Film Movement, Level 33 among Us buyers.
Heading into the Cannes virtual market, busy WaZabi Films has closed Us and European sales on Mafia Inc, a key territory on Cannes official selection Nadia Butterfly, and a North American deal on Broken Mirrors starring Unorthodox breakout Shira Haas.
The Montreal-based sales outfit run by Anick Poirier and Lorne Price has licensed Us rights on Mafia Inc to Film Movement in the Us, Koba Films in France, Belgium, Luxembourg and French-speaking Switzerland, and One 2 See in Dutch-speaking Benelux.
Film Movement plans a digital launch in early winter later this year.
Daniel Grou directed...
Heading into the Cannes virtual market, busy WaZabi Films has closed Us and European sales on Mafia Inc, a key territory on Cannes official selection Nadia Butterfly, and a North American deal on Broken Mirrors starring Unorthodox breakout Shira Haas.
The Montreal-based sales outfit run by Anick Poirier and Lorne Price has licensed Us rights on Mafia Inc to Film Movement in the Us, Koba Films in France, Belgium, Luxembourg and French-speaking Switzerland, and One 2 See in Dutch-speaking Benelux.
Film Movement plans a digital launch in early winter later this year.
Daniel Grou directed...
- 6/18/2020
- by 36¦Jeremy Kay¦54¦
- ScreenDaily
Film Movement, Level 33 among Us buyers.
Heading into the Cannes virtual market, busy WaZabi Films has closed Us and European sales on Mafia Inc, a key territory on Cannes official selection Nadia Butterfly, and a North American deal on Broken Mirrors starring Unorthodox breakout Shira Haas.
The Montreal-based sales outfit run by Anick Poirier and Lorne Price has licensed Us rights on Mafia Inc to Film Movement in the Us, Koba Films in France, Belgium, Luxembourg and French-speaking Switzerland, and One 2 See in Dutch-speaking Benelux.
Film Movement plans a digital launch in early winter later this year.
Daniel Grou directed...
Heading into the Cannes virtual market, busy WaZabi Films has closed Us and European sales on Mafia Inc, a key territory on Cannes official selection Nadia Butterfly, and a North American deal on Broken Mirrors starring Unorthodox breakout Shira Haas.
The Montreal-based sales outfit run by Anick Poirier and Lorne Price has licensed Us rights on Mafia Inc to Film Movement in the Us, Koba Films in France, Belgium, Luxembourg and French-speaking Switzerland, and One 2 See in Dutch-speaking Benelux.
Film Movement plans a digital launch in early winter later this year.
Daniel Grou directed...
- 6/18/2020
- by 36¦Jeremy Kay¦54¦
- ScreenDaily
The institution of marriage, and therefore divorce, in Israel is regulated exclusively religiously, with rabbinical consent needed to sanction both marriage and divorce. In Fill the Void, rabbinical authorisation is first denied, then granted to an arranged marriage, while Gett tracks a woman’s Kafkaesque divorce proceedings as the years go by.
Premiering at the Venice Film Festival in 2012 and currently showing at The London Israeli Film & Television Festival, Fill the Void was billed as the first fiction film by a Hassidic filmmaker intended for general release, with head-scarfed writer/director Rama Burshtein and her Orthodox-garbed husband an unwonted red-carpet scene. At Venice, it won a Best Actress award for newcomer Hadas Yaron, while Asaf Sudry’s cinematography was rewarded at the European Film Awards.
Family and offspring, the core prerogative of Hassidic womenfolk (and a staple of the Jane Austen novels that inspired the film) are at the centre...
Premiering at the Venice Film Festival in 2012 and currently showing at The London Israeli Film & Television Festival, Fill the Void was billed as the first fiction film by a Hassidic filmmaker intended for general release, with head-scarfed writer/director Rama Burshtein and her Orthodox-garbed husband an unwonted red-carpet scene. At Venice, it won a Best Actress award for newcomer Hadas Yaron, while Asaf Sudry’s cinematography was rewarded at the European Film Awards.
Family and offspring, the core prerogative of Hassidic womenfolk (and a staple of the Jane Austen novels that inspired the film) are at the centre...
- 11/20/2014
- by Zornitsa
- SoundOnSight
★★★★☆Tradition and duty are the themes of Fill the Void (2012), a tightly observed family drama and Rama Burshtein's debut feature. Set in a Orthodox Jewish community in Tel Aviv, the film draws a sympathetic portrayal of a young girl Shira (Hadas Yaron) who must come to terms with the sudden death of her sister, Esther (Renana Raz) and the position it puts her in of potentially obeying the imperative of the title and taking her place as her brother-in-law's new wife and step mother to her sister's child. The business of marriage is mediated via a series of match makers and family members and yet below the surface complex emotions are bubbling and Shira's dilemma is further complicated by her own family.
- 4/14/2014
- by CineVue UK
- CineVue
Set in Tel Aviv, this is an intriguing story about a Jewish family and the cult of marriage
Rama Burshtein is a first-time director whose debut feature may call to mind Jane Austen's famous line about a certain truth universally acknowledged. It is set in Tel Aviv within an Orthodox Hasidic family; but here, Judaism and religion seem subordinate to the cult of marriage. Unmarried women and their mothers are obsessed with it; married women and their families are also obsessed, on the singletons' behalf. The unmarried state is something to be borne sorrowfully: news of impending nuptials is greeted like a rollover Lottery win to be shared out. Esther (Renana Raz) is the daughter of a respected rabbi; she is happily married to Yochay (Yiftach Klein) and heavily pregnant, and she and her kid sister Shira (Hadas Yaron) are loved by their parents. When tragedy strikes, Shira and...
Rama Burshtein is a first-time director whose debut feature may call to mind Jane Austen's famous line about a certain truth universally acknowledged. It is set in Tel Aviv within an Orthodox Hasidic family; but here, Judaism and religion seem subordinate to the cult of marriage. Unmarried women and their mothers are obsessed with it; married women and their families are also obsessed, on the singletons' behalf. The unmarried state is something to be borne sorrowfully: news of impending nuptials is greeted like a rollover Lottery win to be shared out. Esther (Renana Raz) is the daughter of a respected rabbi; she is happily married to Yochay (Yiftach Klein) and heavily pregnant, and she and her kid sister Shira (Hadas Yaron) are loved by their parents. When tragedy strikes, Shira and...
- 12/13/2013
- by Peter Bradshaw
- The Guardian - Film News
★★★☆☆New York-born, Jerusalem-raised director Rama Burshtein's feature debut, Fill the Void (2012), is an accomplished social drama with potential appeal for international audiences. Set in contemporary Tel Aviv, where the local orthodox Jewish community continues the traditional practice of matchmaking, we begin with 28-year-old Esther (Renana Raz), married to Yochay (Yiftach Klein), dying during childbirth, delaying Esther's younger sister Shira's (Hadas Yaron) own engagement. Shira's mother learns that the community has planned for Yochay to marry a woman from Belgium - an unthinkable scenario for those involved.
- 12/12/2013
- by CineVue UK
- CineVue
It’s fair to say that Hasidic Judaism is a subject matter somewhat untapped in cinema, as a world and culture relatively overlooked. There is therefore a distinct sense of intrigue attached to Rama Burshtein’s Fill the Void, as it finally makes its way to British cinemas. Though despite the uniquity that exists, this pensive drama remains relatable, as the themes explored can be translated in a variety of ways, as the pure, human emotion on show is universal.
When Shira (Hadas Yaron) comes of age, by tradition, the devout 18-year-old Israeli is now expected to marry. Though content and acceptant of such a fate, her world is thrown into disarray when her older sister Esther (Renana Raz) passes away during childbirth. Pressure then mounts on the young girl’s shoulders to enter into an arranged, levirate marriage with her sister’s widow Yochay (Yiftach Klein) and care for his motherless son.
When Shira (Hadas Yaron) comes of age, by tradition, the devout 18-year-old Israeli is now expected to marry. Though content and acceptant of such a fate, her world is thrown into disarray when her older sister Esther (Renana Raz) passes away during childbirth. Pressure then mounts on the young girl’s shoulders to enter into an arranged, levirate marriage with her sister’s widow Yochay (Yiftach Klein) and care for his motherless son.
- 12/10/2013
- by Stefan Pape
- HeyUGuys.co.uk
Review by Barbie Snitzer
“Fill The Void” is an example of the kind of unique gift a movie can be.
There is no other way one could be an invisible witness to the closed world of the Ultra-Orthodox Jewish sect of Hasidic Jews. Even if one promised to be as sensitive and non-judgmental as director Rama Burstein is in this, her début film, one would be rebuffed.
The Hasidim do not recruit new members. Unlike other secretive religious communities, they have not been the subject of reality shows that exploit their unfamiliarity with the mainstream modern world. They do not feel obligated to explain their appearance or behavior even when their culture clashes; Hasidic men will not look any woman in the eye, not just other Hasidic women.
It would be very easy for those unfamiliar with their culture to mock the opening scene. Rivka (Irit Sheleg) is on a...
“Fill The Void” is an example of the kind of unique gift a movie can be.
There is no other way one could be an invisible witness to the closed world of the Ultra-Orthodox Jewish sect of Hasidic Jews. Even if one promised to be as sensitive and non-judgmental as director Rama Burstein is in this, her début film, one would be rebuffed.
The Hasidim do not recruit new members. Unlike other secretive religious communities, they have not been the subject of reality shows that exploit their unfamiliarity with the mainstream modern world. They do not feel obligated to explain their appearance or behavior even when their culture clashes; Hasidic men will not look any woman in the eye, not just other Hasidic women.
It would be very easy for those unfamiliar with their culture to mock the opening scene. Rivka (Irit Sheleg) is on a...
- 7/12/2013
- by Movie Geeks
- WeAreMovieGeeks.com
Fill the Void begins with the greatest Purim sequence in the history of cinema. To be sure, there isn’t much competition. For Your Consideration and its movie-within-a-movie Home for Purim had that title up until now, and it’s perhaps the only other film ever to feature the holiday. However, I doubt Rama Burshtein had Christopher Guest in mind when she filmed the beginning of her first fiction feature. Francis Ford Coppola, on the other hand, hangs over every moment. Burshtein plays Purim like the opening wedding in The Godfather, taking the time to carefully introduce the Hasidic community of Tel Aviv and its traditions. The head of the family sits at the table, taking requests from the younger men and handing out gobs of cash as holiday gifts. Like Coppola’s masterpiece, this tells us more about the insulation of this world than any confrontation with outsiders might. The...
- 10/3/2012
- by Daniel Walber
- FilmSchoolRejects.com
After a string of announcements, it looks like the Toronto International Film Festival have locked down their line-up and it’s looking like a fantastic slate. Much of the additions today come in the form of previous Cannes premieres, including Michael Haneke‘s Amour (review), Cristian Mungiu‘s Beyond the Hills (review), Abbas Kiarostami‘s Like Someone in Love (review), Bernardo Bertolucci‘s Me and You (review), Hong Sang-soo‘s In Another Country and the Venice premiere Olivier Assayas‘ Something in the Air. Most notably missing is Leos Carax‘s Holy Motors, but we do get a new Michael Winterbottom film titled Everyday. Out of the Discovery section, the biggest film seems to be The Brass Teapot, and indie drama starring Juno Temple and Michael Angarano and one can check out all the additions below.
Masters
Amour Michael Haneke, Austria/France/Germany North American Premiere Screen legends Jean-Louis Trintignant and...
Masters
Amour Michael Haneke, Austria/France/Germany North American Premiere Screen legends Jean-Louis Trintignant and...
- 8/21/2012
- by jpraup@gmail.com (thefilmstage.com)
- The Film Stage
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