tag:blogger.com,1999:blog-18359961450345891812024-03-18T11:19:34.062+01:00Eye on North AmericaUnknownnoreply@blogger.comBlogger292125tag:blogger.com,1999:blog-1835996145034589181.post-1930671566455550852012-08-19T22:13:00.000+02:002012-08-19T22:13:05.507+02:00Rediscovering The Quay Brothers<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyQUHyZjehZzY90fITWzDOsSfcB_UcYgiTjEpzcTvu0P_2TC9Zx0tv5AgX3zwtsqw_0BSYeeXtqS4MlC1Zpots3Z-3pKVoXykayExbzr3TvzdtyWUCfJQggKJDXO9k9f8Y7-ukcyZDJWs/s1600/The+Quay+Brothers.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyQUHyZjehZzY90fITWzDOsSfcB_UcYgiTjEpzcTvu0P_2TC9Zx0tv5AgX3zwtsqw_0BSYeeXtqS4MlC1Zpots3Z-3pKVoXykayExbzr3TvzdtyWUCfJQggKJDXO9k9f8Y7-ukcyZDJWs/s320/The+Quay+Brothers.jpg" width="320" /></a></div>
<i><b>by Sandy Mandelberger, North American Editor</b></i><br />
<br />
Among the filmmaker iconoclasts who have influenced many a film and
visual artist, one of the least heralded in their native United States
are re the identical twins known as the <strong><em>Quay Brothers</em></strong>. All that is hopefully about to change as New York’s prestigious <strong>Museum of Modern Art</strong> opens <strong><em>Prescription for Deciphering the Quay Brothers</em></strong>, a gallery exhibition and accompanying film retrospective which will be the first presentation of the <strong><em>Quay Brothers’</em></strong>
work in all their fields of creative activity. The exhibition opened this past weekend and continues through the end of the year.<br />
<br />
Born in the suburbs of Philadelphia, the <strong><em>Quay Brothers</em></strong>
reside and work in England, having moved there in 1969 to study at the
Royal College of Art in London. Starting off as painters and
illustrators, they drifted into the world of experimental film, forming <strong>Koninck Studios</strong>
in 1980, based in the trendy neighborhood of Southwark in South London.
For over 30 years, they have been in the avant-garde of stop-motion
puppet animation and live-action movie-making, drawing influence from
the Eastern European tradition of filmmakers like <i><strong>Walerian Borowczyk</strong></i> and <strong><em>Jan Svankmajer</em></strong>.
Most of their animation films feature puppets made of doll parts and
other organic and inorganic materials, often partially disassembled, in a
dark, moody atmosphere. Perhaps their best known work is <strong>STREET OF CROCODILES</strong>, based on the short novel of the same name by the Polish author and artist <strong><em>Bruno Schulz.</em></strong> With very few exceptions, their films have no meaningful spoken dialogue—most have no spoken content at all, while some, like <strong>THE COMB</strong>
(1990) include multilingual background gibberish that is not supposed
to be coherently understood. Accordingly, their films are highly reliant
on their music scores, many of which have been written especially for
them by the Polish composer <strong><em>Leszek Jankowski</em></strong>.<br />
<br />
Most recently, the 65 year old twins were commissioned by <strong>Leeds Canvas</strong>, a group of eight cultural organizations in Leeds, UK, to create in May 2012 a major city-wide art installation, <strong><em>OverWorlds & UnderWorlds. </em></strong>The commission was one of twelve <strong>Artists Taking the Lead</strong> projects that are being featured this week in the cultural programs surrounding the <strong>London 2012 Olympiad</strong>. In all, the <strong><em>Quay Brothers</em></strong> have produced
over 45 moving image works, including two features, music videos, dance
films, documentaries, and signature personal works. They have also
designed sets and projections for opera, drama, and concert
performances, as well as recent site-specific pieces based on the work
of <strong><em>Bela Bartók</em></strong> and <strong><em>Franz Kafka</em></strong>. In addition to showcasing their films, the <strong>MoMA </strong>exhibition
will include never-before-seen moving image works and graphic design,
drawings, and calligraphy, presenting animated and live-action films
alongside installations, objects, and works on paper. For more
information on this comprehensive and provocative series, visit: <strong><a href="http://www.moma.org/" target="_blank">www.moma.org</a></strong><br />
Sandy Mandelbergerhttp://www.blogger.com/profile/04567331617533922683noreply@blogger.com147tag:blogger.com,1999:blog-1835996145034589181.post-2555045878599405012012-08-10T18:16:00.001+02:002012-08-10T18:16:43.964+02:00Hommage To Claude Sautet<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM0mt0dahATb7TMIXSdlZhabRltdPD5fOgPKiftoyFxEhn01PqlCW54J35wL91dHxyWgbRHmNxiHK2GejjPCDGSNV6_FKP5LAGsDOvfAdf9yfmnXGTUiwpzX4LIbPWuo45BrR65kr9oQc/s1600/Claude+Sautet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM0mt0dahATb7TMIXSdlZhabRltdPD5fOgPKiftoyFxEhn01PqlCW54J35wL91dHxyWgbRHmNxiHK2GejjPCDGSNV6_FKP5LAGsDOvfAdf9yfmnXGTUiwpzX4LIbPWuo45BrR65kr9oQc/s320/Claude+Sautet.jpg" width="320" /></a></div>
<b>by Sandy Mandelberger, North American Editor</b><br />
<br />
<br />
<div class="MsoNormal">
Even the most avid of French film lovers may not be as
familiar with the career and oeuvre of <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Claude Sautet.</i></b> Well, the <b style="mso-bidi-font-weight: normal;">Film Society of Lincoln Center</b> in New
York is about to address it, offering the iconic French director a well-seeded
retrospective of his major and minor works, most not seen in theaters for over
30 years. This is the kind of homage that brings the French auteur to the
forefront along with his better known contemporaries and allows American
audiences the chance to discover a formidable film talent. <b style="mso-bidi-font-weight: normal;">CLAUDE SAUTET: THE THINGS OF LIFE</b> ran from August 1 to 9 and
showcased the director’s films, including his masterpiece <b style="mso-bidi-font-weight: normal;">MAX ET LES FERRAILLEURS</b> which will have its long awaited US
theatrical premiere with a one week run beginning August 10th at the Society’s <b style="mso-bidi-font-weight: normal;">Elinor Bunin Munroe Film Center</b>, in a
new 35mm restoration from <b style="mso-bidi-font-weight: normal;">Rialto
Pictures</b>.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Hailed as a master filmmaker by <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Jean-Pierre Melville, Francois
Truffaut</i></b> and film critic <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Pauline Kael</i></b>, <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Claude Sautet</i></b> ranked
among the most popular French directors of his generation at home and abroad,
though today his body of work has slipped into anonymity. The 13-film lineup –
complete save for <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Sautet’s</i></b> disavowed debut feature <b style="mso-bidi-font-weight: normal;">BONJOUR SOURIRE</b> – includes a new digital restoration of the 1965
thriller <b style="mso-bidi-font-weight: normal;">THE DICTATOR’S GUNS</b>
starring <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Lino Ventura</i></b>; the <b style="mso-bidi-font-weight: normal;">Venice
Film Festival</b> award winner <b style="mso-bidi-font-weight: normal;">A HEART
IN WINTER</b>, a brilliantly acted relationship drama set against the world of
classical music; the Oscar-nominated <b style="mso-bidi-font-weight: normal;">A
SIMPLE STORY</b>, featuring a stunning performance by longtime muse <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Romy
Schneider</i></b>; and his international breakthrough <b style="mso-bidi-font-weight: normal;">THE THINGS OF LIFE</b>, remade in the U.S. decades later as the <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Richard
Gere/Sharon Stone</i></b> starrer <b style="mso-bidi-font-weight: normal;">INTERSECTION.</b>
The series also includes an intimate look at the filmmaker himself in the
documentary, <b style="mso-bidi-font-weight: normal;">CLAUDE SAUTET OR THE
INVISIBLE MAGIC</b>, culled hours of audio interviews in which he discussed his
body of work in extraordinary and candid detail.</div>
<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> </span><br />
<span style="font-family: "Calibri","sans-serif"; font-size: 11pt; line-height: 115%;">“<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Claude Sautet</i></b> was a master of la vie
quotidienne, whether that happened to be the lives of petty criminals or of his
favorite subject, the haute bourgeoisie,” said the Film Society’s Associate
Program Director <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Scott Foundas</i></b>, who programmed the series. “With an unshowy
style and keenly observed detail, he captured the ways people sit in cafés,
browse in bookshops, talk around the dinner table. Above all, he peered deeply
into the mysteries of attraction, creating a rich body of unconventional,
unpredictable, vividly human love stories.” For more information, visit: <a href="http://www.filmlinc.com/"><b style="mso-bidi-font-weight: normal;">www.filmlinc.com</b></a></span>Sandy Mandelbergerhttp://www.blogger.com/profile/04567331617533922683noreply@blogger.com44tag:blogger.com,1999:blog-1835996145034589181.post-87001350234126076312012-06-21T18:10:00.004+02:002012-06-21T18:12:59.372+02:00Euro Docs Dominate At Silverdocs<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_FYn9hLQP4F00vTW8H2wAcXoFV-L77ukHfxgIB65MW1genluhf1lOQZbFKdMKgmYNRnhOiZ1swEb6YTF_kM__58Yxax6zQ8DylvD-80Kosr4OmKub2stPBSrWPjUcFsvNpTikkGcnHrU/s1600/VIRGIN+TALES.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_FYn9hLQP4F00vTW8H2wAcXoFV-L77ukHfxgIB65MW1genluhf1lOQZbFKdMKgmYNRnhOiZ1swEb6YTF_kM__58Yxax6zQ8DylvD-80Kosr4OmKub2stPBSrWPjUcFsvNpTikkGcnHrU/s320/VIRGIN+TALES.jpg" width="320" /></a></div>
<div style="text-align: center;">
</div>
<b>VIRGINAL TALES (Switzerland/Germany/France)</b><br />
<br />
<br />
<b>by Sandy Mandelberger, North American Editor</b><br />
<br />
<br />
<div class="MsoNormal">
The flowering of European documentaries is in clear evidence
at this year’s <b style="mso-bidi-font-weight: normal;">AFI-Discovery Channel
Silverdocs Documentary Festival.</b> With what have been strong local funding
support and the financial involvement of state-run television, documentarians
have been able to take advantage of a wealth of resources to produce works that
are not only intriguing but artistically inventive. Of course, the completed
films on view here this week were committed to before the current pressure on
the European Community. Austerity measures across the continent are slashing
cultural budgets and film funding is among its biggest casualties. How European
filmmakers will cope is still an open question but for the moment, at least, we
have a bumper crop of films to relish and enjoy.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN_u22eIiOZPgpdU1LOHY4RBWXtVxmllMIT6EaP2YkzB43bsMwGtovWy7W-62HoR43jwc4ySy-LAAVP8mdHnSmIaG1KiuZBdqxcsEzp8ko5n-4Fjm_hBikERC9JDD375zlPhJtqi0btcE/s1600/THE+PUNK+SYNDROME.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN_u22eIiOZPgpdU1LOHY4RBWXtVxmllMIT6EaP2YkzB43bsMwGtovWy7W-62HoR43jwc4ySy-LAAVP8mdHnSmIaG1KiuZBdqxcsEzp8ko5n-4Fjm_hBikERC9JDD375zlPhJtqi0btcE/s320/THE+PUNK+SYNDROME.jpg" width="224" /></a></div>
<b style="mso-bidi-font-weight: normal;">Silverdocs </b>offers
a competition for strictly non-American films, and many of the strongest Euro
docs are to be seen in the <b style="mso-bidi-font-weight: normal;">Sterling World Features</b> section. A
number of the films examine the tension and resilience of family bonds, as well
as relationships that endure beyond simple blood ties. Acclaimed Polish
director and cameraman <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Wojciech Staron </i></b>captures the
experiences of his family during a one year stay in Argentina in the nuanced
film <b style="mso-bidi-font-weight: normal;">ARGENTINIAN LESSON</b>. Family
connections are also explored in <b style="mso-bidi-font-weight: normal;">PRIVATE
UNIVERSE</b>, a richly detailed Czech film by <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Helena Trestikova</i></b> that
explores the intimate evolution of a family over four decades of change. While
they are not related by blood, octogenarian best friends Bella and Regina share
a lifetime of intimacy, a passion for cooking and a shared memory of surviving
the Holocaust in the spirited <b style="mso-bidi-font-weight: normal;">OMA AND
BELLA</b> by German director <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Alexa Karolinski</i></b>. Also creating a
family out of friendship are the mentally challenged punk rockers who revel in
their roles as social outcasts in the Finnish film <b style="mso-bidi-font-weight: normal;">THE PUNK SYNDROME</b> by the directorial team of <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Jukka Karkkainen</i></b> and <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">JP
Passi</i></b>. Attempting to pierce the closed society of evangelical
Christians in the United States, the Swiss/German/French co-production <b style="mso-bidi-font-weight: normal;">VIRGIN TALES</b> by director <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Mirjam
Von Arx</i></b> looks at the phenomenon of Purity Balls, a ritual in which
young girls pledge their pre-marital virginity. </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsVVvKyzTX_dceb3XdbSnCtlQjLGB21ZpP_6BKPSg-Z3-xKUXA4Eo8Ho5K40bp8APi20P5TiroAa_fghEzXJFKCTyJupFLnk07NcHGXTRyPz6KeoPrJoRfF9GS-NiwQvHjU2xtxHTT9ns/s1600/VIVAN+LAS+ANTIPODAS.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsVVvKyzTX_dceb3XdbSnCtlQjLGB21ZpP_6BKPSg-Z3-xKUXA4Eo8Ho5K40bp8APi20P5TiroAa_fghEzXJFKCTyJupFLnk07NcHGXTRyPz6KeoPrJoRfF9GS-NiwQvHjU2xtxHTT9ns/s320/VIVAN+LAS+ANTIPODAS.jpg" width="225" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsVVvKyzTX_dceb3XdbSnCtlQjLGB21ZpP_6BKPSg-Z3-xKUXA4Eo8Ho5K40bp8APi20P5TiroAa_fghEzXJFKCTyJupFLnk07NcHGXTRyPz6KeoPrJoRfF9GS-NiwQvHjU2xtxHTT9ns/s1600/VIVAN+LAS+ANTIPODAS.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></div>
<div class="MsoNormal">
Bringing light to injustice or
changing social patterns are among the themes of the other Euro docs in the
section. In <b style="mso-bidi-font-weight: normal;">SPECIAL FLIGHT</b>, Swiss
director <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Fernand Melgar</i></b> explores the legal limbo of illegal immigrants
in his country who are entrapped in a system of detention, even after living
there for more than a decade. Belgian director <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Jerome Le Maire</i></b> focuses
on the societal upheaval in a small mountain village in Morocco where new
technology and the building of a major dam project harbor unwelcome changes in <b style="mso-bidi-font-weight: normal;">TEA OR ELECTRICITY</b>. In the unusually broad-based eco-documentary <b style="mso-bidi-font-weight: normal;">VIVAN LAS ANTIPODAS</b>, acclaimed Russian
director Victor <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Kossakovsky</i></b> reveals the kinetic and visual splendor of some of
the most remote corners of the planet, all of which are undergoing rapid
changes due to overpopulation and climate change. </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC5VL0MHo34rbKRm4QsUlSdHNMk8cwqdJs0rw4Sper1SOnfdQGNJNqWvnXvfuWMPB9AlsFgoaCAd1nHfnnxJfMictViSLS1JA6NoVuZyFndm5fzhVLKf7tABV8Y0G5G6gMvgaMfFps6_A/s1600/MEET+THE+FOKKENS.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC5VL0MHo34rbKRm4QsUlSdHNMk8cwqdJs0rw4Sper1SOnfdQGNJNqWvnXvfuWMPB9AlsFgoaCAd1nHfnnxJfMictViSLS1JA6NoVuZyFndm5fzhVLKf7tABV8Y0G5G6gMvgaMfFps6_A/s320/MEET+THE+FOKKENS.jpg" width="240" /></a></div>
<div class="MsoNormal">
European documentaries that have won awards at other events
are also strongly represented in the non-competitive <b style="mso-bidi-font-weight: normal;">Silver Spectrum</b> section. Directors <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Omar Shargawi</i></b> and <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Karim
el Hakim</i></b> bring viewers into the heart of the Arab Spring in their
visceral account of the first chaotic days of the Egyptian revolution in the
Danish-financed film <b style="mso-bidi-font-weight: normal;">½ REVOLUTION</b>. Denmark
is also represented by the <b style="mso-bidi-font-weight: normal;">IDFA</b>
winner <b style="mso-bidi-font-weight: normal;">THE AMBASSADOR</b>, a hilarious
yet pointed look at the underbelly of Third World diplomacy, directed by Danish
provocateur <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Mads Brugger</i></b>. In <b style="mso-bidi-font-weight: normal;">CANNED
DREAMS</b>, Finnish director <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Katja Gauriloff</i></b> examines the inner
workings of the global food industry and the exploitation of human laborers
whose rights are held ransom by the need for cheaper food and bigger profits. In
the award-winning <b style="mso-bidi-font-weight: normal;">THE IMPOSTER</b>, UK
director <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Bart Layton</i></b> unfolds the strange-but-true story of a young man
who returns to his family after several years and the growing suspicion that he
is not who he claims to be. Mystery also surrounds the identity of <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Rodriguez</i></b>,
a “lost” 1970s rock icon who mysteriously disappeared from public view, and
whose story is unraveled in the Swedish/UK co-production <b style="mso-bidi-font-weight: normal;">SEARCHING FOR SUGAR MAN</b> by <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Malik
Bendjelloul.</i></b> Sisters <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Louise and Martine Fokken</i></b> are
exactly who they claim to be……elderly prostitutes who wield their trade in
Amsterdam’s red light district with no shame and a contempt for society’s
judgmental condemnation of their professions in the Dutch film <b style="mso-bidi-font-weight: normal;">MEET THE FOKKENS</b> by <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Rob
Schroder</i></b> and <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Gabrielle Provaas</i></b>. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
An obsession with cooking and a chef’s determination to hold on to its Michelin rating fuels the
French film <b style="mso-bidi-font-weight: normal;">STEP UP TO THE PLATE</b> by <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Paul
Lacoste</i></b>. The stakes are equally high in the Norwegian film <b style="mso-bidi-font-weight: normal;">WHEN BUBBLES BURST </b>by <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Hans
Petter Moland</i></b>, as a small picturesque Norwegian village feels the
weight of the global economic crisis that does not spare even a small remote
town in a mostly prosperous nation. As if this list is not enough, European
documentaries also are strongly represented in the Festival’s many short film
strands. One can only hope that this blossoming of the documentary form will
not be unduly harmed by the current financial drama enveloping the
continent……itself a great resource for future documentaries (and dramas, I
might add). To learn more about these films and others at <b style="mso-bidi-font-weight: normal;">Silverdocs</b>, visit: <a href="http://www.silverdocs.com/"><b style="mso-bidi-font-weight: normal;">www.silverdocs.com</b></a></div>
<div class="MsoNormal">
<br /></div>Sandy Mandelbergerhttp://www.blogger.com/profile/04567331617533922683noreply@blogger.com50tag:blogger.com,1999:blog-1835996145034589181.post-36334725716044226222012-06-20T18:11:00.001+02:002012-06-20T18:11:13.349+02:00Finnish Punk Movie Debuts At Silverdocs<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0NKahUUIAJ_gCdB08HwvlwWL-uDtP2QFozt7QaQHnBqlGZf0fMYbh0df9go27iVF-0cl7_iKAqpbEx0CUI9VbdQZoLtsnFke9jlNvf3HeLMrZ3WWzOJ71E-ZCptmFqVKEYgLTPwQX6UM/s1600/THE+PUNK+SYNDROME.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0NKahUUIAJ_gCdB08HwvlwWL-uDtP2QFozt7QaQHnBqlGZf0fMYbh0df9go27iVF-0cl7_iKAqpbEx0CUI9VbdQZoLtsnFke9jlNvf3HeLMrZ3WWzOJ71E-ZCptmFqVKEYgLTPwQX6UM/s320/THE+PUNK+SYNDROME.jpg" width="224" /></a></div>
<b>by Sandy Mandelberger, North American Editor</b><br />
<br />
Punk music is a <i>cri de coeur</i> about being an outcast in a society that does not quite get it. <strong>THE PUNK SYNDROME</strong>, a new film from Finland by <strong><em>J-P Passi</em></strong> and <strong>Jukka Kärkkäinen</strong> that is competing at the <strong>AFI-Discovery Channel Silverdocs Documentary Festival in the</strong><strong> Sterling World Competition</strong>, takes that mantra to an extreme as it chronicles the members of <strong>Pertti Kurikka’s Name Day</strong>, a punk band made up of mentally challenged young people. The film, making its U.S. Premiere, was awarded the <em>Swiss Post Award for Most Innovative Feature Film</em> at the <strong>Visions du Réel</strong> in Nyon, as well as sold-out screenings at <strong>Hot Docs</strong> and the <strong>Sheffield Doc/Fest</strong>.
The four band members rage against the way they are treated by society
(much like any other punk band) but these mental disabilities make their
rage all the more intriguing. Variety praised the film as a telling
tale of human nature, “demonstrating the thin line between so-called
normal people and those on the fringe”, stating that it could well
become a cult hit. Previous work by directors <strong><em>Jukka Kärkkäinen</em></strong> and <strong><em>J-P Passi</em></strong> include the award-winning <strong>THE LIVING ROOM OF THE NATION</strong> (2009), which had its North American premiere at <strong>SXSW</strong> in 2010 and was shown in New York’s <b>Museum of Modern Art </b>last year as part of <strong>DocPoint NYC</strong>. For more information, visit: <a href="http://www.thepunksyndrome.com/" target="_blank"><strong>www.thepunksyndrome.com.</strong></a>Sandy Mandelbergerhttp://www.blogger.com/profile/04567331617533922683noreply@blogger.com11tag:blogger.com,1999:blog-1835996145034589181.post-41320834927295547232012-06-13T16:23:00.001+02:002012-06-13T16:23:20.862+02:00The Art Of Performance<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBT9kKj3FhEjV2Kbd6wS9OfSMiYtjjAi4Mrc8thOhO6eBpudaBR2PaxeKrAH2E_vL7A0kywGlsH53RCkX1VMowE13D7ZVYvhFYkEreTyLErt-6584GKs-iS_B17NZ7SDP7kFhuF_m5Ldo/s1600/Marina+Ambramovic+at+Museum+Of+Modern+Art.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBT9kKj3FhEjV2Kbd6wS9OfSMiYtjjAi4Mrc8thOhO6eBpudaBR2PaxeKrAH2E_vL7A0kywGlsH53RCkX1VMowE13D7ZVYvhFYkEreTyLErt-6584GKs-iS_B17NZ7SDP7kFhuF_m5Ldo/s320/Marina+Ambramovic+at+Museum+Of+Modern+Art.jpg" width="320" /></a></div>
<b>by Sandy Mandelberger, North American Editor</b><br />
<br />
One of the key practitioners of the art of performance art, Yugoslav-born <i><b>Marina
Ambramovic </b></i>receives a stirring tribute to her unique cultural
contribution in the feature film <strong>MARINA ABRAMOVIĆ: THE ARTIST IS PRESENT</strong>. The film premiered at the <strong>Sundance Film Festival</strong> and proceeded to win the <i>Panorama Audience Award</i> the following month at the <strong>Berlin Film Festival</strong>. It now comes to New York’s premiere art house cinema, the <strong>Film Forum</strong>
in downtown Manhattan for an exclusive two week run beginning on June
13. The film’s subject has been redefining what art is for nearly forty
years. Her retrospective at the <strong>Museum of Modern Art</strong>
last year featured an extraordinary performance of her individual
artistic process known as performance art. Experienced by over 750,000
people during the <strong>MoMA</strong> run, the artist sat in
meditative silent pose at a small table for nearly 8 hours a day, not
eating, drinking or moving. The intensity of her gaze, the intimacy of
the act (paradoxically in a huge, brightly lit room, filled with
onlookers) moved some to tears and other acts of extreme emotion. <strong><em>Matthew Akers’s</em></strong>
film records the artist as she prepares herself physically and
spiritually for the ordeal with tremendous discipline, humor and guile.
With comments by <strong>MoMA</strong> curator <strong><em>Klaus Biesenbach</em></strong>, art critic <strong><em>Arthur Danto</em></strong>, gallerist <strong><em>Sean Kelly</em></strong>, and hundreds of members of the public (including <strong><em>James Franco</em></strong>) who were obviously moved by this landmark event. For more information, visit: <a href="http://www.filmforum.org/" target="_blank"><strong>www.filmforum.org</strong></a>Sandy Mandelbergerhttp://www.blogger.com/profile/04567331617533922683noreply@blogger.com15tag:blogger.com,1999:blog-1835996145034589181.post-19201255864038234002012-06-08T17:31:00.002+02:002012-06-08T17:31:21.951+02:00Open Roads To Italian Cinema<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTI0bB2ZCw0dz0ubkMuXvN0brl75XNyrBxx9kT7Q84yL389VQ1tKYQcSOjSnake0R60rk8BkYAoc7RIY6hEz9e8qdqkY-weyzyp9kKbJl3bRyke_4189LtsOZUDcIfTl83El8yPPa53zA/s1600/MAGNIFICA+PRESENZA+%28Ferzan+Ozpetek%29.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTI0bB2ZCw0dz0ubkMuXvN0brl75XNyrBxx9kT7Q84yL389VQ1tKYQcSOjSnake0R60rk8BkYAoc7RIY6hEz9e8qdqkY-weyzyp9kKbJl3bRyke_4189LtsOZUDcIfTl83El8yPPa53zA/s320/MAGNIFICA+PRESENZA+%28Ferzan+Ozpetek%29.jpg" width="320" /></a></div>
<i><b>by Sandy Mandelberger, North American Editor</b></i><br />
<br />
With the first summer breezes hitting New York, thoughts turn to Italy, and the annual <strong>Open Roads: New Italian Cinema</strong> series at <strong>the Film Society of Lincoln Center</strong>.
Since its debut in 2001, the mini-festival has become an important
showcase for contemporary Italian cinema for North America. Most of the
established names in contemporary Italian cinema have debuted here,
including <strong><em>Ermanno Olmi</em></strong> (featured again this year), <strong><em>Mario Monicelli, Pupi Avati, Matteo Garrone, Ferzan Ozpetek</em></strong> (also featured in this year’s program), <strong><em>Paolo Sorrentino</em></strong> and <strong><em>Susanna Nichiarelli</em></strong>.
This year’s crop of films are equally intriguing, with a mix of
regional realism dramas and several satires on contemporary Italian
life. Two of the most anticipated films of this year’s series include a
documentary tribute to Oscar winning cinematographer <strong><em>Dante Ferretti</em></strong> (who won the Oscar this past year for his exquisite work on the <strong><em>Martin Scorsese</em></strong> film <strong>HUGO</strong>) and a re-telling of the classic <strong>THE LEGEND OF KASPAR HAUSER</strong>, with cult favorite <strong><em>Vincent Gallo</em></strong>
in a duel role and featuring a pulsing soundtrack by electronic
composer Vitalic. Italian films are enjoying yet another of their
perpetual renaissances. <strong><em>Matteo Garrone’s</em></strong> new film <strong>REALITY</strong> won the <em>Grand Prix Award</em> at the <strong>Cannes Film Festival</strong> and one of the European art house hits of the season has been <b>WE HAVE A POPE</b> by actor/director <strong><em>Nanni Moretti</em></strong>.
Expect several of the titles premiering at Lincoln Center to make their
way through the U.S. film festival circuit and for a few to find
distribution…..but if you are in New York this weekend, you can see them
first. For more information on the full program, visit: <a href="http://www.filmlinc.com/" target="_blank"><strong>www.filmlinc.com</strong></a>Sandy Mandelbergerhttp://www.blogger.com/profile/04567331617533922683noreply@blogger.com10tag:blogger.com,1999:blog-1835996145034589181.post-1379366108753456802012-06-08T17:02:00.002+02:002012-06-08T17:02:53.798+02:00Kino Lorber Picks Up Huppert Film<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihCn_mqoEYwKDEWKxXFtkMie0LAM73hOQbOXsi2nXQEsPmFIdUtnmPy3WPAmEc8GYMJq_5bgJoCb8Y18zMNUIBB3tnjvNvZjkbZTMIQKGzVvGmvOJoLRDIiVOjtbLvsQyfmZui4LapgR0/s1600/IN+ANOTHER+COUNTRY.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihCn_mqoEYwKDEWKxXFtkMie0LAM73hOQbOXsi2nXQEsPmFIdUtnmPy3WPAmEc8GYMJq_5bgJoCb8Y18zMNUIBB3tnjvNvZjkbZTMIQKGzVvGmvOJoLRDIiVOjtbLvsQyfmZui4LapgR0/s320/IN+ANOTHER+COUNTRY.jpg" width="320" /></a></div>
<i><b>by Sandy Mandelberger, North American Editor</b></i><br />
<br />
French actress <strong><em>Isabelle Huppert</em></strong> will be much in the news in the coming months when her supporting role as the troubled daughter of two aging parents in the <em>Cannes Palme d’Or </em>winner <strong>AMOUR, </strong>a film that will certainly be one of the most talked about films of the year. Yet Ms. <strong><em>Huppert </em></strong>will not be seen on American screens only this once. The prolific and hard-working actress will also appear in <strong>IN ANOTHER COUNTRY</strong>, the latest film by South Korean master <strong><em>Hong Sang-soo</em></strong> (<strong>WOMAN IS THE FUTURE OF MAN</strong>) which has been picked up for North American rights by New York based distributor <strong>Kino Lorber</strong>. The film was screened in competition at the <strong>Cannes Film Festival</strong>, with Ms. <strong><em>Huppert</em></strong>
(twice a winner at Cannes for Best Actress) playing three different
characters in three different story segments – all of them spanning from
the imagination of a young film student, played by <strong><em>Jung Yumi</em></strong>. <strong>Kino Lorber</strong>
is planning to launch the film in the US festival circuit during late
summer and fall – before a national theatrical rollout later this year.Sandy Mandelbergerhttp://www.blogger.com/profile/04567331617533922683noreply@blogger.com11tag:blogger.com,1999:blog-1835996145034589181.post-34112085672580438502012-06-04T19:09:00.006+02:002012-06-04T19:50:05.372+02:00Demy Debut Opens Next Week<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijtbj3NItmhAsJoHiwN3gKu0pvLJ_ioyfL3ZEzY1_fWF1nJqNQaNR990mc0WDCBE-sQxWYCd93865p-49YwJFG-tQ277Vwhez0WxCI_JvCppqJb7M5N_QO2tdJStXWaKOBuDI36UypN9k/s1600/AMERICANO.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijtbj3NItmhAsJoHiwN3gKu0pvLJ_ioyfL3ZEzY1_fWF1nJqNQaNR990mc0WDCBE-sQxWYCd93865p-49YwJFG-tQ277Vwhez0WxCI_JvCppqJb7M5N_QO2tdJStXWaKOBuDI36UypN9k/s320/AMERICANO.jpg" width="217" /></a></div>
<b>by Sandy Mandelberger, North American Editor</b><br />
<br />
<b>AMERICANO, </b>the feature directorial debut of writer/director/actor <i><b>Mathieu Demy</b></i> opens in New York on Friday, June 15 prior to a national rollout. The fictional film draws on some autobiographical references, since Demy is the son of famed filmmakers <i><b>Agnès Varda</b></i> and<i><b> Jacques Demy. </b></i>In fact, the younger Demy started his film career as a child actor in his mother <i><b>Agnès Varda's</b></i> films, clips of which are included in the film as a kind of memory touchstone. He has made a name for himself over the past several years with starring roles in such acclaimed films as Céline Sciamma's <i>Tomboy</i>, Olivier Ducastel and Jacques Martineau's<i> Jeanne and the Perfect Guy, </i>and<i> </i>André Téchiné's The <i>Girl on the Train</i>.<br />
<br />
<div>
In <b>AMERICANO</b>, the death of his mother
draws a young Frenchman <i><b>(Demy</b></i>) back to his childhood home in Los Angeles as he
prepares to wrap up his mother’s estate. Things become complicated when he
discovers that she was very fond of a woman named Lola (a sultry part played by Mexican actress <i><b>Salma Hayek</b></i>), who appears in her
will. Martin combs Los Angeles for his mother’s mysterious friend and
companion, finding no trace of her.
Traumatized at the sight of his mother’s body in the morgue, he drives
to Tijuana in search of Lola, thinking she should inherit his mother’s
apartment. But in Mexico, truth is a relative thing, and while he finds Lola stripping in a sleazy bar (kudos to <i><b>Hayek </b></i>for playing a rather unsympathetic character who is asked to display lots of skin.....no body double here), there is an open question of whether she is the woman she claims to be or whether it is all one large scam.</div>
<div>
</div>
<div>
<br />
Aside from its intrigue and sultry atmosphere,<b> AMERICANO</b> is ultimately a deeply moving drama about inheritance and
legacy that mixes a fictional narrative about coming to terms with grief with an autobiographical angle of the lost dreams of the actor/director's true-life filmmaking family. The film features a stellar cast
that, perhaps not incidentally, includes the children of famous film
personalities -- <i><b>Geraldine Chaplin, Chiara Mastroianni</b></i> and <i><b>Demy</b></i> himself -- in
addition to <i><b>Salma Hayek, i</b></i>n the film's most controversial and revealing role. </div>
<div class="yiv396660878MsoNormal" style="text-align: justify;">
<br /></div>Sandy Mandelbergerhttp://www.blogger.com/profile/04567331617533922683noreply@blogger.com8tag:blogger.com,1999:blog-1835996145034589181.post-43069979983831027882012-06-01T16:58:00.001+02:002012-06-01T16:58:22.202+02:00More Cannes Deals<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj5uWAxpx2SbdLZGZxp0pbb0Mnn-JCl2X3jmbD9xTJXdAxG0bKIEjpRdZ0aYo7JAJ2cOIKPxw4k5aUCsJWzvtSIxjaIYUGABMFRw2DRmUbHCy4aQdGVNLbzMEey1a6TkwJd_fa3ktLsjQ/s1600/HOLY+MOTORS.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj5uWAxpx2SbdLZGZxp0pbb0Mnn-JCl2X3jmbD9xTJXdAxG0bKIEjpRdZ0aYo7JAJ2cOIKPxw4k5aUCsJWzvtSIxjaIYUGABMFRw2DRmUbHCy4aQdGVNLbzMEey1a6TkwJd_fa3ktLsjQ/s320/HOLY+MOTORS.jpg" width="320" /></a></div>
<b>by Sandy Mandelberger, North American Editor</b><br />
<br />
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>X-NONE</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin-top:0in;
mso-para-margin-right:0in;
mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0in;
line-height:115%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
</style>
<![endif]-->
<br />
<div class="MsoNormal">
The <b style="mso-bidi-font-weight: normal;">Indomina Group</b>
has acquired U.S. distribution rights to French director <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Leos Carax's</i></b> <b style="mso-bidi-font-weight: normal;">HOLY MOTORS</b>, one of the strangest and
most divisive films to screen in the main competition at this year's <b style="mso-bidi-font-weight: normal;">Cannes Film Festival</b>. The wildly
experimental film drew scattered boos but also wild enthusiasm when it screened
midway through the festival. The chronicle of a man who spends a day riding
around town in a limousine, seemingly changing identities as he goes, the film
stars <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Michel Piccoli, Denis Lavant, Eva Mendes</i></b> and <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Kylie
Minogue</i></b>. “<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Leos Carax</i></b> is a masterful filmmaker," said I<b style="mso-bidi-font-weight: normal;">ndomina </b>Chairman and CEO <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Jasbinder
Singh Mann</i></b> in a release announcing the acquisition. "His unique,
singular vision is something that cannot be overlooked in today’s marketplace.
The film really stays with you after you’ve left the cinema – a testament to
not only a brilliant story but amazing direction and performances." <b style="mso-bidi-font-weight: normal;">Indomina </b>was launched in 2008 and is
based in Los Angeles and in the Dominican Republic. It is involved in the
production and distribution of motion pictures, television, music and
interactive games, and relies heavily on a transmedia approach.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Magnolia Pictures</b>
had picked up the U.S. distribution rights for <b style="mso-bidi-font-weight: normal;">THE HUNT</b>, the latest film from Danish dogme director <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Thomas
Vinterberg</i></b>. The film, which screened in the competition section at the <b style="mso-bidi-font-weight: normal;">Cannes Film Festival</b>, won a <i style="mso-bidi-font-style: normal;">Best Actor</i> prize for its lead, Danish
actor <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Mads Mikkelsen</i></b>. In the film, he stars as an ordinary man who
fights against a lie of child abuse that threatens to destroy his life. Written
by <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Vinterberg
</i></b>and <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Tobias Lindholm</i></b>, the film also won the <i style="mso-bidi-font-style: normal;">Ecumenical Jury Award</i>. The film is slated for a late year release,
with a considerable campaign to be put in place to push for a <i style="mso-bidi-font-style: normal;">Best Actor</i> nod from the Oscars for <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Mikkelsen’s
</i></b>dynamic performance. <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Eamonn Bowles</i></b>, President of <b style="mso-bidi-font-weight: normal;">Magnolia Pictures</b>, commented in a
release that “<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Thomas Vinterberg</i></b> demonstrates his directorial mastery in his
finest work since <b style="mso-bidi-font-weight: normal;">THE CELEBRATION</b>
and <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Mads
Mikkelsen's</i></b> performance more than validates his <i style="mso-bidi-font-style: normal;">Best Actor Award</i> at <b style="mso-bidi-font-weight: normal;">Cannes</b>."</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9BiYaTmNjSbJ_cWdFNlRe3witRY_CwCk-Nt0K-4NoWzhOpFdwo4HHj99AB-nQVK3HcXhZSWh3oCKGX9Vb7zJNgVH4DIPd5_LxGVbfWRMuHte5wfKbfGzHjt5dHPAV8DAba2MWL7dMqBE/s1600/REALITY.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9BiYaTmNjSbJ_cWdFNlRe3witRY_CwCk-Nt0K-4NoWzhOpFdwo4HHj99AB-nQVK3HcXhZSWh3oCKGX9Vb7zJNgVH4DIPd5_LxGVbfWRMuHte5wfKbfGzHjt5dHPAV8DAba2MWL7dMqBE/s320/REALITY.jpg" width="320" /></a></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Oscilloscope
Laboratories</b> has acquired U.S. rights to Italian director <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Matteo
Garrone's</i></b> <b style="mso-bidi-font-weight: normal;">REALITY</b>, a film in
the <b style="mso-bidi-font-weight: normal;">Cannes </b>main competition about a
Neapolitan fishmonger whose life is turned upside-down when he thinks he's
going to appear on a reality-television show. The film went on to win the <i style="mso-bidi-font-style: normal;">Grand Prix</i> award at the Festival and
generated a good amount of controversy once it was learned that its lead <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Aniello
Arena</i></b> is a convicted felon who is serving a life sentence for murder.
Apparently, the untrained actor was allowed to film during the day provided he
returned to his prison cell each evening. While there was buzz that he would be
allowed to walk the red carpet or attend the award ceremonies, that never
materialized. In a release announcing the acquisition, <b style="mso-bidi-font-weight: normal;">Oscilloscope's</b> <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">David Laub called</i></b> the film "a
complex, provocative, and deeply compelling look at our media-obsessed culture,
executed by one of the most interesting and talented filmmakers working today. <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Garrone
</i></b>pays homage to classical filmmakers such as <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Fellini </i></b>and <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Scorsese</i></b>
while crafting a fresh and very relevant contemporary story." The
director’s previous film <b style="mso-bidi-font-weight: normal;">GOMORRAH</b>
(2008), a blistering drama of the continuing influence of the Mafia in the
social fabric of Italy’s southern provinces, was a major international arthouse
hit. <b style="mso-bidi-font-weight: normal;">Oscilloscope</b> plans to showcase
the new film at additional festivals throughout the fall, and to follow with a
theatrical, DVD and digital release in 2013.</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm7xDapmF-ZaoHFsz2KVdXD5x_L6Vx2uA-GJtRoDlODtk6D-YoBd67yWkgbIJd91bPZTcyVUwgiGRwhhjnQntgaXuFH0iIpHkF9lMR1WQZMpEiSwICB-Lu9UMr42G0FAo2aq85dQI_nlY/s1600/ON+THE+ROAD.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm7xDapmF-ZaoHFsz2KVdXD5x_L6Vx2uA-GJtRoDlODtk6D-YoBd67yWkgbIJd91bPZTcyVUwgiGRwhhjnQntgaXuFH0iIpHkF9lMR1WQZMpEiSwICB-Lu9UMr42G0FAo2aq85dQI_nlY/s320/ON+THE+ROAD.jpg" width="234" /></a></div>
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Sundance Selects</span></b><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">
has had a busy buying season at the <b style="mso-bidi-font-weight: normal;">Cannes
Film Festival</b>. The company, a specialty arm of <b style="mso-bidi-font-weight: normal;">IFC Films</b>, has acquired some of the Festival’s most notable titles.
Its latest pickup is <b style="mso-bidi-font-weight: normal;">SOMEONE IN LOVE </b>by
Iranian director and former <i style="mso-bidi-font-style: normal;">Palme d’Or</i>
winner <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Abbas Kiarostami</i></b>. The film, which made its world premiere in
competition last week at <b style="mso-bidi-font-weight: normal;">the Cannes Film
Festival</b>, is an homage to classic Japanese films of the 1950s<span style="mso-spacerun: yes;"> </span>and 1960s that emphasized humanistic stories
and minute detail in a hypnotic observational style…..clearly an influence for
the director in his own oeuvre. Starring <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Rin Takanashi, Tadashi Okuno </i></b>and <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Ryo
Kase</i></b>, the new film explores the sudden relationship of a young woman
and old man in Tokyo. <b style="mso-bidi-font-weight: normal;">Sundance Selects</b>
has also acquired the domestic rights to <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Ken Loach’s</i></b> rare comic farce <b style="mso-bidi-font-weight: normal;">THE ANGELS’ SHARE</b>. The film chronicles
Robbie, a Scottish youth trying to avoid prison, who sneaks into a maternity
hospital to visit his girlfriend and newborn son. This marks the fourth time <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Loach</i></b>
and <b style="mso-bidi-font-weight: normal;">Sundance Selects</b> have worked
together. One of those projects, <b style="mso-bidi-font-weight: normal;">THE
WIND THAT SHAKES THE BARLEY</b>, won the <i style="mso-bidi-font-style: normal;">Palme
d’Or</i> and was the most successful of <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Loach’s </i></b>films at the U.S. domestic
box office. Earlier in the Festival, <b style="mso-bidi-font-weight: normal;">IFC
Films/Sundance Selects</b> acquired another Cannes title, the adaptation of the
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Jack
Kerouac</i></b> beat novel <b style="mso-bidi-font-weight: normal;">ON THE ROAD</b>,
directed by <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Walter Salles</i></b>, and was represented at the Festival with
previous acquisitions <b style="mso-bidi-font-weight: normal;">BEYOND THE HILLS</b>
by Romanian New Wave auteur <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Cristian Mungiu</i></b>, American indie
title <b style="mso-bidi-font-weight: normal;">GIMME THE LOOT</b> by <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Adam
Leon</i></b>, the <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Stanley Kubrick</i></b> documentary <b style="mso-bidi-font-weight: normal;">ROOM 237</b> by <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Rodney Ascher </i></b>and the buddy comedy <b style="mso-bidi-font-weight: normal;">SIGHTSEERS </b>by <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Ben Wheatley</i></b>.</span><br />
<div class="MsoNormal">
<br /></div>Sandy Mandelbergerhttp://www.blogger.com/profile/04567331617533922683noreply@blogger.com8tag:blogger.com,1999:blog-1835996145034589181.post-28373556610702256482012-05-30T16:10:00.003+02:002012-05-30T16:14:19.785+02:00Cannes Deal Report<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyxsVGZdH4FDtFMwh7cI_SVQ2XqsG2_pRBvD3K2ECDhlkwFqJoDEIYO_nJygKj1X8RgQ7Dr1FzzC6lAaBWUoLt0GkZzs471QTagruDu0nsVuxOU8SR6qiSK-5rBaXVQCsmkxjtwSDeNrg/s1600/AMOUR+poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyxsVGZdH4FDtFMwh7cI_SVQ2XqsG2_pRBvD3K2ECDhlkwFqJoDEIYO_nJygKj1X8RgQ7Dr1FzzC6lAaBWUoLt0GkZzs471QTagruDu0nsVuxOU8SR6qiSK-5rBaXVQCsmkxjtwSDeNrg/s320/AMOUR+poster.jpg" width="231" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifFxgCDbVjqI7t67dztBPNrxTi-9T49m8awJ5PJzTc2-Bx6l991f0cvHV74GvQAu_BI5ajHsFC06W0y0DFslyBQsI_fxll6WzLib7bxoLOCZhUHoPnHDnpbq2GruozZ5T-GOn_LcmLZOA/s1600/Jean-Louis+Trintingnant+and+Emanuelle+Riva+in+AMOUR.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
<i><b>by Sandy Mandelberger, North American Editor</b></i><br />
<br />
While sales at this year's <b>Cannes Film Festival </b>seemed to be as soggy as the weather, some of the strongest titles to emerge from this year's event have found North American distribution and will be gracing theater screens in the months to come. Most significantly, the <i>Palme d'Or</i> winner <b>AMOUR </b>is expected to receive a big build up by specialty distributor <b>Sony Pictures Classics</b>, which will release the film amidst the end of the year awards season. It is expected that the film, the second to win director <i><b>Michael Haneke</b></i> the prestigious prize, will be a major player in the <b>Academy Awards </b>race, not only for <i>Best Foreign Language Film</i>, but possibly for <i>Best Film</i> and <i>Best Directo</i>r (and don't count out acting awards for its two veteran leads <i><b>Jean-Louis Trintignant </b></i>and <i><b>Emmanuelle Riva</b></i>).<br />
<br />
<b>Sony Pictures Classics</b> has also said <i>si </i>to <b>NO</b>, picking up all North American rights to the Chilean drama starring Mexican heartthrob <b><i>Gael Garcia Bernal</i></b>. The film, directed by <b><i>Pablo Larrain</i></b>, premiered in the prestigious <b>Directors’ Fortnight</b> section. In the historic drama, based on a true story, <b><i>Bernal</i></b> plays an advertising executive who spearheads an ad campaign aimed at ousting Chilean dictator <b><i>Augusto Pinochet.</i></b> <b>Sony Pictures Classics</b> has also acquired all North American rights to Danish director <b><i>Susanne Bier’s</i></b> latest film, <b>LOVE IS ALL YOU NEED</b>, a romantic comedy set in Sorrento, Italy starring <b><i>Pierce Brosnan, Trine Dyrholm </i></b>and <b><i>Paprika Steen</i></b>. <b>SPC </b> released <b><i>Bier’s</i></b> previous film, <b>IN A BETTER WORLD</b>, which won the <i>Best Foreign Language Oscar. </i><br />
<br />
<b>Strand Releasing</b> has picked up U.S. distribution on two high profile films screening in the official sections at <b>Cannes</b>. The company has bought rights to Turkish/German director <b><i>Fatih Akin’s</i></b> documentary <b>GARBAGE IN THE GARDEN OF EDEN</b>,
an eco-doc that charts the ecological disaster that has affected a
Turkish village on the eastern shore of the Black Sea. The director,
best known for his 2007 drama <b>THE EDGE OF HEAVEN</b> which won a <i>Best Screenplay</i> prize at <b>Cannes </b>that
year, has not produced a strictly straightforward non-fiction film. He
moves deftly between documentary realism and heightened fiction, to
capture the villagers’ struggle to combat the polluted spillover from a
newly built garbage dump in the hills above them. <b>Strand</b> is also reuniting with celebrated Thai director <b><i>Apichatpong Weerasethakul</i></b>, whose medium length essay film <b>MEKONG HOTEL</b> premiered this week as a special screening. The company worked with the director on the existential drama <b>UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES</b>, which won the <i>Palme d’Or</i> in 2010.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJC8Bq5ZxXJnO48RdCO5lB9R3Hf_EJJEKHbVcOehh-mCCXKeGTBl7In4JW2F-90uE97j9Ipt-tLYCUVhPCHeYej_c2loEjlLad0hjCrDsSyJb3oPL9ASHkcP6zvJGcHzzZGIGC_6Hw1uQ/s1600/THE+HUNT.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJC8Bq5ZxXJnO48RdCO5lB9R3Hf_EJJEKHbVcOehh-mCCXKeGTBl7In4JW2F-90uE97j9Ipt-tLYCUVhPCHeYej_c2loEjlLad0hjCrDsSyJb3oPL9ASHkcP6zvJGcHzzZGIGC_6Hw1uQ/s320/THE+HUNT.jpg" width="239" /></a></div>
<br />
<i><b>Thomas Vinterberg’s</b></i> newest film <b>THE HUNT</b> has been picked
up for US distribution through by <b>Magnolia Pictures. </b>The film won the <i>Best Actor</i> prize for its lead Danish actor <i><b>Mads
Mikkelsen. </b></i><br />
<i><b>
Written by Thomas Vinterberg and Tobias Lindholm, the film tells the
story of a man who fights </b></i>against a lie of child abuse that threatens
to destroy his life. The film also won the <i>Ecumenical
Jury Award.</i> A late 2012 release in theaters and day-and-date VOD platforms is expected.<br />
<br />
<br />
<div class="wp-caption alignright" id="attachment_7207" style="width: 259px;">
<div class="wp-caption-text">
</div>
</div>
<b>Samuel Goldwyn Films</b> has acquired U.S. rights to <b>RENOIR</b>, a love story about 19<sup>th </sup>century French painter <b><i>Pierre-Auguste Renoir</i></b>, his son, film director <b><i>Jean Renoir</i></b>, and the young woman who inspired them both. Based on a true story and starring <b><i>Michel Bouquet, Vincent Rottiers</i></b> and <b><i>Christa Theret</i></b>, <b>RENOIR </b>is set on the French Riviera in 1915, after <b><i>Pierre-Auguste Renoir</i></b> had lost his wife and his son had been wounded in battle in World War I. A young woman named <b><i>Andrée</i></b> becomes the painter’s last model, and also inspires the recovering <b><i>Jean Renoir</i></b> to become a filmmaker. The film will screen this weekend as the closing night attraction in the <b>Un Certain Regard</b> section. <b>Goldwyn</b> plans a spring 2013 release.<br />
<br />
<br />
<br />Sandy Mandelbergerhttp://www.blogger.com/profile/04567331617533922683noreply@blogger.com9tag:blogger.com,1999:blog-1835996145034589181.post-63333121835285108382012-05-14T17:30:00.003+02:002012-05-14T17:30:48.911+02:00Toasting Noel Coward At Lincoln Center<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdk8d9Vc7cyYQV9H9AT8AhgiMiGl4998KXFu6_hzB6Xl8UhLJjmWy9iEf28wEJaU-oLwHFWoZ-fUf-Na93WXcDTx2Q6UxVhPlRu5Mk4Ht8_p1JUFDnEqNP3ijWRept5_SCSagpeoaINhA/s1600/Noel+Coward.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdk8d9Vc7cyYQV9H9AT8AhgiMiGl4998KXFu6_hzB6Xl8UhLJjmWy9iEf28wEJaU-oLwHFWoZ-fUf-Na93WXcDTx2Q6UxVhPlRu5Mk4Ht8_p1JUFDnEqNP3ijWRept5_SCSagpeoaINhA/s320/Noel+Coward.jpg" width="320" /></a></div>
<i><b>by Sandy Mandelberger, North American Editor</b></i><br />
<br />
Theater and film bon vivant <strong><em>Noel Coward</em></strong> would have loved his gilt-edged tribute at the <strong>Film Society of Lincoln Center</strong> in New York this weekend<strong>. COWARD ON FILM</strong>, which ran May 11 to 13, will run in conjunction with the ongoing citywide festival <strong>STAR QUALITY: THE WORLD OF NOËL COWARD</strong>,
honoring the British playwright, actor, director and composer. The
series will trace the breadth of his film work, which ranges from
British silent and sound adaptations of his early plays to the later
prestige productions of his works made in Hollywood. “I’m not very keen
on Hollywood”, the great wit once quipped. “I’d rather have a nice cup
of cocoa.” Among the highlights of the series are his two masterworks: <strong>IN WHICH WE SERVE</strong> (1942), one of the greatest war films ever made, which was written, scored and co-directed (with <strong><em>David Lean</em></strong>) by <strong><em>Coward</em></strong>, who also starred in the film; and <strong>BRIEF ENCOUNTER</strong> (1946), one of the great screen romances. “<strong><em>Noël Coward’s</em></strong>
enormous gifts were spread across an extraordinary range of activities
and media–from theater to film to acting to composing to singing”, FSLC
Program Director <strong><em>Richard Peña</em></strong> commented.
“We’re delighted to be part of this long-deserved tribute to this
“one-man Lincoln Center,” presenting the best of his cinematic
achievements.” For a complete schedule of films and events, visit: <a href="http://www.filmlinc.com/" target="_blank"><b>w</b><b>ww.filmlinc.com</b></a>Sandy Mandelbergerhttp://www.blogger.com/profile/04567331617533922683noreply@blogger.com9tag:blogger.com,1999:blog-1835996145034589181.post-23565272418556839842012-05-09T21:03:00.002+02:002012-05-09T21:03:41.151+02:00Sony Pacts With Haneke<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy3jUtX4tRZ0yD7Ym26P65PLrU6Z5dThMRuvtHpXwNcZmvUUsflkEUHBo9LuT-JO9g7l9JZPpuynuy4wZwTFwndUCXU507Mdug1l72dhn7Vh4BUSXUUqnE2J8qSOszEWoJ0SL-0cxtzFc/s1600/Michael+Haneke.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy3jUtX4tRZ0yD7Ym26P65PLrU6Z5dThMRuvtHpXwNcZmvUUsflkEUHBo9LuT-JO9g7l9JZPpuynuy4wZwTFwndUCXU507Mdug1l72dhn7Vh4BUSXUUqnE2J8qSOszEWoJ0SL-0cxtzFc/s320/Michael+Haneke.jpg" width="320" /></a></div>
<i><b>by Sandy Mandelberger, North American Editor</b></i><br />
<br />
<strong>Sony Pictures Classics</strong> has acquired all North American rights to the latest film from Oscar nominee <strong><em>Michael Haneke</em></strong>. The Austrian director’s latest film <strong>AMOUR</strong> stars <strong><em>Jean-Louis Trintignant</em></strong> (<strong>Z, THE CONFORMIST</strong>), <strong><em>Emmanuelle Riva</em></strong> (<strong>HIROSHIMA MON AMOUR</strong>), and <strong><em>Isabelle Huppert</em></strong> (<strong>THE PIANO TEACHER, 8 WOMEN</strong>). In the film, Georges (<strong><em>Trintignant</em></strong>) and Anne (<strong><em>Riva</em></strong>) are in their eighties. They are cultivated, retired music teachers. Their daughter (<strong><em>Huppert</em></strong>),
who is also a musician, lives abroad with her family. One day, Anne
has an attack. The couple’s bond of love is severely tested. <strong>AMOUR</strong> will mark the third film between <strong><em>Haneke</em></strong> and <strong>Sony Pictures Classics</strong>. The previous titles include <strong>CACHÉ</strong> and 2009 Palme d’Or winner <strong>THE WHITE RIBBON</strong>. “<strong>AMOUR</strong> once again confirms <strong><em>Michael Haneke’s</em></strong>
place as one of the world’s finest filmmakers. American audiences are
in for a moving experience”, the company announced in a statement.Sandy Mandelbergerhttp://www.blogger.com/profile/04567331617533922683noreply@blogger.com8tag:blogger.com,1999:blog-1835996145034589181.post-53866641123462994742012-05-08T00:32:00.000+02:002012-05-08T00:32:46.688+02:00Hommage To Werner Schroeter<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhny0AdsdWjHLvAq2WHR5leyOWbPNzdsvMj0v2Ks6iWyrm5nKtjlvE7J2qn3FsmIQp_yMHXcXTwyTNHQqjWIN5LZSq6lFyzd9hFhl189IPbpFK9mcih4wixV94NVgp3HlZhl-whYA7JeSs/s1600/Werner+Schroeter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhny0AdsdWjHLvAq2WHR5leyOWbPNzdsvMj0v2Ks6iWyrm5nKtjlvE7J2qn3FsmIQp_yMHXcXTwyTNHQqjWIN5LZSq6lFyzd9hFhl189IPbpFK9mcih4wixV94NVgp3HlZhl-whYA7JeSs/s320/Werner+Schroeter.jpg" width="320" /></a></div>
<br />
<br />
<i><b>by Sandy Mandelberger, North American Editor</b></i><br />
<br />
<br />
<div class="MsoNormal">
The <b>Museum of Modern
Art</b> in New York, in association with the <b style="mso-bidi-font-weight: normal;">Munich
Film Museum</b> and the <b style="mso-bidi-font-weight: normal;">Goethe-Institut
New York</b>, will present the first comprehensive North American retrospective
of German film, theater, and opera director <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Werner Schroeter</i></b>. The
program, which runs from May 11 to June 11, includes 40 feature films and rare
early experimental shorts, very few of which have had theatrical releases in
the United States. <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Schroeter's</i></b> filmic approach was extremely influential on his
German contemporaries <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Rainer Werner Fassbinder, Rosa von
Praunheim, Hans-Jurgen Syberberg, Daniel Schmid, Ulrike Ottinger, Wim Wenders</i></b>,
and <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Werner
Herzog</i></b>. He also worked with an eclectic group of acting talents
including <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Isabelle Huppert, Bulle Ogier, Candy Darling</i></b>, and his muse and
superstar <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Magdalena Montezuma</i></b>, from whom he drew some of their greatest
performances. Inspired by the divas of silent-era cinema, <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Schroeter </i></b>strove for an
authenticity of feeling through extreme emotions, reaching a point, he said, of
"musical and gestural excess." Mixing kitsch with high art, his
visual exercises were intoxicating to the eye, ear and the imagination of the
audience. For more information on the series, visit: <a href="http://www.moma.org/"><b style="mso-bidi-font-weight: normal;">www.moma.org</b></a></div>Sandy Mandelbergerhttp://www.blogger.com/profile/04567331617533922683noreply@blogger.com8tag:blogger.com,1999:blog-1835996145034589181.post-55923726007554583682012-04-30T05:03:00.002+02:002012-04-30T05:03:13.832+02:00Turkish Cinema At Lincoln Center<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHf9HMRDqrC6Qbxc4vf5jqq8iOSTNZlZ3XdUhlqJ9mOZuL1pi1mblcFOcvFCOzx3B96MB1xDaJa0wlliHIOTc7_821biffTeD33UgOhIrxwuguo7pd-yfAfPv9-YRsqcMpiLQlL_o6QFA/s1600/CAN.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHf9HMRDqrC6Qbxc4vf5jqq8iOSTNZlZ3XdUhlqJ9mOZuL1pi1mblcFOcvFCOzx3B96MB1xDaJa0wlliHIOTc7_821biffTeD33UgOhIrxwuguo7pd-yfAfPv9-YRsqcMpiLQlL_o6QFA/s320/CAN.jpg" width="320" /></a></div>
<div style="text-align: center;">
</div>
<b> CAN</b><b> (</b><span style="font-family: "Arial","sans-serif";"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Raşit Çelikezer, Turkey)</i></b></span><br />
<br />
<br />
<br />
<b>by Sandy Mandelberger, North American Editor</b><br />
<br />
<br />
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>X-NONE</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin-top:0in;
mso-para-margin-right:0in;
mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0in;
line-height:115%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
</style>
<![endif]-->
<br />
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Starting this
past Friday and running through May 10, the <b style="mso-bidi-font-weight: normal;">Film Society of Lincoln Center</b> is presenting an ambitious survey of
contemporary and classic cinema from Turkey. <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">The Space Between: A Panorama of
Cinema in Turkey </i></b>is the largest retrospective of films from Turkey to
be presented in the United States. The retrospective is produced by T<b style="mso-bidi-font-weight: normal;">he Moon and Stars Project</b> of <b style="mso-bidi-font-weight: normal;">The American Turkish Society</b> and the <b style="mso-bidi-font-weight: normal;">Film Society of Lincoln Center.</b> Opening
the festivities last week was the New York premiere of <b style="mso-bidi-font-weight: normal;">CAN</b> (2011) directed by <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Raşit Çelikezer.</i></b> The film was
Turkey’s first ever entry at the <b style="mso-bidi-font-weight: normal;">Sundance
Film Festival</b>, receiving the <i style="mso-bidi-font-style: normal;">Special
Jury Prize for Artistic Vision.</i> This modern day love story, based in
Istanbul, relates a heart wrenching tale of a young couple faced with
infertility, who plot to illegally buy a child. The Closing Night film will be <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Özcan
Alper’s</i></b> <b style="mso-bidi-font-weight: normal;">THE FUTURE LASTS FOREVER</b>
(2011), the story of an Istanbul music student who travels the country to
record traditional music and confront her past. “Turkey has an extraordinarily
rich cinematic tradition that, despite the growing importance of that country
on the world stage, has remained largely unknown to even the most dedicated
American film goers”, opined Program Director of the Film Society of Lincoln <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Center
Richard Peña</i></b>. “This 29-film series focuses especially on the many
socially-engaged works--works often made under difficult and even dangerous
conditions--that offered a counterpoint to Turkey's prolific commercial
cinema.” For a complete description of the entire program, visit: </span><a href="http://www.filmlinc.com/"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif";">www.filmlinc.com</span></b></a><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial","sans-serif";"></span></b></div>Sandy Mandelbergerhttp://www.blogger.com/profile/04567331617533922683noreply@blogger.com7tag:blogger.com,1999:blog-1835996145034589181.post-18259474117441368732012-04-27T15:56:00.001+02:002012-04-27T15:56:22.116+02:00A French Flavor At Tribeca FF<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLVLa0H7f7-_gCTSgWeqJ1-45biOta9kis4IRSA2rb_bWAPvg8S9WX09Uk1pCTBS-GBGbL17mQBo2mOjHIhU-AxUpvhwVCncZ45qGg4IBDx7WU1a0CKr8zpN4MiRjOKLrMnI8n-L4dYBo/s1600/2+DAYS+IN+NEW+YORK.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLVLa0H7f7-_gCTSgWeqJ1-45biOta9kis4IRSA2rb_bWAPvg8S9WX09Uk1pCTBS-GBGbL17mQBo2mOjHIhU-AxUpvhwVCncZ45qGg4IBDx7WU1a0CKr8zpN4MiRjOKLrMnI8n-L4dYBo/s320/2+DAYS+IN+NEW+YORK.jpg" width="240" /></a></div>
<i><b>by Sandy Mandelberger, North American Editor</b></i><br />
<br />
New Yorkers’ continued love affair with French cinema is evidenced by a strong representation of French films at this year’s <strong>Tribeca Film Festival</strong>. Among the feature highlights are <strong>2 DAYS IN NEW YORK</strong>, actress/director <strong><em>Julie Delpy’s</em></strong> comedy of cultural errors that co-stars <strong><em>Chris Rock</em></strong>; <strong>A BETTER LIFE</strong>, a gritty romance about the passionate love of an idealistic chef and a single mother as presented by director <strong><em>Cedric Kahn</em></strong>; <strong>CHICKEN WITH PLUMS</strong>,
a morality tale about an Iranian man who loses himself in reveries of
his youth, from the team that created the Oscar nominated film <strong>PERSEPOLIS</strong>; <strong>ELLES</strong>, a sexually charged drama that stars <strong><em>Juliette Binoche</em></strong> as a journalist investigating the phenomenon of nice college girls moonlighting as prostitutes; <strong>POLISSE</strong>,
a gritty tale of the daily grind for a motley band of cops in the
Juvenile Protection Unit who confront abusive parents, child molesters,
traumatized kids and oversexed teens as part of their daily routine; and
<strong>SLEEPLESS NIGHT</strong>, an adrenaline-fueled policier about a
cop who steals a bag of cocaine and whose son is held for ransom by the
mob boss it belongs to.Sandy Mandelbergerhttp://www.blogger.com/profile/04567331617533922683noreply@blogger.com4tag:blogger.com,1999:blog-1835996145034589181.post-67780535332108938632012-04-25T16:56:00.000+02:002012-04-25T16:58:45.862+02:00Brits Shine At Tribeca FF<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi24RSoBWhKE9hBHTeVDh0DKIe3Aj-5v4q6mIC1EsEKyR3U-XEqK5zdcF_y4SUXljy7cTedbDGKFBp3TJ47_Pte7Rp2Wcpnl1tMv3Oi1pCZkMF4bXqiOg_VMlnUx6XgzP0J7Lw2Gp7c3-w/s1600/Hysteria.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi24RSoBWhKE9hBHTeVDh0DKIe3Aj-5v4q6mIC1EsEKyR3U-XEqK5zdcF_y4SUXljy7cTedbDGKFBp3TJ47_Pte7Rp2Wcpnl1tMv3Oi1pCZkMF4bXqiOg_VMlnUx6XgzP0J7Lw2Gp7c3-w/s320/Hysteria.jpg" width="320" /></a></div>
<br />
<b>by Sandy Mandelberger, North American Editor</b><br />
<br />
<br />
Three British feature films are making their premieres at this week’s <b>Tribeca Film Festival.</b> <b>CHEERFUL WEATHER FOR THE WEDDING</b>, directed and written by <b><i>Donald Rice</i></b>, is a world premiere. In this lighthearted relationship comedy, a woman (<b><i>Felicity Jones</i></b>) on the morning of her wedding, hides out and dreams of the idyllic summer before. Her scatterbrained mother (played by <b>DOWNTOWN ABBEY’s</b> <b><i>Elizabeth McGovern</i></b>)
has set all the wedding arrangements, but even she can’t prepare
everyone for the arrival of her daughter’s unpredictable best friend,
played with great charm by <b><i>Luke Treadaway.</i></b><i><b> </b></i>Other UK features making their U.S. premieres are <b>HYSTERIA</b>, a <b>Sony Pictures Classics</b> release of a feminist fable set in ninteenth<sup></sup> century London. In the story, based on an award-winning stage play, <b><i>Maggie Gyllenhaal</i></b> plays a feminist whose melancholy is solved by an electro-mechanical vibrator invented by a progressive young doctor played by <b><i>Hugh Dancy</i></b>. As more society women discover this unexpectedly thrilling cure, filmmaker <b><i>Tanya Wexler</i></b> makes a telling commentary on the eternal battle of the sexes.<br />
<br />
In <b>TRISHNA</b>, celebrated film director <b><i>Michael Winterbottom</i></b> adapts ninteenth century novelist <b><i>Thomas Hardy’s</i></b> classic Victorian melodrama <i>Tess of the D’Ubervilles</i>
to contemporary India. In the beautifully shot film, a budding romance
develops between an Indian peasant woman and the son of a wealthy
Englishman. The radiant <b><i>Freida Pinto</i></b> (<b>SLUMDOG MILLIONAIRE</b>)
stars in this intense drama about prejudice and class divisions. Six
short films from the UK are also included in the Festival’s many short
film programs.Sandy Mandelbergerhttp://www.blogger.com/profile/04567331617533922683noreply@blogger.com7tag:blogger.com,1999:blog-1835996145034589181.post-50013659675642953582012-04-23T16:59:00.001+02:002012-04-23T16:59:57.333+02:00Tribeca Film Festival Available Online<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVti3RrJOTIAJakz09-pCUfC5Anws_7YnJ47BYXzhm8JEYDzd94Igam7RZz3R3CTkP1-XeIy_qLXltKJH660lwDWFK7QFuIIhXZDKOIWs_lV8bP-VX2h2WcwzfmNarenwRUNLV9XZw5v8/s1600/2012+Tribeca+Film+Festival.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVti3RrJOTIAJakz09-pCUfC5Anws_7YnJ47BYXzhm8JEYDzd94Igam7RZz3R3CTkP1-XeIy_qLXltKJH660lwDWFK7QFuIIhXZDKOIWs_lV8bP-VX2h2WcwzfmNarenwRUNLV9XZw5v8/s320/2012+Tribeca+Film+Festival.jpg" width="320" /></a></div>
<b>by Sandy Mandelberger, North American Editor</b><br />
<br />
If you cannot make it to New York for this week’s <strong>Tribeca Film Festival</strong>, you can experience some of the films and most of the highlights via your computer or mobile device. The <strong>Tribeca Online Film Festival</strong>, presented by founding partner <strong>American Express</strong>, offers the <strong>TFF </strong>experience
across digital platforms, allowing domestic audiences to view select
feature and short films for free, including four world-premiere features
to be streamed just after their <strong>TFF</strong> theatrical
premieres. Audiences across the country will get front row access to the
exclusive Festival content and hear filmmakers and industry leaders
talking about the future of the industry as <strong>TFF’s </strong>11th edition runs concurrently in lower Manhattan from April 18 to 29. The 2012 <strong>Tribeca Online Film Festival</strong> offers film enthusiasts new avenues to experience the film festival. Audiences will get to vote, via <a href="http://www.tribecaonline.com/" target="_blank"><strong>www.tribecaonline.com</strong></a>,
on the best online feature and short, with winners receiving a total of
$16,000 in prize money. Winners will be announced at the <strong>Tribeca Film Festival Awards</strong>
on April 26. There will also be a social voting competition, based
solely on popularity: the number of “likes” that film accrues on the <strong>Tribeca Online Film Festival</strong> film detail page. The feature film and the short film that drive the most <strong>Facebook</strong> likes on the page will each receive a separate $500 prize. Winners will be announced on April 30.Sandy Mandelbergerhttp://www.blogger.com/profile/04567331617533922683noreply@blogger.com3tag:blogger.com,1999:blog-1835996145034589181.post-42934720387713987602012-04-18T19:42:00.003+02:002012-04-23T16:58:03.933+02:00The Return Of Whit Stillman<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZqVtO5JMAfr05I-Vwua5BoOaWBnMMk6wlM0DtYg8hQRaO0B7WALLwilsV-l9Jvmp3zfxzavB8DuLFIdAk6qzudCis9pSl7T_uA_nFbtGZXHLzAFkCJCQk57XWIJwUfQ57qrPnAR1cEPo/s1600/Whit+Stillman.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 306px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZqVtO5JMAfr05I-Vwua5BoOaWBnMMk6wlM0DtYg8hQRaO0B7WALLwilsV-l9Jvmp3zfxzavB8DuLFIdAk6qzudCis9pSl7T_uA_nFbtGZXHLzAFkCJCQk57XWIJwUfQ57qrPnAR1cEPo/s400/Whit+Stillman.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5732798728219214482" /></a><br /><span style="font-weight:bold;">by Sandy Mandelberger, North American Editor</span><br /><br />After a nearly decade and a half hiatus from the filmmaking scene, writer/director <span style="font-weight:bold;">Whit Stillman</span>, one of the leading lights of the American indie movement in the 1990s, is back with a vengeance with his newest film <span style="font-weight:bold;">DAMSELS IN DISTRESS</span>. The film, which opened via <span style="font-weight:bold;">Sony Pictures Classics</span> in U.S. theaters this past weekend, mines the familiar territory of the haute bourgeoisie and the privileged few that <span style="font-weight:bold;">Stillman</span> has examined since his first film. The film has been warmly received by critics and a new audience that will ultimately see the new project as a continued exploration of a certain caste of American society. What happened to the celebrated director in the past 15 years is a fascinating story unto itself.<br /><br />But first some background……<span style="font-weight:bold;">Whit Stillman</span> was raised in the upstate New York town of Cornwall, the son of an impoverished debutante (Margaret Riley Stillman) from Philadelphia and a Democratic politician (John Sterling Stillman, an assistant secretary of commerce under President John F. Kennedy from Washington, D.C. A true WASP, he attended Harvard University where he honed his writing skills with humor columns for The Harvard Crimson. After graduating from Harvard in 1973, he began working as a journalist in New York City. He was introduced to some film producers from Madrid and persuaded them that he could sell their films to Spanish-language television in the U.S. He worked for the next few years in Barcelona and Madrid as a sales agent for directors <span style="font-weight:bold;">Fernando Trueba </span>and <span style="font-weight:bold;">Fernando Colomo</span>, and sometimes acted in their films, usually playing comic Americans.<br /><br />He then got the directing bug himself, writing and directing his premiere feature <span style="font-weight:bold;">METROPOLITAN </span>(1990), a celebrated film about the young jet set in New York City, a community he knew much about. In these still formative days of the American indie movement, he had to finance the film by selling his New York City apartment (for $50,000) and with the contributions of friends and relatives. Loosely based on real-life events, <span style="font-weight:bold;">METROPOLITAN</span> tells the tale of the alienated Princetonian Tom Townsend’s introduction to the “Sally Fowler Rat Pack”, a small group of preppy Upper East Side Manhattanites making the rounds at debutante balls during Christmas break of their first year in college. Though he is a socialist deeply skeptical about upper-class values, Tom (Edward Clements) grows increasingly attached to the cynical Nick (Chris Eigeman) and plays an important part in the life of Audrey (Carolyn Farina), a young debutante. Many of the exclusive interior locations were lent to Stillman by family friends and relatives. For his work, the fledgling writer/director was nominated for an Academy Award in 1991 for Best Original Screenplay and was nominated for the Grand Jury Prize at the 1990 Sundance Film Festival. He won the 1990 New York Film Critics Circle Award for Best New Director.<br /><br />So his film career was off and running. For his second project, he chose another subject close to his heart and experience. <span style="font-weight:bold;">BARCELONA</span> (1994), his first studio-financed film, was inspired by his own experiences in Spain during the early 1980s. In the film, two Americans, Ted and Fred, experience the awkwardness of being in love in a foreign country. The film, while not quite as successful as his first effort, was embraced by critics and a growing public, and Stillman was among those American indies of the 1990s that was fast developing a cult reputation. His third film was 4 years in the making. THE <span style="font-weight:bold;">LAST DAYS OF DISCO</span> (1998) was loosely based on his experiences in various Manhattan nightclubs, including the legendary Studio 54. The film concerns Ivy League and Hampshire graduates falling in and out of love in the disco scene of Manhattan in the early 1980s. It concludes a trilogy loosely based on his own life and contains many references to the previous two films, including some of the characters who appeared in the earlier efforts who are dealing with the anomie of the approaching millennium. In 2000, he published a novelization of the film.<br /><br />After completing his film trilogy, <span style="font-weight:bold;">Stillman</span> departed from the independent film scene and started researching and writing a series of scripts set abroad. He relocated to Paris, spent time in Spain and did not return to America until 2010. There was broad speculation about his reasons for leaving the U.S., including a visceral response to the events of 9-11 (by now he had a family) but he also had tired of the struggle of raising finances and promoting American indie films, in contrast to his European colleagues who could rely on government subsidies and steady work once they had “made it”. However, weary of the ex-patriot life and wanting his children to grow up in America, New York beckoned again and he began writing the script for his fourth film.<br /><br /><span style="font-weight:bold;">DAMSELS IN DISTRESS</span> premiered as the closing film at the 2011 <span style="font-weight:bold;">Venice Film Festival</span> (like many artists before him, Stillman was more appreciated in Europe than his native land). The film has played the international festival circuit and is now being seen by the wider public. The film, which stars <span style="font-weight:bold;">Greta Gerwig, Adam Brody</span> and <span style="font-weight:bold;">Analeigh Tipton</span>, is the story of three young women at an East Coast university and the transfer student who joins their group. It again visits the world of the upper class, privileged and self-important young women who take it as their mission to reform society, men and class values in their own image. Although satiric and written as a comedy, the film also demonstrates that in America, the supposedly classless society, a war between the classes has been taking place for as long as there has been a union. <span style="font-weight:bold;">Stillman’s</span> stoic style speaks volumes about a certain class of people remains unmoved by war, economic malaise or societal changes. Even more important than whether this new film is a box office success (or not), is the fact that <span style="font-weight:bold;">Whit Stillman</span> is back…….with his sharp wit and observant eye as intact as ever.Sandy Mandelbergerhttp://www.blogger.com/profile/04567331617533922683noreply@blogger.com2tag:blogger.com,1999:blog-1835996145034589181.post-88690667096502299872012-04-12T20:28:00.002+02:002012-04-12T20:33:39.973+02:00Kenneth Branagh To Be Feted<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqsrgWxRt87_ks-xdYw9vqR8mpkkQX5DVzLZLawoVgwzXtNJF2nV-N-jvkbQaZj2whh-miMgYjQH7UNbuJ-Yoyx-Snytcgc4fv9FIPTK9mjoUcaVlPyU0ZNQoDIZPKmgCgZZt3N6KWOZo/s1600/Kenneth+Branagh.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 250px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqsrgWxRt87_ks-xdYw9vqR8mpkkQX5DVzLZLawoVgwzXtNJF2nV-N-jvkbQaZj2whh-miMgYjQH7UNbuJ-Yoyx-Snytcgc4fv9FIPTK9mjoUcaVlPyU0ZNQoDIZPKmgCgZZt3N6KWOZo/s400/Kenneth+Branagh.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5730584220110577730" /></a><br /><span style="font-weight:bold;">by Sandy Mandelberger, North American Editor</span><br /><br />The <span style="font-weight:bold;">San Francisco Film Society</span> has announced that British actor/director <span style="font-weight:bold;">Kenneth Branagh<span style="font-style:italic;"></span></span> will be the recipient of the <span style="font-style:italic;">Founder’s Directing Award</span> at the 55th <span style="font-weight:bold;">San Francisco International Film Festival</span>, which takes place from April 19 to May 3. (April 19 – May 3). The FDA will be presented to <span style="font-weight:bold;">Branagh<span style="font-style:italic;"></span></span> at <span style="font-weight:bold;">Film Society Awards Night</span>, Thursday, April 26 at the historic Warfield Theatre. <span style="font-weight:bold;">Branagh<span style="font-style:italic;"></span></span>, who was nominated this past year for a Best Supporting Actor Oscar for his incarnation of <span style="font-weight:bold;">Sir Laurence Olivier <span style="font-style:italic;"></span></span>in the film <span style="font-weight:bold;">MY WEEK WITH MARILYN</span>, will also be honored at <span style="font-weight:bold;">An Evening with Kenneth Branagh</span> at the Castro Theatre at Friday, April 27. An onstage interview and a selection of clips from his impressive directing career will be followed by a screening of <span style="font-weight:bold;">DEAD AGAIN</span> (1991). “We are thrilled to honor <span style="font-weight:bold;">Kenneth Branagh <span style="font-style:italic;"></span></span>for his remarkable directorial achievements and multifaceted career at this year’s Festival,” said <span style="font-weight:bold;">Melanie Blum,</span> the <span style="font-weight:bold;">San Francisco Film Society’s </span>interim executive director.Sandy Mandelbergerhttp://www.blogger.com/profile/04567331617533922683noreply@blogger.com2tag:blogger.com,1999:blog-1835996145034589181.post-77983811894327539552012-04-10T23:39:00.002+02:002012-04-10T23:43:27.026+02:00Tribeca Hosts World Cinema<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNRaw6w0WvfCbk644KpjGqOr3ioKuZuHxioCcWEqrMV0AXv7jdstLZY9oRuyDXXCjQWASKKz6rtxNYMGaa277BDyXB5fquINlWIlt0iztJIou14Wxpsr9TwtrToPTT2dVUycTok8s6hfQ/s1600/2012+Tribeca+Film+Festival.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 203px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNRaw6w0WvfCbk644KpjGqOr3ioKuZuHxioCcWEqrMV0AXv7jdstLZY9oRuyDXXCjQWASKKz6rtxNYMGaa277BDyXB5fquINlWIlt0iztJIou14Wxpsr9TwtrToPTT2dVUycTok8s6hfQ/s400/2012+Tribeca+Film+Festival.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5729890959267585154" /></a><br /><span style="font-weight:bold;">by Sandy Mandelberger, North American Editor</span><br /><br />The 2012<span style="font-weight:bold;"> Tribeca Film Festival (TFF)</span>, which runs from April 18 to 29 at various locations in New York City, is still an event in the process of defining itself. The hiring several months ago of former Cannes Directors Fortnight topper <span style="font-weight:bold;">Frédéric Boyer</span> and the increased programming involvement of <span style="font-weight:bold;">Geoffrey Gilmore</span>, Chief Creative Officer of Tribeca Enterprises, points to the Festival’s ambition to be a major showcase of world cinema. Rounding out the curatorial team are <span style="font-weight:bold;">Genna Terranova</span>, who was promoted to Director of Programming and <span style="font-weight:bold;">Cara Cusumano</span>, who returns as Programmer. <br /><br />While<span style="font-weight:bold;"> TFF</span> is still home to new American films, both indie and Hollywood, it seems to be banking its reputation as a strong showcase of international cinema, which is good news indeed for New Yorkers always on the lookout for hot titles from both known and newly discovered film talents. The 2012 film selection includes feature films from 32 different countries, including 53 World Premieres, 5 International Premieres, 16 North American Premieres, 10 U.S. Premieres and six New York Premieres.<br /><br />Twelve narrative films are competing in the <span style="font-weight:bold;">World Narrative </span>strand, a mix of American and international titles. This article will focus on those films produced outside the borders of the United States. It is interesting that the Festival is mixing international and homegrown productions, but that speaks to its viewpoint of independent film as an international phenomenon that transcends national boundaries. Films in this section compete for the Founders Award for <span style="font-style:italic;">Best Narrative Feature, Best New Narrative Director, Best Actor and Actress, Best Screenplay,</span> and <span style="font-style:italic;">Best Cinematography. </span>The following are the list of non-American films in this section (most with some European coin), with descriptions provided by the Festival:<br /><br /><span style="font-weight:bold;"><br />ALL IN (Daniel Burman, Argentina, International Premiere)<br /></span><br />Professional poker player Uriel has been on a real hot streak—with the ladies—since his marriage fizzled out. But in between growing his online gambling business and helping to raise his kids, Uriel has rediscovered his old pre-marriage flame, Gloria…. Starring the great Valeria Bertuccelli (XXY) and Oscar®-winning songwriter Jorge Drexler, this romantic comedy from Daniel Burman unfolds in the acclaimed director’s signature style: poignant, natural, and bitingly funny.<br /><br /><span style="font-weight:bold;"><br />BEYOND THE HILL (Emin Alper, Turkey/Greece, North American Premiere)</span><br /><br />Faik, a proud old forester, is having trouble with nomads grazing their livestock on his land. For revenge, he and his hulking farm hand Mehmet snatch a goat to butcher for a family holiday, unwittingly sparking a dire blood feud. Debuting Turkish director Emin Alper creates an atmosphere of skin-crawling terror in this psychological drama by withholding, not showing, the escalating acts of violence that hurtle these feuding farmers toward a shocking confrontation.<br /><span style="font-weight:bold;"><br />THE GIRL (David Riker, USA/Mexico, World Premiere)</span><br /><br />From the director of LA CIUDAD comes this moving drama about a single mother (Abbie Cornish) caught in emotional quicksand after losing her job and custody of her son. Desperate to earn cash for her custody battle, she makes the daring choice to help smuggle illegal immigrants over the border. A deep connection to a young Mexican girl will take her on a life-changing journey and force her to confront her past.<br /><br /><span style="font-weight:bold;">POSTCARDS FROM THE ZOO (Edwin, Indonesia, North American Premiere)</span><br /><br />Acclaimed Chinese-Indonesian director Edwin (BLIND PIG WHO WANTS TO FLY) returns with a gorgeous, dreamlike fairy tale set inside Jakarta’s wondrous Ragunan Zoo. Abandoned in the zoo as a little girl and raised among the wild menagerie, Lana finally embarks outside the peculiar confines she has always known—and into the seedier side of Jakarta—when she falls in love with a charming magician.<br /><br /><span style="font-weight:bold;">UNA NOCHE (Lucy Mulloy, UK/Cuba/USA, North American Premiere)</span><br /><br />Fed up with catering to the privileged tourist class, Cuban teens Raul and Elio are tantalized by the promise of a new life in Miami. Accused of assaulting a foreigner, Raul has no choice but to flee, but Elio must decide whether his own escape is worth abandoning his beloved sister. Brimming with the nervous energy of Havana’s restless youth and evocative cinematography of the sun-bleached capital, UNA NOCHE follows one sweltering day, full of hope and fraught with tensions, that burns to a shocking climax.<br /><br /><span style="font-weight:bold;">UNIT 7 (Alberto Rodriguez, Spain, International Premiere)</span><br /><br />UNIT 7 is a semi-official police detail with a seemingly impossible mission: kick Seville’s most vicious drug trafficking ring out of town ahead of a major international expo. By any means necessary. As they slip outside the bounds of the law in the name of duty, two officers fueled by violence, lies, and ambition end up on opposing paths. Spanish superstar Mario Casas (NEON FLESH) stars in this adrenaline-pumping action thriller.<br /><br /><span style="font-weight:bold;">WAR WITCH (Kim Nguyen, Canada, North American Premiere)</span><br /><br />At 14, Komona has lived through horrors that eclipse any adult’s worst nightmares. In this mesmerizing, otherworldly drama, shot entirely in the Congo, she confides to the baby growing inside of her the harrowing story of her life since rebel warlords stormed her village. Fortified by eerily mystical powers and the warming friendship of an albino boy, the sensitive girl battles through this dire, war-ravaged world enchained as a child soldier.<br /><span style="font-weight:bold;"><br />YOSSI (Eytan Fox, Israel, World Premiere)<br /></span><br />Returning to the role that won him TFF’s Best Actor award in Eytan Fox’s YOSSI & JAGGER in 2003, Ohad Knoller is extraordinary as Yossi, a closeted gay man living a solitary existence in Tel Aviv. A chance encounter with a group of soldiers ignites Yossi’s desire to live an open, fulfilling life. Directed with uncommon honesty and compassion by Fox, this is a deeply moving film about the power of second chances.<br />ShareSandy Mandelbergerhttp://www.blogger.com/profile/04567331617533922683noreply@blogger.com4tag:blogger.com,1999:blog-1835996145034589181.post-47863224009231841292012-04-09T17:28:00.003+02:002012-04-09T17:34:20.514+02:00Tribute To French Film Queen<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihBguSbXoRpNWOIIQrLE73AL5dKp8ML_CoRn2IaSekfKM1ggSi8r8ypFG6Ac_8TfE8FA1_SBDFBauQ2IQBIKAhkem2tR7PlAfWQEUs_Bn54bL8WePECgRepjzKzPOLqvwGb7An1xHMf0A/s1600/Catherine+Deneuve+in+BELLE+DU+JOUR.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 303px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihBguSbXoRpNWOIIQrLE73AL5dKp8ML_CoRn2IaSekfKM1ggSi8r8ypFG6Ac_8TfE8FA1_SBDFBauQ2IQBIKAhkem2tR7PlAfWQEUs_Bn54bL8WePECgRepjzKzPOLqvwGb7An1xHMf0A/s400/Catherine+Deneuve+in+BELLE+DU+JOUR.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5729424753387872386" /></a><br /><span style="font-weight:bold;">by Sandy Mandelberger, North American Editor</span><br /><br />The stars and star-struck admirers came out last Monday evening as the <span style="font-weight:bold;">Film Society of Lincoln Center</span> bestowed its annual Chaplin Award tribute to iconic French actress <span style="font-weight:bold;">Catherine Deneuve</span>. Oscar winning actress <span style="font-weight:bold;">Susan Sarandon </span>served as Honorary Chair for this year’s Gala, which raises money for the year round film society, and presenters included such stellar names as M<span style="font-weight:bold;">artin Scorsese, Glenn Close, Chiara Mastroianni, François Ozon, </span>and <span style="font-weight:bold;">James Gray.</span><br /><br />New Yorkers have always been hopelessly in love with French cinema, and Deneuve represents the kind of high gloss glamour that only improves with age that still makes her a sex symbol of sorts at age 68. She is the embodiment of the cliché (apparently true) that European women age gracefully and alluringly. However, hers is not a talent simply of beautiful cheekbones. She has a glowing resume of cinema highlights over the past five decades, where she gave indelible performances working with some of the greatest directors in the world. Among her collaborators have been such names as <span style="font-weight:bold;">Roman Polanski, Jacques Demy, François Truffaut, Luis Buñuel, Manoel de Oliveira</span>, and <span style="font-weight:bold;">Raul Ruiz</span>, among many others. Among her dozens of notable movie roles are her appearances in such classics as <span style="font-weight:bold;">THE UMBRELLAS OF CHERBOURG (Jacques Demy, 1964), REPULSION (Roman Polanski, 1965), THE YOUNG GIRLS OF ROCHEFORT (Jacques Demy, 1967),</span> in which she co-starred with her sister <span style="font-weight:bold;">Françoise Dorleác</span>, <span style="font-weight:bold;">BELLE DU JOUR (Luis Buñuel, 1967), TRISTANA (Luis Buñuel, 1970), THE LAST METRO (François Truffaut, 1980)</span>, with <span style="font-weight:bold;">Gérard Depardieu, THE HUNGER (Tony Scott, 1983),</span> and <span style="font-weight:bold;">INDOCHINE (Régis Wargnier, 1992).</span> In the past few years, rather than rest on her extraordinary achievements, she continues to challenge herself and expand her art, lending her talents and prestige to works by exciting, cutting-edge filmmakers such as <span style="font-weight:bold;">Arnaud Desplechin, Leos Carax, François Ozon, Lars Von Trier, Andre Techine</span> and <span style="font-weight:bold;">Philippe Garrel.</span><br /><br />The <span style="font-weight:bold;">Film Society’s Annual Gala</span> began in 1972 and honored <span style="font-weight:bold;">Charles Chaplin</span> – who returned to the US from exile to accept the commendation before receiving his long overdue Oscar in Los Angeles. Since then, the award has been renamed for Chaplin, and has honored many of the film industry’s most notable talents, including <span style="font-weight:bold;">Alfred Hitchcock, Billy Wilder, Laurence Olivier, Federico Fellini, Elizabeth Taylor, Bette Davis, James Stewart, Robert Altman, Martin Scorsese, Diane Keaton, Meryl Streep, Tom Hanks, Michael Douglas</span> and most recently, <span style="font-weight:bold;">Sidney Poitier</span>. <span style="font-weight:bold;">Deneuve</span> is only the fourth “non-Hollywood star” to receive the Chaplin Award. Her predecessors were <span style="font-weight:bold;">Yves Montand (1988), Alec Guinness (1987),</span> and <span style="font-weight:bold;">Federico Fellini (1985).</span> For more information, visit:<span style="font-weight:bold;"> www.filmlinc.com</span>Sandy Mandelbergerhttp://www.blogger.com/profile/04567331617533922683noreply@blogger.com1tag:blogger.com,1999:blog-1835996145034589181.post-51155289296874292062012-04-03T16:49:00.003+02:002012-04-03T16:53:37.386+02:00Nanni Moretti Retrospective In New York<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikFi06bDfTBoKHmtccD5D1wmlGbDBvzuvoUdayi_gfipD_jeOp4RDJVO8yh2Jc87KfAMBzWPZJzUUy2dElhqrm_pnzl9jwrwLUOjJ5Vbtu1rlHl-JBEVKORvgVyWU7YevtpEgFt76CvVY/s1600/Nanni+Moretti.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikFi06bDfTBoKHmtccD5D1wmlGbDBvzuvoUdayi_gfipD_jeOp4RDJVO8yh2Jc87KfAMBzWPZJzUUy2dElhqrm_pnzl9jwrwLUOjJ5Vbtu1rlHl-JBEVKORvgVyWU7YevtpEgFt76CvVY/s400/Nanni+Moretti.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5727187751105875714" /></a><br /><span style="font-weight:bold;">by Sandy Mandelberger, North American Editor</span><br /><br />On the eve of the release of his newest film <span style="font-weight:bold;">WE HAVE A POPE</span>, a satire on the behind the scenes drama and shenanigans of the Vatican, the <span style="font-weight:bold;">IFC Film Center </span>in lower Manhattan is presenting a retrospective of the director <span style="font-weight:bold;">Nanni Moretti’s</span> work, entitled <span style="font-weight:bold;">La Vita E Cinema: The Films Of Nanni Moretti.</span> The Italian actor/director is best known for the films <span style="font-weight:bold;">CARO DIARO</span> (1994) and <span style="font-weight:bold;">THE SON’S ROOM </span>(2001), two celebrated films that are more serious than his usual penchant for broad comedy and social satire. This complete retrospective offers the chance to discover the filmmaker’s lesser known oeuvre, including <span style="font-weight:bold;">BIANCA</span> (1984), with <span style="font-weight:bold;">Moretti</span> starring as a shy math teacher in a high school under attack by a serial killer; <span style="font-weight:bold;">PALOMBELA ROSSA</span> (1989), in which a water polo match becomes a metaphor for the Italian left; and <span style="font-weight:bold;">THE CAIMAN</span> (2006), about a shlock film producer who agrees to finance a film attacking former prime minister <span style="font-weight:bold;">Silvio Berlusconi.</span> For information on the complete series, visit: <span style="font-weight:bold;">www.ifccenter.com</span>Sandy Mandelbergerhttp://www.blogger.com/profile/04567331617533922683noreply@blogger.com1tag:blogger.com,1999:blog-1835996145034589181.post-62689502485921631862012-03-30T16:51:00.003+02:002012-03-30T16:54:54.822+02:00Woody Targets Copenhagen<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimyx9u8OdMyENDaZjp7cAHny2tfUljN2kdr4CpXMY0DcnWvIBoal_eCnlqDpYVJ4qX9J3XSmb1YUGTGn2e7MDfVH0MpAkM2-XmJwaN2CewgEQ_ObAnGglAyTyZMaQ9zS37xdtLDVIqBrc/s1600/Woody+Allen.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 264px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimyx9u8OdMyENDaZjp7cAHny2tfUljN2kdr4CpXMY0DcnWvIBoal_eCnlqDpYVJ4qX9J3XSmb1YUGTGn2e7MDfVH0MpAkM2-XmJwaN2CewgEQ_ObAnGglAyTyZMaQ9zS37xdtLDVIqBrc/s400/Woody+Allen.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5725703739698601154" /></a><br /><span style="font-weight:bold;">by Sandy Mandelberger, North American Editor</span><br /><br /><span style="font-weight:bold;">Woody Allen</span> could be looking to continue his tour of great European capitals, a critically acclaimed and financially successful late phase in his astonishing film career. The Oscar-winning director, who just won an award last month for his original screenplay for <span style="font-weight:bold;">MIDNIGHT IN PARIS</span> (the biggest box office hit of his career), is reportedly eyeing Copenhagen as the location for his next, still-untitled feature. This has not been confirmed by <span style="font-weight:bold;">Allen’s </span>production company, but if it is true, it would be the master filmmaker’s first film set in Denmark. <br /><br />After decades of being the quintessential New York filmmaker, whose films virtually represent Manhattan to the rest of the world, Allen has found inspiration (and new sources of foreign financing) in the past decade by setting his films in Europe. It all began with <span style="font-weight:bold;">MATCH POINT</span>, set in London, and has included Y<span style="font-weight:bold;">OU WILL MEET A TALL DARK STRANGER</span>, also set in the British capital; as well as the Paris of <span style="font-weight:bold;">MIDNIGHT IN PARIS</span>, the Spanish setting of <span style="font-weight:bold;">VICKY CRISTINA BARCELONA </span>and his upcoming feature <span style="font-weight:bold;">NERO FIDDLES</span>, which takes place in the ancient city of Rome. The latter film features an American and Italian ensemble cast that includes <span style="font-weight:bold;">Ellen Page, Penelope Cruz, Roberto Benigni, Alec Baldwin, Judy Davis, Ornella Muti, Isabella Ferrari</span> and <span style="font-weight:bold;">Jesse Eisenberg</span>. The film is currently in post-production and set to open in the United States via <span style="font-weight:bold;">Sony Pictures Classics</span> in mid-June. It is almost certain that the the film will premiere at May’s C<span style="font-weight:bold;">annes Film Festival</span>. According to Danish sources, <span style="font-weight:bold;">Letty Aronson</span>, Woody’s sister and producer of all of Allen’s European-set features, is in talks with Danish producer <span style="font-weight:bold;">Per Holst</span> (<span style="font-weight:bold;">PELLE THE CONQUEROR</span>) for a planned 2013 shoot in the Danish capital.Sandy Mandelbergerhttp://www.blogger.com/profile/04567331617533922683noreply@blogger.com3tag:blogger.com,1999:blog-1835996145034589181.post-4970683158748720632012-03-28T18:51:00.006+02:002012-03-28T21:09:25.471+02:00Sexy Period Drama Gets U.S. Release<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_FHsT-dqhC3Cd6lgDQKGdEgyLilCZA0rW8uueJ_KyqbGKyScF-onZG31Y8_7ZS8XJOSc0tibG-BD1vUo4n78bgW-KyPhxHgJ7Xv2xtCAof4pp4p92-4nwRHcm57P3TBbTzDeVHF0dA24/s1600/BEL+AMI.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 266px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_FHsT-dqhC3Cd6lgDQKGdEgyLilCZA0rW8uueJ_KyqbGKyScF-onZG31Y8_7ZS8XJOSc0tibG-BD1vUo4n78bgW-KyPhxHgJ7Xv2xtCAof4pp4p92-4nwRHcm57P3TBbTzDeVHF0dA24/s400/BEL+AMI.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5725027169248948130" /></a><br /><span style="font-weight:bold;">by Sandy Mandelberger, North American Editor</span><br /><br /><span style="font-weight:bold;">Magnolia Pictures</span> will be releasing the sexy period film <span style="font-weight:bold;">BEL AMI</span> in the United States. The film, starring <span style="font-weight:bold;">Robert Pattinson, Uma Thurman, Kristin Scott Thomas, Christina Ricci<span style="font-style:italic;"></span></span>, and <span style="font-weight:bold;">Colm Meaney<span style="font-style:italic;"></span></span>, had its World Premiere in the Official Selection of last month’s <span style="font-weight:bold;">Berlin International Film Festival.</span> In this sexy retelling of <span style="font-weight:bold;">Guy de Maupassant’s<span style="font-style:italic;"></span></span> classic tale of blackmail, manipulation, and social-climbing, set against 19th century Paris, Pattinson stars as the young and very ambitious George Duroy, who discovers that his unadulterated passion and seduction skills with influential Parisian ladies (Ricci, Thurman, and Thomas), above-all, is the fastest and most effective way to the upper echelons of the society he so desperately wants to control. Directed by <span style="font-weight:bold;">Declan Donnellan <span style="font-style:italic;"></span></span>and <span style="font-weight:bold;">Nick Ormerod<span style="font-style:italic;"></span></span>, the film was adapted by <span style="font-weight:bold;">Rachel Bennette<span style="font-style:italic;"></span></span>. It will be released in the United States in early June.Sandy Mandelbergerhttp://www.blogger.com/profile/04567331617533922683noreply@blogger.com7tag:blogger.com,1999:blog-1835996145034589181.post-85798972458945381792012-03-26T16:08:00.003+02:002012-03-26T16:27:25.646+02:00NDNF Full Of European Talents<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijtDa2I7lWr4FBRtWJEGVptBkMnL3RK-XZtxARC4C5PK2Of4LqFZXZxUcftf03dnKdiWFdKmBMZY2w3OYluD2Qf23mMAxHf7f2WOBLdhyphenhyphen89KRxwv4WVkZOzPbTeSZ9FCOIXyZ_uXp_h7U/s1600/New+Directors+New+Films.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 280px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijtDa2I7lWr4FBRtWJEGVptBkMnL3RK-XZtxARC4C5PK2Of4LqFZXZxUcftf03dnKdiWFdKmBMZY2w3OYluD2Qf23mMAxHf7f2WOBLdhyphenhyphen89KRxwv4WVkZOzPbTeSZ9FCOIXyZ_uXp_h7U/s400/New+Directors+New+Films.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5724212321109024130" /></a><br /><span style="font-weight:bold;">by Sandy Mandelberger, North American Editor</span><br /><br />With record warm temperatures bringing early blossoms to New York, the surest sign yet that winter is over and spring is here is the appearance this week of <span style="font-weight:bold;">New Directors/New Films,</span> one of the city’s most provocative film festivals, co-presented by the <span style="font-weight:bold;">Film Society of Lincoln Center </span>and the <span style="font-weight:bold;">Film Department of the Museum of Modern Art</span>. Culling the gems from previous festivals (Sundance and Berlin especially), with a focus on first-time directors, this year’s edition is essential viewing and a great way to check the pulse of the indie and international film world (which, I am happy to report, is strong). NDNF runs from March 21 to April 1, with screenings at both MoMA and Lincoln Center.<br /><br />Amidst the 29 features (24 narrative, 5 documentaries) and 12 short films from 28 countries, <span style="font-weight:bold;">NDNF </span>highlights a strong roster of European films and co-productions, most being feature debuts or second films. Here are some of the highlights of this year’s event with descriptions provided by <span style="font-weight:bold;">NDNF</span>. To see the full line-up and follow interviews and other details, visit: www.newdirectors.org:<br /><span style="font-weight:bold;"><br />BREATHING (Karl Markovics)</span><br /><br />The remarkably assured directorial debut from veteran Austrian actor Karl Markovics (best known for The Counterfeiters) creates an interplay between the perilousness of youth and the inevitability of death. Roman is an inmate at a juvenile detention center whose last hope of parole rests on his ability to hold down a job, in this case as a morgue assistant. A chance observation of a body bag sparks the first bit of initiative in a previously aimless life, but a brief reunion with his wayward mother further stymies his search for a sense of purpose. As Roman attempts to connect with a life hanging in the balance, his work leads to remorse, horror, and ultimately a glimmer of illumination. A Kino Lorber release.<br /><br /><span style="font-weight:bold;">DONOMA (Djinn Carrénard, France)</span><br /><br />Rumored to have been shot for about $200, DONOMA announces the arrival of an intriguing new talent on the French scene, Haitian-born, Paris based Djinn Carrénard. Devised, shot (often guerrilla-style) and edited over a period of years, the film is a choral piece that chronicles the romantic destinies of three women, offering a fresh, funny portrait of an emerging French generation.<br /><span style="font-weight:bold;"><br />5 BROKEN CAMERAS (Emad Burnat and Guy Davidi, Palestine/Israel/France)</span><br /><br />Emad Burnat’s and Guy Davidi’s documentary began five years ago in the Palestinian town of Bil’in when Burnat bought a camera to record the birth of his son Gibreel. Gibreel’s arrival, however, coincided with a period of great unrest in the area, which is witnessed by five video cameras, each subsequently damaged by bullets or rocks. A Kino Lorber release.<br /><br /><span style="font-weight:bold;">GENERATION P (Victor Ginzburg, Russia)</span><br /><br />Ginzburg’s GENERATION P could be described as a metaphysical Mad Men from the go-go 1990s – a wonderland of images and ideas that emerged from the rebirth of a nation as a marketer’s paradise. The film offers a “view” of post-Communist Russia as the arrival of democracy and Pepsi-Cola brought the advance of capitalism with all of its mechanisms and fuzzy messages.<br /><span style="font-weight:bold;"><br />HEMEL (Sacha Polak, The Netherlands/Spain)</span><br /><br />A sexually aggressive woman is a dangerous thing — or at least that’s what we’ve been led to believe. Images of the vamp, the damaged innocent, and the prostitute are staples of cinema, but what about the woman who uses sex as a distraction or comfort and isn’t hung up on emotional attachments? Filmmakers have largely ignored her story. This is what makes Hemel such a discovery. Hannah Hoekstra plays a strongwilled, complicated, and vulnerable heroine who longs (perhaps too much) to connect with her elusive father and ultimately find herself. The film follows her raw investigation of both physical and intellectual intimacy.<br /><br /><span style="font-weight:bold;">IT LOOKS PRETTY FROM A DISTANCE (Anka and Wilhelm Sasnal, Poland)</span><br /><br />A Polish village virtually cut off from civilization and seemingly on the verge of dissolution serves as the setting for this brooding, almost wordless drama. The rough and impassive Pawel makes a living scavenging for scrap metal. There’s bad blood between him and the “community”.<br /><br /><span style="font-weight:bold;">OMAR KILLED ME (Roschdy Zem, France)</span><br /><br />Actor-turned-director Roschdy Zem’s OMAR KILLED ME tells a story of racism, politics, and injustice with the clarity of a documentary and the pacing of a thriller. When a rich widow was murdered in the south of France 20 years ago, her Moroccan gardener was convicted and jailed with no evidence; it took a committed journalist to try to unravel the rush to judgment that laid bare the racism that was hidden in the French justice system.<br /><br /><span style="font-weight:bold;">OSLO, AUGUST 31ST (Joachim Trier, Norway)</span><br /><br />Daylight lingers at the end of August in Oslo, but sunlight is not a friend to Anders, a semi-recovered addict, facing a new life, which may not be appealing without former habits. Adapted from the same novel as Louis Malle’s THE FIRE WITHIN (1963), Joachim Trier’s OSLO, AUGUST 31ST follows Anders as he tries to adjust – making love, wandering through Oslo, having a job interview, seeing old friends, and trying to get comfortable with his situation. A Strand Releasing Film.<br /><br /><span style="font-weight:bold;">TEDDY BEAR (Mads Matthiesen, Denmark) </span><br /><br />This teddy bear is quite a sight: a gentle giant of a bodybuilder named Dennis, who sculpts his muscles by day and lives quietly at home with his mom at night. At 38, Dennis wants a girlfriend badly, and despite his mother’s resistance (she is a master of emotional manipulation) and his own profound awkwardness, he leaves on a journey to Thailand to find his true emotional core.<br /><br /><span style="font-weight:bold;">THE AMBASSADOR (Mads Brugger, Denmark)</span><br /><br />The consummate agent-provocateur–his method fittingly described as “Graham Greene meets Borat”–Brügger (THE RED CHAPEL, NDNF 2010) shocks and mightily entertains by performing an artistic intervention in reality using role-playing and hidden cameras to expose an awful truth.<br /><br /><span style="font-weight:bold;">THE MINISTER (Pierre Schöller, France)</span><br /><br />French politicians have been in the news a lot lately, making this breathless political thriller especially timely. A cabinet minister in charge of national transportation believes himself to be a man of the people. He wants to be good, but in order to get anything done he must compromise, cajole, bend, and even betray. <br /><br /><span style="font-weight:bold;">THE RABBI'S CAT (Joann Sfar & Antoine Delesvaux, France/Austria)</span><br /><br />Adapted from the graphic novels of Joann Sfar, The Rabbi’s Cat is a vivid, lively, and imaginative animated film co-directed by Sfar and Antoine Delesvaux. The story takes place once upon a time (not too long ago) in Algiers, where Jewish and Islamic communities existed in relative peace and rabbis and mullahs could be friends.<br /><br /><span style="font-weight:bold;">TWILIGHT PORTRAIT (Angelina Nikonova, Russia)</span><br /><br />Twilight Portrait is a powerhouse collaboration co-written and co-produced by Angelina Nikonova, who directed, and Olga Dihovichnaya, who stars in this dark, provocative, and constantly surprising debut feature. In a modern Russian city where corruption, apathy, and class warfare are the norm, a woman is raped, rather casually, by the police. What follows explodes the conventions of sexual politics and will certainly have viewers talking. This staggering film features great performances and an unvarnished view of life in the age of Putin.<br /><br /><span style="font-weight:bold;">WHERE DO WE GO NOW? (Nadine Labaki, France/Lebanon/Italy)</span><br /><br />Women of different religions in a remote Lebanese village band together and invent schemes to prevent their men from killing each other in the intractable religious conflict that surrounds their community. This entertaining and unlikely near-musical tears down stereotypes of women in the Middle East and uses humor to explore serious subjects, with one eye toward Aristophanes’ Lysistrata and the other toward Bollywood. Winning audience awards at the Toronto and San Sebastian Film Festivals after a successful premiere in Cannes, Labaki’s follow-up to the delicious Caramel is refreshing and unflinching.Sandy Mandelbergerhttp://www.blogger.com/profile/04567331617533922683noreply@blogger.com3