DOCSLIB.ORG

Bucharest International Experimental Film Festival

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bucharest International Experimental Film Festival 2017 QUINZAINE THEME PROGRAM Special Acknowledgments to all the filmmakers, producers and distributors whose films are screened in BIEFF 2019 and to the following persons and institutions: 2 Concept 62 CAUGHT IN THE FRAME 6 Festival Board Alessandro Raja – Festival Scope Cristian Ignat – Canopy Festival Oberhausen Cannes Film Festival Alexander Nanau – Film Monitor Association Cristiana Tăutu – British Council Romania Laura Abrihan – Peggy Production Roxana Călinescu – Romanian Cultural Institute Alexandru Berceanu – CINETic Cristina Nițu – Fala Português Laurențiu Damian – Romanian Filmmakers’ Union Roxana Garet – Union Cinematheque 8 Festival Team 76GOLDEN SHORTS: BEST FILMS Alina Cantacuzino – Cervantes Institute Cristina Petrea – Manekino Film Liliana Costa – Agência da Curta Metragem Roxana Lăpădat – Austrian Cultural Forum IN MAJOR FESTIVALS Bucharest Daniel Ebner – VIS Vienna Shorts Liliana Ciurea – Embassy of Switzerland in Roxana Trestioreanu – UNARTE National 9 UNATC / UNARTE Presentation 70 GOLDEN SHORTS I Adina-Ioana Șuteu – French Institute Bucharest Daniel Mareș – Lente Romania University of Arts Bucharest Alina Raicu – Embassy of Canada in Romania Daniela Mirodone – Fala Português Virgil Nițulescu – National Museum of the Rozana Mihalache – Green Hours Ana Agopian – CINEPUB Dietmar Schwärzler – Sixpackfilm Austria 10 Partner Festivals 77 GOLDEN SHORTS II Romanian Peasant Salette Ramalho – Agência da Curta Metragem Ana Androne – Embassy of the Kingdom of the Edith van der Heijde – EYE Film Institute Lisa Linde Nieveld – EYE Film Institute Simona Necula – CEREFREA Villa Noël Netherlands Netherlands Netherlands Stefanie Schulte Strathaus – Berlinale Forum 17 International Competition Jury Ana Mișu – TH Hotels Elena Belciu – CINETic Loredana Stroe – Embassy of the Republic of Expanded SIDE EVENTS Ana Serafim – Embassy of Canada in Romania Ezio Peraro – Italian Cultural Institute Argentina Ștefana Mărmureanu – Romanian Cultural 18 Opening Gala 82 FOCUS SPAIN: Essayistic Variations in Ana Ungar – TNT Felipe Guillermo Alvarez de Toledo – Embassy of Lucian Pricop – Romanian Filmmakers’ Union Institute Anamaria Antoci – Bucharest International Dance the Republic of Argentina Marian Bârcău – Canopy Tamina Bojoancă – Goethe-Institut Bucharest Contemporary Spanish Filmmaking Film Festival Filipa Henriques – Portugal Film Marina Neacșu – Goethe-Institut Bucharest Theus Zwakhals – LIMA Amsterdam 20 Closing Gala Anamaria Diaconescu – Hellenic-Romanian Florian Vimer – Lokal Markéta Šantrochová – Czech Film Center Thomas Kloiber – Austrian Cultural Forum Bilateral Chamber of Commerce François Bonenfant – Le Fresnoy Studio National Martijn te Pas – IDFA International Documentary Toril Simonsen – Norwegian Film Institute Anca Brezeanu – Sky Tour des Arts Contemporains Film Festival Amsterdam Tudor Ciortea – NouMax INTERNATIONAL COMPETITION Anca Mitran – Romanian National Film Center Gabriela Petre – Italian Cultural Institute Martine Dekker – Cinedans Dance On Screen Tytti Rantanen – AV-arkki Anca Pandrea – Lente Gabriela Trandafir – Embassy of Liban in Romania Festival Amsterdam Ulrich Ziemons – Berlinale Forum Expanded 22 LABOR OF LOVE/LABOR OR LOVE Andreea Chindriș - Ministerul Culturii Gabriela Suciu – Asociația Follow Art Matt Carter – LUX Artists’ Moving Image Urs Herren – Embassy of Switzerland in Romania International Competition I Andreea Dumitriu – Eastwards Gala Hernández – LUXBOX Miguel Dias – Curtas Vila do Conde International Valentina Neagu – Administration of the National Andrei Lixandru – Eventbook George Pascaru – Canopy Film Festival Cultural Fund 30 LONGING AND BELONGING Andrei Rus – One World Romania Hajnalka Kerekes – Romanian Ministry of Culture Miguel Valverde – Portugal Film & IndieLisboa Vesa Puhakka – AV-arkki Angelika Ramlow – Arsenal Institute for Film and and National Identity International Film Festival Voicu Rădescu – Green Hours International Competition II Video Art Berlin Hilke Doering – International Short Film Festival Mihaela Drăghici – Fala Português Wouter Jansen – Some Shorts Anna Abrahams – EYE Film Institute Netherlands Oberhausen Mihai Chirilov – Transilvania International Film Yvonne Irimescu – NexT Cultural Society 38 PUBLIC SPACE AND URBAN ANXIETIES Arthur den Hartog – Embassy of the Kingdom of Ioana Biriș – Eastwards Festival and to all BIEFF 2019 media partners, International Competition III the Netherlands Ioana Diaconu – Bucharest Fashion Film Festival Mihai Crăiță – Eventbook Bianca Lucas – Sarajevo Film Festival Ioana Dragomirescu – French Institute Bucharest Mihai Olaru – Nikon volunteers and other festival friends. Bianca Oana – Manekino Film Ioana Turcu – Eventbook Mihai Orășanu – MDV Film 46 THE HUMAN FLOW: HOME Brigitta Burger-Utzer – Sixpackfilm Austria Ionuț Drăghicean – BDG Mirona Radu – Peasant Museum Cinema IN THE AGE OF DISPLACEMENT Camelia Ciucă – Romanian National Film Center Irina Cios – Administration of the National Mirsad Purivatra – Sarajevo Film Festival International Competition IV Carmen Constantin – Administration of the Cultural Fund Monica Anita – TNT National Cultural Fund Irina Petrescu – French Institute Bucharest Natalia Andronachi – Austrian Cultural Forum Carmen Grigoraș – Embassy of Finland in Isabella Alexandrescu – US Embassy Romania Natalia Trebik – Le Fresnoy Studio National des 54 HEALING VOICES: Romania Jenniffer Corrales – Romanian Ministry of Culture Arts Contemporains REMEMBRANCE AND REENACTMENT Carmen Stejeroiu – Romanian National Film and National Identity Noni Surugiu-Cândea – Point HUB International Competition V Center Jing Haase – Swedish Film Institute Nicolae Mandea – UNATC National University of Carsten Spicher – International Short Film Johannes Klein – The Festival Agency Theatre and Film Bucharest Festival Oberhausen Jonathan Pouthier – Centre Pompidou Paolo Moretti – Quinzaine des Réalisateurs, Călin Dan – National Museum of Contemporary Joost Daamen – IDFA International Documentary Cannes Film Festival Art MNAC Bucharest Film Festival Amsterdam Pavla Kallistova – ATHANOR Cătălin Bălescu – UNARTE National University of Juan José Felix – Embassy of the Republic of Peter Greenaway Arts Bucharest Argentina Peter van Hoof – International Film Festival Christophe Leparc – Quinzaine des Réalisateurs, Juhani Alanen – Tampere International Short Film Rotterdam Cannes Film Festival Festival Raluca Ganea – ARCUB Claudiu Sfirschi-Lăudat – Greek Cultural Jukka-Pekka Laakso – Tampere International Rana Mokaddem – Embassy of Lebanon in Foundation Short Film Festival Romania Corina Burlacu – Eastwards Kevin Hamilton - Embassy of Canada in Romania Răzvan Bucur – ZeList Monitor Cornelia Popa – Cinelab Romania Lars Henrik Gass – International Short Film Rémi Bonhomme – Semaine de la Critique, Bucharest International Experimental Film Festival BIEFF - Concept Starting with 2012, PETER GREENAWAY has become the HONORARY PRESIDENT of the Bucharest International Copel Moscu, Festival Director Experimental Film Festival BIEFF, Adina Pintilie, Artistic Director generously joining us in our educational initiative. PETER GREENAWAY is one Created under the patronage of the being to broaden perception, to open a BIEFF presents on one side an As for each of our editions, we are of the key voices of contemporary work of Alexander Sokurov, his impressive National University of Theatre and Film whole new artistic territory, both for the INTERNATIONAL EXPERIMENTAL SHORT honored to welcome in our International avant-garde cinema, one of the most FAUST, winner of the Golden Lion in “I.L. Caragiale” and the National University general and the specialized audience, FILM COMPETITION, consisting of some of Competition Jury prestigious films ambitious and controversial experimental Venice 2011. In 2012, BIEFF presented the of Arts Bucharest, with the support of the particularly for film and visual art students the most intriguing and innovative visual professionals: MORGAN POKÉE filmmakers of our time. Trained as a Romanian premiere of Peter Greenaway’s Administration of the National Cultural and professionals. experiments from the last few years, painter and heavily influenced by theories impressive latest feature, GOLTZIUS AND Fund and the Romanian National Film titles awarded and screened in prestigious Programmer, Quinzaine des Réalisateurs - of structural linguistics, ethnography, and THE PELICAN COMPANY, while in 2013 Center, BUCHAREST INTERNATIONAL Therefore we present films which festivals, museums and galleries all over Cannes Film Festival; FLORIAN WEGHORN philosophy, PETER GREENAWAY’s films the film to open the festival was Terry EXPERIMENTAL FILM FESTIVAL BIEFF are lessons in cinema, emblematic the world, such as Cannes, Berlin, Venice, Program manager, Berlinale Talents - often traverse unexplored territories, Gilliam’s most recent feature, THE ZERO has as its main focus the courage to pieces, eye-openers with regard to Rotterdam, Oberhausen, Toronto, Centre Berlin International Film Festival; IOANA rejecting conventional narrative THEOREM. In 2014, BIEFF opened with experiment in cinematic language. the unlimited possibilities offered by Pompidou etc. DRAGOMIRESCU, Head of Programming structures in favor of awe-striking the Golden Lion winner from that year, the cinematic medium, the ways to for Elvire Popesco Cinema in Bucharest, co- imagery, constantly testing the limits Roy Andersson’s A PIGEON SAT ON A BIEFF is the first showcase of avant-garde transcend any possible borders between programmer for the French Film Festival. of the cinematic
Load more

Recommended publications
  • Zagreb Winter 2016/2017
    Maps Events Restaurants Cafés Nightlife Sightseeing Shopping Hotels Zagreb Winter 2016/2017 Trešnjevka Where wild cherries once grew Go Gourmet A Croatian feast Shopping Cheat Sheet Find your unique item N°86 - complimentary copy zagreb.inyourpocket.com Festive December Contents in Ljubljana ESSENTIAL CITY G UIDES Foreword 4 Sightseeing 46 A word of welcome Snap, camera, action Arrival & Getting Around 6 Zagreb Pulse 53 We unravel the A to Z of travel City people, city trends Zagreb Basics 12 Shopping 55 All the things you need to know about Zagreb Ready for a shopping spree Trešnjevka 13 Hotels 61 A city district with buzz The true meaning of “Do not disturb” Culture & Events 16 List of Small Features Let’s fill up that social calendar of yours Advent in Zagreb 24 Foodie’s Guide 34 Go Gourmet 26 Festive Lights Switch-on Event City Centre Shopping 59 Ćevap or tofu!? Both! 25. Nov. at 17:15 / Prešernov trg Winter’s Hot Shopping List 60 Restaurants 35 Maps & Index Festive Fair Breakfast, lunch or dinner? You pick... from 25. Nov. / Breg, Cankarjevo nabrežje, Prešernov in Kongresni trg Street Register 63 Coffee & Cakes 41 Transport Map 63 What a pleasure City Centre Map 64-65 St. Nicholas Procession City Map 66 5. Dec. at 17:00 / Krekov trg, Mestni trg, Prešernov trg Nightlife 43 Bop ‘till you drop Street Theatre 16. - 20. Dec. at 19:00 / Park Zvezda Traditional Christmas Concert 24. Dec. at 17:00 / in front of the Town Hall Grandpa Frost Proccesions 26. - 30. Dec. at 17:00 / Old Town New Year’s Eve Celebrations for Children 31.
    [Show full text]
  • May 6–15, 2011 Festival Guide Vancouver Canada
    DOCUMENTARY FILM FESTIVAL MAY 6–15, 2011 FESTIVAL GUIDE VANCOUVER CANADA www.doxafestival.ca facebook.com/DOXAfestival @doxafestival PRESENTING PARTNER ORDER TICKETS TODAY [PAGE 5] GET SERIOUSLY CREATIVE Considering a career in Art, Design or Media? At Emily Carr, our degree programs (BFA, BDes, MAA) merge critical theory with studio practice and link you to industry. You’ll gain the knowledge, tools and hands-on experience you need for a dynamic career in the creative sector. Already have a degree, looking to develop your skills or just want to experiment? Join us this summer for short courses and workshops for the public in visual art, design, media and professional development. Between May and August, Continuing Studies will off er over 180 skills-based courses, inspiring exhibits and special events for artists and designers at all levels. Registration opens March 31. SUMMER DESIGN INSTITUTE | June 18-25 SUMMER INSTITUTE FOR TEENS | July 4-29 Table of Contents Tickets and General Festival Info . 5 Special Programs . .15 The Documentary Media Society . 7 Festival Schedule . .42 Acknowledgements . 8 Don’t just stand there — get on the bus! Greetings from our Funders . .10 Essay by John Vaillant . 68. Welcome from DOXA . 11 NO! A Film of Sexual Politics — and Art Essay by Robin Morgan . 78 Awards . 13 Youth Programs . 14 SCREENINGS OPEning NigHT: Louder Than a Bomb . .17 Maria and I . 63. Closing NigHT: Cave of Forgotten Dreams . .21 The Market . .59 A Good Man . 33. My Perestroika . 73 Ahead of Time . 65. The National Parks Project . 31 Amnesty! When They Are All Free .
    [Show full text]
  • Half a Century with the Swedish Film Institute
    Swedish #2 2013 • A magazine from the Swedish Film Institute Film 50Half a century with the Swedish Film Institute CDirector Lisah Langsethe exploresc identityk issuesi nin Hotel g in www.sfi.se scp reklambyrå Photo: Simon Bordier Repro: F&B Repro: Factory. Bordier Simon Photo: reklambyrå scp One million reasons to join us in Göteborg. DRAGON AWARD BEST NORDIC FILM OF ONE MILLION SEK IS ONE OF THE LARGEST FILM AWARD PRIZES IN THE WORLD. GÖTEBORG INTERNATIONAL FILM FESTIVAL IS ALSO THE MAIN INDUSTRY WINDOW FOR NEW NORDIC FILM AND TALENT, FEATURING NORDIC FILM MARKET AND NORDIC FILM LAB. 1,000 SCREENINGS • 500 FILMS • 23 VENUES • 160,000 VISITS • WWW.GIFF.SE WELCOME Director, International Department Pia Lundberg Fifty and counting Phone +46 70 692 79 80 [email protected] 2013 marks the Swedish Film Institute’s various points in time. The films we support 50th anniversary. This gives us cause to look today are gradually added to history, giving back to 1963 and reflect on how society and that history a deeper understanding of the Festivals, features the world at large have changed since then. world we currently live in. Gunnar Almér Phone +46 70 640 46 56 Europe is in crisis, and in many quarters [email protected] arts funding is being cut to balance national IN THIS CONTEXT, international film festivals budgets. At the same time, film has a more have an important part to play. It is here that important role to play than ever before, we can learn both from and about each other.
    [Show full text]
  • 26 / 02 05 / 03 2017
    Međunarodni festival dokumentarnog fi lma International Documentary Film Festival 26 / 02 05 / 03 2017 KAPTOL BOUTIQUE CINEMA CENTAR KAPTOL ZAGREB, CROATIA WWW.ZAGREBDOX.NET programska knjizica 2017 prijelom5.indd 1 14/02/17 08:50 KAPTOL BOUTIQUE CINEMA SADRŽAJ CENTAR KAPTOL Nova Ves 17, Zagreb ULAZNICE 4 RASPORED PROGRAMA 5 CENTAR KAPTOL NIVO 2 Službena konkurencija MEĐUNARODNA KONKURENCIJA 2 0 REGIONALNA KONKURENCIJA 2 6 NOVA VES Službeni program BIOGRAFSKI DOX 3 1 GLAZBENI GLOBUS 3 3 HAPPY DOX 3 5 KONTROVERZNI DOX 3 8 MAJSTORI DOXA 4 1 STANJE STVARI 4 3 3 TEEN DOX 4 6 ADU DOX 4 9 1 Retrospektive RETROSPEKTIVA NIKOLAUSA GEYRHALTERA 5 0 20 GODINA FACTUMA 5 1 2 Posebni programi MAJKE I KĆERI 5 3 65+ 5 4 5 5 TKALČIĆEVA ZAGREBDOXXL Posebna događanja 1 INFO POINT VIRTUAL REALITY 5 6 2 KAPTOL BOUTIQUE CINEMA 3 FESTIVALSKI CENTAR DOX PARTY 5 6 ZagrebDox Pro 5 7 programska knjizica 2017 prijelom5.indd 2 14/02/17 08:50 programska knjizica 2017 prijelom5.indd 3 14/02/17 08:50 Ulaznice DOX događanja Cijena ulaznice za projekcije u 15 i 16 sati iznosi 23 Premijere dokumentaraca iz Hrvatske i regije! kune. Dox događanja nastala su jer sve više autora iz Hrvatske i regije želi premijerno prikazati svoj film Cijena ulaznice za projekcije u 17, 18, 19, 20, 21 i 22 baš na ZagrebDoxu. Tako će u svečanom ozračju sata iznosi 28 kuna. Cineplexxa u Centru Kaptol biti prikazani najnoviji hrvatski i regionalni dokumentarci. Predstavit Cijena ulaznice za program The Best od Fest u ćemo njihove redatelje i potaknuti razgovor između nedjelju 05.
    [Show full text]
  • 02 Main Catalogue Front
    THE MASTERS 大師級 Sweden/Germany/Norway 瑞典／德國／挪威 2019 | Swedish | DCP | Colour | 76min Director Roy Andersson Producer Pernilla Sandström, Johan Carlsson Scriptwriter Roy Andersson Cinematographer Gergely Pálos Editor Johan Carlsson, Kalle Boman, Roy Andersson Production Designer Anders Hellström, Frida E. Elmström, Nicklas Nilsson Sound Robert Hefter Cast Martin Serner, Jessica Louthander, Tatiana Delaunay, Anders Hellström Production Roy Andersson Filmproduktion World Sales Coproduction Office ©Roy Andersson Film Production • Studio 24 ©KG Productions About Endlessness Om det oändliga 明明無盡 Some of the themes in About Endlessness are presented in your [導演訪問] other films: optimism represented by youth, but also war and 《明明無盡》裏有一些主題，常見於你的其他電影：青 despair, and the absence of God. Here you show a priest who 年代表希望，不過亦有戰爭與絕望，以及上帝的缺席。 doesn’t believe in God. Would you say there is always a balance 片中神父並不相信神。你認為希望與絕望之間是否總 between hope and despair? 能平衡？ The main theme of my work is the vulnerability of human beings. 我的作品主題是人類的脆弱，我認為展現脆弱是希望 And I think it is a hopeful act to create something showing 之舉。因為當人注意到脆弱的存在，你會學懂尊重及 vulnerability. Because if you are aware of the vulnerability of 珍惜。 existence, you can become respectful and careful of what you have. 我想強調存在之美、生存之美。然而，要呈現美需要 I wanted to emphasise the beauty of existence, of being alive. But of 有對比，展示存在的敗壞及殘酷。 course, to get that, you need to have a contrast. You need to show the bad side, the cruel side of existence. 回望藝術史，不少畫作也很悲慘。即使畫作描繪殘酷 與悲傷，但畫家可透過畫作傳達力量，創造希望。 Looking at art history, for example, a lot of paintings are very tragic. But even if they depict cruel and sad scenes, by painting them the 影片雖有歷史場景，卻有永恆無盡的感覺，片名亦如是。 artists have in some way transferred the energy and created hope.
    [Show full text]
  • 2020 Content
    Annual report 2020 CONTENT FINANCIAL HIGHLIGHTS OPERATIONAL STATISTICS INTRODUCTION LETTER TO SHAREHOLDERS CORPORATE PROFILE INVESTOR INFORMATION MANAGEMENT BOARD SUPERVISORY BOARD CORPORATE GOVERNANCE CODE COMPLIANCE STATEMENT SUPERVISORY BOARD REPORT ECONOMIC ENVIRONMENT ECONOMIC BACKGROUND CROATIAN MARKET OVERVIEW REGULATORY OVERVIEW CHANGES IN REPORTING BUSINESS REVIEW SUMMARY OF KEY FINANCIAL INDICATORS – HT GROUP (INCLUDING CRNOGORSKI TELEKOM) SUMMARY OF KEY FINANCIAL INDICATORS – HT GROUP IN CROATIA SUMMARY OF KEY FINANCIAL INDICATORS – CRNOGORSKI TELEKOM STANDALONE OVERVIEW OF SEGMENT PROFITABILITY HT INC. FINANCIAL HIGHLIGHTS CORPORATE SOCIAL RESPONSIBILITY HT GROUP FINANCIAL STATEMENTS CONSOLIDATED INCOME STATEMENT CONSOLIDATED BALANCE SHEET CONSOLIDATED CASH FLOW STATEMENT CONSOLIDATED FINANCIAL STATEMENTS INDEPENDENT AUDITOR’S REPORT RESPONSIBILITY FOR THE CONSOLIDATED FINANCIAL STATEMENTS CONSOLIDATED STATEMENT OF COMPREHENSIVE INCOME CONSOLIDATED STATEMENT OF FINANCIAL POSITION CONSOLIDATED STATEMENT OF CASH FLOWS CONSOLIDATED STATEMENT OF CHANGES IN EQUITY NOTES TO THE CONSOLIDATED FINANCIAL STATEMENTS 3 FINANCIAL HIGHLIGHTS Income statement in HRK million 2019 2020 % of change Q4 2019 Q4 2020 % of change BALANCE SHEET At 31 Dec At 31 Dec % of change At 31 Dec At 31 Dec % of change A20/A19 A20/A19 2019 2020 A20/A19 2019 2020 A20/A19 Total non current assets 10.447 10.415 -0,3% 10.447 10.415 -0,3% Revenue 7.704 7.458 -3,2% 1.992 1.966 -1,3% Assets classified as held for sale 68 2 -97,1% 68 2 -97,1% Mobile 3.464 3.325 -4,0%
    [Show full text]
  • Moma EXHIBITION AUTOMATIC UPDATE EXPLORES the EVOLUTION OF
    ROY ANDERSSON RETROSPECTIVE AT MOMA PRESENTS THE DIRECTOR’S SHORT FILMS, TELEVISION COMMERCIALS, AND THEATRICAL FEATURES Exhibition Includes World Premiere of Tomorrow’s Another Day—A Documentary Shot During the Production of Andersson’s Most Recent Film, You, the Living Filmmaker in Focus: Roy Andersson September 10–18, 2009 The Roy and Niuta Titus Theaters NEW YORK, August 7, 2009—The Museum of Modern Art presents Filmmaker in Focus: Roy Andersson, a retrospective of the full oeuvre of Roy Andersson (Swedish, b. 1943), covering four decades of work, from his school projects and short films to his television commercials and major feature films. This exhibition is part of the Filmmaker in Focus series at MoMA, which highlights the achievements of a director with an aesthetically and critically established career in filmmaking. The exhibition will be on view from September 10 through 18, 2009, in The Roy and Niuta Titus Theaters, and is organized by Jytte Jensen, Curator, Department of Film, The Museum of Modern Art. Andersson, who rarely travels, will introduce the first six screenings in the series, providing a unique opportunity to hear the director talk about his films outside of Sweden. Andersson’s earliest films, rarely shown school projects from the 1960s, are related thematically and stylistically to the films of the then-influential Czech New Wave. His first feature, which he presented as his thesis at the Swedish Film Institute, is A Swedish Love Story (1970). With the gorgeous Swedish summer as a backdrop, the film portrays the pure love that arises between the daughter of a refrigerator salesman and the son of a car mechanic, offering a glimpse into the lives and homes of the people of the Swedish Social Democracy during its heyday.
    [Show full text]
  • ABSTRACTS GUNILLA ALMSTRÖM PERSSON Police Interrogations In
    ABSTRACTS GUNILLA ALMSTRÖM PERSSON Police interrogations in modern Swedish crime novels. A study of the activity type police interrogation: reality and fiction It is often argued that Swedish crime novels are portraying contemporary Swedish society including its social life and social strati- fi cation. This article focuses on police interrogations as fictional dialogue in crime novels in comparison to police interrogations as we know them in real life. Levinson’s notion of activity type is employed in order to describe social activity, social roles and social power. As a consequence of the asymmetric status of the participants in police interrogation face work, distrust strategies, and confrontation are represented in the dialogue. This study discusses whether fictional dialogues in crime novels employ the same social patterns when describing the characters of the story. ROLF ALMSTRÖM The literary dialogue or how to make the reality more real Using his experience as a writer, the author makes some remarks on creating dialogues in fiction. JAN BALBIERZ Roy Andersson: Man in space The article examines intertextual and intermedial aspects of two distopic movies by the acclaimed Swedish director Roy Andersson: Sånger från andra våningen (Songs from the Second Floor, 2000) and Du levande (You, the Living, 2007). Andersson developed his remarkable visual style in his “art-house commercials” that he produced after the commercial disaster of the feature movie Giliap (1975). The article presents the Swedish director in a broad context of the – often doctrinaire – Swedish leftist culture of the 1960s and 70s and of his commitment to the arts. The main focus of the article lies on the crossover relations between film, literature and paintings.
    [Show full text]
  • 01–04 April 2020
    Filmfestival für Experimentelles und Komisches 01–04 April 2020 Innsbruck/Austria Abgedrehtes Kino trifft auf schrägen Humor Surreale Bildwelten, komisch-absurde Geschichten – als einzigar- tiges Filmfestival für Experimentelles und Komisches serviert die DIAMETRALE bereits zum vierten Mal abseitige Leinwandschman- kerln und ist damit ein Festival für all jene, die sich gern überraschen lassen. Das Spielen, Unterlaufen oder Brechen von künstlerischen Konventionen und der Alltagslogik führt zur Reflexion über Beste- hendes – sei es im Bereich des Ästhetischen, des Zwischenmensch- lichen oder des Gesellschaftspolitischen – und ist somit latent wi- derständig. Also ergreift die Wahlwunderwaffen Experiment und Humor für Eure Denkraumrückeroberungsmissionen und feiert mit uns das Absurde, denn „die Absurdität ist der einzig mögliche Weg.“ (TB) Eine gute Reise wünschen DIAMETRALE Verein zur Förderung experimenteller und komischer FilmKunst Kulturkollektiv ContrApunkt Verein zur Förderung von Gegenrealitäten 3 Informationen Festivalpass EUR 30,00 Tickets Gültig für alle Veranstaltungen von 01. bis 04. Einzeltickets Kino 9,50 EUR April 2020. Der Festivalpass ist ab Mitte März ermäßigt 7,90 EUR*) im Leokino/Cinematograph erhältlich. *) Studierende und alle unter 25. Achtung: Festivalpass nur gültig in Verbindung mit einem Einlassticket vom Leokino/Cine- Fr 03.04. p.m.k only (AK) 5,00 EUR matograph. Reservierung empfohlen. Sa 04.04. p.m.k only (AK) 10,00 EUR Rahmenveranstaltungen in der p.m.k, Theater Do 02.04. Vortrag (S.11) frei praesent und DieBaeckerei sind mit dem Fr 03.04. VR-Filme (S.15–16) frei Festivalpass frei zugänglich. Sa 04.04. VR-Conference (S.24) frei Der Festivalpass gilt von Festivalpass und Einzeltickets sind ab 01.
    [Show full text]
  • Pressionism, and Neue Sachlichkeit
    By Roy Andersson filmswelike “I have vampire teeth you can have at half price.” Jonathan from A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE Cast Holger Andersson (Jonathan), Nils Westblom (Sam), Charlotta Larsson (Limping Lotta), Viktor Gyllenberg (King Carl XII), Lotti Törnros (The Flamenco Teacher), Jonas Gerholm (The Lonely Colonel), Ola Stensson (The Captain/Barber), Oscar Salomonsson (The Dancer), Roger Olsen Likvern (Caretaker) Crew Director and Scriptwriter: Roy Andersson Production Cinematographers: István Borbás, Gergely Pálos Producer: Pernilla Sandström Music: Traditional Line Producer: Johan Carlsson Production Design: Ulf Jonsson, Julia Tegström, Nicklas Nilsson, Sandra Coproducers: Philippe Bober, Håkon Øverås Parment, Isabel Sjöstrand Executive Producers: Sarah Nagel, Isabell Wiegand Coordination and continuity: Jane Ljung Production Company: Roy Andersson Filmproduktion AB Costume: Julia Tegström In co-production with: 4 ½ Fiksjon AS, Essential Filmproduktion, Parisienne Make-up and Hair: Linda Sandberg de Production, Sveriges Television AB, Arte France Cinéma, ZDF/ Arte Sound: Robert Hefter FSS Supported by: Svenska Filminstitutet, Eurimages Council of Europe, Sound Mixer: Robert Hefter FSS, Owe Svensson FSS Nordisk Film- och TV Fond, Norska Filmfonden, Editing: Alexandra Strauss Film- und Medienstiftung NRW, Centre national du cinéma et de l’image Casting: Sophia Frykstam, Zora Rux, Katja Wik, Stig-Åke Nilsson, Andrea animée Eckerbom International Sales: Coproduction Office A PIGEON SAT ON A BRANCH REFLEC- TING ON EXISTENCE By Roy Andersson Sweden, Norway, France, Germany 2014 / 100 min. Synopsis Like a modern day Don Quixote and Sancho Panza, Sam and Jonathan, two traveling salesmen peddling novelty items, take us on a kaleidoscopic wandering through human destiny. It is a journey that unveils the beauty of single moments, the pettiness of others, the humor and tragedy hidden within us, life’s grandeur as well as the ultimate frailty of humanity.
    [Show full text]
  • B Erg M an Ve Ckan
    Ingmar Bergman 100 Bergmanveckan 25 juni — 1 juli 2018 2 Ledare Bergmanveckan 2018 Bergmanveckan 2018 Invigning 3 Emma Gray Munthe Välkommen till Fårö! Konstnärlig ledare för Bergmanveckan Opening Welcome to Fårö! Artistic Director of the Bergman Week r e t t o d s n r ö j B a n e l a d g a M 2018 Week Bergman © © Erik Mollberg Hansen Ingmar Bergman må fylla 100, men han är inget museifö- Ingmar Bergman might be turning 100, but he is far from remål. Som central i filmhistorien fortsätter han att påver- being a museum object. As a central figure in film history, he Unga Astrid – ka, och hyllas med rätta i världens största jubileum för en continues to influence and is rightly hailed in the world’s larg- Sverigepremiär! enskild filmskapare. Men efter vad som hänt i film- och est jubilee of a single filmmaker. But after everything that has teatervärlden de senaste månaderna, och den uppgörel- happened in the last months within the world of film and the- Becoming Astrid –National premiere! se med genikulten som det inneburit: kan man med gott atre, and the questioning of the cult of the (male) genius that Måndag | Monday, 25/6, 16.00 samvete fira med buller och bång? Jag vet uppriktigt sagt has followed – is it possible to throw yourself headlong into the Sudersandsbion inte än. Jag är ny på jobbet. Men en sak är jag övertygad celebrations without feeling a tiny bit guilty? I honestly don’t om: att om vårt mål är att få fler att skaffa sig en egen upp- know yet.
    [Show full text]
  • 1 Filming Guilt About the Past Through Anachronistic Aesthetics: a Pigeon
    1 Filming Guilt about the Past through Anachronistic Aesthetics: A Pigeon Sat on a Branch Reflecting on Existence (Roy Andersson, 2014) In Roy Andersson’s En duva satt på en gren och funderade på tillvaron (A Pigeon Sat on a Branch Reflecting on Existence) (2014), happiness is often on people’s minds but rarely a part of their lives.1 This is foregrounded in the film through several scenes that play on the same tragicomic scenario: A character talks to someone on the phone and says, “Vad roligt att höra att ni har det bra” [“I’m happy to hear you're doing fine”], but every time, the character has to repeat the line – presumably because the person at the other end of the line has not heard what has just been said.2 Like many other moments in Pigeon, this scenario uses simple conversations in everyday life to touch on existential issues – in this case, the wish to be (or appear to be) happy. By repeating the line “I’m happy to hear you're doing fine”, the film hints at how attempts at being happy on other people’s behalf may fall on deaf ears, not so much because people ignore each other. Rather, the impression we get is that people try to care about others but ultimately, tend to care just a little more about themselves. Happiness and the lack thereof are one of several existentialist themes explored in Pigeon, a film that is explicitly framed as dealing with the experience of “being human”. After the opening credits, an inter-title reads “sista delen i en trilogi om att vara människa” [“the final part in a trilogy about being human”].
    [Show full text]