On Wednesday, October 11, 2023, at 7:00 Pm, USA Network will air Season 24, Episode 7 of “Law & Order: Special Victims Unit” titled “Dead Ball.” In this episode, Detective Benson finds herself delving into the past of a popular sports star after the case against him falls apart. Her investigation uncovers additional victims, adding complexity to the case.
Meanwhile, Detective Velasco has an encounter with one of his heroes, which leaves him feeling disappointed.
This episode promises a neutral and straightforward look at the detectives’ efforts to seek justice and uncover the truth in the world of sports. It showcases the challenges they face when dealing with high-profile cases and confronting their personal expectations.
If you’re a fan of crime dramas and enjoy watching detectives tackle complex cases, don’t miss “Dead Ball” on Wednesday, October 11, 2023, at 7:00 Pm on USA Network.
Release Date & Time: 7:00 Pm Wednesday 11 October 2023 on USA
Law...
Meanwhile, Detective Velasco has an encounter with one of his heroes, which leaves him feeling disappointed.
This episode promises a neutral and straightforward look at the detectives’ efforts to seek justice and uncover the truth in the world of sports. It showcases the challenges they face when dealing with high-profile cases and confronting their personal expectations.
If you’re a fan of crime dramas and enjoy watching detectives tackle complex cases, don’t miss “Dead Ball” on Wednesday, October 11, 2023, at 7:00 Pm on USA Network.
Release Date & Time: 7:00 Pm Wednesday 11 October 2023 on USA
Law...
- 10/4/2023
- by Jules Byrd
- TV Everyday
With a seemingly endless amount of streaming options—not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles that have recently hit platforms. Check out this week’s selections below and past round-ups here.
An American Pickle (Brandon Trost)
Seth Rogen plays dual roles in his latest comedy, American Pickle follows Seth Rogen both as Herschel Greenbaum, an immigrant who falls in a vat of pickled is brined for 100 years, and his great-grandson Ben Greenbaum, who is a computer coder and lives a very different life, to say the least. While there are certainly humorous sequences (a Brooklyn hipster couple’s first impressions of Greenbaum’s pickle stand comes foremost to mind), Rogen is far more interested in the definitions of family and loyalty, themes that are not explored with a great deal of emotional impact, but do add some heart to what...
An American Pickle (Brandon Trost)
Seth Rogen plays dual roles in his latest comedy, American Pickle follows Seth Rogen both as Herschel Greenbaum, an immigrant who falls in a vat of pickled is brined for 100 years, and his great-grandson Ben Greenbaum, who is a computer coder and lives a very different life, to say the least. While there are certainly humorous sequences (a Brooklyn hipster couple’s first impressions of Greenbaum’s pickle stand comes foremost to mind), Rogen is far more interested in the definitions of family and loyalty, themes that are not explored with a great deal of emotional impact, but do add some heart to what...
- 8/7/2020
- by Jordan Raup
- The Film Stage
“Better remember, you were born in a backward village, and you need to learn to hang on. Almost all my neighbors were run out of the city….The city has devoured many, but hasn’t laid a hand on me.”
Lisbon and its people are perpetually at odds with each other and themselves, seeking their identity and struggling to eke out a meaningful life, in Paulo Rocha’s captivating 1963 debut “The Green Years.” Newly restored, the film is considered a landmark in New Portuguese Cinema, but this is no exhumed relic.
Continue reading ‘The Green Years’: Paulo Rocha’s Restored Debut Is A Captivating, Cinephile Treat [Review] at The Playlist.
Lisbon and its people are perpetually at odds with each other and themselves, seeking their identity and struggling to eke out a meaningful life, in Paulo Rocha’s captivating 1963 debut “The Green Years.” Newly restored, the film is considered a landmark in New Portuguese Cinema, but this is no exhumed relic.
Continue reading ‘The Green Years’: Paulo Rocha’s Restored Debut Is A Captivating, Cinephile Treat [Review] at The Playlist.
- 8/5/2020
- by Kevin Jagernauth
- The Playlist
Joseph L. Anderson's Spring Night, Summer Night (1967) is showing September 1 – October 1, 2018 on Mubi as part of the series byNWR.Treated like a lost link in American Cinema and being placed by scholars somewhere between John Cassavetes and the L.A. Rebellion movement, Joseph L. Anderson’s Spring Night, Summer Night is foremost a problematic approach to a rural community. The film is set in south-eastern Ohio and follows the story of a young conflicted love. The cast in large parts consists of locals and amateurs. Carl, son of a local farmer, in a sudden outburst of emotion impregnates Jessica, a passive woman who wants to keep the child. What is more, they could be brother and sister. Anderson, who collaborated with Donald Richie on The Japanese Film: Art and Industry, spent about two years researching the coal-mining area in Ohio to prepare his first feature film in what he called “New Appalachian Cinema.
- 9/26/2018
- MUBI
Close-Up is a column that spotlights films now playing on Mubi. João Nicolau's John From (2015), which is receiving an exclusive global online premiere on Mubi, is showing from May 12 - June 11, 2017 as a Special Discovery.How can we begin to explain why João Nicolau is such a charming oddity in a Portuguese film scene that seems to thrive on individuality and personality? You do not mess with Colonel Tapioca lightly, as someone says at some point in John From, Nicolau’s second feature: the reference is both to a character from the adventures of Tintin and to a Spanish “adventure wear” brand that was very popular in Portugal in the 1990s. Nicolau’s films are full of these little rabbit holes that enrich the tales he’s spinning and sometimes make it seem as if you’ve been mysteriously inducted into the secret society of the Republic of Telheiras.
- 5/12/2017
- MUBI
Cíntia Gil is concerned about the future of Portuguese independent film. In a letter of protest shared with IndieWire, the co-director of Doclisboa calls on her country’s government to address a 2013 decree-law that led to the establishment of a new executive board on the Portuguese Film Institute (Ica) described by Gil as “seemingly allergic to its responsibility and ignorant of the Ica’s regulatory role.”
Read More: Locarno: How Modern Portuguese Cinema Is Uniting the Past and the Present
A vital part of that role is to select juries that analyze submissions to the Ica. “The outcome of this situation has been immediately evident,” notes Gil: “The requirement expressed in the regulation that jury members be ‘personalities of recognized cultural merit’ has not been met.” Read her full letter below:
Read More: Documentary Filmmaking is Having a Moment — in Portugal
Letter Of Protest
addressed to His Excellency Mr. President and Honorable Mr.
Read More: Locarno: How Modern Portuguese Cinema Is Uniting the Past and the Present
A vital part of that role is to select juries that analyze submissions to the Ica. “The outcome of this situation has been immediately evident,” notes Gil: “The requirement expressed in the regulation that jury members be ‘personalities of recognized cultural merit’ has not been met.” Read her full letter below:
Read More: Documentary Filmmaking is Having a Moment — in Portugal
Letter Of Protest
addressed to His Excellency Mr. President and Honorable Mr.
- 2/7/2017
- by Michael Nordine
- Indiewire
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.NEWSThe great avant-garde filmmaker and musician Tony Conrad has died at the age of 76.If you're sending mail in Austria, now you can creep your family and friends out with an image of austere art-house task-master Michael Haneke on your stamps.A terrific-looking new book "by" Jean-Luc Godard is out via Contra Mundum Press: Phrases features the texts contained within several of Godard's films, including Germany Year 90 Nine Zero, Forever Mozart and In Praise of Love. After his feature documentary Junun and music video for Joanna Newsom, Paul Thomas Anderson is returning to the music world, having reportedly shot a video for Radiohead.Recommended VIEWINGFilmmaker (Traveling Light, Here's to the Future!) and Notebook contributor Gina Telaroli has shared online an exquisite new video work, Starting Sketches: Theresa and Jeanne.
- 4/13/2016
- by Notebook
- MUBI
Ciné-Sud has two films selected for Toronto: the Iranian feature “ Red Rose” (handled internationally by Udi – Urban Distribution International) and the Vietnam-France-Norway-Germany co-production “Flapping in the Middle of Nowhere” by Nguyen Hoang Diep which will premiere September 1st, 2nd and 3rd in Venice/ Critics Week before moving to Toronto And with no international sales agent to date.
In Locarno, "Los ausentes" (“The Absent Ones) by Nicolas Pereda, a Mèxico-Spain-France coproduction is screening out of competition on August 11! The international sales agent is Caravan Pass, a former production company formed in 2005 in Paris by Natalie Dana. In 2014 founder Natalie and industry celeb-acquisitions persona, Elizabeth Dreyer, turned the company to international sales as well. They are actively seeking completed/ unlaunched films and projects at the financing stage.
Natalie Dana worked in sales at some of the industry’s most recognizable sales agencies, including Mercure and Celluloid Dreams. She also headed distribution for various film distributors and selected films for the prestigious Rio de Janeiro International Film Festival for five years. Under her guidance, Caravan Pass has produced or co-produced four feature films and two documentaries, partnering with notable production companies in several countries including Brazil and Italy.
Elizabeth Dreyer began her career in acquisitions, acquiring completed films and projects for North America for Miramax Films and Focus Features. As an independent consultant she has since sourced and sold remakes to international producers, advised renowned distributors around the world on pre-buys and completed film pickups, and developed feature films for proven French film producers looking to access the international market. She most recently handled sales and acquisitions for Celluloid Dreams.
Ciné-Sud Promotion itself started in 1993 as a company designed to promote art house films (Rachid Bouchareb, Wang Chao, Guillermo Del Toro, Raymond Depardon, Djibril Diop Mambety, Julio Medem, Jafar Panahi, Manuel Poirier, Arturo Ripstein, Paulo Rocha, Carlos Saura, Paolo & Vittorio Taviani, Jean-Philippe Toussaint… amongst others). There is still the press promotion department which is now under the leadership of Claire Viroulaud, publicist for many art house movies.
In 2001 Thierry Lenouvel, the founder, created a production arm and has thus far produced or co-produced 30 films which have won more 150 international awards.
The mission remains constant: Quality, without frontiers, without constraints of form, style or genre, researching emerging talents and supporting already acclaimed directors with projects whch deliver a singular and important message for and about humanity and our society utilizing strong cinematic forms.
This is only a part of all Thierry has created. Read on, dear reader, read on.
Amiens International Film Festival
Although many festivals now have competitions for cash prizes and forums for pitching and co-production meetings, Amiens stands out with its Fund for Aid for the Development of Feature Film Script and its ties to its creator, Ciné Sud, that privately owned feature film production company transformed by prolific producer Thierry Lenouvel created the Fund in 1996.
The Screenplay Development Fund (Fonds d'aide au développment du scénario or Fads) is awarded during the Amiens Film Festival to a project at one of the most critical stages in the life of a movie, that is at script stage. In its 19 years of existence it has supported 79 feature film scripts of which 39 were completed, 9 are shooting now, 21 are in development. More than 632,600 Euros have been granted. Cnac, the Venezuelan film organization has given a grant of 10,000 € for the past five years.
Fads partners: National Film Centre and Moving • International Organization of la Francophonie • Ministry of Foreign and European Affairs • Moroccan National Center for Cinema (Ccm) • Groupama Gan Foundation for Cinema • Regional Council of Picardy • Central Fund for Social Activities picture • Independent National Film Centre (Cnac - Venezuela)
In 2014, four scholarships of € 10,000 each were granted to directors of the following projects:
Family Gustavo Cordova Rondon (Venezuela) which has also won:
Cnac Script Development Fund (Venezuela)
Amiens Script Development Fund 2013
Ibermedia Development Fund 2013
And it has been selected to participate at:
Produire Au Sud Andean Workshop 2013
Ibermedia Project Development Workshop 2013
Oaxaca Screenwriters Lab 2014
Berlinale Talent Project Market 2014
The Court Of My Mother Idriss Diabaté (Côte d'Ivoire)
My Favorite Fabric Gaya Jiji (Syria)
Territoria Nora Martirosyan (Armenia)
And an additional grant of € 7,000 was awarded to the French project Dance Silent of Pradeepan Raveendran.
The rules and the application form of the next Script Fund of Amiens (due August 18!) that he created is available online or on request…from Thierry or even from me!
And, last but not least, Thierry brings "Cinema in Motion" from San Sebastian (who decided to stop the program in 2013) to Venice where it's now called " Final Cut in Venice", a workshop to help six works in progress from Africa and Arabic World toward completion with the support of French and Italian technical industries.
For more information contact:
Thierry Lenouvel
thierry [At] cinesudpromotion.com
Some films produced by Ciné-Sud:
Tirana. Year Zero by Fatmir Koci (France/Albania/ Belgium), Competition/Venice 2001, Golden Alexander/Thessaloniki
Rachida by Yamina Bachir Chouikh (France/Algeria), Official Selection/Cannes 2002
Fuse ! (Gori Vatra) by Pjer Zalica (Bosnia/Austria/Turkey/France), Silver Leopard/Locarno 2003
Wall by Simone Bitton (France/Israel), Directors Fortnight/Cannes 2004, Special Jury Prize/Sundance, Grand Prix/Marseille, Pesaro, Montreal, Jerusalem
Moolaade by Sembene Ousmane (Sénégal/France/Burkina/Maroc), Grand Prix Un Certain Regard/Cannes 2004, Best Foreign Film/American Critics Awards
Falafel by Michel Kammoun (Lebanon/France), Bayard d’Or/Namur 2006, Silver Muhr/Dubai, Bronze Palm/Valencia
Pomegranates And Myrrh by Najwa Najjar (Palestine/Germany/France), Competition/Sundance 2009, Rotterdam, 1st price in Doha
Rachel by Simone Bitton (France/Belgium), Forum/Berlin 2009, Competition/Cinema du Réel 2009
Every Day Is A Holliday by Dima El Horr (France/Lebanon/Germany),Toronto 2009, Roma, Dubai, Rotterdam, New York 2010
Mothers by Milcho Manchevski (Macedonia/Bulgaria/France),Toronto 2010, Berlin (Panorama) 2011
The Stoplight Society by Ruben Mendoza (Colombia/France/Spain/ Germany), best Colombian film of the year/Cartagena 2011, Best Director/Amiens 2010, Best 1st film/Huelva 2010
El Campo by Hernan Belon (Argentina/Italy/France) – Venice 2011/Critics Week
Fat, Bald, Short Man (Colombia/France) – more than 20 selections in 2011/2012
La Playa by Juan Andres Arango (Colombia/Brazil/France) – Cannes 2012/Official Selection, Un Certain Regard
Villegas by Gonzalo Tobal (Argentina/France) – Cannes 2012/Official Selection
La Sirga by William Vega (Colombia/Mexico/France) – Cannes 2012/Directors Fortnight
Qissa by Anup Singh (India/Germany/France/Holland) – Toronto 2013/Netpac award, Rotterdam 2014/Audience Award
Dust On The Tongue by Ruben Mendoza (Columbia/France) – Cartagena 2014/Best film, best director
Mateo by Maria Gamboa (Colombia/France) – Cartagena 2014/Jury Special award
Run, Boy, Run by Pepe Danquart (Germany/France) – Cannes Junior 2014
In post-production :
Red Rose by Sepideh Farsi (Iran/France/Grèce)
Los Ausentes by Nicolas Pereda (Mexico/Spain/France)
Ausencia by Chico Teixeira (Brazil/France)
Flapping In The Middle Of Nowhere by Nguyen Hiang Diep (Vietnam/France/Norvège/Allemagne)
In development :
Kill Two Birds With One Stone by Fejria Deliba (France)
Embrace Of The Serpent by Ciro Guerra (Colombie/Vénézuela/France)
Mantra, Song Of Scorpions by Anup Singh (Inde/Suisse/France)
Sal by William Vega (Colombie/Allemagne/France)
Parable Of A Blind Christ (Chili/France)
Land And Shade by Cesar Acevedo (Colombie/France)
D’Une Rive L’Autre by Sepideh Farsi (France)...
In Locarno, "Los ausentes" (“The Absent Ones) by Nicolas Pereda, a Mèxico-Spain-France coproduction is screening out of competition on August 11! The international sales agent is Caravan Pass, a former production company formed in 2005 in Paris by Natalie Dana. In 2014 founder Natalie and industry celeb-acquisitions persona, Elizabeth Dreyer, turned the company to international sales as well. They are actively seeking completed/ unlaunched films and projects at the financing stage.
Natalie Dana worked in sales at some of the industry’s most recognizable sales agencies, including Mercure and Celluloid Dreams. She also headed distribution for various film distributors and selected films for the prestigious Rio de Janeiro International Film Festival for five years. Under her guidance, Caravan Pass has produced or co-produced four feature films and two documentaries, partnering with notable production companies in several countries including Brazil and Italy.
Elizabeth Dreyer began her career in acquisitions, acquiring completed films and projects for North America for Miramax Films and Focus Features. As an independent consultant she has since sourced and sold remakes to international producers, advised renowned distributors around the world on pre-buys and completed film pickups, and developed feature films for proven French film producers looking to access the international market. She most recently handled sales and acquisitions for Celluloid Dreams.
Ciné-Sud Promotion itself started in 1993 as a company designed to promote art house films (Rachid Bouchareb, Wang Chao, Guillermo Del Toro, Raymond Depardon, Djibril Diop Mambety, Julio Medem, Jafar Panahi, Manuel Poirier, Arturo Ripstein, Paulo Rocha, Carlos Saura, Paolo & Vittorio Taviani, Jean-Philippe Toussaint… amongst others). There is still the press promotion department which is now under the leadership of Claire Viroulaud, publicist for many art house movies.
In 2001 Thierry Lenouvel, the founder, created a production arm and has thus far produced or co-produced 30 films which have won more 150 international awards.
The mission remains constant: Quality, without frontiers, without constraints of form, style or genre, researching emerging talents and supporting already acclaimed directors with projects whch deliver a singular and important message for and about humanity and our society utilizing strong cinematic forms.
This is only a part of all Thierry has created. Read on, dear reader, read on.
Amiens International Film Festival
Although many festivals now have competitions for cash prizes and forums for pitching and co-production meetings, Amiens stands out with its Fund for Aid for the Development of Feature Film Script and its ties to its creator, Ciné Sud, that privately owned feature film production company transformed by prolific producer Thierry Lenouvel created the Fund in 1996.
The Screenplay Development Fund (Fonds d'aide au développment du scénario or Fads) is awarded during the Amiens Film Festival to a project at one of the most critical stages in the life of a movie, that is at script stage. In its 19 years of existence it has supported 79 feature film scripts of which 39 were completed, 9 are shooting now, 21 are in development. More than 632,600 Euros have been granted. Cnac, the Venezuelan film organization has given a grant of 10,000 € for the past five years.
Fads partners: National Film Centre and Moving • International Organization of la Francophonie • Ministry of Foreign and European Affairs • Moroccan National Center for Cinema (Ccm) • Groupama Gan Foundation for Cinema • Regional Council of Picardy • Central Fund for Social Activities picture • Independent National Film Centre (Cnac - Venezuela)
In 2014, four scholarships of € 10,000 each were granted to directors of the following projects:
Family Gustavo Cordova Rondon (Venezuela) which has also won:
Cnac Script Development Fund (Venezuela)
Amiens Script Development Fund 2013
Ibermedia Development Fund 2013
And it has been selected to participate at:
Produire Au Sud Andean Workshop 2013
Ibermedia Project Development Workshop 2013
Oaxaca Screenwriters Lab 2014
Berlinale Talent Project Market 2014
The Court Of My Mother Idriss Diabaté (Côte d'Ivoire)
My Favorite Fabric Gaya Jiji (Syria)
Territoria Nora Martirosyan (Armenia)
And an additional grant of € 7,000 was awarded to the French project Dance Silent of Pradeepan Raveendran.
The rules and the application form of the next Script Fund of Amiens (due August 18!) that he created is available online or on request…from Thierry or even from me!
And, last but not least, Thierry brings "Cinema in Motion" from San Sebastian (who decided to stop the program in 2013) to Venice where it's now called " Final Cut in Venice", a workshop to help six works in progress from Africa and Arabic World toward completion with the support of French and Italian technical industries.
For more information contact:
Thierry Lenouvel
thierry [At] cinesudpromotion.com
Some films produced by Ciné-Sud:
Tirana. Year Zero by Fatmir Koci (France/Albania/ Belgium), Competition/Venice 2001, Golden Alexander/Thessaloniki
Rachida by Yamina Bachir Chouikh (France/Algeria), Official Selection/Cannes 2002
Fuse ! (Gori Vatra) by Pjer Zalica (Bosnia/Austria/Turkey/France), Silver Leopard/Locarno 2003
Wall by Simone Bitton (France/Israel), Directors Fortnight/Cannes 2004, Special Jury Prize/Sundance, Grand Prix/Marseille, Pesaro, Montreal, Jerusalem
Moolaade by Sembene Ousmane (Sénégal/France/Burkina/Maroc), Grand Prix Un Certain Regard/Cannes 2004, Best Foreign Film/American Critics Awards
Falafel by Michel Kammoun (Lebanon/France), Bayard d’Or/Namur 2006, Silver Muhr/Dubai, Bronze Palm/Valencia
Pomegranates And Myrrh by Najwa Najjar (Palestine/Germany/France), Competition/Sundance 2009, Rotterdam, 1st price in Doha
Rachel by Simone Bitton (France/Belgium), Forum/Berlin 2009, Competition/Cinema du Réel 2009
Every Day Is A Holliday by Dima El Horr (France/Lebanon/Germany),Toronto 2009, Roma, Dubai, Rotterdam, New York 2010
Mothers by Milcho Manchevski (Macedonia/Bulgaria/France),Toronto 2010, Berlin (Panorama) 2011
The Stoplight Society by Ruben Mendoza (Colombia/France/Spain/ Germany), best Colombian film of the year/Cartagena 2011, Best Director/Amiens 2010, Best 1st film/Huelva 2010
El Campo by Hernan Belon (Argentina/Italy/France) – Venice 2011/Critics Week
Fat, Bald, Short Man (Colombia/France) – more than 20 selections in 2011/2012
La Playa by Juan Andres Arango (Colombia/Brazil/France) – Cannes 2012/Official Selection, Un Certain Regard
Villegas by Gonzalo Tobal (Argentina/France) – Cannes 2012/Official Selection
La Sirga by William Vega (Colombia/Mexico/France) – Cannes 2012/Directors Fortnight
Qissa by Anup Singh (India/Germany/France/Holland) – Toronto 2013/Netpac award, Rotterdam 2014/Audience Award
Dust On The Tongue by Ruben Mendoza (Columbia/France) – Cartagena 2014/Best film, best director
Mateo by Maria Gamboa (Colombia/France) – Cartagena 2014/Jury Special award
Run, Boy, Run by Pepe Danquart (Germany/France) – Cannes Junior 2014
In post-production :
Red Rose by Sepideh Farsi (Iran/France/Grèce)
Los Ausentes by Nicolas Pereda (Mexico/Spain/France)
Ausencia by Chico Teixeira (Brazil/France)
Flapping In The Middle Of Nowhere by Nguyen Hiang Diep (Vietnam/France/Norvège/Allemagne)
In development :
Kill Two Birds With One Stone by Fejria Deliba (France)
Embrace Of The Serpent by Ciro Guerra (Colombie/Vénézuela/France)
Mantra, Song Of Scorpions by Anup Singh (Inde/Suisse/France)
Sal by William Vega (Colombie/Allemagne/France)
Parable Of A Blind Christ (Chili/France)
Land And Shade by Cesar Acevedo (Colombie/France)
D’Une Rive L’Autre by Sepideh Farsi (France)...
- 8/8/2014
- by Sydney Levine
- Sydney's Buzz
Above: Trás-os-Montes (1976)
The origins of "Harvard at the Gulbenkian - Dialogues About Portuguese Film and World Cinema" lie in a series of influential programs and events organized by the Harvard Film Archive that together introduced Us audiences to the incredible richness of Portuguese cinema. Of special importance among these was "The School of Reis," a 2012 Harvard Film Archive program which explored the legacy of the late António Reis by grouping major works by Reis' students and collaborators together with the pioneering films that he directed, both alone and together with Margarida Cordeiro. "The School of Reis" was critically acclaimed not only in the Us, but also in Portugal where it was appreciated as an alternate way of historicizing the radical approaches to narrative cinema embraced by so many of the greatest Portuguese filmmakers.
Seeking a different approach to the work of those Portuguese filmmakers considered earlier by "The School of Reis,...
The origins of "Harvard at the Gulbenkian - Dialogues About Portuguese Film and World Cinema" lie in a series of influential programs and events organized by the Harvard Film Archive that together introduced Us audiences to the incredible richness of Portuguese cinema. Of special importance among these was "The School of Reis," a 2012 Harvard Film Archive program which explored the legacy of the late António Reis by grouping major works by Reis' students and collaborators together with the pioneering films that he directed, both alone and together with Margarida Cordeiro. "The School of Reis" was critically acclaimed not only in the Us, but also in Portugal where it was appreciated as an alternate way of historicizing the radical approaches to narrative cinema embraced by so many of the greatest Portuguese filmmakers.
Seeking a different approach to the work of those Portuguese filmmakers considered earlier by "The School of Reis,...
- 3/6/2014
- by Cinema Dialogues: Harvard at the Gulbenkian
- MUBI
Mubi is proud to present work produced for Harvard at the Gulbenkian, a collaboration between the Calouste Gulbenkian Foundation and the Harvard Film Archive. Curated by Haden Guest and Joaquim Sapinho, and produced by Pedro Fernandes Duarte, Harvard at the Gulbenkian organizes a series of dialogues about Portuguese film and world cinema. The series consists of 12 weekends, between November 2013 and July 2014, in which a Portuguese filmmaker and one, two or three international filmmakers, and one or more important film critics or scholars of many nationalities are brought together for a series of screenings and public discussions. We will be hosting the articles and video conversations produced for the series, and this index will be updated as events take place in Lisbon.
"The inaugural weekend of the Harvard-Gulbenkian collaboration makes clear the central ambition and idea of our program: a radical rethinking and recontextualization of Portuguese cinema within the broader realm of world cinema.
"The inaugural weekend of the Harvard-Gulbenkian collaboration makes clear the central ambition and idea of our program: a radical rethinking and recontextualization of Portuguese cinema within the broader realm of world cinema.
- 3/6/2014
- by Cinema Dialogues: Harvard at the Gulbenkian
- MUBI
Looking back over the year at what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2013—in theaters or at a festival—and creatively pair it with an old film they also saw in 2013 to create a unique double feature.
All the contributors were given the option to write some text explaining their 2013 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How...
All the contributors were given the option to write some text explaining their 2013 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How...
- 1/13/2014
- by Notebook
- MUBI
I recently sat down with Carlo Chatrian, newly appointed artistic director of the Locarno International Film Festival at his office which is only blocks away from the strikingly picturesque Piazza Grande where the outdoor screen and 8,000 seats are now being set up. We discussed his new position, his vision for the Festival, the American films that will be screened in and out of competition, and some of the many highlights and events that begin on August 7 and run for eleven days.
Of his new role as artistic director of the Festival, Chatrian states: “It was an honor and pleasure to take this position. It is a new adventure for me.”
Chatrian’s passion for filmmakers, cinema and its history is zealously conveyed whether talking about the Festival’s tributes to Christopher Lee, Anna Karina, Faye Dunaway, Sergio Castellitto, Otar Iosseliani, Jacqueline Bisset, Margaret Ménégoz and Douglas Trumbull -- to the Pardi di domani (Leopards of tomorrow) a competitive section that will screen shorts and medium-length films by young independent auteurs or film school students, who have not yet directed a feature -- to the films screened on the Piazza Grande -- to the Festival’s sidebar Histoire(s) du cinéma.
“Films belong to a wider history,” Chatrian further emphasizes when discussing Histoire(s) du cinéma, (a reference to Jean-Luc Godard’s masterpiece). Dedicated to the history of cinema, “this section embodies the identity of the Festival.” These offerings include newly restored prints of rare and important works in film history; (for the George Cukor retrospective an international preview of a remastered 3D version of The Wizard of Oz), documentaries about actors and filmmakers the Festival is honoring, as well as works presented by the Cinémathèque Suisse as part of Swiss Cinema rediscovered.
Chatrian’s Vision
“When you compose a competition you have to work with new films; it’s important to combine various aspects into a wider program. One of the things that is really important in Locarno, here, maybe more than other film festivals, are the films belonging in dialogue with past films to new. To look at cinema in a new way.”
Chatrian describes his vision of the Festival “as a mosaic, composing the puzzle of the story of cinema.” He adds: “Diversity is important.” This diversity is further explored in Chatrian’s Director’s statement in which he writes:
In line with the Festival’s tradition and our own wish to break down barriers, we have tried to establish a dialogue between historic and contemporary cinema, between independent and mainstream productions, documentary and fiction, experimental and essay forms. The only categorical imperative was to work with diversity, take it to extremes, to the point where contradictions emerge. Behind the organization of this year’s Festival lies a concept fed by opposites: not with any intention of molding them into a single line of thought, but rather welcoming them as the different souls that make up cinema and the world.
Reflected in this year’s programs are the connections to past films and how these works are linked to each other, and at times come full circle. Chatrian cites the examples of the Festival’s posthumous tribute to Portuguese director Paulo Rocha, whose films were launched at the Locarno Film Festival fifty years ago -- to the tribute to Anna Karina, “not only a great actress who worked with Godard and George Cukor, there is that connection to Rocha’s films in the Portugal New Wave and Anna Karina’s relationship to the French New Wave.”
Chatrian continues: “It’s like a web that makes different connections. Another example: Joaqim Pinto, Portuguese director of the film in competition, Eagora?? Lembra-Me? (What Now? Remind Me) was just a child when he went on set when Paulo Rocha was shooting his second feature.”
New American Films at the Festival
The five films coming from the United States include SXSW Grand Jury winner Short Term 12 by Destin Cretton and The Dirties directed by Matthew Johnson, which Chatrian describes as “a challenging work of editing. A film within a film. The main characters are supposed to shoot a film, but at the same time they are being bullied by a group of other students because of their identity. The film is funny; sometimes a tribute to Ed Wood, but it also conveys a sort of criticism of the world of school.”
Dedicated to emerging international directors and devoted to first and second features, Chatrian comments on the Concorso Cineasti del presente – (Filmmakers of the Present) “Some of these films raise a lot of questions rather than give answers. They are not straight forward; they are more art-house.”
Chatrian describes Forty Years From Yesterday directed by first-time feature directors Robert Machoian and Rodrigo Ojeda-Beck: “Works with lengths of shots; it’s deeply emotive. It tries to convey something that is difficult; grief, and empathy between camera and character.”
“Two films that challenge cinematic form are Manakamana and The Unity of all Things.” The feature documentary Manakamana is synopsized by its directors Stephanie Spray and Pacho Velez: High above a jungle in Nepal, pilgrims make an ancient journey by cable car to worship Manakamana. Chatrian calls it “a contemplative film with powerful sequences of long takes.” On the first feature The Unity of all Things directed by Alex Carver and Daniel Schmidt, Chatrian states: “A very experimental film based on a big subject, a tough subject -- the idea of time; it has a metaphysical point of view.”
The science fiction film Dignity, directed by James Fotopoulos, is described by Chatrian, “like a 1960s trip” and remarks on this film’s connection to Douglas Trumbull, the special effects artist and director, who will receive Locarno’s Festival First Vision Award. “It is a nice tribute to Trumbull and how it relates to his work on 2001: A Space Odyssey and Close Encounters of the Third Kind, and as the director of Silent Running.”
Filmmaker as Journeyman – Werner Herzog
Another connection to the United States is from European director, Werner Herzog, (this year’s honoree of the Pardo d’onore Swisscom) who is now living in the states. The Festival will present the world premiere of the four episodes that comprise Herzog’s new mini-series Death Row II, which documents four more cases from death row prisons in Texas. Chatrian says of this work: “a precise look at the American justice system and the American people.”
For cinephiles the world over, the Locarno International Film Festival offers a wide range of work from the past and present, and inspiration for the future of cinema around the globe.
The Locarno International Film Festival runs from August 7-17, 2013. For more information visit: www.pardo.ch
About Susan Kouguell
Award-winning screenwriter and filmmaker, Susan Kouguell teaches screenwriting and film at Tufts University and presents international seminars. Author of Savvy Characters Sell Screenplays! and The Savvy Screenwriter, she is chairperson of Su-City Pictures East, LLC, a consulting company founded in 1990 where she works with over 1,000 writers, filmmakers, and executives worldwide. www.su-city-pictures.com...
Of his new role as artistic director of the Festival, Chatrian states: “It was an honor and pleasure to take this position. It is a new adventure for me.”
Chatrian’s passion for filmmakers, cinema and its history is zealously conveyed whether talking about the Festival’s tributes to Christopher Lee, Anna Karina, Faye Dunaway, Sergio Castellitto, Otar Iosseliani, Jacqueline Bisset, Margaret Ménégoz and Douglas Trumbull -- to the Pardi di domani (Leopards of tomorrow) a competitive section that will screen shorts and medium-length films by young independent auteurs or film school students, who have not yet directed a feature -- to the films screened on the Piazza Grande -- to the Festival’s sidebar Histoire(s) du cinéma.
“Films belong to a wider history,” Chatrian further emphasizes when discussing Histoire(s) du cinéma, (a reference to Jean-Luc Godard’s masterpiece). Dedicated to the history of cinema, “this section embodies the identity of the Festival.” These offerings include newly restored prints of rare and important works in film history; (for the George Cukor retrospective an international preview of a remastered 3D version of The Wizard of Oz), documentaries about actors and filmmakers the Festival is honoring, as well as works presented by the Cinémathèque Suisse as part of Swiss Cinema rediscovered.
Chatrian’s Vision
“When you compose a competition you have to work with new films; it’s important to combine various aspects into a wider program. One of the things that is really important in Locarno, here, maybe more than other film festivals, are the films belonging in dialogue with past films to new. To look at cinema in a new way.”
Chatrian describes his vision of the Festival “as a mosaic, composing the puzzle of the story of cinema.” He adds: “Diversity is important.” This diversity is further explored in Chatrian’s Director’s statement in which he writes:
In line with the Festival’s tradition and our own wish to break down barriers, we have tried to establish a dialogue between historic and contemporary cinema, between independent and mainstream productions, documentary and fiction, experimental and essay forms. The only categorical imperative was to work with diversity, take it to extremes, to the point where contradictions emerge. Behind the organization of this year’s Festival lies a concept fed by opposites: not with any intention of molding them into a single line of thought, but rather welcoming them as the different souls that make up cinema and the world.
Reflected in this year’s programs are the connections to past films and how these works are linked to each other, and at times come full circle. Chatrian cites the examples of the Festival’s posthumous tribute to Portuguese director Paulo Rocha, whose films were launched at the Locarno Film Festival fifty years ago -- to the tribute to Anna Karina, “not only a great actress who worked with Godard and George Cukor, there is that connection to Rocha’s films in the Portugal New Wave and Anna Karina’s relationship to the French New Wave.”
Chatrian continues: “It’s like a web that makes different connections. Another example: Joaqim Pinto, Portuguese director of the film in competition, Eagora?? Lembra-Me? (What Now? Remind Me) was just a child when he went on set when Paulo Rocha was shooting his second feature.”
New American Films at the Festival
The five films coming from the United States include SXSW Grand Jury winner Short Term 12 by Destin Cretton and The Dirties directed by Matthew Johnson, which Chatrian describes as “a challenging work of editing. A film within a film. The main characters are supposed to shoot a film, but at the same time they are being bullied by a group of other students because of their identity. The film is funny; sometimes a tribute to Ed Wood, but it also conveys a sort of criticism of the world of school.”
Dedicated to emerging international directors and devoted to first and second features, Chatrian comments on the Concorso Cineasti del presente – (Filmmakers of the Present) “Some of these films raise a lot of questions rather than give answers. They are not straight forward; they are more art-house.”
Chatrian describes Forty Years From Yesterday directed by first-time feature directors Robert Machoian and Rodrigo Ojeda-Beck: “Works with lengths of shots; it’s deeply emotive. It tries to convey something that is difficult; grief, and empathy between camera and character.”
“Two films that challenge cinematic form are Manakamana and The Unity of all Things.” The feature documentary Manakamana is synopsized by its directors Stephanie Spray and Pacho Velez: High above a jungle in Nepal, pilgrims make an ancient journey by cable car to worship Manakamana. Chatrian calls it “a contemplative film with powerful sequences of long takes.” On the first feature The Unity of all Things directed by Alex Carver and Daniel Schmidt, Chatrian states: “A very experimental film based on a big subject, a tough subject -- the idea of time; it has a metaphysical point of view.”
The science fiction film Dignity, directed by James Fotopoulos, is described by Chatrian, “like a 1960s trip” and remarks on this film’s connection to Douglas Trumbull, the special effects artist and director, who will receive Locarno’s Festival First Vision Award. “It is a nice tribute to Trumbull and how it relates to his work on 2001: A Space Odyssey and Close Encounters of the Third Kind, and as the director of Silent Running.”
Filmmaker as Journeyman – Werner Herzog
Another connection to the United States is from European director, Werner Herzog, (this year’s honoree of the Pardo d’onore Swisscom) who is now living in the states. The Festival will present the world premiere of the four episodes that comprise Herzog’s new mini-series Death Row II, which documents four more cases from death row prisons in Texas. Chatrian says of this work: “a precise look at the American justice system and the American people.”
For cinephiles the world over, the Locarno International Film Festival offers a wide range of work from the past and present, and inspiration for the future of cinema around the globe.
The Locarno International Film Festival runs from August 7-17, 2013. For more information visit: www.pardo.ch
About Susan Kouguell
Award-winning screenwriter and filmmaker, Susan Kouguell teaches screenwriting and film at Tufts University and presents international seminars. Author of Savvy Characters Sell Screenplays! and The Savvy Screenwriter, she is chairperson of Su-City Pictures East, LLC, a consulting company founded in 1990 where she works with over 1,000 writers, filmmakers, and executives worldwide. www.su-city-pictures.com...
- 8/2/2013
- by Susan Kouguell
- Sydney's Buzz
News.
Over the last week, we lost American actor Harry Carey Jr., 91, and Portugese filmmaker Paulo Rocha, 77. Glenn Kenny posted an excerpt from Carey's memoir Company of Heroes: My Life as an Actor in the John Ford Stock Company on his blog. Cinemateca Portuguesa's Facebook page shares some photos of Rocha:
Above: With Jean Renoir, 1962.
Above: With Manoel de Oliveira, 1965.
Above: 1977.
Finds.
David Hudson shares his twelve favourite films of 2012, along with some thoughts on the year, which you should consider checking out. Hudson closes out his piece with a Notebook-related nod:
"If I were asked if I happened to have a favorite film critic of 2012, my spontaneous reply would be, yes. Ignatiy Vishnevetsky. Read him on The Master. Read him on Barbara. And for cinema’s sake, read him on Zero Dark Thirty."
From Observations on Film Art, Kristin Thompson on the top ten films...of 1922:
"As...
Over the last week, we lost American actor Harry Carey Jr., 91, and Portugese filmmaker Paulo Rocha, 77. Glenn Kenny posted an excerpt from Carey's memoir Company of Heroes: My Life as an Actor in the John Ford Stock Company on his blog. Cinemateca Portuguesa's Facebook page shares some photos of Rocha:
Above: With Jean Renoir, 1962.
Above: With Manoel de Oliveira, 1965.
Above: 1977.
Finds.
David Hudson shares his twelve favourite films of 2012, along with some thoughts on the year, which you should consider checking out. Hudson closes out his piece with a Notebook-related nod:
"If I were asked if I happened to have a favorite film critic of 2012, my spontaneous reply would be, yes. Ignatiy Vishnevetsky. Read him on The Master. Read him on Barbara. And for cinema’s sake, read him on Zero Dark Thirty."
From Observations on Film Art, Kristin Thompson on the top ten films...of 1922:
"As...
- 1/2/2013
- by Adam Cook
- MUBI
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