the sport history of the country are necessary determinants when considering style, as style must be historically situated when being discussed in order to avoid stereotypification. Historic time lines of significant German and Brazilian style changes are determined and interpretated. -
The Inexorable Work Life of Manoel De Oliveira/ Addressing the Trends And
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1997 The nexorI able Work Life of Manoel de Oliveira: Addressing the Trends and Movements of the 20th Century as a Form of Understanding the European Film Industry Beatriz Saiani Eastern Illinois University This research is a product of the graduate program in Speech Communication at Eastern Illinois University. Find out more about the program. Recommended Citation Saiani, Beatriz, "The nexorI able Work Life of Manoel de Oliveira: Addressing the Trends and Movements of the 20th Century as a Form of Understanding the European Film Industry" (1997). Masters Theses. 1849. https://thekeep.eiu.edu/theses/1849 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. THESIS REPRODUCTION CERTIFICATE TO: Graduate Degree Candidates (who have written formal theses) SUBJECT: Permission to Reproduce Theses The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. PLEASE SIGN ONE OF THE FOLLOWING STATEMENTS: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. Author Date I respectfully request Booth Library of Eastern Illinois University not allow my thesis to be reproduced because: 0 "'Author . -
Portugal Film 2018
2018 PORTUGAL FILM 2018 PORTUGAL FILM The work of Portugal Film in the promotion of Portuguese cinema worldwide is entering a new level in this fourth year of existence. Our films are now a constant presence in major international film festivals' competitions, and more and more films - both shorts and features - are sold to TV channels, VOD platforms, and other commercial circuits, giving us a much bigger role as distributors. On our promotional activity, while following the work of the more established filmmakers that are represented in our catalogue we are also looking for young directors who can bring new visions to Portuguese cinema. Working closely with the Lisbon Theatre and Film School we are able to recognize the style of a new generation already showing its work to the world as for the first time in the history of the School a short film made by a team of students has been selected to the Berlinale Shorts competition. All these films, directors, and film teams will have their work seen by programmers, film critics, festival directors, and sales agents from all over the world increasing their visibility and the reach of Portuguese cinema. Our industry events - the Lisbon Screenings held yearly in April/May - are more and more participated and the films/projects presented are also increasing in numbers. In this year’s catalogue, again, we present a small selection of films as we believe this to be the only way to fulfill the commitment of keeping a personal relationship with the directors and their work. The films are diverse in genre, format, and style, and the selection combines directors' first films and developments in more established directors' filmographies. -
Paulo Branco
PAULO BRANCO BIOGRAPHIE Paulo Branco est né à Lisbonne en 1950 et commence sa carrière de producteur en 1979 entre Paris et Lisbonne. Il incarne aujourd’hui l’une des figures internationales les plus importantes de la production indépendante. Acteur incontournable du cinéma d’auteur, il est reconnu pour avoir donné leur première chance à nombre de jeunes réalisateurs devenus d’immenses cinéastes. En 40 ans, Paulo Branco a ainsi produit plus de 300 films et a travaillé avec les cinéastes les plus réputés au monde, tels que David Cronenberg, Jerzy Skolimowski, Wim Wenders, Chantal Akerman, Alain Tanner, Werner Schroeter, André Téchiné, Andrzej Zulawski, Christophe Honoré, Olivier Assayas, Sharunas Bartas, Cédric Kahn, Lucas Belvaux, Valéria Bruni-Tedeschi, João César Monteiro, Paul Auster, Philippe Garrel, Mathieu Amalric… entre beaucoup d’autres. Sa carrière est notamment marquée par une intense collaboration, longue de 20 ans, avec Raúl Ruiz (Mystères de Lisbonne, Le temps retrouvé, Trois vies et une seule mort…) et avec Manoel de Oliveira (Francisca, Val Abraham, Le soulier de satin…) Sa contribution à la dynamique du cinéma indépendant est aussi remarquable que l’étendue de sa visibilité internationale. Depuis le début de sa carrière, Paulo Branco a marqué les plus grands festivals internationaux de sa présence. Il a été président du Jury de la Sélection Officielle en compétition du Festival de Locarno (2011), du Festival de Lecce (2011), du Festival de Luca (2016) et du Festival « Spirit of fire » de Khanty-Mansiysk en Sibérie (2018). De plus, il a rejoint le jury de la Sélection Officielle en Paulo Branco 1 compétition au Festival de Rotterdam (2006), au Festival de Venise (2005) et au Festival de Berlin (1999).