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RESUME 20 CONFERENCE Bucharest, 24 – 26 November 2017
RESUME 20TH CONFERENCE Bucharest, 24 – 26 November 2017 20th Europa Cinemas Conference 2 TABLE OF CONTENTS OPENING OF THE 20th EUROPA CINEMAS CONFERENCE…………………………………………………….8 Nico Simon – President of Europa Cinemas………………………………………………………………………….……….8 Lucia Recalde - Head of Unit Creative Europe/MEDIA, EuropeanCommission……………………………...8 Claude-Eric Poiroux – General Director of Europa Cinemas…………………………………………………………..9 SESSION I – THE CHANGING CINEMA EXPERIENCE IN CHANGING TIMES…………………………10 Both directed by Michael Gubbins – Consultant, SampoMedia, UK Introduction: Keynote Interview with Cristian Mungiu (Director, Exhibitor and Distributor, Romania)………………………………………………………………………………………………………………………10 PANEL I – Entrepreneurialism & Evolving Cinema Experience…………………………………….……13 The role of entrepreneurial business thinking and practice Enhancing the cinema environment: architecture, design, sound and vision The essential role of cinema in communities across Europe Film as a vital art form in a period of disruptive change Lionello Ceri – CEO, Anteo & Producer, Lumière & Co, Italy………………………………………………………13 Heinrich-Georg Kloster – CEO, Yorck Kinogruppe, Germany…………………………………………..…….…..13 Bero Beyer – General and Artistic Director, Intl Film Festival Rotterdam, The Netherlands…………………………………………………………………………………………………………………..……….…14 Prof. Kazu Blumfeld Hanada & Diego Kaiser – Hands on Cinema, Münster School of Architecture, Germany………………………………………………………………………………………………………………15 PANEL 2 – Independence of Choice: Challenges & Opportunities for Cinema …………………16 -
Evidence from Rio De Janeiro's Favelas
Drug Battles and School Achievement: Evidence from Rio de Janeiro's Favelas Joana Monteiro and Rudi Rocha∗ July 2013 Abstract This paper examines the effects of armed conflicts between drug gangs in Rio de Janeiro's favelas on student achievement. We explore variation in violence that occurs across time and space when gangs battle over territo- ries. Within-school estimates indicate that students from schools exposed to violence score less in math exams. Our findings suggest that the effect of vio- lence increases with conflict intensity, duration, and proximity to exam dates; and decreases with the distance between the school and the conflict location. Finally, we find that school supply is an important mechanism driving the achievement results; armed conflicts are associated with higher teacher absen- teeism, principal turnover, and temporary school closings. JEL: I25, K42, O12 Key words: slum, violence, drug gangs, student achievement. ∗Monteiro: Brazilian Institute of Economics, Get´ulioVargas Foundation (IBRE/FGV), Rio de Janeiro, Brazil ([email protected]). Rocha: Institute of Economics, Federal University of Rio de Janeiro (IE/UFRJ), Rio de Janeiro, Brazil ([email protected]). We thank Filipe Campante, Ign´acioCano, Melissa Dell, Claudio Ferraz, S´ergioFerreira, Asim Khwaja, Horacio Larreguy, Joana Naritomi, Rohini Pande, Dan Posner, Heather Schofield, Rodrigo Soares, David Yanagizawa-Drott and seminar participants at the 2012 NEUDC, MIT Political Economy Breakfast, the 33rd Meeting of the Brazilian Econometric Society, the 1st Meeting of AL CAPONE-Lacea, PUC-Rio, and Harvard Development Lunch for helpful comments. We are extremely grateful to Paulo Ferraz for his support over the project and Disque-Den´unciafor providing access to data. -
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. -
5Bfbeeac3776649f9b212fdfb326
5 Foreword raymond Walravens 9 opening and Closing Ceremony / awards 10 world Cinema Amsterdam Competition 20 mexiCan landsCapes Features 22 new mexiCan Cinema presentation paula Astorga riestra 24 postCards From a new mexiCan Cinema Carlos BonFil 42 mexiCan landsCapes shorts 46 speCial sCreenings (out oF Competition) 51 speCials 55 world Cinema Amsterdam open Air 62 world Cinema Amsterdam on Tour 63 we would like to thank 67 index Filmmakers A – Z 69 index Films A – Z 70 sponsors and partners Foreword From 12 through 22 August, the best independently world Cinema Amsterdam Competition produced films from Latin America, Asia and Africa The World Cinema Amsterdam competition programme will be brought together in one festival: World Cinema features nine truly exceptional films, taking us on a Amsterdam. fascinating odyssey around the world in Chad, South Africa, Thailand, Malaysia, Turkey, the Philippines, World Cinema Amsterdam is a new initiative by Argentina, Mexico and Nicaragua, and presenting work independent art cinema Rialto, which for many years both by filmmakers who have more than earned their has been promoting the presentation of films and spurs and debut films by young, talented directors. filmmakers from Africa, Asia and Latin America. Award winners from renowned foreign festivals such as Cannes or Berlin, and films that have captured our In 2006, Rialto started working towards the realization attention elsewhere will have their Dutch or Amsterdam of its long-cherished dream: to set up a festival of its premieres during the festival. own dedicated to presenting the many pearls of world The most recent productions by the following cinema. -
Amat Escalante
Amat Escalante Escalante nació por en Barcelona, España, Escalante was born fortuitously in Barcelona, proveniente de una familia compuesta de padre Spain, as his family, composed by a Mexican mexicano y madre americana. La primera etapa father and an American mother. He spent most de su vida transcurrió en Guanajuato, México, y of his early years in Guanajuato, Mexico, but en el año 2001 se mudo a España para estudiar moved to Spain in 2001 to study film editing and edición y sonido en el Centro para Estudios sound at the Center for Cinematographic Studies Cinematográficos de Catalunya (Centre d’Estudis of Catalonia (Centre d’Estudis Cinematogràfics Cinematogràfics de Catalunya, CECC). Después de Catalunya, CECC). After his stint in Barcelona, de su estadía en Barcelona, se matriculó en la he joined the International School of Film and Escuela Internacional de Cine y Televisión (EICTV) Television (EICTV) in Havana, Cuba; Back in en La Habana, Cuba; de regreso en México dirigió Mexico, he directed a short film AMARRADOS un pequeño corto cinematográfico AMARRADOS (2002) that received an award at the 2003 (2002) que recibió una condecoración en Berlinale Berlinale International Film Festival. He worked Internacional Film Festival en su edición 2003. as an assistant of Carlos Reygadas in BATALLA Trabajó como asistente de Carlos Reygadas en EN EL CIELO (2005), which entered the 2005 BATALLA EN EL CIELO (2005) la cual compitió Cannes Film Festival. Reygadas co-produced en el año 2005 en Cannes Film Festival. Reygadas some of Escalante’s first films. One of those coprodujo algunos de los primero filmes de films SANGRE (2005), was included in Un Escalante. -
A Dark New World : Anatomy of Australian Horror Films
A dark new world: Anatomy of Australian horror films Mark David Ryan Faculty of Creative Industries, Queensland University of Technology A thesis submitted in fulfillment of the degree Doctor of Philosophy (PhD), December 2008 The Films (from top left to right): Undead (2003); Cut (2000); Wolf Creek (2005); Rogue (2007); Storm Warning (2006); Black Water (2007); Demons Among Us (2006); Gabriel (2007); Feed (2005). ii KEY WORDS Australian horror films; horror films; horror genre; movie genres; globalisation of film production; internationalisation; Australian film industry; independent film; fan culture iii ABSTRACT After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. -
MY KING (MON ROI) a Film by Maïwenn
LES PRODUCTIONS DU TRESOR PRESENTS MY KING (MON ROI) A film by Maïwenn “Bercot is heartbreaking, and Cassel has never been better… it’s clear that Maïwenn has something to say — and a clear, strong style with which to express it.” – Peter Debruge, Variety France / 2015 / Drama, Romance / French 125 min / 2.40:1 / Stereo and 5.1 Surround Sound Opens in New York on August 12 at Lincoln Plaza Cinemas Opens in Los Angeles on August 26 at Laemmle Royal New York Press Contacts: Ryan Werner | Cinetic | (212) 204-7951 | [email protected] Emilie Spiegel | Cinetic | (646) 230-6847 | [email protected] Los Angeles Press Contact: Sasha Berman | Shotwell Media | (310) 450-5571 | [email protected] Film Movement Contacts: Genevieve Villaflor | PR & Promotion | (212) 941-7744 x215 | [email protected] Clemence Taillandier | Theatrical | (212) 941-7744 x301 | [email protected] SYNOPSIS Tony (Emmanuelle Bercot) is admitted to a rehabilitation center after a serious ski accident. Dependent on the medical staff and pain relievers, she takes time to look back on the turbulent ten-year relationship she experienced with Georgio (Vincent Cassel). Why did they love each other? Who is this man whom she loved so deeply? How did she allow herself to submit to this suffocating and destructive passion? For Tony, a difficult process of healing is in front of her, physical work which may finally set her free. LOGLINE Acclaimed auteur Maïwenn’s magnum opus about the real and metaphysical pain endured by a woman (Emmanuelle Bercot) who struggles to leave a destructive co-dependent relationship with a charming, yet extremely self-centered lothario (Vincent Cassel). -
LE QUATTRO VOLTE a Film by Michelangelo Frammartino
LE QUATTRO VOLTE a film by Michelangelo Frammartino Europa Cinemas Award Cannes 2010 Italy/Germany/Switzerland 2010 / 88 mins /certificate : tbc Release date: Spring 2011 FOR ALL PRESS ENQUIRIES PLEASE CONTACT Sue Porter/Lizzie Frith – Porter Frith Ltd Tel: 020 7833 8444/E‐Mail: [email protected] FOR ALL OTHER ENQUIRIES PLEASE CONTACT Robert Beeson – New Wave Films [email protected] 10 Margaret Street London W1W 8RL Tel: 020 3178 7095 www.newwavefilms.co.uk SYNOPSIS In the backcountry of southern Italy’s mountainous region of Calabria, an old shepherd leads his flock to pasture along paths in the hills which have fallen into disuse. Every morning, the church housekeeper trades a handful of the church’s dust for some of the shepherd’s fresh milk. Every evening, the elderly shepherd dissolves the «magic» powder in water and drinks this mixture to remedy his aches and pains. One day, he doesn’t show up for their trade. The next day, he dies in his bed as his goats keep vigil over his passing. A kid takes its first steps, but he is slower than the rest of the flock and falls behind. He falls into a ditch in the middle of the forest. Unable to climb out, he bleats for help, but neither the new shepherd, nor his dog, hear him. The flock leaves the kid in their wake, leaving him to his fate. When he finally emerges from the ditch, he finds that he is alone. He wanders aimlessly until, as night begins to fall, he stumbles onto a majestic fir tree in which he seeks shelter. -
6 Month Paid Internship with Possible Further Employment German
6 Month Paid Internship with possible further employment Coproduction Office is looking forward to welcome a German-speaking Production and Business Affairs Intern By: Coproduction Office Business sector: Film industry, High End Gastronomy Field of expertise: Film production, Cinema and Restaurants Company Location: Berlin Paid Internship: Yes, amount depending on profile, career progression possible Duration: 6 months, full time Start date: according to availability COMPANY PROFILE Based in Paris and Berlin, Coproduction Office is an international distributor and producer of bold, award- winning films. We are looking for a globally-minded colleague, who has organizational skills, is result-oriented and has an interest in art-house cinema, to assist our founder and complete our team of 12 people, working in a dynamic and international environment. Coproduction Office's CEO and founder Philippe Bober has worked with prominent ground-breaking directors* from early on in their careers and has produced thirty-two films to date (including SUZHOU RIVER by Lou Ye). The majority of these films were selected for the main competitions in Cannes, Venice and Berlin, where they have received many major prizes, most notably the Venice Golden Lion in 2014 for Roy Andersson’s A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE, and the Palme d’Or in 2017 for THE SQUARE by Ruben Östlund. Coproduction Office's international sales division distributes a catalogue composed of films produced by Philippe Bober as well as acquired titles and restored classics, including Roberto Rossellini’s key films. The catalogue is unique for its artistic strength, with films that have an individual and distinctive cinematic language, and often daring content. -
1,000 Films to See Before You Die Published in the Guardian, June 2007
1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation. -
3 Tage in Quiberon
Presseheft 3 TAGE IN QUIBERON Ein Film von Emily Atef Mit Marie Bäumer, Birgit Minichmayr, Robert Gwisdek, Charly Hübner Kinostart: 12. April 2018 Deutschland 2018, Länge 115 Min. Pressematerial erhältlich unter: www.prokino.medianetworx.de VERLEIH PROKINO Widenmayerstr. 38 80538 München Tel.: (089) 210 114 - 0 Fax: (089) 210 114 - 11 E-Mail: [email protected] PRESSEBETREUUNG VERMIETUNG lindenfels_public relations Twentieth Century Fox Reisingerstraße 6 Darmstädter Landstraße 114 80337 München 60598 Frankfurt am Main FON (089) 130 10 06-10 FON (069) 9613630 FAX (089) 130 10 06-2 E-MAIL [email protected] 1 INHALT BESETZUNG 3 STAB 3 KURZINHALT UND PRESSENOTIZ 4 LANGINHALT 5 HINTERGRUND 8 BIOGRAPHIE ROMY SCHNEIDER 9 INTERVIEW MIT AUTORIN UND REGISSEURIN EMILY ATEF 12 INTERVIEW MIT DER HAUPTDARSTELLERIN MARIE BÄUMER 17 DIE SCHAUSPIELER MARIE BÄUMER 19 BIRGIT MINICHMAYR 20 CHARLY HÜBNER 21 ROBERT GWISDEK 22 DIE CREW EMILY ATEF 24 (DREHBUCH & REGIE) KARSTEN STÖTER (PRODUZENT) 24 THOMAS W. KIENNAST (KAMERA) 25 HANSJÖRG WEISSBRICH (Schnitt) 25 MUSIK (Christoph Kaiser, Julian Maas, Amaury Bernier) 25 SILKE FISCHER (SZENENBILD) 26 JANINA AUDICK (KOSTÜME) 26 2 BESETZUNG Romy Schneider MARIE BÄUMER Hilde Fritsch BIRGIT MINICHMAYR Michael Jürgs ROBERT GWISDEK Robert Lebeck CHARLY HÜBNER Mann in Kneipe DENIS LAVANT STAB Drehbuch und Regie EMILY ATEF Produktion ROHFILM FACTORY (Deutschland) DOR FILM (Österreich) SOPHIE DULAC PRODUCTIONS (Frankreich) TITA B PRODUCTIONS (Frankreich) DEPARTURES FILMS (Deutschland) NDR/ARTE ORF Produzent KARSTEN STÖTER Koproduzenten DANNY KRAUSZ SOPHIE DULAC MICHEL ZANA FRED PREMEL UNDINE FILTER THOMAS KRÁL KURT STOCKER Kamera THOMAS KIENNAST Schnitt HANSJÖRG WEISSBRICH Szenenbild SILKE FISCHER Kostüme JANINA AUDICK 3 TAGE IN QUIBERON wurde produziert von Karsten Stöter (Rohfilm Factory) in Koproduktion mit Dor Film (Österreich), Sophie Dulac Productions (Frankreich), NDR, ARTE, ORF, Tita.B. -
Film Festivals at EU Delegations
Film Festivals at EU Delegations Feasibility study exploring different possible modus operandi for making available a package of European films FINAL REPORT A study prepared for the European Commission DG Communications Networks, Content & Technology by: Digital Agenda for Europe This study was carried out for the European Commission by: Internal identification Contract number: EAC-2014-0516 SMART 2015/ 0095 DISCLAIMER By the European Commission, Directorate-General of Communications Networks, Content & Technology. The information and views set out in this publication are those of the author(s) and do not necessarily reflect the official opinion of the Commission. The Commission does not guarantee the accuracy of the data include d in this study. Neither the Commission nor any person acting on the Commission’s behalf may be held responsible for the use which may be made of the information contained therein. ISBN 978-92-79-44438-8 doi: 10.2766/382048 © European Union, 2015. All rights reserved. Certain parts are licensed under conditions to the EU. Reproduction is authorised provided the source is acknowledged. Table of Contents ABSTRACT ........................................................................................................... 5 EXECUTIVE SUMMARY ........................................................................................... 6 LIST OF ABBREVIATIONS USED ............................................................................ 13 Objectives and scope of the study ................................................................