Rotterdam Film Festival Sets ‘Head South’ As Opening Film
Jonathan Ogilvie’s post-punk, coming-of-age comedy Head South has been announced as the opening picture of the 53rd International Film Festival Rotterdam (IFFR), running from January 25 to February 4. The festival has also teased a handful of early selections. They include Indian filmmaker Ishan Shukla’s dystopian, sci-fi animation Schirkoa: In Lies We Trust and U.S. director Billy Woodberry’s biodoc Mário, about African independence activist Mário de Andrade, which will both world premiere. Further confirmations include European premieres for Amanda Kramer’s So Unreal and Ann Hui’s Elegies as well as Omar Hilal’s Voy! Voy! Voy!, which is Egypt’s Oscar entry this year. The festival will unveil its full line-up on December 18.
Paul Schrader To Be Feted At Pier Paolo Pasolini’s Avellino Festival
U.S. director and screenwriter Paul Schrader will be honored with a Lifetime...
Jonathan Ogilvie’s post-punk, coming-of-age comedy Head South has been announced as the opening picture of the 53rd International Film Festival Rotterdam (IFFR), running from January 25 to February 4. The festival has also teased a handful of early selections. They include Indian filmmaker Ishan Shukla’s dystopian, sci-fi animation Schirkoa: In Lies We Trust and U.S. director Billy Woodberry’s biodoc Mário, about African independence activist Mário de Andrade, which will both world premiere. Further confirmations include European premieres for Amanda Kramer’s So Unreal and Ann Hui’s Elegies as well as Omar Hilal’s Voy! Voy! Voy!, which is Egypt’s Oscar entry this year. The festival will unveil its full line-up on December 18.
Paul Schrader To Be Feted At Pier Paolo Pasolini’s Avellino Festival
U.S. director and screenwriter Paul Schrader will be honored with a Lifetime...
- 11/23/2023
- by Melanie Goodfellow
- Deadline Film + TV
SEEfest April 26-May 3, 2023 in Los Angeles: A Unique Event
Los Angeles, my hometown, probably has different film festivals every day of the year. The most known of course is the AFI Fest, a part of the venerable industry institution the American Film Institute. A list of all of them is below. But worth mentioning is the upcoming SEEfest.
In highlighting it here, I know I will be asked by others (and I will not have the capacity) to cover them, but I will mention the one I am on the Advisory Board for before going on to SEEfest and the innumerable others.
The Asian World Film Festival in November is the place to catch the most Asian submissions for the Academy Award Best International Film Nominations. Founded by Sadyk Sher-Niyaz, Chairman of the Union of Filmmakers of Kyrgyzstan, who followed his dream to attend film school in Moscow at the age of 38 and Co-Founder and Managing Director, Asel Sherniyazova, who has an economic and business educational background and for two years studied in China and is fluent in English, Chinese, Russian and Kyrgyz. She is a Co-Founder of a business consultancy company in China, an investment corporation in the USA and a non-profit organization in Kyrgyzstan. Asel is an integral part of the Festival, managing the structure and strategic content as well as event sponsorship and all promotional activity. She is also instrumental in liaising between Consulates, Embassies and Ministries from the Asian Continent, ensuring that their countries’ films and filmmakers receive a high degree of exposure during the Festival.
Asel Sherniyazova
And the most visible face of the festival is Georges N. Chamchoum, an Emmy and multiple award-winning Film Director and Producer, born in Niger, West Africa of Lebanese origin. Educated in France, Germany and Wales, he entered the film industry in 1968 after graduating from the Conservatoire du Cinema Français in Paris. Georges has directed and produced over 35 features in Europe, Africa, the Middle East, Canada and the USA, with many screened at various International Film Festivals and Universities. Georges has lived in Los Angeles for the past 32 years.
Georges Chamchoum
Asian World Film Festival: Afghanistan, Armenia, Azerbaijan, Bahrain, Bangladesh, Bhutan, Brunei, Burma, Cambodia, China, Cyprus, Hong Kong, India, Indonesia, Iran, Iraq, Israel, Japan, Jordan, Kazakhstan, Kuwait, Kyrgyzstan, Laos, Lebanon, Malaysia, Maldives, Mongolia, Nepal, Oman, Pakistan, Palestine, Philippines, Qatar., Republic of Georgia, Russia, Saudi Arabia, Singapore, South Korea, Sri Lanka, Syria, Taiwan, Tajikistan, Thailand, Timor-Leste, Turkey, Turkmenistan, United Arab Emirates, Uzbekistan, Vietnam, Yemen
Next closest to my heart is SEEfest, the South East European Film Festival in Los Angeles which pioneered the concept of regional, cross-border programming with issue-driven films that tell a larger story about South East Europe, where borders of all kinds are fluid and porous just as often as poisonous. By presenting multiple points of view from this troubled region, the festival unlocks delicate doors into human existence, highlighting concerns of our time that resonate with American audiences.
SEEfest: Albania, Armenia, Austria, Azerbaijan, Belarus, Bosnia and Herzegovina, Bulgaria, Croatia, Cyprus, Georgia, Greece, Hungary, Kosovo, Moldova, Montenegro, North Macedonia, Romania, Serbia, Slovakia, Slovenia, Turkey, Ukraine
Founded in 2006 by Vera Mijojlić, a cultural producer, who began her career as a cultural reporter and film critic in Sarajevo, and holds a degree in journalism from the University of Belgrade. She has curated major film retrospectives for the UCLA Film Archive and Austin Film Society, and initiated a national tour of landmark short films with the Los Angeles FilmForum, which was presented at the Pacific Film Archive, Harvard Film Archive, National Gallery of Art, and MoMA. In addition to the 2018 Women in Leadership Award from the City of West Hollywood, she has received multiple recognitions from the State of California, as well as the County and City of Los Angeles.
Vera Mijojlić
A great deal of what I do is directly related to the festival I founded, including writing about cinematic milestones, highlighting interesting books, especially those related to the region of South East Europe, and giving tributes to outstanding artists across the spectrum. What sets me apart, and by extension the festival as well, is an intense focus on the multidisciplinary approach to all the arts, not just the cinematic, but also the art of literature, architecture, design, publishing, and including the rich legacy of fine arts.
The joy of making my dream a reality, creating and building from the ground up the first platform in the U.S. for a host of countries and emerging filmmakers with little or no access to American audiences — during my 16-year long journey with SEEfest, was worth the mammoth effort it took to get there.
This year’s 18th annual SEEfest, co-presented by Elma, opens on April 26th at the Writers Guild Theater and runs at seven different locations around L.A. County through May 3rd. With over 50 features, documentaries and short films, the festival brings to Los Angeles U.S. premieres, European talent and an Industry Accelerator with seminars, panels and workshops.
‘Sonne’ directed by Kurdwin Ayub
Get ready for the charm offensive of Sonne when a trio of young actresses singing their way to YouTube fame and coming of age online and in real life simultaneously decide, in a moment of ordinary madness, to shoot a burqa music video. Produced by Ulrich Seidl and directed by Austria-born Kurdwin Ayub, this great debut film had already won accolades internationally, including Berlin Film Festival’s Gwff Best First Feature Award.
The festival’s co-presenting sponsor Elma, Foundation for European Languages and Movies in America has the mission to create new avenues for better cultural understanding between the people of Europe and the USA by celebrating alternative cinema.
Image courtesy of Doctors Without Borders
A biology teacher in my elementary school “Veselin Masleša” in Sarajevo introduced the topic of germs by telling us the story of the 1955 French film If All The Guys In The World by Christian-Jaque, written by him and Henri-Georges Clouzot. Sailors on a fishing trawler became ill after eating contaminated meat. The heroes of the film are radio amateurs from all over the world who unite to deliver the medicine that will cure them.
The catastrophic earthquake that struck Turkey and Syria has left tens of thousands dead and hundreds of thousands homeless and displaced. Rescue teams from many countries have been dispatched and aid is being delivered. And if all the people in the world stand in solidarity then people on the ground in the affected areas will not be alone. The legacy of those radio amateurs working across borders will live on.
How You Can Help: Red Cross, Direct Relief, Doctors Without Borders
Call for Papers
A conference taking place in June at the Central European University is an opportunity for scholars working in the field of Romani studies to submit proposals.
Conference Info
‘Outrageous comparisons’– On March 6, Professor Willibald Steinmetz gave a work-in-progress report on a book he is currently writing about ‘outrageous comparisons’, i.e. comparisons that create public outrage. Polemical equations of someone with Hitler or the Nazis, or analogies to the Holocaust, are the most salient cases in point, but by no means the only instances of outrageous comparisons.
Book Recommendations
A Sea Of Transience
Poetics, Politics and Aesthetics along the Black Sea Coast
Edited by Tamta Khalvashi and Martin Demant Frederiksen
Transience is found in every meeting and form of coexistence between people and things that live and exist by or move across or along, the Black Sea. It may come in various forms and guises, from de facto states, tourism, migration, trafficking or military troops, and it needs to be written and captured in sensuous, affective and imaginative ways.
With particular attention to poetics, politics and aesthetics, this volume focuses on the scales of transient moments and histories, and enables readers to see and sense the many forms of transience that occur in a given landscape, sea or space.
Read more.
In her new book, Memories Do Not Burn, Judith Jenya recounts the fascinating stories of what it took to start, fund and organize Global Children’s organization and create summer camps bringing together children from opposing sides during the war in Bosnia and Herzegovina and other troubled spots where her work took her.
Become a Member
Not a member yet? Become an art patron with other SEEfest arthouse aficionados in support of great events and programs.
Become A Cine-fan Today!
SEEfest program and activities are supported, in part, by the California Arts Council, a state agency; Los Angeles County Board of Supervisors through the Los Angeles County Department of Arts and Culture; by a grant from the Department of Cultural Affairs, City of Los Angeles, Elma Foundation for European Movies in America, and the Hollywood Foreign Press Association.
Below is a list of the many other film festivals in LA. Whether it is the definitive list, I do not know.
NewFilmmakers Los Angeles (Nfmla) Film Festival — April 22nd, 2023
TCM Classic Film Festival, Pan African Film Festival, Los Angeles Women’s International Film Festival, Outfest, City of Lights, City of Angels (French Film Festival), Polish Film Festival Los Angeles, Los Angeles Asian Pacific Film Festival, Indian Film Festival of Los Angeles, Los Angeles Brazilian Film Festival, Hollywood Brazilian Film Festival, Los Angeles Greek Film Festival, Israel Film Festival, Turkish Film Festival of LA, Los Angeles Italia Film Festival, Los Angeles Diversity Film Festival, LA Shorts Fest, Dtla Film Festival, Doc LA - Los Angeles Documentary Film Festival, Los Angeles International Children's Film Festival, Los Angeles International Culture Film Festival, Hollywood Film Festival, FirstGlance Film Festival,The Valley Film Festival, L.A. Comedy Shorts Film Festival, Independent Filmmakers Showcase Film Festival, Los Angeles Animation Festival, Festival of International Virtual & Augmented Reality Stories, Los Angeles International Underground Film Festival, Poetry Film Festival Los Angeles, Fri, Apr 28 Beyond Baroque Literary Arts Center in Venice
Sunset International Film Festival, Beverly Hills Film Festival, Silicon Beach Film Festival, Lift Off Fest, Monsterpalooza, HollyShorts Film, Hollywood ShortsFest…
https://www.lafilmfestivals.com/ alone hosts the LA Comedy Film Festival, LA Indie Film Festival, LA Queer Film Festival, LA Women in Film Festival, LA Black Film Festival, LA Asian Film Festival, LA Latinx Film Festival, LA Sci-Fi Film Festival, LA Action Film Festival, LA Horror Film Festival, LA Animated Film Festival, and LA Student Film Festival.
And in April alone:
Beyond Hollywood International Film Festival 2023 Apr 20 at the Regal LA Live, Los Angeles Short Film Festival Apr 15 at Los Angeles Performing Arts Conservatory, 2023 Universe Multicultural Film Festival April 14 at Peninsula Center Library at Rolling Hills Estates, Los Angeles Pasifika Film Festival, Malibu Film Festival, Silent Films Live 3
Maron Doll Short Film World Premiere | Hudson Theatre, Apr 29, Orange Film Fest 2023, April 29 Santa Ana CA, Talkies: Comedy & Short Films April 20, The New Film Underground Volume 7 Apr 23 at Art Share L.A., Marilyn Monroe Film Festival at the Saban
Celebrating 100 Years of Armenian Cinema: Vigen Chaldranyan’s Alter EgoApril 16 at AMC Americana at Brand 18 • Glendale, CA, Free
Classic Cinema Night at Cinegrill Theater, Apr 19 at The Hollywood Roosevelt hotel • Los Angeles, CA
International Film
Film Festivals
Poland
Asia
Europe...
Los Angeles, my hometown, probably has different film festivals every day of the year. The most known of course is the AFI Fest, a part of the venerable industry institution the American Film Institute. A list of all of them is below. But worth mentioning is the upcoming SEEfest.
In highlighting it here, I know I will be asked by others (and I will not have the capacity) to cover them, but I will mention the one I am on the Advisory Board for before going on to SEEfest and the innumerable others.
The Asian World Film Festival in November is the place to catch the most Asian submissions for the Academy Award Best International Film Nominations. Founded by Sadyk Sher-Niyaz, Chairman of the Union of Filmmakers of Kyrgyzstan, who followed his dream to attend film school in Moscow at the age of 38 and Co-Founder and Managing Director, Asel Sherniyazova, who has an economic and business educational background and for two years studied in China and is fluent in English, Chinese, Russian and Kyrgyz. She is a Co-Founder of a business consultancy company in China, an investment corporation in the USA and a non-profit organization in Kyrgyzstan. Asel is an integral part of the Festival, managing the structure and strategic content as well as event sponsorship and all promotional activity. She is also instrumental in liaising between Consulates, Embassies and Ministries from the Asian Continent, ensuring that their countries’ films and filmmakers receive a high degree of exposure during the Festival.
Asel Sherniyazova
And the most visible face of the festival is Georges N. Chamchoum, an Emmy and multiple award-winning Film Director and Producer, born in Niger, West Africa of Lebanese origin. Educated in France, Germany and Wales, he entered the film industry in 1968 after graduating from the Conservatoire du Cinema Français in Paris. Georges has directed and produced over 35 features in Europe, Africa, the Middle East, Canada and the USA, with many screened at various International Film Festivals and Universities. Georges has lived in Los Angeles for the past 32 years.
Georges Chamchoum
Asian World Film Festival: Afghanistan, Armenia, Azerbaijan, Bahrain, Bangladesh, Bhutan, Brunei, Burma, Cambodia, China, Cyprus, Hong Kong, India, Indonesia, Iran, Iraq, Israel, Japan, Jordan, Kazakhstan, Kuwait, Kyrgyzstan, Laos, Lebanon, Malaysia, Maldives, Mongolia, Nepal, Oman, Pakistan, Palestine, Philippines, Qatar., Republic of Georgia, Russia, Saudi Arabia, Singapore, South Korea, Sri Lanka, Syria, Taiwan, Tajikistan, Thailand, Timor-Leste, Turkey, Turkmenistan, United Arab Emirates, Uzbekistan, Vietnam, Yemen
Next closest to my heart is SEEfest, the South East European Film Festival in Los Angeles which pioneered the concept of regional, cross-border programming with issue-driven films that tell a larger story about South East Europe, where borders of all kinds are fluid and porous just as often as poisonous. By presenting multiple points of view from this troubled region, the festival unlocks delicate doors into human existence, highlighting concerns of our time that resonate with American audiences.
SEEfest: Albania, Armenia, Austria, Azerbaijan, Belarus, Bosnia and Herzegovina, Bulgaria, Croatia, Cyprus, Georgia, Greece, Hungary, Kosovo, Moldova, Montenegro, North Macedonia, Romania, Serbia, Slovakia, Slovenia, Turkey, Ukraine
Founded in 2006 by Vera Mijojlić, a cultural producer, who began her career as a cultural reporter and film critic in Sarajevo, and holds a degree in journalism from the University of Belgrade. She has curated major film retrospectives for the UCLA Film Archive and Austin Film Society, and initiated a national tour of landmark short films with the Los Angeles FilmForum, which was presented at the Pacific Film Archive, Harvard Film Archive, National Gallery of Art, and MoMA. In addition to the 2018 Women in Leadership Award from the City of West Hollywood, she has received multiple recognitions from the State of California, as well as the County and City of Los Angeles.
Vera Mijojlić
A great deal of what I do is directly related to the festival I founded, including writing about cinematic milestones, highlighting interesting books, especially those related to the region of South East Europe, and giving tributes to outstanding artists across the spectrum. What sets me apart, and by extension the festival as well, is an intense focus on the multidisciplinary approach to all the arts, not just the cinematic, but also the art of literature, architecture, design, publishing, and including the rich legacy of fine arts.
The joy of making my dream a reality, creating and building from the ground up the first platform in the U.S. for a host of countries and emerging filmmakers with little or no access to American audiences — during my 16-year long journey with SEEfest, was worth the mammoth effort it took to get there.
This year’s 18th annual SEEfest, co-presented by Elma, opens on April 26th at the Writers Guild Theater and runs at seven different locations around L.A. County through May 3rd. With over 50 features, documentaries and short films, the festival brings to Los Angeles U.S. premieres, European talent and an Industry Accelerator with seminars, panels and workshops.
‘Sonne’ directed by Kurdwin Ayub
Get ready for the charm offensive of Sonne when a trio of young actresses singing their way to YouTube fame and coming of age online and in real life simultaneously decide, in a moment of ordinary madness, to shoot a burqa music video. Produced by Ulrich Seidl and directed by Austria-born Kurdwin Ayub, this great debut film had already won accolades internationally, including Berlin Film Festival’s Gwff Best First Feature Award.
The festival’s co-presenting sponsor Elma, Foundation for European Languages and Movies in America has the mission to create new avenues for better cultural understanding between the people of Europe and the USA by celebrating alternative cinema.
Image courtesy of Doctors Without Borders
A biology teacher in my elementary school “Veselin Masleša” in Sarajevo introduced the topic of germs by telling us the story of the 1955 French film If All The Guys In The World by Christian-Jaque, written by him and Henri-Georges Clouzot. Sailors on a fishing trawler became ill after eating contaminated meat. The heroes of the film are radio amateurs from all over the world who unite to deliver the medicine that will cure them.
The catastrophic earthquake that struck Turkey and Syria has left tens of thousands dead and hundreds of thousands homeless and displaced. Rescue teams from many countries have been dispatched and aid is being delivered. And if all the people in the world stand in solidarity then people on the ground in the affected areas will not be alone. The legacy of those radio amateurs working across borders will live on.
How You Can Help: Red Cross, Direct Relief, Doctors Without Borders
Call for Papers
A conference taking place in June at the Central European University is an opportunity for scholars working in the field of Romani studies to submit proposals.
Conference Info
‘Outrageous comparisons’– On March 6, Professor Willibald Steinmetz gave a work-in-progress report on a book he is currently writing about ‘outrageous comparisons’, i.e. comparisons that create public outrage. Polemical equations of someone with Hitler or the Nazis, or analogies to the Holocaust, are the most salient cases in point, but by no means the only instances of outrageous comparisons.
Book Recommendations
A Sea Of Transience
Poetics, Politics and Aesthetics along the Black Sea Coast
Edited by Tamta Khalvashi and Martin Demant Frederiksen
Transience is found in every meeting and form of coexistence between people and things that live and exist by or move across or along, the Black Sea. It may come in various forms and guises, from de facto states, tourism, migration, trafficking or military troops, and it needs to be written and captured in sensuous, affective and imaginative ways.
With particular attention to poetics, politics and aesthetics, this volume focuses on the scales of transient moments and histories, and enables readers to see and sense the many forms of transience that occur in a given landscape, sea or space.
Read more.
In her new book, Memories Do Not Burn, Judith Jenya recounts the fascinating stories of what it took to start, fund and organize Global Children’s organization and create summer camps bringing together children from opposing sides during the war in Bosnia and Herzegovina and other troubled spots where her work took her.
Become a Member
Not a member yet? Become an art patron with other SEEfest arthouse aficionados in support of great events and programs.
Become A Cine-fan Today!
SEEfest program and activities are supported, in part, by the California Arts Council, a state agency; Los Angeles County Board of Supervisors through the Los Angeles County Department of Arts and Culture; by a grant from the Department of Cultural Affairs, City of Los Angeles, Elma Foundation for European Movies in America, and the Hollywood Foreign Press Association.
Below is a list of the many other film festivals in LA. Whether it is the definitive list, I do not know.
NewFilmmakers Los Angeles (Nfmla) Film Festival — April 22nd, 2023
TCM Classic Film Festival, Pan African Film Festival, Los Angeles Women’s International Film Festival, Outfest, City of Lights, City of Angels (French Film Festival), Polish Film Festival Los Angeles, Los Angeles Asian Pacific Film Festival, Indian Film Festival of Los Angeles, Los Angeles Brazilian Film Festival, Hollywood Brazilian Film Festival, Los Angeles Greek Film Festival, Israel Film Festival, Turkish Film Festival of LA, Los Angeles Italia Film Festival, Los Angeles Diversity Film Festival, LA Shorts Fest, Dtla Film Festival, Doc LA - Los Angeles Documentary Film Festival, Los Angeles International Children's Film Festival, Los Angeles International Culture Film Festival, Hollywood Film Festival, FirstGlance Film Festival,The Valley Film Festival, L.A. Comedy Shorts Film Festival, Independent Filmmakers Showcase Film Festival, Los Angeles Animation Festival, Festival of International Virtual & Augmented Reality Stories, Los Angeles International Underground Film Festival, Poetry Film Festival Los Angeles, Fri, Apr 28 Beyond Baroque Literary Arts Center in Venice
Sunset International Film Festival, Beverly Hills Film Festival, Silicon Beach Film Festival, Lift Off Fest, Monsterpalooza, HollyShorts Film, Hollywood ShortsFest…
https://www.lafilmfestivals.com/ alone hosts the LA Comedy Film Festival, LA Indie Film Festival, LA Queer Film Festival, LA Women in Film Festival, LA Black Film Festival, LA Asian Film Festival, LA Latinx Film Festival, LA Sci-Fi Film Festival, LA Action Film Festival, LA Horror Film Festival, LA Animated Film Festival, and LA Student Film Festival.
And in April alone:
Beyond Hollywood International Film Festival 2023 Apr 20 at the Regal LA Live, Los Angeles Short Film Festival Apr 15 at Los Angeles Performing Arts Conservatory, 2023 Universe Multicultural Film Festival April 14 at Peninsula Center Library at Rolling Hills Estates, Los Angeles Pasifika Film Festival, Malibu Film Festival, Silent Films Live 3
Maron Doll Short Film World Premiere | Hudson Theatre, Apr 29, Orange Film Fest 2023, April 29 Santa Ana CA, Talkies: Comedy & Short Films April 20, The New Film Underground Volume 7 Apr 23 at Art Share L.A., Marilyn Monroe Film Festival at the Saban
Celebrating 100 Years of Armenian Cinema: Vigen Chaldranyan’s Alter EgoApril 16 at AMC Americana at Brand 18 • Glendale, CA, Free
Classic Cinema Night at Cinegrill Theater, Apr 19 at The Hollywood Roosevelt hotel • Los Angeles, CA
International Film
Film Festivals
Poland
Asia
Europe...
- 4/9/2023
- by Sydney
- Sydney's Buzz
SEEfest April 26-May 3, 2023 in Los Angeles: A Unique Event Los Angeles, my hometown, probably has different film festivals every day of the year. The most known of course is the AFI Fest, a part of the venerable industry institution the American Film Institute. A list of all of them is below. But worth mentioning is the upcoming SEEfest. In highlighting it here, I know I will be asked by others (and I will not have the capacity) to cover them, but I will mention the one I am on the Advisory Board for before going on to SEEfest and the innumerable others. The Asian World Film Festival in November is the place to catch the most Asian submissions for the Academy Award Best International Film Nominations. Founded by Sadyk Sher-Niyaz, Chairman of the Union of Filmmakers of Kyrgyzstan, who followed his dream to attend film school in Moscow at the age of 38 and Co-Founder and Managing Director, Asel Sherniyazova, who has an economic and business educational background and for two years studied in China and is fluent in English, Chinese, Russian and Kyrgyz. She is a Co-Founder of a business consultancy company in China, an investment corporation in the USA and a non-profit organization in Kyrgyzstan. Asel is an integral part of the Festival, managing the structure and strategic content as well as event sponsorship and all promotional activity. She is also instrumental in liaising between Consulates, Embassies and Ministries from the Asian Continent, ensuring that their countries’ films and filmmakers receive a high degree of exposure during the Festival. Asel Sherniyazova And the most visible face of the festival is Georges N. Chamchoum, an Emmy and multiple award-winning Film Director and Producer, born in Niger, West Africa of Lebanese origin. Educated in France, Germany and Wales, he entered the film industry in 1968 after graduating from the Conservatoire du Cinema Français in Paris. Georges has directed and produced over 35 features in Europe, Africa, the Middle East, Canada and the USA, with many screened at various International Film Festivals and Universities. Georges has lived in Los Angeles for the past 32 years. Georges Chamchoum Asian World Film Festival: Afghanistan, Armenia, Azerbaijan, Bahrain, Bangladesh, Bhutan, Brunei, Burma, Cambodia, China, Cyprus, Hong Kong, India, Indonesia, Iran, Iraq, Israel, Japan, Jordan, Kazakhstan, Kuwait, Kyrgyzstan, Laos, Lebanon, Malaysia, Maldives, Mongolia, Nepal, Oman, Pakistan, Palestine, Philippines, Qatar., Republic of Georgia, Russia, Saudi Arabia, Singapore, South Korea, Sri Lanka, Syria, Taiwan, Tajikistan, Thailand, Timor-Leste, Turkey, Turkmenistan, United Arab Emirates, Uzbekistan, Vietnam, Yemen Next closest to my heart is SEEfest, the South East European Film Festival in Los Angeles which pioneered the concept of regional, cross-border programming with issue-driven films that tell a larger story about South East Europe, where borders of all kinds are fluid and porous just as often as poisonous. By presenting multiple points of view from this troubled region, the festival unlocks delicate doors into human existence, highlighting concerns of our time that resonate with American audiences. SEEfest: Albania, Armenia, Austria, Azerbaijan, Belarus, Bosnia and Herzegovina, Bulgaria, Croatia, Cyprus, Georgia, Greece, Hungary, Kosovo, Moldova, Montenegro, North Macedonia, Romania, Serbia, Slovakia, Slovenia, Turkey, Ukraine Founded in 2006 by Vera Mijojlić, a cultural producer, who began her career as a cultural reporter and film critic in Sarajevo, and holds a degree in journalism from the University of Belgrade. She has curated major film retrospectives for the UCLA Film Archive and Austin Film Society, and initiated a national tour of landmark short films with the Los Angeles FilmForum, which was presented at the Pacific Film Archive, Harvard Film Archive, National Gallery of Art, and MoMA. In addition to the 2018 Women in Leadership Award from the City of West Hollywood, she has received multiple recognitions from the State of California, as well as the County and City of Los Angeles. Vera Mijojlić A great deal of what I do is directly related to the festival I founded, including writing about cinematic milestones, highlighting interesting books, especially those related to the region of South East Europe, and giving tributes to outstanding artists across the spectrum. What sets me apart, and by extension the festival as well, is an intense focus on the multidisciplinary approach to all the arts, not just the cinematic, but also the art of literature, architecture, design, publishing, and including the rich legacy of fine arts. The joy of making my dream a reality, creating and building from the ground up the first platform in the U.S. for a host of countries and emerging filmmakers with little or no access to American audiences — during my 16-year long journey with SEEfest, was worth the mammoth effort it took to get there. This year’s 18th annual SEEfest, co-presented by Elma, opens on April 26th at the Writers Guild Theater and runs at seven different locations around L.A. County through May 3rd. With over 50 features, documentaries and short films, the festival brings to Los Angeles U.S. premieres, European talent and an Industry Accelerator with seminars, panels and workshops. ‘Sonne’ directed by Kurdwin Ayub Get ready for the charm offensive of Sonne when a trio of young actresses singing their way to YouTube fame and coming of age online and in real life simultaneously decide, in a moment of ordinary madness, to shoot a burqa music video. Produced by Ulrich Seidl and directed by Austria-born Kurdwin Ayub, this great debut film had already won accolades internationally, including Berlin Film Festival’s Gwff Best First Feature Award. The festival’s co-presenting sponsor Elma, Foundation for European Languages and Movies in America has the mission to create new avenues for better cultural understanding between the people of Europe and the USA by celebrating alternative cinema. Image courtesy of Doctors Without Borders A biology teacher in my elementary school “Veselin Masleša” in Sarajevo introduced the topic of germs by telling us the story of the 1955 French film If All The Guys In The World by Christian-Jaque, written by him and Henri-Georges Clouzot. Sailors on a fishing trawler became ill after eating contaminated meat. The heroes of the film are radio amateurs from all over the world who unite to deliver the medicine that will cure them. The catastrophic earthquake that struck Turkey and Syria has left tens of thousands dead and hundreds of thousands homeless and displaced. Rescue teams from many countries have been dispatched and aid is being delivered. And if all the people in the world stand in solidarity then people on the ground in the affected areas will not be alone. The legacy of those radio amateurs working across borders will live on. How You Can Help: Red Cross, Direct Relief, Doctors Without Borders Call for Papers A conference taking place in June at the Central European University is an opportunity for scholars working in the field of Romani studies to submit proposals. Conference Info ‘Outrageous comparisons’– On March 6, Professor Willibald Steinmetz gave a work-in-progress report on a book he is currently writing about ‘outrageous comparisons’, i.e. comparisons that create public outrage. Polemical equations of someone with Hitler or the Nazis, or analogies to the Holocaust, are the most salient cases in point, but by no means the only instances of outrageous comparisons. Book Recommendations A Sea Of Transience Poetics, Politics and Aesthetics along the Black Sea Coast Edited by Tamta Khalvashi and Martin Demant Frederiksen Transience is found in every meeting and form of coexistence between people and things that live and exist by or move across or along, the Black Sea. It may come in various forms and guises, from de facto states, tourism, migration, trafficking or military troops, and it needs to be written and captured in sensuous, affective and imaginative ways. With particular attention to poetics, politics and aesthetics, this volume focuses on the scales of transient moments and histories, and enables readers to see and sense the many forms of transience that occur in a given landscape, sea or space. Read more. In her new book, Memories Do Not Burn, Judith Jenya recounts the fascinating stories of what it took to start, fund and organize Global Children’s organization and create summer camps bringing together children from opposing sides during the war in Bosnia and Herzegovina and other troubled spots where her work took her. Become a Member Not a member yet? Become an art patron with other SEEfest arthouse aficionados in support of great events and programs. Become A Cine-fan Today! SEEfest program and activities are supported, in part, by the California Arts Council, a state agency; Los Angeles County Board of Supervisors through the Los Angeles County Department of Arts and Culture; by a grant from the Department of Cultural Affairs, City of Los Angeles, Elma Foundation for European Movies in America, and the Hollywood Foreign Press Association. Below is a list of the many other film festivals in LA. Whether it is the definitive list, I do not know. NewFilmmakers Los Angeles (Nfmla) Film Festival — April 22nd, 2023 TCM Classic Film Festival, Pan African Film Festival, Los Angeles Women’s International Film Festival, Outfest, City of Lights, City of Angels (French Film Festival), Polish Film Festival Los Angeles, Los Angeles Asian Pacific Film Festival, Indian Film Festival of Los Angeles, Los Angeles Brazilian Film Festival, Hollywood Brazilian Film Festival, Los Angeles Greek Film Festival, Israel Film Festival, Turkish Film Festival of LA, Los Angeles Italia Film Festival, Los Angeles Diversity Film Festival, LA Shorts Fest, Dtla Film Festival, Doc LA - Los Angeles Documentary Film Festival, Los Angeles International Children's Film Festival, Los Angeles International Culture Film Festival, Hollywood Film Festival, FirstGlance Film Festival,The Valley Film Festival, L.A. Comedy Shorts Film Festival, Independent Filmmakers Showcase Film Festival, Los Angeles Animation Festival, Festival of International Virtual & Augmented Reality Stories, Los Angeles International Underground Film Festival, Poetry Film Festival Los Angeles, Fri, Apr 28 Beyond Baroque Literary Arts Center in Venice Sunset International Film Festival, Beverly Hills Film Festival, Silicon Beach Film Festival, Lift Off Fest, Monsterpalooza, HollyShorts Film, Hollywood ShortsFest… https://www.lafilmfestivals.com/ alone hosts the LA Comedy Film Festival, LA Indie Film Festival, LA Queer Film Festival, LA Women in Film Festival, LA Black Film Festival, LA Asian Film Festival, LA Latinx Film Festival, LA Sci-Fi Film Festival, LA Action Film Festival, LA Horror Film Festival, LA Animated Film Festival, and LA Student Film Festival. And in April alone: Beyond Hollywood International Film Festival 2023 Apr 20 at the Regal LA Live, Los Angeles Short Film Festival Apr 15 at Los Angeles Performing Arts Conservatory, 2023 Universe Multicultural Film Festival April 14 at Peninsula Center Library at Rolling Hills Estates, Los Angeles Pasifika Film Festival, Malibu Film Festival, Silent Films Live 3 Maron Doll Short Film World Premiere | Hudson Theatre, Apr 29, Orange Film Fest 2023, April 29 Santa Ana CA, Talkies: Comedy & Short Films April 20, The New Film Underground Volume 7 Apr 23 at Art Share L.A., Marilyn Monroe Film Festival at the Saban Celebrating 100 Years of Armenian Cinema: Vigen Chaldranyan’s Alter Ego April 16 at AMC Americana at Brand 18 • Glendale, CA, Free Classic Cinema Night at Cinegrill Theater, Apr 19 at The Hollywood Roosevelt hotel • Los Angeles, CA International Film Film Festivals Poland Asia Europe...
- 4/9/2023
- by Sydney
- Sydney's Buzz
This year’s Asian World Film Festival will again showcase the very best of Asian cinema, all in an effort to draw greater recognition to the region’s wealth of filmmakers and talent while strengthening ties between the film industries of Hollywood and the continent.
During the pandemic, the 2020 edition was delayed to spring 2021. The festival will highlight pictures from more than 50 countries across Asia. It is unique in that it predominantly screens works that have been submitted to the Oscars and Golden Globes for international feature film and motion picture — non-English language, respectively.
“We started Awff in 2018, and we’re very proud of what we’ve achieved,” says executive and program director Georges Chamchoum, who co-founded the event with Sadyk Sher Niyaz, the former minister of culture of Kyrgyzstan, and Asel Sherniyazova and Brett Syson. “It’s a real passion for me, and our goal is to put a...
During the pandemic, the 2020 edition was delayed to spring 2021. The festival will highlight pictures from more than 50 countries across Asia. It is unique in that it predominantly screens works that have been submitted to the Oscars and Golden Globes for international feature film and motion picture — non-English language, respectively.
“We started Awff in 2018, and we’re very proud of what we’ve achieved,” says executive and program director Georges Chamchoum, who co-founded the event with Sadyk Sher Niyaz, the former minister of culture of Kyrgyzstan, and Asel Sherniyazova and Brett Syson. “It’s a real passion for me, and our goal is to put a...
- 11/9/2022
- by Nick Clement
- Variety Film + TV
A love of the land and its people seem to come part and parcel with the cinematic traditions of Central Asia, with Sadyk Sher-Niyaz’s ‘Queen of the Mountains’ serving as a recent example of this, fuelling a passionate fire for national pride. A public figure with a political history in his home land, Sher-Niyaz also founded the Asian World Film Festival in L.A. to help promote the voices of the sprawling Asian continent underrepresented on the world stage. Making its international premiere at Busan International Film Festival, however, is the Sher-Niyaz co-written venture with director Aibek Daiyrbekov ‘The Song of the Tree’, a vivid retelling of such Kyrgyz folklore through warm and inviting musical numbers against an unforgettable tapestry of the Tien Shan range.
The Song of the Tree had its international premiere at Busan International Film Festival
Set during the 1800s, Kyrgyzstan’s first ever musical tells...
The Song of the Tree had its international premiere at Busan International Film Festival
Set during the 1800s, Kyrgyzstan’s first ever musical tells...
- 10/18/2018
- by Jamie Cansdale
- AsianMoviePulse
21 Best Foreign Language Film submissions and 16 Golden Globe submissions make this festival an important event in Los Angeles.
Now in its third year, The Asian World Film Festival is held at the Arclight in Culver City. While still dealing with growing pains, especially finding its audience, it still hosts a great community of film lovers and filmmakers. My wish is that next year it will reach farther to the Asian filmmaking community in L.A. and to the ethnic communities of L.A. who would love to see the works of their homeland filmmakers which are making their way toward Academy Award nominations for Best Foreign Language Films.
Awff Jury President Lisa Lu
The winner this year of multiple prizes was the South Korean submission A Taxi Driver. This funny and very serious film is so important today, and with the best publicist for the Academy Awards, Pogodin & Associattes, it...
Now in its third year, The Asian World Film Festival is held at the Arclight in Culver City. While still dealing with growing pains, especially finding its audience, it still hosts a great community of film lovers and filmmakers. My wish is that next year it will reach farther to the Asian filmmaking community in L.A. and to the ethnic communities of L.A. who would love to see the works of their homeland filmmakers which are making their way toward Academy Award nominations for Best Foreign Language Films.
Awff Jury President Lisa Lu
The winner this year of multiple prizes was the South Korean submission A Taxi Driver. This funny and very serious film is so important today, and with the best publicist for the Academy Awards, Pogodin & Associattes, it...
- 11/12/2017
- by Sydney Levine
- Sydney's Buzz
2nd Annual Asian World Film Festival Opens in Culver City October 24: Best of Asian World CinemaExecutive Director, Georges N. Chamchoum
This is the first festival of its kind to play in the United States, giving audiences the unique opportunity to see films from Japan and Turkey and everywhere in-between. The festival is held at the height of the awards season to give these Asian filmmakers maximum exposure. The festival’s Executive Director, Georges N. Chamchoum is announcing films from 51 countries which are eligible. Greater recognition to the region’s wealth of filmmakers will strengthen ties between the Asian and Hollywood film industries.
All films selected by their countries as Oscar® or Golden Globes® contenders are automatically invited. The Hollywood Foreign Press Association recognizes these showings as the required official screenings for their members who vote on the Golden Globes®. At last year’s inaugural event some 30 films from 27 countries participated.
This is the first festival of its kind to play in the United States, giving audiences the unique opportunity to see films from Japan and Turkey and everywhere in-between. The festival is held at the height of the awards season to give these Asian filmmakers maximum exposure. The festival’s Executive Director, Georges N. Chamchoum is announcing films from 51 countries which are eligible. Greater recognition to the region’s wealth of filmmakers will strengthen ties between the Asian and Hollywood film industries.
All films selected by their countries as Oscar® or Golden Globes® contenders are automatically invited. The Hollywood Foreign Press Association recognizes these showings as the required official screenings for their members who vote on the Golden Globes®. At last year’s inaugural event some 30 films from 27 countries participated.
- 10/18/2016
- by Sydney Levine
- Sydney's Buzz
In the former Soviet republic of Kyrgyzstan, like many regions in the world, there is a continued urbanization — but what happens to those families who choose to remain rural? This is the crux of “Heavenly Nomadic,” Kyrgyzstan’s 2015 official Oscar entry, a film with a minuscule budget, but more than enough heart. Moderator and TheWrap awards editor Steve Pond welcomed the film’s associate producer Brett Syson and Asel Sherniyazova, representing her uncle, producer Sadyk Sher-Niyaz, for a Q&A session at TheWrap’s Screening Series at iPic Theaters Westwood on Tuesday. “I know that Mirlan Abdykalykov wanted to make.
- 11/11/2015
- by Maxwell Williams
- The Wrap
Director Georges Chamchoum discussed organizing the Asian World Film Festival, and how the festival is giving lesser known filmmakers a chance to promote their wonderful films. “My passion has always been to make people discover cinema that they never heard of,” Chamchoum told TheWrap’s editor-in-chief Sharon Waxman. He added that he hopes the festival will fill a gap for aspiring filmmakers to help promote their work. “There’s so much money you have to spend on promoting, marketing, and some of them, their movie is cheaper than the promoting and marketing,” he said. Also Read: Asian World Film Festival...
- 10/22/2015
- by Beatrice Verhoeven
- The Wrap
The Asian World Film Festival (Awff) has added 11 films to their Special Screenings and non-competitive lineup, with "Piku" (India) as the Festival’s “Centerpiece Screening”, presented by Pelican Executive Suites. Running from October 26 - November 2, 2015 in Culver City and Westwood, California, the Festival features select foreign language films from the 50 eligible countries in the Asian World region, including films that have been officially submitted as their country’s Oscar® and Golden Globe considerations. South Korea’s "The Shameless" will officially open the Festival with Taiwan’s official Oscar® submission, "The Assassin," by master filmmaker as the official closing night film on November 2nd.
The 11 films include [in alphabetical order by country]: "Let Pan" (Myanmar), "Road to the Sky" (China), "My Voice, My Life" (Hong Kong), "Piku"(India), "Theeb" (Jordan's Official Oscar Entry), "Under Heaven" (Kyrgyzstan), "The Thief of the Mind" (Mongolia), "Kid Kulafu" (Philippines), "Steppe Games"(Republic of Burtya, Russia), "4 O’Clock at Paradise" (Syria), and "From A to B" (United Arab Emirates).
“In every Festival that I have organized, the Special Screenings Category has a unique place in my heart because it is the one that reflects the spirit of the program over all. It is eclectic, it is a journey of discovery, and does not have the pressure of the Competition Category. Each one these movies has a different cinematic language, feel, mood, emotions. "Theeb" from Jordan is a beautiful coming of age movie set during the Ottoman Empire. "Kid Kulafu" (Philippines) is the amazing inspirational story of Emmanuel 'Manny' Pacquiao from his humble beginning as a street kid to become one of the greatest boxers of all time. "4 O’Clock at Paradise" (Syria) is a heart wrenching drama set in today’s war torn Damascus where several characters come in and out from each other’s daily lives and where you literally live between ‘life and death,’ just to name but few,” said Executive Director of Festival and Programming, Georges Chamchoum.
The Festival was created by "Heavenly Nomadic's" producer Sadyk Sher-Niyaz in order to bring the best of a broad selection of Asian World cinema to Los Angeles, drawing greater recognition to the region's wealth of filmmakers and strengthening ties between the Asian and Hollywood film industries. All films that participate in the Festival will have a unique chance to be guided through the challenging awards season, showcasing their foreign films to the Academy, the Hollywood Foreign Press Association and all Guilds for enhanced exposure, media attention and awards consideration.
Following the Opening Night Red Carpet Awards Gala and Opening Night Film, the Festival features seven days of films at ArcLight Cinemas in downtown Culver City and the luxury iPic Theaters in Westwood.
As previously announced, the 16 films in competition include:[in alphabetical order by country]: "Utopia" (Afghanistan), "Jalal's Story" (Bangladesh), "The Last Reel" (Cambodia), "12 Citizens" (China), "Moira" (Georgia), "Court" (India), "Memories on Stone" (Iraq), "100 Yen Love" (Japan), "Heavenly Nomadic" (Kyrgyzstan), "Void" (Lebanon), "Talakjung vs Tulke" (Nepal), "The Wanted 18" (Palestine), "How to Win at Checkers (Every Time)" (Thailand), "Sivas" (Turkey), "Jackpot" (Vietnam) and "Unsolved Love" (Yakutia, Sakha Republic).
Throughout the week there will also be expert panels on subjects such as Film Financing and Distribution, PR, Marketing and Awards Campaigns and Cross Cultural Collaborations in the Festival’s Filmmaker Lounge located at the Culver Hotel.
For more information you can visit the official site Here...
The 11 films include [in alphabetical order by country]: "Let Pan" (Myanmar), "Road to the Sky" (China), "My Voice, My Life" (Hong Kong), "Piku"(India), "Theeb" (Jordan's Official Oscar Entry), "Under Heaven" (Kyrgyzstan), "The Thief of the Mind" (Mongolia), "Kid Kulafu" (Philippines), "Steppe Games"(Republic of Burtya, Russia), "4 O’Clock at Paradise" (Syria), and "From A to B" (United Arab Emirates).
“In every Festival that I have organized, the Special Screenings Category has a unique place in my heart because it is the one that reflects the spirit of the program over all. It is eclectic, it is a journey of discovery, and does not have the pressure of the Competition Category. Each one these movies has a different cinematic language, feel, mood, emotions. "Theeb" from Jordan is a beautiful coming of age movie set during the Ottoman Empire. "Kid Kulafu" (Philippines) is the amazing inspirational story of Emmanuel 'Manny' Pacquiao from his humble beginning as a street kid to become one of the greatest boxers of all time. "4 O’Clock at Paradise" (Syria) is a heart wrenching drama set in today’s war torn Damascus where several characters come in and out from each other’s daily lives and where you literally live between ‘life and death,’ just to name but few,” said Executive Director of Festival and Programming, Georges Chamchoum.
The Festival was created by "Heavenly Nomadic's" producer Sadyk Sher-Niyaz in order to bring the best of a broad selection of Asian World cinema to Los Angeles, drawing greater recognition to the region's wealth of filmmakers and strengthening ties between the Asian and Hollywood film industries. All films that participate in the Festival will have a unique chance to be guided through the challenging awards season, showcasing their foreign films to the Academy, the Hollywood Foreign Press Association and all Guilds for enhanced exposure, media attention and awards consideration.
Following the Opening Night Red Carpet Awards Gala and Opening Night Film, the Festival features seven days of films at ArcLight Cinemas in downtown Culver City and the luxury iPic Theaters in Westwood.
As previously announced, the 16 films in competition include:[in alphabetical order by country]: "Utopia" (Afghanistan), "Jalal's Story" (Bangladesh), "The Last Reel" (Cambodia), "12 Citizens" (China), "Moira" (Georgia), "Court" (India), "Memories on Stone" (Iraq), "100 Yen Love" (Japan), "Heavenly Nomadic" (Kyrgyzstan), "Void" (Lebanon), "Talakjung vs Tulke" (Nepal), "The Wanted 18" (Palestine), "How to Win at Checkers (Every Time)" (Thailand), "Sivas" (Turkey), "Jackpot" (Vietnam) and "Unsolved Love" (Yakutia, Sakha Republic).
Throughout the week there will also be expert panels on subjects such as Film Financing and Distribution, PR, Marketing and Awards Campaigns and Cross Cultural Collaborations in the Festival’s Filmmaker Lounge located at the Culver Hotel.
For more information you can visit the official site Here...
- 10/15/2015
- by Sydney Levine
- Sydney's Buzz
Exclusive: The new Los Angeles festival will open with South Korea’s The Shameless and close with Taiwan’s foreign language Oscar submission The Assassin.
Exclusive: The first Asian World Film Festival in Los Angeles is to screen South Korea’s The Shameless as it opening night film and Taiwan’s The Assassin as its closing night presentation.
The festival, set to run October 26 - November 2 in Culver City and Westwood, will feature a selection of films that have been submitted for the foreign language Oscar and Golden Globe awards from 50 Asian countries. It will host panels on subjects including film finance, marketing and cross cultural collaborationsand culminate with an awards ceremony.
The event was created by Sadyk Sher-Niyaz, producer of Heavenly Nomadic, the drama from Kyrgyzstan that won the Fedeora prize at this year’s Karlovy Vary festival and is Kyrgyzstan’s submission for this year’s foreign language Oscar.
Written and directed...
Exclusive: The first Asian World Film Festival in Los Angeles is to screen South Korea’s The Shameless as it opening night film and Taiwan’s The Assassin as its closing night presentation.
The festival, set to run October 26 - November 2 in Culver City and Westwood, will feature a selection of films that have been submitted for the foreign language Oscar and Golden Globe awards from 50 Asian countries. It will host panels on subjects including film finance, marketing and cross cultural collaborationsand culminate with an awards ceremony.
The event was created by Sadyk Sher-Niyaz, producer of Heavenly Nomadic, the drama from Kyrgyzstan that won the Fedeora prize at this year’s Karlovy Vary festival and is Kyrgyzstan’s submission for this year’s foreign language Oscar.
Written and directed...
- 10/9/2015
- ScreenDaily
The first-ever festival dedicated to helping foreign films with Golden Globe, Oscar® and awards season recognition will be held October 27-November 2, 2015 in Los Angeles, California. The program will consist of invited foreign language films that have been officially submitted to the Academy as their country’s Oscar® hopeful and those submitted to The Hollywood Foreign Press Association.
The Asian World Film Festival (Awff) brings the best of a broad selection of Asian World cinema to Los Angeles in order to draw greater recognition to the region's wealth of filmmakers from 50 countries across Asia, spanning from Turkey to Japan and Russia to India, strengthening ties and helping to foster cross-cultural collaboration between Hollywood and the booming Asian filmmaking industry.
Awff, founded by Sadyk Sher-Niyaz, was specifically designed to take place between when Oscar® submissions are due and when awards season is in full-swing with its distinct vision allowing filmmakers to have the unique chance to be guided through the challenging awards season, showcasing their foreign films submitted to the Academy of Motion Picture, Arts & Sciences (AMPAS) for Oscar® consideration, The Hollywood Foreign Press Association (HFPA) for Golden Globe consideration and all Guilds for enhanced exposure, media attention and recognition. The HFPA will recognize these as the required official screening for their members.
“As a foreign filmmaker from Kyrgyzstan, I understand first-hand what invaluable tools these awards are and that is why we created this Asian World Film Festival. It is the first and only of its kind and these unique attributes will really help get these talented filmmakers the recognition that is needed in the competitive race that is awards season,” says Sher-Niyaz.
Founded by Sher-Niyaz, the festival adds Emmy and multiple award-winning director Georges Chamchoum as the Executive Festival & Programming Director, Nadine Jolson as Director of Communications and producer Lani Netter as the festival’s Director of Development and Philanthropy. www.asianworldfilmfest.org
Awff will open with a red carpet awards gala on Monday, October 26, recognizing celebrities and well-known foreign talent and filmmakers who have been major contributors throughout the Asian World film community, followed by seven days of films at Landmark Theaters. Throughout the week there will also be expert panels on subjects like film financing, distribution, PR, marketing and awards campaigns, editing for a global audience and more to be announced.
The festival will close with a cocktail party, closing night film and festival awards presentation featuring top prizes for Best Film, Jury Selection and Audience awards include TheWrap’s Awards Special Screening Series and full page ads in the Foreign Film and OscarWrap issues. Awff is supported by patrons from the Los Angeles Asian Communities and focuses on people who love cinema, especially foreign and independent films.
The Asian World Film Festival (Awff) brings the best of a broad selection of Asian World cinema to Los Angeles in order to draw greater recognition to the region's wealth of filmmakers from 50 countries across Asia, spanning from Turkey to Japan and Russia to India, strengthening ties and helping to foster cross-cultural collaboration between Hollywood and the booming Asian filmmaking industry.
Awff, founded by Sadyk Sher-Niyaz, was specifically designed to take place between when Oscar® submissions are due and when awards season is in full-swing with its distinct vision allowing filmmakers to have the unique chance to be guided through the challenging awards season, showcasing their foreign films submitted to the Academy of Motion Picture, Arts & Sciences (AMPAS) for Oscar® consideration, The Hollywood Foreign Press Association (HFPA) for Golden Globe consideration and all Guilds for enhanced exposure, media attention and recognition. The HFPA will recognize these as the required official screening for their members.
“As a foreign filmmaker from Kyrgyzstan, I understand first-hand what invaluable tools these awards are and that is why we created this Asian World Film Festival. It is the first and only of its kind and these unique attributes will really help get these talented filmmakers the recognition that is needed in the competitive race that is awards season,” says Sher-Niyaz.
Founded by Sher-Niyaz, the festival adds Emmy and multiple award-winning director Georges Chamchoum as the Executive Festival & Programming Director, Nadine Jolson as Director of Communications and producer Lani Netter as the festival’s Director of Development and Philanthropy. www.asianworldfilmfest.org
Awff will open with a red carpet awards gala on Monday, October 26, recognizing celebrities and well-known foreign talent and filmmakers who have been major contributors throughout the Asian World film community, followed by seven days of films at Landmark Theaters. Throughout the week there will also be expert panels on subjects like film financing, distribution, PR, marketing and awards campaigns, editing for a global audience and more to be announced.
The festival will close with a cocktail party, closing night film and festival awards presentation featuring top prizes for Best Film, Jury Selection and Audience awards include TheWrap’s Awards Special Screening Series and full page ads in the Foreign Film and OscarWrap issues. Awff is supported by patrons from the Los Angeles Asian Communities and focuses on people who love cinema, especially foreign and independent films.
- 5/11/2015
- by Peter Belsito
- Sydney's Buzz
Leaving behind a prominent position as government official, Sadyk Sher-Niyaz decided to pursue his lifelong dream of becoming a filmmaker. Exchanging stability for the turbulent world of entertainment was certainly a bold move from this strong-willed artist with a specific vision of what his country’s cinema could be. This country is Kyrgyzstan, a Central Asian republic that found independence after collapse of the Soviet Union. Despite being under Russian control for most of its recent history, Kyrgyz people managed to preserve their culture and traditions intact. Kurmankan Datka was among the historical figures that played a role in their survival, thus she is revered as the mother of all Kyrgyz people.
Making a film of such magnitude without any precedent in the local film industry was an enormous challenge on its own. Furthermore, making a film about such a beloved figure was a risky choice. It needed to be great both artistic quality and historical accuracy. Knowing this, Sadyk Sher-Niyaz started this journey that has now taken him across the world to Hollywood and to represent his homeland in the race for the Academy Award for Best Foreign Language Film.
Support for the film has poured both from audiences as well as important industry figures. A few weeks a go at the Egyptian Theater in Hollywood, the film screened to a full house of expectant attendees. The film was introduced by Sharon Stone, who spoke about the role of strong women both on and off screen. Her genuine support for the film definitely reflects the quality of this epic production.
Dir. Sadyk Sher-Niyaz sat with us recently in Los Angeles to discuss his unique path to becoming a director and the game-changing milestone that “Kurmanjan Datka: Queen of the Mountains” represents both for him and Kyrgyzstan.
*“Kurmanjan Datka: Queen of the Mountains” is Kyrgyzstan's official submission for Academy Awards in the Best Foreign Language Category, and it qualifies for all other major races.
Read: Review *“Kurmanjan Datka: Queen of the Mountains”
Carlos Aguilar: This is your first feature film, but before becoming a filmmaker you had other responsibilities in the Kyrgyz government. At what point did you decide that you wanted to make films? What was the turning point?
Sadyk Sher-Niyaz: That’s a really good question. No one had asked me that in that way. I was a politician in Kyrgyzstan until 2004. Before that I was entirely involved in politics. In 2004 I was elected as a deputy ombudsman to work in human rights protection, which is a very importance position to hold. However, ever since I was a child it was my dream to become a director, but I had never had the possibility to do so until I was 38-years-old. I worked as deputy ombudsman for about a year, but I couldn’t stop thinking about directing, which was what I really wanted to do. At some point I told myself “If I don’t start making films right now I will never have a chance to do it.” At 38 I felt I had to start my career as a director. This was a very radical choice. I had found success as a politician, but I always knew that wasn’t what I wanted to do. I knew that if I didn’t take this chance I would regret it for the rest of my life.
When I decided to leave my position in the government, the parliament didn’t want tot let me go. It took them six months to finally allow me to go. I left my job and went to Moscow to take directing and cinematography courses. However, when I left I hadn’t gotten accepted into the university. It would have been smarter for me to make sure I had place in the classes before quitting my job [Laughs]. In the end I was accepted to one of the best Russian universities and then I decided to also take courses to learn about producing besides directing and cinematography. I was 38 when I started this journey.
Aguilar: Why did you decide to take on such a huge production for your debut feature? This certainly seems like a risky choice for a first time director to make.
Sadyk Sher-Niyaz: A lot of directors in my country would have been honored to make this film, but the problem was that the budget was very limited even if was the largest budget anyone in Kyrgyzstan has ever had. This story is of course very important for our nation, but not all the directors were willing to take on this responsibility. It’s a great responsibility and it would have changed anyone’s life negatively if it were not a success. I saw it as a great opportunity and I was also very honored. I decided to take this chance regardless of the risk.
To be honest, few people believed this would be a successful project. The main reason was our limited budget. Added to this, we don’t have a lot of professional actors in our country because since our independence from the Soviet Union our acting school has weakened in quality. Nevertheless, “ Kurmanjan Datka: Queen of the Mountains” has been the #1 film at the local box-office for 11 consecutive weeks beating American blockbusters like “Interstellar” and “Gone Girl.” It was very complicated to make it happen, but fortunately it has been successful. We’ve had screenings for Kyrgyz communities in different countries such as Russia, Turkey, or Canada and the theaters are always packed with people. Our people have fallen in love with the film and it has in a way united our nation.
Aguilar: Were you afraid of the outcome and how it would impact your career?
Sadyk Sher-Niyaz: Fear is a normal condition. If someone doesn’t have any fears then he is just a fool because fear pushes you to do something new. You should always have a normal amount of fear. You just need to find the strength to continue and overcome it.
Aguilar: Tell me about the process of finding the right actress to play this iconic character in Kyrgyzstan’s history.
Sadyk Sher-Niyaz: Finding the actress to play young Kurmanjan was the most important part because the story concentrates mostly on that period in the character’s life. I wasn’t as worried about the older actresses because they have experience working in our country. The casting process for older Kurmanjan wasn’t as complex because I knew whom I wanted. On the other hand, I was very worried about finding the young actress. There were about 200 professional actresses and about 300 non-professional actresses who showed up for the casting call. They ranged from 20 to 35-yeard-old. Every single young actress in our country, 100% of them, auditioned to play this part.
Aguilar: Having so many choices with a wide range in terms of age and experience lever, how did you know who was the ideal candidate to play the coveted part?
Sadyk Sher-Niyaz: Strategically it was very difficult because all four actresses playing Kurmanjan needed to look similar. There needed to be something that all four of them shared in terms of appearance. Then, the young actress needed to work well with all the other major characters. In a sense it was like playing Chinese chess and trying to match the right actress with the right cast. Some actresses were good in some regards but not great in others, Elina Abai Kyzy was the ideal actress. Even height was taken into consideration because we wanted someone who would be imposing. She was perfect in all departments.
Aguilar: Representing your country at the Academy Awards must be an incredible experience for you, particularly with a film like “Kurmanjan Datka”
Sadyk Sher-Niyaz: From the beginning one of my intents was to try to get the film to compete for the Oscar. We finished shooting the film at the end of August 2013 and by the time we were done with the film it was too late to submit it to festivals. We also didn’t know if most festivals would like a film like this - a Hollywood-style epic story. I didn’t submit the film to many festivals, but I always wanted to represent Kyrgyzstan at the Oscars. I hope American audiences appreciate and like the film. I’m very honored and proud to represent my country.
Aguilar: Given the importance that this period in history for country, how important was for you to strive for historical accuracy?
Sadyk Sher-Niyaz: People in Kyrgyzstan know this chapter in our history very well. It would have been almost impossible for people to accept it if it wasn’t based on real and objective facts. Therefore, all the elements in the film are based on factual information from archives. We had a lot of help from historians. Since we were dealing with the subject of our relationship with Tsarist Russia we needed every detail to be based on the truth. It would have been dangerous and not right to show this part of history in a non-objective manner. Everything was thoroughly checked.
Aguilar: It seems like your film comes at a time in which Russia’s relationship with other ex-Soviet states, such as Ukraine, is not very diplomatic.
Sadyk Sher-Niyaz: A lot of people see a parallel between these historical events and Russia’s current relationships with countries like Ukraine. I finished my film at the end of 2013 and most of the recent developments in the region hadn’t happened yet. Maybe it’s just a coincidence that something like this is happening in our time. History is always repeating itself.
Aguilar: Given the historical scope of your film, are there any filmmakers that have influenced you or that you admire?
Sadyk Sher-Niyaz: I really like David Lean’s great historical films, and I also like Mel Gibson’s films as a director. Russian director Andrei Tarkovsky is one of my favorites even though most of his films were experimental. He was great at making great historical films his own way such as “Ivan's Childhood”
Aguilar: Do you hope that the work you are doing to bring exposure to your film and Kyrgyz culture will bring more opportunities for other filmmakers in your country?
Sadyk Sher-Niyaz: I’m the first Kyrgyz filmmaker to be involved in the campaigning process here in Los Angeles. I try to show my film as much as possible and represent my country here. I’m paving the way in a sense. In the future hopefully it will be easier for other Kyrgyz directors to get their films seen.
We also have a film festival in Kyrgyzstan and I’m one of the organizers. The festival is called “Kyrgyzstan- the Country of Short Films. ” We hand our own awards there as well. Between 50 and 60 films of different lengths are made in Kyrgyzstan every year, which shows the government is very interested in the development of the local film industry. They are also interested in bringing more films from around the world to be shown in Kyrgyzstan.
Aguilar: It was a very pleasant surprised to see that in your film the heroic character is a strong female leader. Most films of this nature always focus on a traditional male hero.
Sadyk Sher-Niyaz: We need to talk about strong women and to show them on the screen. My grandmother raised me, and later in life I spent more time with my mother than with my father. The role of women, not only in Kyrgyzstan but also in the whole world, is very important and we need to acknowledge that.
Aguilar: How much were the local people involved in the production of your film?
Sadyk Sher-Niyaz: Around 10,000 local people were involved in the making of the film. Half of them were volunteers who just wanted to help with the film. There are several battle sequences in the film and there were about 700 people involved in them. Some of the volunteers could only help us for one day. The next day we had a different group of people as extras in those scenes, and that’s how a more and more people got involved [Laughs].
Aguilar: I know that Alexander Rodnyansky, who produced “Leviathan” was your mentor. Is interesting that both of you have a film in this race.
Sadyk Sher-Niyaz: Yes, Alexander Rodnyansky produced Russia’s Oscar entry “Leviathan” and he was in fact my mentor. He was a great teacher. Everything I’m doing now I do it according to his teachings
Aguilar: After the incredible success of this film, what are your plans for the future? Are you working in a new project?
Sadyk Sher-Niyaz: We are working on a sequel. I’m planning to make a trilogy about this period in our history. After Kurmanjan Datka’s death there was a period of time in which Kyrgyz people rebelled against Tsarist Russia because they refused to participate in World War I. Tsarist Russia punished them for this and thousands of innocent people were killed. About 30% of Kyrgyz people escaped to China during this time and their descendants live in China to this day. It was an enormous tragedy for our nation.
Aguilar: Lastly, tell me about your experience in Los Angeles. I know that your company now has permanent offices here. Seems like the film has been an absolute game changer for you and the Kyrgyz film industry.
Sadyk Sher-Niyaz: It’s been a great experience. A month ago we were completely foreign tot the process and how things work here in L.A. Thanks to several great people that have helped us along the way we’ve learned a lot. This film has united out country just like Kurmanjan did back then. Without her our nation would have been lost without a trace. She saved out country from disappearing in history.
Making a film of such magnitude without any precedent in the local film industry was an enormous challenge on its own. Furthermore, making a film about such a beloved figure was a risky choice. It needed to be great both artistic quality and historical accuracy. Knowing this, Sadyk Sher-Niyaz started this journey that has now taken him across the world to Hollywood and to represent his homeland in the race for the Academy Award for Best Foreign Language Film.
Support for the film has poured both from audiences as well as important industry figures. A few weeks a go at the Egyptian Theater in Hollywood, the film screened to a full house of expectant attendees. The film was introduced by Sharon Stone, who spoke about the role of strong women both on and off screen. Her genuine support for the film definitely reflects the quality of this epic production.
Dir. Sadyk Sher-Niyaz sat with us recently in Los Angeles to discuss his unique path to becoming a director and the game-changing milestone that “Kurmanjan Datka: Queen of the Mountains” represents both for him and Kyrgyzstan.
*“Kurmanjan Datka: Queen of the Mountains” is Kyrgyzstan's official submission for Academy Awards in the Best Foreign Language Category, and it qualifies for all other major races.
Read: Review *“Kurmanjan Datka: Queen of the Mountains”
Carlos Aguilar: This is your first feature film, but before becoming a filmmaker you had other responsibilities in the Kyrgyz government. At what point did you decide that you wanted to make films? What was the turning point?
Sadyk Sher-Niyaz: That’s a really good question. No one had asked me that in that way. I was a politician in Kyrgyzstan until 2004. Before that I was entirely involved in politics. In 2004 I was elected as a deputy ombudsman to work in human rights protection, which is a very importance position to hold. However, ever since I was a child it was my dream to become a director, but I had never had the possibility to do so until I was 38-years-old. I worked as deputy ombudsman for about a year, but I couldn’t stop thinking about directing, which was what I really wanted to do. At some point I told myself “If I don’t start making films right now I will never have a chance to do it.” At 38 I felt I had to start my career as a director. This was a very radical choice. I had found success as a politician, but I always knew that wasn’t what I wanted to do. I knew that if I didn’t take this chance I would regret it for the rest of my life.
When I decided to leave my position in the government, the parliament didn’t want tot let me go. It took them six months to finally allow me to go. I left my job and went to Moscow to take directing and cinematography courses. However, when I left I hadn’t gotten accepted into the university. It would have been smarter for me to make sure I had place in the classes before quitting my job [Laughs]. In the end I was accepted to one of the best Russian universities and then I decided to also take courses to learn about producing besides directing and cinematography. I was 38 when I started this journey.
Aguilar: Why did you decide to take on such a huge production for your debut feature? This certainly seems like a risky choice for a first time director to make.
Sadyk Sher-Niyaz: A lot of directors in my country would have been honored to make this film, but the problem was that the budget was very limited even if was the largest budget anyone in Kyrgyzstan has ever had. This story is of course very important for our nation, but not all the directors were willing to take on this responsibility. It’s a great responsibility and it would have changed anyone’s life negatively if it were not a success. I saw it as a great opportunity and I was also very honored. I decided to take this chance regardless of the risk.
To be honest, few people believed this would be a successful project. The main reason was our limited budget. Added to this, we don’t have a lot of professional actors in our country because since our independence from the Soviet Union our acting school has weakened in quality. Nevertheless, “ Kurmanjan Datka: Queen of the Mountains” has been the #1 film at the local box-office for 11 consecutive weeks beating American blockbusters like “Interstellar” and “Gone Girl.” It was very complicated to make it happen, but fortunately it has been successful. We’ve had screenings for Kyrgyz communities in different countries such as Russia, Turkey, or Canada and the theaters are always packed with people. Our people have fallen in love with the film and it has in a way united our nation.
Aguilar: Were you afraid of the outcome and how it would impact your career?
Sadyk Sher-Niyaz: Fear is a normal condition. If someone doesn’t have any fears then he is just a fool because fear pushes you to do something new. You should always have a normal amount of fear. You just need to find the strength to continue and overcome it.
Aguilar: Tell me about the process of finding the right actress to play this iconic character in Kyrgyzstan’s history.
Sadyk Sher-Niyaz: Finding the actress to play young Kurmanjan was the most important part because the story concentrates mostly on that period in the character’s life. I wasn’t as worried about the older actresses because they have experience working in our country. The casting process for older Kurmanjan wasn’t as complex because I knew whom I wanted. On the other hand, I was very worried about finding the young actress. There were about 200 professional actresses and about 300 non-professional actresses who showed up for the casting call. They ranged from 20 to 35-yeard-old. Every single young actress in our country, 100% of them, auditioned to play this part.
Aguilar: Having so many choices with a wide range in terms of age and experience lever, how did you know who was the ideal candidate to play the coveted part?
Sadyk Sher-Niyaz: Strategically it was very difficult because all four actresses playing Kurmanjan needed to look similar. There needed to be something that all four of them shared in terms of appearance. Then, the young actress needed to work well with all the other major characters. In a sense it was like playing Chinese chess and trying to match the right actress with the right cast. Some actresses were good in some regards but not great in others, Elina Abai Kyzy was the ideal actress. Even height was taken into consideration because we wanted someone who would be imposing. She was perfect in all departments.
Aguilar: Representing your country at the Academy Awards must be an incredible experience for you, particularly with a film like “Kurmanjan Datka”
Sadyk Sher-Niyaz: From the beginning one of my intents was to try to get the film to compete for the Oscar. We finished shooting the film at the end of August 2013 and by the time we were done with the film it was too late to submit it to festivals. We also didn’t know if most festivals would like a film like this - a Hollywood-style epic story. I didn’t submit the film to many festivals, but I always wanted to represent Kyrgyzstan at the Oscars. I hope American audiences appreciate and like the film. I’m very honored and proud to represent my country.
Aguilar: Given the importance that this period in history for country, how important was for you to strive for historical accuracy?
Sadyk Sher-Niyaz: People in Kyrgyzstan know this chapter in our history very well. It would have been almost impossible for people to accept it if it wasn’t based on real and objective facts. Therefore, all the elements in the film are based on factual information from archives. We had a lot of help from historians. Since we were dealing with the subject of our relationship with Tsarist Russia we needed every detail to be based on the truth. It would have been dangerous and not right to show this part of history in a non-objective manner. Everything was thoroughly checked.
Aguilar: It seems like your film comes at a time in which Russia’s relationship with other ex-Soviet states, such as Ukraine, is not very diplomatic.
Sadyk Sher-Niyaz: A lot of people see a parallel between these historical events and Russia’s current relationships with countries like Ukraine. I finished my film at the end of 2013 and most of the recent developments in the region hadn’t happened yet. Maybe it’s just a coincidence that something like this is happening in our time. History is always repeating itself.
Aguilar: Given the historical scope of your film, are there any filmmakers that have influenced you or that you admire?
Sadyk Sher-Niyaz: I really like David Lean’s great historical films, and I also like Mel Gibson’s films as a director. Russian director Andrei Tarkovsky is one of my favorites even though most of his films were experimental. He was great at making great historical films his own way such as “Ivan's Childhood”
Aguilar: Do you hope that the work you are doing to bring exposure to your film and Kyrgyz culture will bring more opportunities for other filmmakers in your country?
Sadyk Sher-Niyaz: I’m the first Kyrgyz filmmaker to be involved in the campaigning process here in Los Angeles. I try to show my film as much as possible and represent my country here. I’m paving the way in a sense. In the future hopefully it will be easier for other Kyrgyz directors to get their films seen.
We also have a film festival in Kyrgyzstan and I’m one of the organizers. The festival is called “Kyrgyzstan- the Country of Short Films. ” We hand our own awards there as well. Between 50 and 60 films of different lengths are made in Kyrgyzstan every year, which shows the government is very interested in the development of the local film industry. They are also interested in bringing more films from around the world to be shown in Kyrgyzstan.
Aguilar: It was a very pleasant surprised to see that in your film the heroic character is a strong female leader. Most films of this nature always focus on a traditional male hero.
Sadyk Sher-Niyaz: We need to talk about strong women and to show them on the screen. My grandmother raised me, and later in life I spent more time with my mother than with my father. The role of women, not only in Kyrgyzstan but also in the whole world, is very important and we need to acknowledge that.
Aguilar: How much were the local people involved in the production of your film?
Sadyk Sher-Niyaz: Around 10,000 local people were involved in the making of the film. Half of them were volunteers who just wanted to help with the film. There are several battle sequences in the film and there were about 700 people involved in them. Some of the volunteers could only help us for one day. The next day we had a different group of people as extras in those scenes, and that’s how a more and more people got involved [Laughs].
Aguilar: I know that Alexander Rodnyansky, who produced “Leviathan” was your mentor. Is interesting that both of you have a film in this race.
Sadyk Sher-Niyaz: Yes, Alexander Rodnyansky produced Russia’s Oscar entry “Leviathan” and he was in fact my mentor. He was a great teacher. Everything I’m doing now I do it according to his teachings
Aguilar: After the incredible success of this film, what are your plans for the future? Are you working in a new project?
Sadyk Sher-Niyaz: We are working on a sequel. I’m planning to make a trilogy about this period in our history. After Kurmanjan Datka’s death there was a period of time in which Kyrgyz people rebelled against Tsarist Russia because they refused to participate in World War I. Tsarist Russia punished them for this and thousands of innocent people were killed. About 30% of Kyrgyz people escaped to China during this time and their descendants live in China to this day. It was an enormous tragedy for our nation.
Aguilar: Lastly, tell me about your experience in Los Angeles. I know that your company now has permanent offices here. Seems like the film has been an absolute game changer for you and the Kyrgyz film industry.
Sadyk Sher-Niyaz: It’s been a great experience. A month ago we were completely foreign tot the process and how things work here in L.A. Thanks to several great people that have helped us along the way we’ve learned a lot. This film has united out country just like Kurmanjan did back then. Without her our nation would have been lost without a trace. She saved out country from disappearing in history.
- 12/2/2014
- by Carlos Aguilar
- Sydney's Buzz
The Palm Springs International Film Festival has increasingly become an important stop on the awards calendar for foreign language films. While the desert fest hands out an international critics prize, it’s more about the filmmakers getting a chance to rub shoulders with Academy members just before nominations ballots are due. The upcoming 26th annual fest is running January 2-12 and has announced the movies that will compete for the Fipresci prize in its Awards Buzz section. Fifty of the 83 official submissions for the Best Foreign Language Film Oscar are on the list with the titles chosen believed by festival programmers to be the strongest entries in this year’s Academy Awards race. A special jury of international film critics will screen the films and hand out a Fipresci for an individual title as well as Best Actor and Best Actress. While the fest doesn’t always match the eventual Oscar winner,...
- 12/2/2014
- by Nancy Tartaglione
- Deadline
The organisers of the 26th annual Palm Springs International Film Festival (Psiff) will screen 50 of the 83 foreign-language Oscar submissions.
A jury of international film critics will be convened to bestow the Fipresci Award for best foreign language film of the year, as well as best actor and best actress in this category.
Further film programmes will be announced in the coming weeks. Psiff is set to run from January 2-12.
The Awards Buzz selections in alphabetical order of country are:
A Few Cubic Meters Of Love (Afghanistan), Jamshid Mahmoudi:
Wild Tales (Argentina), Damián Szifrón;
Charlie’s Country (Australia), Rolf de Heer;
The Dark Valley (Austria), Andreas Prochaska;
Nabat (Azerbaijan), Elchin Musaoglu;
Two Days, One Night (Belgium-France-Italy), Jean-Pierre Dardenne, Luc Dardenne;
The Way He Looks (Brazil), Daniel Ribeiro;
Mommy (Canada), Xavier Dolan;
To Kill A Man (Chile), Alejandro Fernández Almendras;
The Nightingale (China), Philippe Muyl;
Mateo (Colombia), Maria Gamboa;
Cowboys (Croatia), Tomislav Mršić;
Behavior (Cuba), Director [link=nm...
A jury of international film critics will be convened to bestow the Fipresci Award for best foreign language film of the year, as well as best actor and best actress in this category.
Further film programmes will be announced in the coming weeks. Psiff is set to run from January 2-12.
The Awards Buzz selections in alphabetical order of country are:
A Few Cubic Meters Of Love (Afghanistan), Jamshid Mahmoudi:
Wild Tales (Argentina), Damián Szifrón;
Charlie’s Country (Australia), Rolf de Heer;
The Dark Valley (Austria), Andreas Prochaska;
Nabat (Azerbaijan), Elchin Musaoglu;
Two Days, One Night (Belgium-France-Italy), Jean-Pierre Dardenne, Luc Dardenne;
The Way He Looks (Brazil), Daniel Ribeiro;
Mommy (Canada), Xavier Dolan;
To Kill A Man (Chile), Alejandro Fernández Almendras;
The Nightingale (China), Philippe Muyl;
Mateo (Colombia), Maria Gamboa;
Cowboys (Croatia), Tomislav Mršić;
Behavior (Cuba), Director [link=nm...
- 12/2/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Every year Hollywood gets a curated batch of films from dozens of countries seeking an Academy Award nomination for Best Foreign Language Film. One film per nation is chosen to represent the best of its cinematic production during the previous year. Certainly the chosen film is not always the ideal candidate, but the reasoning behind the selection usually follows two patterns: there are countries that go with the best film even if this is not the most appealing choice and there are countries that go with the most ambitious, industry-friendly, and financially successful work. This year the astonishing number of submissions – a total of 83 – makes for an incredible list of films that range from those that sport festival pedigree of the highest caliber, unknown gems looking for an audience, expensive visual achievements, and obscure art house hopefuls.
This year more than most, there are a great number of films with serious possibilities. There is no unshakable front-runner, but there are numerous favorites. Yet, looking at last year’s 9 shortlisted films and eventual 5 nominees, nothing is written in stone. Critics and audience favorites like “ The Past” (Iran), “Gloria” (Chile), “Heli” (Mexico), and “Wadjda” (Saudi Arabia) were left out to include surprises like “The Missing Picture“ (Cambodia), “An Episode in the Life of an Iron Picker” (Bosnia & Herzegovina) or “The Notebook” (Hungary).
With Awards Season now in full swing and knowing that this is one of the most difficult races to follow, here is a comprehensive list that includes information for each of the 83 submissions. Below each poster you will find the title of the film linked to its page on IMDb Pro followed by the title in the original language; the director’s name also linked to his/her IMDb Page; the language the film is primarily in; the name of the U.S. distributor if there is one; the name of the film’s International Sales Agent (Isa) or Production Company (PC) linked to the film’s page on Cinando; and a link to the film’s trailer (most of them have English subtitles, others are only in the original language, and a few are videos related to the film because a trailer wasn't available). In addition, reviews and interviews with many of these filmmakers will be added regularly.
Before getting into the list, let’s take a look at some of the statistics and patterns among these 83 foreign language features.
Period Dramas/Biopics
Several countries selected films based on the lives of prominent local figures or great period pieces, both showcase the level of films being produced across the globe in terms of production value and scope. Mexico’s “Cantinflas,” Venezuela’s “The Liberator,” Kyrgyzstan “Kurmanjan Datka Queen of the Mountains,” Bolivia’s “Forgotten,” Indonesia’s “Soekarno,” Greece’s “Little England,” Macedonia’s “To the Hilt,” Hong Kong’s “The Golden Era,” Austria’s “The Dark Valley,” Switzerland’s “The Circle,” Bulgaria’s “Bulgarian Rhapsody,” Serbia’s “ See You in Montevideo,” Slovakia’s “A Step Into the Dark” and New Zealand’s “The Dead Lands” are some of the most expensive films ever made in their respective territories. All of them are epic productions that highlight an important historical period using impressive cinematography, a great number of extras, intricate costumes, lavish locations, detailed production design, as well as great battle sequences in several of them. Other more traditional biopics/period pieces on the list include France’s “Saint Laurent,” The Netherlands “ Accused,” Germany’s “Beloved Sisters,” Spain’s “Living Is Easy with Eyes Closed” and the Czech Republic’s “Fair Play”
Masters and Festival Winners
Not surprisingly many of the films on the list come into this race after winning important awards at international festivals. Furthermore, a handful of them are from master filmmakers, masters in the making, or unique new voices. These films include Belgium’s “Two Days, One Night” (Cannes, Telluride, Tiff, Nyff, AFI Fest) by the Dardenne Brothers, Canada’s “Mommy” (Cannes, Telluride, Tiff, AFI Fest) by prodigy Xavier Dolan, Chile’s “To Kill a Man” (Sundance, Rotterdam, Cartagena) by Alejandro Fernandez Almendras, Hungary's "White God" (Cannes) by Kornél Mundruczó, Norway’s “1001 Grams” (Tiff) by Bent Hamer, Poland’s “Ida”(Tiff, Sundance) by Pawel Pawlikowski, Russia’s “Leviathan” (Cannes, Telluride, Tiff, AFI Fest) by Andrey Zvyagintsev, Sweden’s “Force Majeure” (Cannes, Telluride, Tiff) by Ruben Östlund, and Turkey’s “ Winter Sleep” (Cannes, Telluride, Tiff) by Nuri Bilge Ceylan. All of these films have played at renowned international festivals and most have earned important recognition there.
Out of the Box
Whether they are aware of their actual possibilities at a nomination or not, each year a few countries take the risk of sending a film that defies convention despite having more safe choices. But that is not say they are entirely out of the race, films like “The Missing Picture” and “Dogtooth” prove that sometimes there is room for daring and unique filmmaking. With “Rocks in My Pockets” Latvia is the only country to submit an animated film this year. The film is an inventive and colorful look at depression. Then there is the almost-silent and highly poetic Ecuadorian entry “Silence in Dreamland” and Singapore’s musically driven drama “Sayang Disayang.” However, the boldest selection has to be the Philippines’ “Norte, the End of History” by acclaimed auteur Lav Diaz, which runs over four hours and is inspired by Dostoyevsky Crime and Punishment.
Documentaries
Only two countries chose to go with non-fiction entries. One of them is Panama’s “Invasion,” which deals with the aftermath of the U.S. intervention in that country in 1989. This is the Central American nation’s first ever Oscar submission. The other documentary contending is Portugal’s “ What Now? Remind Me,“ a self-portrait by filmmaker Joaquim Pinto exploring his struggles living with HIV. One should note that Portugal is one of the few countries in Western Europe to have never obtained a nomination in the category despite entering films consecutively for several decades.
Lgbt
Films with stories that highlight sexual diversity occasionally make their way into this list. Last year the only Lgbt title submitted was “ Soongava: Dance of the Orchids,” which surprisingly came from Nepal and dealt with the relationship between two young women in the traditional Asian society. This time around two countries selected films with similar themes. Brazil’s festival darling “ The Way He Looks” – a sweet coming-of-age tale- was an audacious choice among the many other films the South American country produces every year. Then there is Switzerland’s “The Circle” about a pioneering gay publication during the 1940s/1950s in Zurich and the real life relationship between two of its prominent members.
Surprising Choices
As it usually happens, some countries go against what the industry expects and decide to send films that weren’t on most people’s radars. Bulgaria for example selected “Bulgarian Rhapsody” by veteran director Ivan Nitchev over Sundance’s “Viktoria” by young female director Maya Vitkova. Similarly, Ukraine overlooked Cannes favorite “The Tribe”- a powerful drama entirely in sign language - and decided to go with “The Guide” by Oles Sanin. Nevertheless, the most shocking decision came from China. Instead of selecting a Chinese-directed film like Berlin’s Golden Bear winner “Black Coal, Thin Ice” or Zhang Yimou’s “Coming Home,” the Chinese selection committee chose “The Nightingale” by French director Philippe Muyl. Despite having a European helmer the film is authentically Chinese in terms of language and story, but it was still an unexpected move from the traditionally patriotic country.
First Timers
The unprecedented number of entries is in part due to the addition of countries submitting for the first time. Besides aforementioned Panama, there are three other debutant nations in the mix. Kosovo- a tiny Balkan state often associated with the rampart war that afflicted the region a few decades ago - is finally showcasing its film production. Their entry titled “Three Windows and a Hanging” is said to be a high quality, affecting drama. Malta - a European island nation near Italy - is often used as astonishing location for big budget studio films. This year, however, “ Simshar,” a great immigration drama will represent the country. Lastly, Mauritania – a prominently Muslim nation in Sub-Saharan Africa – selected Abderrahmane Sissako’s “Timbuktu,”which played in competition at Cannes,as their inaugural submission. Although Sissako has had several successful films at international festivals, this is the first time his country decides to participate.
Female Directors
Out of the 83 films, 14 were directed by women. That’s 17% of all entries. What’s more interesting is the fact that some of these films come from countries that are often seen as traditionally patriarchal societies. 3 Latin American entries were created by female directors: Colombia’s “Mateo,” Costa Rica’s “Red Princesses” and the Dominican Republic’s “Cristo Rey.” 4 from Asia: Hong Kong’s “ The Golden Era,” India’s “Liar’s Dice,” Japan’s “The Light Shines Only There,” and Pakistan’s “Dukhtar.” 2 from the Middle East: Israel’s “Gett: The Trial of Viviane Amsalem” (Co-directed) and Palestine’s “Eyes of a Thief.” Lastly, 5 films from Europe: The Czech Republic’s “Fair Play,” Finland’s “Concrete Night,” Latvia’s “ Rocks in My Pockets,” Malta’s “Simshar” and the Netherlands’ “Accused.”
U.S. Distribution
Another interesting fact is the number of these films that already have U.S. distribution. Several of them have actually already opened theatrically here, and others are set to open early next year. Out 83 films, 24 already have U.S. distribution. That’s 29% of all films. Hopefully that number increases by the end of the season. The films are: Argentina’s “Wild Tales,” Austria’s “The Dark Valley,” Belgium’s “Two Days, One Night,” Brazil’s “The Way He Looks,” Canada’s “Mommy,” Chile’s “To Kill a Man,” France’s “Saint Laurent,” Germany’s “Beloved Sisters,” Hungary’s “White God,” Israel’s “ Gett: The Trial of Viviane Amsalem,” Italy’s “Human Capital,” Latvia’s “Rocks in My Pockets,” Mauritania’s “Timbuktu,” Mexico’s “Cantinflas,” Norway’s “1001 Grams,” The Philippines “Norte, the End of History,” Poland’s “Ida,” Portugal's "What Now? Remind Me," Russia’s “Leviathan,” Spain’s “Living Is Easy with Eyes Closed,” Sweden’s “Force Majeure,” Switzerland’s “The Circle,” Turkey’s “Winter Sleep,” and Venezuela’s “ The Liberator.”
To see which distribution company has each of these films please refer to the list below.
Afghanistan
"A Few Cubic Meters of Love" (چند متر مکعب عشق)
Dir: Jamshid Mahmoudi
Language: Persian
U.S Distribution: None Yet
Isa: Dreamlab Films
Trailer
Argentina
"Wild Tales" (Relatos Salvajes)
Dir: Damián Szifrón
Language: Spanish
U.S Distribution: Sony Pictures Classics
Isa: Film Factory Entertainment
Trailer
Austria
"The Dark Valley" (Das finstere Tal)
Dir: Andreas Prochaska
Language: German
U.S Distribution: Film Movement
Isa: Films Distribution
Trailer
Australia
"Charlie's Country"
Dir: Rolf de Heer
Language: Yolŋu Matha/English
U.S Distribution: None Yet
Isa: Visit Films
Trailer
Azerbaijan
"Nabat"
Dir: Elcin Musaoglu
Language: Azerbaijani
U.S Distribution: None Yet
Isa: Dreamlab Films
Trailer
Bangladesh
"Glow of the Firefly" (Jonakir Alo)
Dir: Khalid Mahmood Mithu
Language: Bengali
U.S Distribution: None Yet
PC: Impress Telefilm
Trailer
Belgium
"Two Days, One Night" (Deux jours, une nuit)
Dir: Jean-Pierre Dardenne & Luc Dardenne
Language: French/Arabic
U.S Distribution: Sundance Selects
Isa: Wild Bunch
Trailer
Bolivia
"Forgotten" (Olvidados)
Dir: Carlos Bolado
Language: Spanish
U.S Distribution: None Yet
PC: Flor de Loto Pictures
Trailer
Bosnia & Herzegovina
"With Mom" (Sa mamom)
Dir: Faruk Loncarevic
Language: Bosnian
U.S Distribution: None Yet
PC: Scca/pro.ba
TraileR
Brazil
"The Way He Looks" (Hoje Eu Quero Voltar Sozinho)
Dir: Daniel Ribeiro
Language: Portuguese
U.S Distribution: Strand Releasing
Isa: Films Boutique Trailer
Bulgaria
"Bulgarian Rhapsody" (българска рапсодия)
Dir: Ivan Nitchev
Language: Bulgarian
U.S Distribution: None Yet
PC: Cinepaz Eood
Trailer
Canada
"Mommy"
Dir: Xavier Dolan
Language: French/English
U.S Distribution: Roadside Attractions
Isa: Seville International
Trailer
Chile
"To Kill a Man" (Matar a un Hombre)
Dir: Alejandro Fernández Almendras
Language: Spanish
U.S Distribution: Film Movement
Isa: Film Factory Entertainment
Trailer
China
"The Nightingale" (夜莺/Le promeneur d'oiseau)
Dir: Philippe Muyl
Language: Mandarin
U.S Distribution: None Yet
Isa: Kinology
Trailer
Colombia
"Mateo"
Dir: Maria Gamboa ♀
Language: Spanish
U.S Distribution: None Yet
Isa: Alpha Violet
Trailer
Costa Rica
"Red Princesses" (Princesas Rojas)
Dir: Laura Astorga ♀
Language: Spanish
U.S Distribution: None Yet
Isa: Latido Films Trailer
Croatia
"Cowboys" (Kauboji)
Dir: Tomislav Mrsic
Language: Croatian
U.S Distribution: None Yet
Isa: Wide
Trailer
Cuba
"Behavior" (Conducta)
Dir: Ernesto Daranas
Language: Spanish
U.S Distribution: None Yet
Isa: Latido Films
Trailer
Czech Republic
"Fair Play"
Dir: Andrea Sedlácková Andrea Sedlácková
Language: Czech
U.S Distribution: None Yet
Isa: IntraMovies
Trailer
Denmark
"Sorrow and Joy" (Sorg og glæde)
Dir: Nils Malmros
Language: Danish
U.S Distribution: None Yet
PC: Nordisk Film Production
Trailer
Dominican Republic
"Cristo Rey"
Dir: Leticia Tonos ♀
Language: Spanish
U.S Distribution: None Yet
Isa: The Little Film Company
Trailer
Ecuador
"Silence in Dreamland" (El Silencio en la Tierra de los Sueños)
Dir: Tito Molina
Language: Spanish
U.S Distribution: None Yet
PC: La Facultad
Trailer
Egypt
"Factory Girl" (فتاة المصنع )
Dir: Mohamed Khan
Language: Arabic
U.S Distribution: None Yet
PC: DayDream Art Production
Trailer
Estonia
"Tangerines" (Mandariinid)
Dir: Zaza Urushadze
Language: Estonian/Russian
U.S Distribution: None Yet
Isa: Cinemavault
Trailer
Ethiopia
"Difret"
Dir: Zeresenay Mehari
Language: Amharic
U.S Distribution: None Yet
Isa: Films Boutique Trailer
Finland
"Concrete Night" (Betoniyö)
Dir: Pirjo Honkasalo ♀
Language: Finnish
U.S Distribution: None Yet
Isa: Film Republic Trailer
France
"Saint Laurent"
Dir: Bertrand Bonello
Language: French
U.S Distribution: Sony Pictures Classics
Isa: Europacorp
Trailer
Georgia
"Corn Island" (სიმინდის კუნძული)
Dir: George Ovashvili
Language: Georgian/Abkhazian/Russian
U.S Distribution: None Yet
Isa: Arizona Productions
Trailer
Germany
"Beloved Sisters" (Die geliebten Schwestern)
Dir: Dominik Graf
Language: German /French
U.S Distribution: Music Box Films
Isa: Global Screen
Trailer
Greece
"Little England" (Μικρά Αγγλία)
Dir: Pantelis Voulgaris
Language: Greek
U.S Distribution: None Yet
PC: Black Orange
Trailer
Hong Kong
"The Golden Era" (黄金时代)
Dir: Ann Hui ♀
Language: Mandarin
U.S Distribution: None Yet
Isa: Edko Films
Trailer
Hungary
"White God" (Fehér isten)
Dir: Kornél Mundruczó
Language: Hungarian/English
U.S Distribution: Magnolia Pictures
Isa: The Match Factory
Trailer
Iceland
"Life in a Fishbowl" (Vonarstræti)
Dir: Baldvin Zophoníasson
Language: None Yet
U.S Distribution: None Yet
Isa: Films Boutique Trailer
India
"Liar's Dice" (लायर्स डाइस)
Dir: Geethu Mohandas ♀
Language: Hindi
U.S Distribution: None Yet
PC: Jar Pictures Trailer
Indonesia
"Soekarno"
Dir: Hanung Bramantyo
Language: Indonesian
U.S Distribution: None Yet
PC: Mvp Pictures
Trailer
Iran
"Today" (امروز )
Dir: Reza Mirkarimi
Language: Persian
U.S Distribution: None Yet
Isa: Dreamlab Films
Trailer
Iraq
"Mardan"
Dir: Batin Ghobadi
Language: Kurdish
U.S Distribution: None Yet
Isa: Versatile Trailer
Ireland
"The Gift" (An Bronntanas)
Dir: Tom Collins
Language: Irish/English
U.S Distribution: None Yet
PC: Rosg/De Facto Films
Trailer
Israel
"Gett: The Trial of Viviane Amsalem" (Gett: Le Procès de Viviane Amsalem)
Dir: Ronit Elkabetz ♀ & Shlomi Elkabetz
Language: Hebrew/French/Arabic
U.S Distribution: Music Box Films
Isa: Films Distribution
Trailer
Italy
"Human Capital" (Il Capitale Umano)
Dir: Paolo Virzì
Language: Italian
U.S Distribution: Film Movement
PC: Indiana Production Company
Trailer
Japan
"The Light Shines Only There" (そこのみにて光輝く)
Dir: Mipo Oh ♀
Language: Japanese
U.S Distribution: None Yet
Isa: Open Sesame
Trailer
Kosovo
"Three Windows and a Hanging" (Tri Dritare dhe një Varje)
Dir: Isa Qosja
Language: Albanian
U.S Distribution: None Yet
PC: CMb Productions
Trailer
Kyrgyzstan
"Kurmanjan Datka Queen of the Mountains" (Курманжан Датка)
Dir: Sadyk Sher-Niyaz
Language: Kirghiz
U.S Distribution: None Yet
PC: Aitysh Film
Trailer
Latvia
"Rocks in My Pockets" (Akmeņi manās kabatās)
Dir: Signe Baumane ♀
Language: Latvian
U.S Distribution: Zeitgeist Films
Isa: New Europe Film Sales
Trailer
Lebanon
"Ghadi" (غدي)
Dir: Amin Dora
Language: Arabic
U.S Distribution: None Yet
Isa: Fortissimo Films
Trailer
Lithuania
"The Gambler" (Lošėjas)
Dir: Ignas Jonynas
Language: Lithuanian
U.S Distribution: None Yet
Isa: Wide
Trailer
Luxembourg
"Never Die Young"
Dir: Pol Cruchten
Language: French
U.S Distribution: None Yet
Isa: EastWest Distribution
Trailer
MacEdonia
"To the Hilt" (До балчак)
Dir: Stole Popov
Language: Macedonian/French/English/ Turkish
U.S Distribution: None Yet
PC: Triangle Film- Skopje
Trailer
Malta
"Simshar"
Dir: Rebecca Cremona ♀
Language: Maltese
U.S Distribution: None Yet
PC: Kukumajsa Productions
Trailer
Mauritania
"Timbuktu"
Dir: Abderrahmane Sissako
Language: French/Arabic/Bambara/English/Songhay/Tamasheq
U.S Distribution: Cohen Media Group
Isa: Le Pacte
Trailer
Mexico
"Cantinflas"
Dir: Sebastian del Amo
Language: Spanish/English
U.S Distribution: Pantelion Films
Isa: 6 Sales
Trailer
Moldova
"The Unsaved" (La Limita de Jos a Cerului)
Dir: Igor Cobileanski
Language: Romanian
U.S Distribution: None Yet
Isa: Insomnia World Sales Trailer
Montenegro
"The Boys from Marx and Engels Street" (Djecaci iz ulice Marksa i Engelsa)
Dir: Nikola Vukcevic
Language: Serbian
U.S Distribution: None Yet
PC: Artikulacija Production
Trailer
Morocco
"The Red Moon" (القمر الأحمر)
Dir: Hassan Benjelloun
Language: Arabic
U.S Distribution: None Yet
PC: Bentaqerla
Trailer
Nepal
"Jhola" (झोला)
Dir: Yadav Kumar Bhattarai
Language: Nepali
U.S Distribution: None Yet
PC: Media for Culture
Trailer
The Netherlands
"Accused" (Lucia de B.)
Dir: Paula van der Oest ♀
Language: Dutch
U.S Distribution: None Yet
Isa: Fortissimo Films
Trailer
New Zealand
"The Dead Lands"
Dir: Toa Fraser
Language: Maori
U.S Distribution: None Yet
Isa: Xyz Films
Trailer
Norway
"1001 Grams" (1001 Gram)
Dir: Bent Hamer
Language: Norwegian/French/ English
U.S Distribution: Kino Lorber
Isa: Les Films du Losange
Trailer
Pakistan
"Dukhtar" (دختر، بیٹی)
Dir: Afia Nathaniel ♀
Language: Urdu
U.S Distribution: None Yet
PC: Zambeel Films
Trailer
Palestine
"Eyes of a Thief" (عيون الحراميه)
Dir: Najwa Najjar ♀
Language: Arabic
U.S Distribution: None Yet
PC: Ustura Films Trailer
Panama
"Invasion" (Invasión)
Dir: Abner Benaim
Language: Spanish
U.S Distribution: None Yet
Isa: Apertura Films Trailer
Peru
"The Gospel of the Flesh" (El Evangelio de la Carne)
Dir: Eduardo Mendoza de Echave
Language: Spanish
U.S Distribution: None Yet
PC: La Soga Producciones
Trailer
The Philippines
"Norte, the End of History" (Norte, Hangganan ng Kasaysayan)
Dir: Lav Diaz
Language: Tagalog/English
U.S Distribution: The Cinema Guild
Isa: M-Appeal World Sales
Trailer
Poland
"Ida"
Dir: Pawel Pawlikowski
Language: Polish
U.S Distribution: Music Box Films
Isa: Portobello Film Sales
Trailer
Portugal
"What Now? Remind Me" (E Agora? Lembra-me)
Dir: Joaquim Pinto
Language: Portuguese
U.S Distribution: The Cinema Guild
PC: C.R.I.M Productions
Trailer
Romania
"The Japanese Dog" (Câinele Japonez)
Dir: Tudor Cristian Jurgiu
Language: Romanian/Japanese
U.S Distribution: None Yet
Isa: M-Appeal World Sales
Trailer
Russia
"Leviathan" (Левиафан)
Dir: Andrey Zvyagintsev
Language: Russian
U.S Distribution: Sony Pictures Classics
Isa: Pyramide International
Trailer
Serbia
"See You in Montevideo" (Montevideo, vidimo se!)
Dir: Dragan Bjelogrlic
Language: Serbian/Spanish/ English
U.S Distribution: None Yet
PC: Intermedia Network
Trailer
Singapore
"Sayang Disayang"
Dir: Sanif Olek
Language: Malay/Indonesian
U.S Distribution: None Yet
PC: ReelJuice
Trailer
Slovakia
"A Step Into the Dark" (Krok do tmy)
Dir: Miloslav Luther
Language: Slovak
U.S Distribution: None Yet
PC: Trigon Production Trailer
Slovenia
"Seduce Me" (Zapelji me)
Dir: Marko Santic
Language: Slovenian
U.S Distribution: None Yet
PC: Radio-Television Slovenia
Trailer
South Africa
"Elelwani"
Dir: Ntshaveni Wa Luruli
Language: Venda
U.S Distribution: None Yet
Isa: EastWest FilmDistribution
Trailer
South Korea
"Haemoo" (해무)
Dir: Sung Bo Shim
Language: Korean
U.S Distribution: None Yet
Isa: Finecut
Trailer
Spain
"Living Is Easy with Eyes Closed" (Vivir es fácil con los ojos cerrados)
Dir: David Trueba
Language: Spanish
U.S Distribution: Outsider Pictures
Isa: 6 Sales
Trailer
Sweden
"Force Majeure" (Turist)
Dir: Ruben Östlund
Language: Swedish/English
U.S Distribution: Magnolia Pictures
Isa: Coproduction Office (Paris)
Trailer
Switzerland
"The Circle" (Der Kreis)
Dir: Stefan Haupt
Language: Swiss German/ German/ French
U.S Distribution: Wolfe Video
Isa: Wide House
Trailer
Taiwan
"Ice Poison" (冰毒)
Dir: Midi Z.
Language: Burmese/Chinese
U.S Distribution: None Yet
Isa: Flash Forward Enterteinment
Trailer
Thailand
"The Teacher's Diary" (คิดถึงวิทยา)
Dir: Nithiwat Tharathorn
Language: Thai
U.S Distribution: None Yet
Isa: Gth
Trailer
Turkey
"Winter Sleep" (Kis uykusu)
Dir: Nuri Bilge Ceylan
Language: Turkish/English
U.S Distribution: Adopt Films
Isa: Memento Films International
Trailer
Ukraine
"The Guide" (Поводир)
Dir: Oles Sanin
Language: Ukrainian/Russia/English
U.S Distribution: None Yet
PC: Pronto Film
Trailer
United Kingdom
"Little Happiness" (Uzun Yol)
Dir: Nihat Seven
Language: Turkish
U.S Distribution: None Yet
Isa: 7&7 Producers' Sales Services
Trailer
Uruguay
"Mr. Kaplan"
Dir: Álvaro Brechner
Language: Spanish
U.S Distribution: None Yet
Isa: Memento Films International
Trailer
Venezuela
"The Liberator" (Libertador)
Dir: Alberto Arvelo
Language: Spanish/English/ French
U.S Distribution: Cohen Media Group
Isa: Mundial
Trailer...
This year more than most, there are a great number of films with serious possibilities. There is no unshakable front-runner, but there are numerous favorites. Yet, looking at last year’s 9 shortlisted films and eventual 5 nominees, nothing is written in stone. Critics and audience favorites like “ The Past” (Iran), “Gloria” (Chile), “Heli” (Mexico), and “Wadjda” (Saudi Arabia) were left out to include surprises like “The Missing Picture“ (Cambodia), “An Episode in the Life of an Iron Picker” (Bosnia & Herzegovina) or “The Notebook” (Hungary).
With Awards Season now in full swing and knowing that this is one of the most difficult races to follow, here is a comprehensive list that includes information for each of the 83 submissions. Below each poster you will find the title of the film linked to its page on IMDb Pro followed by the title in the original language; the director’s name also linked to his/her IMDb Page; the language the film is primarily in; the name of the U.S. distributor if there is one; the name of the film’s International Sales Agent (Isa) or Production Company (PC) linked to the film’s page on Cinando; and a link to the film’s trailer (most of them have English subtitles, others are only in the original language, and a few are videos related to the film because a trailer wasn't available). In addition, reviews and interviews with many of these filmmakers will be added regularly.
Before getting into the list, let’s take a look at some of the statistics and patterns among these 83 foreign language features.
Period Dramas/Biopics
Several countries selected films based on the lives of prominent local figures or great period pieces, both showcase the level of films being produced across the globe in terms of production value and scope. Mexico’s “Cantinflas,” Venezuela’s “The Liberator,” Kyrgyzstan “Kurmanjan Datka Queen of the Mountains,” Bolivia’s “Forgotten,” Indonesia’s “Soekarno,” Greece’s “Little England,” Macedonia’s “To the Hilt,” Hong Kong’s “The Golden Era,” Austria’s “The Dark Valley,” Switzerland’s “The Circle,” Bulgaria’s “Bulgarian Rhapsody,” Serbia’s “ See You in Montevideo,” Slovakia’s “A Step Into the Dark” and New Zealand’s “The Dead Lands” are some of the most expensive films ever made in their respective territories. All of them are epic productions that highlight an important historical period using impressive cinematography, a great number of extras, intricate costumes, lavish locations, detailed production design, as well as great battle sequences in several of them. Other more traditional biopics/period pieces on the list include France’s “Saint Laurent,” The Netherlands “ Accused,” Germany’s “Beloved Sisters,” Spain’s “Living Is Easy with Eyes Closed” and the Czech Republic’s “Fair Play”
Masters and Festival Winners
Not surprisingly many of the films on the list come into this race after winning important awards at international festivals. Furthermore, a handful of them are from master filmmakers, masters in the making, or unique new voices. These films include Belgium’s “Two Days, One Night” (Cannes, Telluride, Tiff, Nyff, AFI Fest) by the Dardenne Brothers, Canada’s “Mommy” (Cannes, Telluride, Tiff, AFI Fest) by prodigy Xavier Dolan, Chile’s “To Kill a Man” (Sundance, Rotterdam, Cartagena) by Alejandro Fernandez Almendras, Hungary's "White God" (Cannes) by Kornél Mundruczó, Norway’s “1001 Grams” (Tiff) by Bent Hamer, Poland’s “Ida”(Tiff, Sundance) by Pawel Pawlikowski, Russia’s “Leviathan” (Cannes, Telluride, Tiff, AFI Fest) by Andrey Zvyagintsev, Sweden’s “Force Majeure” (Cannes, Telluride, Tiff) by Ruben Östlund, and Turkey’s “ Winter Sleep” (Cannes, Telluride, Tiff) by Nuri Bilge Ceylan. All of these films have played at renowned international festivals and most have earned important recognition there.
Out of the Box
Whether they are aware of their actual possibilities at a nomination or not, each year a few countries take the risk of sending a film that defies convention despite having more safe choices. But that is not say they are entirely out of the race, films like “The Missing Picture” and “Dogtooth” prove that sometimes there is room for daring and unique filmmaking. With “Rocks in My Pockets” Latvia is the only country to submit an animated film this year. The film is an inventive and colorful look at depression. Then there is the almost-silent and highly poetic Ecuadorian entry “Silence in Dreamland” and Singapore’s musically driven drama “Sayang Disayang.” However, the boldest selection has to be the Philippines’ “Norte, the End of History” by acclaimed auteur Lav Diaz, which runs over four hours and is inspired by Dostoyevsky Crime and Punishment.
Documentaries
Only two countries chose to go with non-fiction entries. One of them is Panama’s “Invasion,” which deals with the aftermath of the U.S. intervention in that country in 1989. This is the Central American nation’s first ever Oscar submission. The other documentary contending is Portugal’s “ What Now? Remind Me,“ a self-portrait by filmmaker Joaquim Pinto exploring his struggles living with HIV. One should note that Portugal is one of the few countries in Western Europe to have never obtained a nomination in the category despite entering films consecutively for several decades.
Lgbt
Films with stories that highlight sexual diversity occasionally make their way into this list. Last year the only Lgbt title submitted was “ Soongava: Dance of the Orchids,” which surprisingly came from Nepal and dealt with the relationship between two young women in the traditional Asian society. This time around two countries selected films with similar themes. Brazil’s festival darling “ The Way He Looks” – a sweet coming-of-age tale- was an audacious choice among the many other films the South American country produces every year. Then there is Switzerland’s “The Circle” about a pioneering gay publication during the 1940s/1950s in Zurich and the real life relationship between two of its prominent members.
Surprising Choices
As it usually happens, some countries go against what the industry expects and decide to send films that weren’t on most people’s radars. Bulgaria for example selected “Bulgarian Rhapsody” by veteran director Ivan Nitchev over Sundance’s “Viktoria” by young female director Maya Vitkova. Similarly, Ukraine overlooked Cannes favorite “The Tribe”- a powerful drama entirely in sign language - and decided to go with “The Guide” by Oles Sanin. Nevertheless, the most shocking decision came from China. Instead of selecting a Chinese-directed film like Berlin’s Golden Bear winner “Black Coal, Thin Ice” or Zhang Yimou’s “Coming Home,” the Chinese selection committee chose “The Nightingale” by French director Philippe Muyl. Despite having a European helmer the film is authentically Chinese in terms of language and story, but it was still an unexpected move from the traditionally patriotic country.
First Timers
The unprecedented number of entries is in part due to the addition of countries submitting for the first time. Besides aforementioned Panama, there are three other debutant nations in the mix. Kosovo- a tiny Balkan state often associated with the rampart war that afflicted the region a few decades ago - is finally showcasing its film production. Their entry titled “Three Windows and a Hanging” is said to be a high quality, affecting drama. Malta - a European island nation near Italy - is often used as astonishing location for big budget studio films. This year, however, “ Simshar,” a great immigration drama will represent the country. Lastly, Mauritania – a prominently Muslim nation in Sub-Saharan Africa – selected Abderrahmane Sissako’s “Timbuktu,”which played in competition at Cannes,as their inaugural submission. Although Sissako has had several successful films at international festivals, this is the first time his country decides to participate.
Female Directors
Out of the 83 films, 14 were directed by women. That’s 17% of all entries. What’s more interesting is the fact that some of these films come from countries that are often seen as traditionally patriarchal societies. 3 Latin American entries were created by female directors: Colombia’s “Mateo,” Costa Rica’s “Red Princesses” and the Dominican Republic’s “Cristo Rey.” 4 from Asia: Hong Kong’s “ The Golden Era,” India’s “Liar’s Dice,” Japan’s “The Light Shines Only There,” and Pakistan’s “Dukhtar.” 2 from the Middle East: Israel’s “Gett: The Trial of Viviane Amsalem” (Co-directed) and Palestine’s “Eyes of a Thief.” Lastly, 5 films from Europe: The Czech Republic’s “Fair Play,” Finland’s “Concrete Night,” Latvia’s “ Rocks in My Pockets,” Malta’s “Simshar” and the Netherlands’ “Accused.”
U.S. Distribution
Another interesting fact is the number of these films that already have U.S. distribution. Several of them have actually already opened theatrically here, and others are set to open early next year. Out 83 films, 24 already have U.S. distribution. That’s 29% of all films. Hopefully that number increases by the end of the season. The films are: Argentina’s “Wild Tales,” Austria’s “The Dark Valley,” Belgium’s “Two Days, One Night,” Brazil’s “The Way He Looks,” Canada’s “Mommy,” Chile’s “To Kill a Man,” France’s “Saint Laurent,” Germany’s “Beloved Sisters,” Hungary’s “White God,” Israel’s “ Gett: The Trial of Viviane Amsalem,” Italy’s “Human Capital,” Latvia’s “Rocks in My Pockets,” Mauritania’s “Timbuktu,” Mexico’s “Cantinflas,” Norway’s “1001 Grams,” The Philippines “Norte, the End of History,” Poland’s “Ida,” Portugal's "What Now? Remind Me," Russia’s “Leviathan,” Spain’s “Living Is Easy with Eyes Closed,” Sweden’s “Force Majeure,” Switzerland’s “The Circle,” Turkey’s “Winter Sleep,” and Venezuela’s “ The Liberator.”
To see which distribution company has each of these films please refer to the list below.
Afghanistan
"A Few Cubic Meters of Love" (چند متر مکعب عشق)
Dir: Jamshid Mahmoudi
Language: Persian
U.S Distribution: None Yet
Isa: Dreamlab Films
Trailer
Argentina
"Wild Tales" (Relatos Salvajes)
Dir: Damián Szifrón
Language: Spanish
U.S Distribution: Sony Pictures Classics
Isa: Film Factory Entertainment
Trailer
Austria
"The Dark Valley" (Das finstere Tal)
Dir: Andreas Prochaska
Language: German
U.S Distribution: Film Movement
Isa: Films Distribution
Trailer
Australia
"Charlie's Country"
Dir: Rolf de Heer
Language: Yolŋu Matha/English
U.S Distribution: None Yet
Isa: Visit Films
Trailer
Azerbaijan
"Nabat"
Dir: Elcin Musaoglu
Language: Azerbaijani
U.S Distribution: None Yet
Isa: Dreamlab Films
Trailer
Bangladesh
"Glow of the Firefly" (Jonakir Alo)
Dir: Khalid Mahmood Mithu
Language: Bengali
U.S Distribution: None Yet
PC: Impress Telefilm
Trailer
Belgium
"Two Days, One Night" (Deux jours, une nuit)
Dir: Jean-Pierre Dardenne & Luc Dardenne
Language: French/Arabic
U.S Distribution: Sundance Selects
Isa: Wild Bunch
Trailer
Bolivia
"Forgotten" (Olvidados)
Dir: Carlos Bolado
Language: Spanish
U.S Distribution: None Yet
PC: Flor de Loto Pictures
Trailer
Bosnia & Herzegovina
"With Mom" (Sa mamom)
Dir: Faruk Loncarevic
Language: Bosnian
U.S Distribution: None Yet
PC: Scca/pro.ba
TraileR
Brazil
"The Way He Looks" (Hoje Eu Quero Voltar Sozinho)
Dir: Daniel Ribeiro
Language: Portuguese
U.S Distribution: Strand Releasing
Isa: Films Boutique Trailer
Bulgaria
"Bulgarian Rhapsody" (българска рапсодия)
Dir: Ivan Nitchev
Language: Bulgarian
U.S Distribution: None Yet
PC: Cinepaz Eood
Trailer
Canada
"Mommy"
Dir: Xavier Dolan
Language: French/English
U.S Distribution: Roadside Attractions
Isa: Seville International
Trailer
Chile
"To Kill a Man" (Matar a un Hombre)
Dir: Alejandro Fernández Almendras
Language: Spanish
U.S Distribution: Film Movement
Isa: Film Factory Entertainment
Trailer
China
"The Nightingale" (夜莺/Le promeneur d'oiseau)
Dir: Philippe Muyl
Language: Mandarin
U.S Distribution: None Yet
Isa: Kinology
Trailer
Colombia
"Mateo"
Dir: Maria Gamboa ♀
Language: Spanish
U.S Distribution: None Yet
Isa: Alpha Violet
Trailer
Costa Rica
"Red Princesses" (Princesas Rojas)
Dir: Laura Astorga ♀
Language: Spanish
U.S Distribution: None Yet
Isa: Latido Films Trailer
Croatia
"Cowboys" (Kauboji)
Dir: Tomislav Mrsic
Language: Croatian
U.S Distribution: None Yet
Isa: Wide
Trailer
Cuba
"Behavior" (Conducta)
Dir: Ernesto Daranas
Language: Spanish
U.S Distribution: None Yet
Isa: Latido Films
Trailer
Czech Republic
"Fair Play"
Dir: Andrea Sedlácková Andrea Sedlácková
Language: Czech
U.S Distribution: None Yet
Isa: IntraMovies
Trailer
Denmark
"Sorrow and Joy" (Sorg og glæde)
Dir: Nils Malmros
Language: Danish
U.S Distribution: None Yet
PC: Nordisk Film Production
Trailer
Dominican Republic
"Cristo Rey"
Dir: Leticia Tonos ♀
Language: Spanish
U.S Distribution: None Yet
Isa: The Little Film Company
Trailer
Ecuador
"Silence in Dreamland" (El Silencio en la Tierra de los Sueños)
Dir: Tito Molina
Language: Spanish
U.S Distribution: None Yet
PC: La Facultad
Trailer
Egypt
"Factory Girl" (فتاة المصنع )
Dir: Mohamed Khan
Language: Arabic
U.S Distribution: None Yet
PC: DayDream Art Production
Trailer
Estonia
"Tangerines" (Mandariinid)
Dir: Zaza Urushadze
Language: Estonian/Russian
U.S Distribution: None Yet
Isa: Cinemavault
Trailer
Ethiopia
"Difret"
Dir: Zeresenay Mehari
Language: Amharic
U.S Distribution: None Yet
Isa: Films Boutique Trailer
Finland
"Concrete Night" (Betoniyö)
Dir: Pirjo Honkasalo ♀
Language: Finnish
U.S Distribution: None Yet
Isa: Film Republic Trailer
France
"Saint Laurent"
Dir: Bertrand Bonello
Language: French
U.S Distribution: Sony Pictures Classics
Isa: Europacorp
Trailer
Georgia
"Corn Island" (სიმინდის კუნძული)
Dir: George Ovashvili
Language: Georgian/Abkhazian/Russian
U.S Distribution: None Yet
Isa: Arizona Productions
Trailer
Germany
"Beloved Sisters" (Die geliebten Schwestern)
Dir: Dominik Graf
Language: German /French
U.S Distribution: Music Box Films
Isa: Global Screen
Trailer
Greece
"Little England" (Μικρά Αγγλία)
Dir: Pantelis Voulgaris
Language: Greek
U.S Distribution: None Yet
PC: Black Orange
Trailer
Hong Kong
"The Golden Era" (黄金时代)
Dir: Ann Hui ♀
Language: Mandarin
U.S Distribution: None Yet
Isa: Edko Films
Trailer
Hungary
"White God" (Fehér isten)
Dir: Kornél Mundruczó
Language: Hungarian/English
U.S Distribution: Magnolia Pictures
Isa: The Match Factory
Trailer
Iceland
"Life in a Fishbowl" (Vonarstræti)
Dir: Baldvin Zophoníasson
Language: None Yet
U.S Distribution: None Yet
Isa: Films Boutique Trailer
India
"Liar's Dice" (लायर्स डाइस)
Dir: Geethu Mohandas ♀
Language: Hindi
U.S Distribution: None Yet
PC: Jar Pictures Trailer
Indonesia
"Soekarno"
Dir: Hanung Bramantyo
Language: Indonesian
U.S Distribution: None Yet
PC: Mvp Pictures
Trailer
Iran
"Today" (امروز )
Dir: Reza Mirkarimi
Language: Persian
U.S Distribution: None Yet
Isa: Dreamlab Films
Trailer
Iraq
"Mardan"
Dir: Batin Ghobadi
Language: Kurdish
U.S Distribution: None Yet
Isa: Versatile Trailer
Ireland
"The Gift" (An Bronntanas)
Dir: Tom Collins
Language: Irish/English
U.S Distribution: None Yet
PC: Rosg/De Facto Films
Trailer
Israel
"Gett: The Trial of Viviane Amsalem" (Gett: Le Procès de Viviane Amsalem)
Dir: Ronit Elkabetz ♀ & Shlomi Elkabetz
Language: Hebrew/French/Arabic
U.S Distribution: Music Box Films
Isa: Films Distribution
Trailer
Italy
"Human Capital" (Il Capitale Umano)
Dir: Paolo Virzì
Language: Italian
U.S Distribution: Film Movement
PC: Indiana Production Company
Trailer
Japan
"The Light Shines Only There" (そこのみにて光輝く)
Dir: Mipo Oh ♀
Language: Japanese
U.S Distribution: None Yet
Isa: Open Sesame
Trailer
Kosovo
"Three Windows and a Hanging" (Tri Dritare dhe një Varje)
Dir: Isa Qosja
Language: Albanian
U.S Distribution: None Yet
PC: CMb Productions
Trailer
Kyrgyzstan
"Kurmanjan Datka Queen of the Mountains" (Курманжан Датка)
Dir: Sadyk Sher-Niyaz
Language: Kirghiz
U.S Distribution: None Yet
PC: Aitysh Film
Trailer
Latvia
"Rocks in My Pockets" (Akmeņi manās kabatās)
Dir: Signe Baumane ♀
Language: Latvian
U.S Distribution: Zeitgeist Films
Isa: New Europe Film Sales
Trailer
Lebanon
"Ghadi" (غدي)
Dir: Amin Dora
Language: Arabic
U.S Distribution: None Yet
Isa: Fortissimo Films
Trailer
Lithuania
"The Gambler" (Lošėjas)
Dir: Ignas Jonynas
Language: Lithuanian
U.S Distribution: None Yet
Isa: Wide
Trailer
Luxembourg
"Never Die Young"
Dir: Pol Cruchten
Language: French
U.S Distribution: None Yet
Isa: EastWest Distribution
Trailer
MacEdonia
"To the Hilt" (До балчак)
Dir: Stole Popov
Language: Macedonian/French/English/ Turkish
U.S Distribution: None Yet
PC: Triangle Film- Skopje
Trailer
Malta
"Simshar"
Dir: Rebecca Cremona ♀
Language: Maltese
U.S Distribution: None Yet
PC: Kukumajsa Productions
Trailer
Mauritania
"Timbuktu"
Dir: Abderrahmane Sissako
Language: French/Arabic/Bambara/English/Songhay/Tamasheq
U.S Distribution: Cohen Media Group
Isa: Le Pacte
Trailer
Mexico
"Cantinflas"
Dir: Sebastian del Amo
Language: Spanish/English
U.S Distribution: Pantelion Films
Isa: 6 Sales
Trailer
Moldova
"The Unsaved" (La Limita de Jos a Cerului)
Dir: Igor Cobileanski
Language: Romanian
U.S Distribution: None Yet
Isa: Insomnia World Sales Trailer
Montenegro
"The Boys from Marx and Engels Street" (Djecaci iz ulice Marksa i Engelsa)
Dir: Nikola Vukcevic
Language: Serbian
U.S Distribution: None Yet
PC: Artikulacija Production
Trailer
Morocco
"The Red Moon" (القمر الأحمر)
Dir: Hassan Benjelloun
Language: Arabic
U.S Distribution: None Yet
PC: Bentaqerla
Trailer
Nepal
"Jhola" (झोला)
Dir: Yadav Kumar Bhattarai
Language: Nepali
U.S Distribution: None Yet
PC: Media for Culture
Trailer
The Netherlands
"Accused" (Lucia de B.)
Dir: Paula van der Oest ♀
Language: Dutch
U.S Distribution: None Yet
Isa: Fortissimo Films
Trailer
New Zealand
"The Dead Lands"
Dir: Toa Fraser
Language: Maori
U.S Distribution: None Yet
Isa: Xyz Films
Trailer
Norway
"1001 Grams" (1001 Gram)
Dir: Bent Hamer
Language: Norwegian/French/ English
U.S Distribution: Kino Lorber
Isa: Les Films du Losange
Trailer
Pakistan
"Dukhtar" (دختر، بیٹی)
Dir: Afia Nathaniel ♀
Language: Urdu
U.S Distribution: None Yet
PC: Zambeel Films
Trailer
Palestine
"Eyes of a Thief" (عيون الحراميه)
Dir: Najwa Najjar ♀
Language: Arabic
U.S Distribution: None Yet
PC: Ustura Films Trailer
Panama
"Invasion" (Invasión)
Dir: Abner Benaim
Language: Spanish
U.S Distribution: None Yet
Isa: Apertura Films Trailer
Peru
"The Gospel of the Flesh" (El Evangelio de la Carne)
Dir: Eduardo Mendoza de Echave
Language: Spanish
U.S Distribution: None Yet
PC: La Soga Producciones
Trailer
The Philippines
"Norte, the End of History" (Norte, Hangganan ng Kasaysayan)
Dir: Lav Diaz
Language: Tagalog/English
U.S Distribution: The Cinema Guild
Isa: M-Appeal World Sales
Trailer
Poland
"Ida"
Dir: Pawel Pawlikowski
Language: Polish
U.S Distribution: Music Box Films
Isa: Portobello Film Sales
Trailer
Portugal
"What Now? Remind Me" (E Agora? Lembra-me)
Dir: Joaquim Pinto
Language: Portuguese
U.S Distribution: The Cinema Guild
PC: C.R.I.M Productions
Trailer
Romania
"The Japanese Dog" (Câinele Japonez)
Dir: Tudor Cristian Jurgiu
Language: Romanian/Japanese
U.S Distribution: None Yet
Isa: M-Appeal World Sales
Trailer
Russia
"Leviathan" (Левиафан)
Dir: Andrey Zvyagintsev
Language: Russian
U.S Distribution: Sony Pictures Classics
Isa: Pyramide International
Trailer
Serbia
"See You in Montevideo" (Montevideo, vidimo se!)
Dir: Dragan Bjelogrlic
Language: Serbian/Spanish/ English
U.S Distribution: None Yet
PC: Intermedia Network
Trailer
Singapore
"Sayang Disayang"
Dir: Sanif Olek
Language: Malay/Indonesian
U.S Distribution: None Yet
PC: ReelJuice
Trailer
Slovakia
"A Step Into the Dark" (Krok do tmy)
Dir: Miloslav Luther
Language: Slovak
U.S Distribution: None Yet
PC: Trigon Production Trailer
Slovenia
"Seduce Me" (Zapelji me)
Dir: Marko Santic
Language: Slovenian
U.S Distribution: None Yet
PC: Radio-Television Slovenia
Trailer
South Africa
"Elelwani"
Dir: Ntshaveni Wa Luruli
Language: Venda
U.S Distribution: None Yet
Isa: EastWest FilmDistribution
Trailer
South Korea
"Haemoo" (해무)
Dir: Sung Bo Shim
Language: Korean
U.S Distribution: None Yet
Isa: Finecut
Trailer
Spain
"Living Is Easy with Eyes Closed" (Vivir es fácil con los ojos cerrados)
Dir: David Trueba
Language: Spanish
U.S Distribution: Outsider Pictures
Isa: 6 Sales
Trailer
Sweden
"Force Majeure" (Turist)
Dir: Ruben Östlund
Language: Swedish/English
U.S Distribution: Magnolia Pictures
Isa: Coproduction Office (Paris)
Trailer
Switzerland
"The Circle" (Der Kreis)
Dir: Stefan Haupt
Language: Swiss German/ German/ French
U.S Distribution: Wolfe Video
Isa: Wide House
Trailer
Taiwan
"Ice Poison" (冰毒)
Dir: Midi Z.
Language: Burmese/Chinese
U.S Distribution: None Yet
Isa: Flash Forward Enterteinment
Trailer
Thailand
"The Teacher's Diary" (คิดถึงวิทยา)
Dir: Nithiwat Tharathorn
Language: Thai
U.S Distribution: None Yet
Isa: Gth
Trailer
Turkey
"Winter Sleep" (Kis uykusu)
Dir: Nuri Bilge Ceylan
Language: Turkish/English
U.S Distribution: Adopt Films
Isa: Memento Films International
Trailer
Ukraine
"The Guide" (Поводир)
Dir: Oles Sanin
Language: Ukrainian/Russia/English
U.S Distribution: None Yet
PC: Pronto Film
Trailer
United Kingdom
"Little Happiness" (Uzun Yol)
Dir: Nihat Seven
Language: Turkish
U.S Distribution: None Yet
Isa: 7&7 Producers' Sales Services
Trailer
Uruguay
"Mr. Kaplan"
Dir: Álvaro Brechner
Language: Spanish
U.S Distribution: None Yet
Isa: Memento Films International
Trailer
Venezuela
"The Liberator" (Libertador)
Dir: Alberto Arvelo
Language: Spanish/English/ French
U.S Distribution: Cohen Media Group
Isa: Mundial
Trailer...
- 11/11/2014
- by Carlos Aguilar
- Sydney's Buzz
Retaining cultural authenticity in the face of foreign influence seems to have been the most arduous battle for Kyrgyz people throughout their turbulent history. Overcoming more than a century of Soviet control, before independence in 1991, was the final step for these mostly-nomadic people to finally have a recognized nation of their own. Kyrgyzstan, however, remains an unknown part of the world for most Westerners. The lack-locked county is still off the beaten path for tourists, which has preserved its people’s lifestyle and ancient traditions. Given this, it’s not surprising that the story of one of their greatest heroes is a mystery for most unfamiliar with the history of Central Asia. In Sadyk Sher-Niyaz breathtaking epic saga “Kurmanjan Datka Queen of the Mountains,” the region’s exotic landscapes come to life to honor a woman that defy the conventions of the conservative Muslim Kokand Khanate.
Opposing her own arranged marriage, fighting the vicious Russian invasion, and becoming the unquestionable leader of the Alai tribe are a few highlights in Kurmanjan Datka progressive biography. Born in the early 19th century, Kurmanjan was supposed to follow the same road as every women around her by getting married and fading into the background as the men decided over their future. Her expected destiny didn’t differ from that of most women across the world at the time. In the film, young Kurmanjan (Elina Abai Kyzy) is introduced as she risks her family’s honor by giving water to a helpless girl about to be stoned for presumably committing adultery. Her actions impress the region’s leader Alymbek Datka (Aziz Muradillayev), who is also a defender of female empowerment despite criticisms.
Unsatisfied with the man she was forced to marry, Kurmanjan escapes and is considered a disgrace in the eyes of the patriarchal system enforced. Knowing that her life has to be tied to someone who understands her need to voice her opinion, Kurmanjan marries Alymbek Datka. Thanks to this her influence grows and she can’t no longer be silenced. Yet, Kurmanjan’s loving alliance to Alymbek was only the first step in her lifelong quest to unite the forty tribes that made up the Kyrgyz people. With the advent of foreign powers in nearby territories, the Queen of the Mountains and her husband knew that unity would be their only weapon to fight off the enemy.
As many biopics of its scale, the film is presented with the need to include its subjects entire lifespan into a 130 minutes. Fortunately, Sher-Niyaz’s smoothly transitions between the different periods by carefully choosing crucial moments that marked the heroine’s existence as both a mother and a leader. After Alymbek is assassinated and now supported by two adult sons, 50-year-old Kurmanjan (Nasira Mambetova) is forced to lead her army of valiant soldiers against the Russians and their imperialist intentions. For Kurmanjan protecting her fatherland and saving her people’s way of life is above any personal weakness. She is nothing short of a Kyrgyz Joan of Arc or Elizabeth I. Gender becomes an obsolete argument when her enemies witness the power of her conviction. Like the tiger that’s seen throughout the film in her visions, Kurmanjan commands the terrain with resolute might.
Lavishly executed to the smallest details, Sher-Niyaz’s period piece splendidly captures everything from the vivid colors of the Kyrgyz traditional attires to the magnificent vastness of the warriors’ land. However, at the core of this spectacular historical adventure are the two actresses the embody Kurmanjan 25 years apart. Both performances are cohesive regarding the emotional state of a woman responsible of ensuring there is a future for her fellow countrymen. She experiences loss in a subdued fashion. Exuding strength and wisdom earns her the respect of both followers and detractors alike. Her commitment to the greater cause is so profound that she is willing to accept and suffer through the death of her son rather than jeopardizing her nation’s survival.
Coated in heartbreaking poetry and ethereal mysticism, Sher-Niyaz’s feature provides everything expected from a film of its magnitude while uniquely celebrating its homeland. Films from this part of the world rarely reach Western shores, but this one could certainly serve as a fantastic introduction. With a combination of large set pieces, battles sequences, and poignant intimate moments, “ Kurmanjan Datka Queen of the Mountains” is an astonishingly impressive testament not only to the unlikely greatness of the legendary figure it depicts but to that of the entire Kyrgyz people.
Opposing her own arranged marriage, fighting the vicious Russian invasion, and becoming the unquestionable leader of the Alai tribe are a few highlights in Kurmanjan Datka progressive biography. Born in the early 19th century, Kurmanjan was supposed to follow the same road as every women around her by getting married and fading into the background as the men decided over their future. Her expected destiny didn’t differ from that of most women across the world at the time. In the film, young Kurmanjan (Elina Abai Kyzy) is introduced as she risks her family’s honor by giving water to a helpless girl about to be stoned for presumably committing adultery. Her actions impress the region’s leader Alymbek Datka (Aziz Muradillayev), who is also a defender of female empowerment despite criticisms.
Unsatisfied with the man she was forced to marry, Kurmanjan escapes and is considered a disgrace in the eyes of the patriarchal system enforced. Knowing that her life has to be tied to someone who understands her need to voice her opinion, Kurmanjan marries Alymbek Datka. Thanks to this her influence grows and she can’t no longer be silenced. Yet, Kurmanjan’s loving alliance to Alymbek was only the first step in her lifelong quest to unite the forty tribes that made up the Kyrgyz people. With the advent of foreign powers in nearby territories, the Queen of the Mountains and her husband knew that unity would be their only weapon to fight off the enemy.
As many biopics of its scale, the film is presented with the need to include its subjects entire lifespan into a 130 minutes. Fortunately, Sher-Niyaz’s smoothly transitions between the different periods by carefully choosing crucial moments that marked the heroine’s existence as both a mother and a leader. After Alymbek is assassinated and now supported by two adult sons, 50-year-old Kurmanjan (Nasira Mambetova) is forced to lead her army of valiant soldiers against the Russians and their imperialist intentions. For Kurmanjan protecting her fatherland and saving her people’s way of life is above any personal weakness. She is nothing short of a Kyrgyz Joan of Arc or Elizabeth I. Gender becomes an obsolete argument when her enemies witness the power of her conviction. Like the tiger that’s seen throughout the film in her visions, Kurmanjan commands the terrain with resolute might.
Lavishly executed to the smallest details, Sher-Niyaz’s period piece splendidly captures everything from the vivid colors of the Kyrgyz traditional attires to the magnificent vastness of the warriors’ land. However, at the core of this spectacular historical adventure are the two actresses the embody Kurmanjan 25 years apart. Both performances are cohesive regarding the emotional state of a woman responsible of ensuring there is a future for her fellow countrymen. She experiences loss in a subdued fashion. Exuding strength and wisdom earns her the respect of both followers and detractors alike. Her commitment to the greater cause is so profound that she is willing to accept and suffer through the death of her son rather than jeopardizing her nation’s survival.
Coated in heartbreaking poetry and ethereal mysticism, Sher-Niyaz’s feature provides everything expected from a film of its magnitude while uniquely celebrating its homeland. Films from this part of the world rarely reach Western shores, but this one could certainly serve as a fantastic introduction. With a combination of large set pieces, battles sequences, and poignant intimate moments, “ Kurmanjan Datka Queen of the Mountains” is an astonishingly impressive testament not only to the unlikely greatness of the legendary figure it depicts but to that of the entire Kyrgyz people.
- 11/2/2014
- by Carlos Aguilar
- Sydney's Buzz
x
A record 83 countries have submitted films for consideration in the Foreign Language Film category for the 87th Academy Awards. Kosovo, Malta, Mauritania and Panama are first-time entrants.
The 2014 submissions are:
Afghanistan, “A Few Cubic Meters of Love,” Jamshid Mahmoudi, director;
Argentina, “Wild Tales,” Damián Szifrón, director;
Australia, “Charlie’s Country,” Rolf de Heer, director;
Austria, “The Dark Valley,” Andreas Prochaska, director;
Azerbaijan, “Nabat,” Elchin Musaoglu, director;
Bangladesh, “Glow of the Firefly,” Khalid Mahmood Mithu, director;
Belgium, “Two Days, One Night,” Jean-Pierre Dardenne and Luc Dardenne, directors;
Bolivia, “Forgotten,” Carlos Bolado, director;
Bosnia and Herzegovina, “With Mom,” Faruk Lončarevič, director;
Brazil, “The Way He Looks,” Daniel Ribeiro, director;
Bulgaria, “Bulgarian Rhapsody,” Ivan Nitchev, director;
Canada, “Mommy,” Xavier Dolan, director;
Chile, “To Kill a Man,” Alejandro Fernández Almendras, director;
China, “The Nightingale,” Philippe Muyl, director;
Colombia, “Mateo,” María Gamboa, director;
Costa Rica, “Red Princesses,” Laura Astorga Carrera, director;
Croatia, “Cowboys,” Tomislav Mršić,...
A record 83 countries have submitted films for consideration in the Foreign Language Film category for the 87th Academy Awards. Kosovo, Malta, Mauritania and Panama are first-time entrants.
The 2014 submissions are:
Afghanistan, “A Few Cubic Meters of Love,” Jamshid Mahmoudi, director;
Argentina, “Wild Tales,” Damián Szifrón, director;
Australia, “Charlie’s Country,” Rolf de Heer, director;
Austria, “The Dark Valley,” Andreas Prochaska, director;
Azerbaijan, “Nabat,” Elchin Musaoglu, director;
Bangladesh, “Glow of the Firefly,” Khalid Mahmood Mithu, director;
Belgium, “Two Days, One Night,” Jean-Pierre Dardenne and Luc Dardenne, directors;
Bolivia, “Forgotten,” Carlos Bolado, director;
Bosnia and Herzegovina, “With Mom,” Faruk Lončarevič, director;
Brazil, “The Way He Looks,” Daniel Ribeiro, director;
Bulgaria, “Bulgarian Rhapsody,” Ivan Nitchev, director;
Canada, “Mommy,” Xavier Dolan, director;
Chile, “To Kill a Man,” Alejandro Fernández Almendras, director;
China, “The Nightingale,” Philippe Muyl, director;
Colombia, “Mateo,” María Gamboa, director;
Costa Rica, “Red Princesses,” Laura Astorga Carrera, director;
Croatia, “Cowboys,” Tomislav Mršić,...
- 10/10/2014
- by Michelle McCue
- WeAreMovieGeeks.com
The Academy of Motion Picture Arts and Sciences announced on Thursday the final submissions for the Foreign Language Film category for the 87th annual Academy Awards. A record 83 countries have entered a film for consideration, including Kosovo, Malta, Mauritania, and Panama for the first time. Notable selections include Xavier Dolan's Canadian drama Mommy, a favorite at this year's Cannes, Sweden's Force Majeure, and the Russian retelling of the Book of Job, Leviathan, winner of the Best Screenplay award at Cannes. Nominations will be announced on Thursday, Jan. 15, ahead of the live telecast on ABC Sunday, Feb. 22, from Hollywood. Last...
- 10/9/2014
- by Jake Perlman
- EW - Inside Movies
The Academy of Motion Picture Arts and Sciences has released the list of submissions for the 2015 Best Foreign Language Film Academy Award. According to the Academy's press release, a record 83 countries have submitted films for consideration, including first-timers Kosovo, Malta, Mauritania, and Panama. Now, if only all those movies were made available for online viewing — or at least on DVD (outside of their respective countries). The 2015 Oscar nominations will be announced live on Thursday, January 15, at 5:30 a.m. Pt in the Academy's Samuel Goldwyn Theater in Beverly Hills. The 2015 Oscar ceremony will be held on Sunday, February 22, at the Dolby Theatre at Hollywood & Highland Center in Hollywood. In the United States, the Oscarcast will be televised live by ABC; additionally, the Oscars will be televised live in more than 225 countries and territories worldwide. See below the full list of 2015 Best Foreign Language Film Oscar submissions. Afghanistan, A Few Cubic Meters of Love,...
- 10/9/2014
- by Steve Montgomery
- Alt Film Guide
The Academy has announced the complete list of 2015 Foreign Language Oscar contenders for the 2015 Oscar awards and again its a new record, topping last year's record 76 submissions, this year the list reaches 83 total submissions. Kosovo, Malta, Mauritania and Panama are first-time entrants. I've seen a few more on the list than I did last year and I actually have to assume with the buzz from those I've seen they may end up being major players. I'm particularly happy to see Xavier Dolan's Mommy in the field from Canada and it's great seeing the hilarious Wild Tales submitted by Argentina. The Russian submission of Leviathan (Leviafan) came, I think, as a bit of a surprise to everyone considering its subject matter, which could be looked at as critical of its native country. The Dardennes' Two Days, One Night has received a lot of acclaim everywhere it has played and we...
- 10/9/2014
- by Brad Brevet
- Rope of Silicon
The Academy has received a record 83 submissions for the Best Foreign-Language Film Oscar.
Last year, a record 76 countries submitted features and the eventual winner was Italian entry The Great Beauty, directed by Paolo Sorrentino.
Nine finalists will be shortlisted, which will be whittled down to five nominees that will be announced on Jan 15, 2015.
The awards ceremony will be held on Feb 22, 2015 in the Dolby Theatre, Hollywood.
The 2014 submissions are (in alphabetical order of country):
Afghanistan, A Few Cubic Meters Of Love, Jamshid Mahmoudi
Argentina, Wild Tales, Damián Szifrón
Australia, Charlie’s Country, Rolf de Heer
Austria, The Dark Valley, Andreas Prochaska
Azerbaijan, Nabat, Elchin Musaoglu
Bangladesh, Glow Of The Firefly, Khalid Mahmood Mithu
Belgium, Two Days, One Night, Jean-Pierre Dardenne and Luc Dardenne
Bolivia, Forgotten, Carlos Bolado
Bosnia and Herzegovina, With Mom, Faruk Lončarevič
Brazil, The Way He Looks, Daniel Ribeiro
Bulgaria, Bulgarian Rhapsody, Ivan Nitchev
Canada, Mommy, Xavier Dolan
Chile, To Kill A...
Last year, a record 76 countries submitted features and the eventual winner was Italian entry The Great Beauty, directed by Paolo Sorrentino.
Nine finalists will be shortlisted, which will be whittled down to five nominees that will be announced on Jan 15, 2015.
The awards ceremony will be held on Feb 22, 2015 in the Dolby Theatre, Hollywood.
The 2014 submissions are (in alphabetical order of country):
Afghanistan, A Few Cubic Meters Of Love, Jamshid Mahmoudi
Argentina, Wild Tales, Damián Szifrón
Australia, Charlie’s Country, Rolf de Heer
Austria, The Dark Valley, Andreas Prochaska
Azerbaijan, Nabat, Elchin Musaoglu
Bangladesh, Glow Of The Firefly, Khalid Mahmood Mithu
Belgium, Two Days, One Night, Jean-Pierre Dardenne and Luc Dardenne
Bolivia, Forgotten, Carlos Bolado
Bosnia and Herzegovina, With Mom, Faruk Lončarevič
Brazil, The Way He Looks, Daniel Ribeiro
Bulgaria, Bulgarian Rhapsody, Ivan Nitchev
Canada, Mommy, Xavier Dolan
Chile, To Kill A...
- 10/9/2014
- ScreenDaily
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