The official juries for the 65th Festival del film Locarno have been appointed. The jury for the International Competition will include the American screenwriter, producer and director Roger Avary (Quentin Tarantino’s Pulp Fiction, 1994; The Laws of Attraction, 2002), Seoul filmmaker Sang-soo Im (A Good Lawyer’s Wife, 2003; The Housemaid, 2010), French director, screenwriter and actress Noémie Lvovsky (La vie ne me fait pas peur, Silver Leopard “Youth Cinema” at Locarno in 1999; Camille redouble, 2012; Benoît Jacquot’s Farewell, My Queen, 2012) and London-based Swiss curator and writer Hans Ulrich Obrist, co-director of the Serpentine Gallery in London since 2006.
The jury president will be Thai filmmaker, screenwriter and producer Apichatpong Weerasethakul (Palme d’or at Cannes in 2010 for Uncle Boonmee Who Can Recall his Past Lives). Around twenty feature films will screen in competition.
The president of the jury for the ‘Filmmakers of the Present’ Competition will be the director from Chad Mahamat-Saleh Haroun (Saison sèche,...
The jury president will be Thai filmmaker, screenwriter and producer Apichatpong Weerasethakul (Palme d’or at Cannes in 2010 for Uncle Boonmee Who Can Recall his Past Lives). Around twenty feature films will screen in competition.
The president of the jury for the ‘Filmmakers of the Present’ Competition will be the director from Chad Mahamat-Saleh Haroun (Saison sèche,...
- 6/28/2012
- by NewsDesk
- DearCinema.com
Those compiling their best of the year lists would do well to consult the roll-call of gong-winners handed out by an august band of international critics
Any perspicacious film festival-goer or festival-watcher will have noticed that one of the prizes awarded at most festivals, in addition to the Golden Palms, Golden Lions or Golden Leopards etc, is the Fipresci (Federation International de la Presse Cinematographic) – aka the international film critics' award. In principle, this should be the most prestigious and sought-after prize of all, because the juries are made up of professional film critics (usually five, each from a different country) who are paid to tell the public what is good or bad and why.
Unfortunately, the Fipresci prize does not carry with it any money but, in theory, it does help the film gain a distributor. However, on one occasion, I remember that a director, who had just won the Fipresci prize,...
Any perspicacious film festival-goer or festival-watcher will have noticed that one of the prizes awarded at most festivals, in addition to the Golden Palms, Golden Lions or Golden Leopards etc, is the Fipresci (Federation International de la Presse Cinematographic) – aka the international film critics' award. In principle, this should be the most prestigious and sought-after prize of all, because the juries are made up of professional film critics (usually five, each from a different country) who are paid to tell the public what is good or bad and why.
Unfortunately, the Fipresci prize does not carry with it any money but, in theory, it does help the film gain a distributor. However, on one occasion, I remember that a director, who had just won the Fipresci prize,...
- 12/24/2009
- by Ronald Bergan
- The Guardian - Film News
Clap Filmes
TORONTO -- A young Russian woman leaves terminally grey St. Petersburg behind for a better life, only to be sold into an Italian sex trafficking ring in Trance, directed with a very heavy hand by Portugal's Teresa Villaverde.
Closely following the downer trajectory taken by Lukas Moodysson's superior Lilya 4-Ever, the dreary drama, which, prior to its Toronto Festival screening was a Director's Fortnight selection at Cannes this year, is a tough watch but not just for the disturbing subject matter.
Ana Moreira's Sonia, who seems to be going through life in a catatonic trance even prior to her numbing descent into deep, dark degradation, doesn't look back as she trades one bleak existence for another, first ending up working illegally at a German auto plant.
But it doesn't take long before a Russian colleague takes advantage of her naive, passive nature, and she's sold as a sex slave to a man who ships her off to an Italian bordello, where she requires "breaking in."
Still refusing to get with the program, Sonia's subsequently imprisoned in a huge mansion, where she becomes the forbidden object of desire for the owner's simpering idiot son.
Throughout it all, she appears to take her fate in nihilistic stride as writer-director Villaverde piles on the gross indecencies.
While the title no doubt refers to the mental state into which women in Sonia's situation may lapse as a survival mechanism, it's also one that will be likely shared by those remaining in the theater who have had to endure two-plus hours of the filmmaker's relentlessly unsubtle style of storytelling.
TORONTO -- A young Russian woman leaves terminally grey St. Petersburg behind for a better life, only to be sold into an Italian sex trafficking ring in Trance, directed with a very heavy hand by Portugal's Teresa Villaverde.
Closely following the downer trajectory taken by Lukas Moodysson's superior Lilya 4-Ever, the dreary drama, which, prior to its Toronto Festival screening was a Director's Fortnight selection at Cannes this year, is a tough watch but not just for the disturbing subject matter.
Ana Moreira's Sonia, who seems to be going through life in a catatonic trance even prior to her numbing descent into deep, dark degradation, doesn't look back as she trades one bleak existence for another, first ending up working illegally at a German auto plant.
But it doesn't take long before a Russian colleague takes advantage of her naive, passive nature, and she's sold as a sex slave to a man who ships her off to an Italian bordello, where she requires "breaking in."
Still refusing to get with the program, Sonia's subsequently imprisoned in a huge mansion, where she becomes the forbidden object of desire for the owner's simpering idiot son.
Throughout it all, she appears to take her fate in nihilistic stride as writer-director Villaverde piles on the gross indecencies.
While the title no doubt refers to the mental state into which women in Sonia's situation may lapse as a survival mechanism, it's also one that will be likely shared by those remaining in the theater who have had to endure two-plus hours of the filmmaker's relentlessly unsubtle style of storytelling.
- 9/19/2006
- The Hollywood Reporter - Movie News
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