Bangladesh nowadays is one of the world’s fastest growing economies, a development fueled by the garment industry and the increased role women play in the professional sector. Underneath this progress, however, a number of issues are lurking still, particularly regarding the role of working women. Rubaiyat Hossain, who has previously worked for women’s rights NGOs in Bangladesh presents these issues in the most eloquent manner, in her third feature effort.
“Made in Bangladesh” is screening at Osaka Asian Film Festival
The movie revolves around Shimu, a 23-old-year woman working in one of the export-oriented garment factories, in essence a sweat-shop that has her producing up to 1500 shirts per day for minimal pay. Shimu is married to Reza, a man who is unemployed, but despite these two issues, she is considered successful by many other women, who are unemployed or unmarried, or even both. This “bubble” bursts quite abruptly,...
“Made in Bangladesh” is screening at Osaka Asian Film Festival
The movie revolves around Shimu, a 23-old-year woman working in one of the export-oriented garment factories, in essence a sweat-shop that has her producing up to 1500 shirts per day for minimal pay. Shimu is married to Reza, a man who is unemployed, but despite these two issues, she is considered successful by many other women, who are unemployed or unmarried, or even both. This “bubble” bursts quite abruptly,...
- 3/11/2020
- by Panos Kotzathanasis
- AsianMoviePulse
In news from the Cannes International Film Festival the short film Deeper Than Yesterday, a story of men who have been submerged in a submarine for 3 months and its impact upon them, won the Kodak Discovery Award for a Short Film and the Petit Rail d'Or at the prestigious Cannes Critics’ Week. The Kodak Discovery Award, which includes €3,000 worth of 35mm film... - Australian Film Scene: Local Business: Screen Australia has announced funding of 4 short films as part of its Springboard program aimed at assisting filmmakers who intend on making a short film which will be used to market an expanded feature version of the same project. The films selected include: - Cryo (feature film Cargo) a sci-fi thriller directed by Luke Doolan- Transmission (feature film These Final Hours) an apocalyptic drama written & directed by Zak Hilditch- Mercury (feature film Hound) a conspiracy thriller written &...
- 6/3/2010
- IONCINEMA.com
Australian Film Scene: Local Business: Screen Australia has announced funding of 4 short films as part of its Springboard program aimed at assisting filmmakers who intend on making a short film which will be used to market an expanded feature version of the same project. The films selected include: - Cryo (feature film Cargo) a sci-fi thriller directed by Luke Doolan- Transmission (feature film These Final Hours) an apocalyptic drama written & directed by Zak Hilditch- Mercury (feature film Hound) a conspiracy thriller written & directed by Paul Oliver- Rarer Monsters (feature film Tremula) a sci-fi thriller written & directed by Shane Krause The Export Finance and Insurance Corporation (Efic) will provide loans against the Producer Offset to filmamkers to assist with small film and TV productions. The eligibility criteria will be to have an international distribution agreement and a provisional certificate from Screen Australia. Amounts will be loaned up to...
- 6/3/2010
- IONCINEMA.com
Celluloid Dreams/Bambu and Archipel 35
PALM SPRINGS -- Screenwriter-director Veronica Chen and cinematographer Sabine Lancelin achieve a bracingly visceral cinematic language in "Agua", the stripped-down tale of two swimmers at different points in their careers. With spare use of dialogue, Chen's second feature (after 2001's "Smokers Only") homes in on matters of identity, purpose and will with striking originality. Her approach will be too oblique for some, but those ready to go with "Agua's" flow will find an affecting drama. The Argentine-French co-production recently received the Special Jury Prize in the Palm Springs International Film Festival's New Voices/New Visions competition.
A decade after he was disgraced in a doping scandal, champion swimmer Goyo (Rafael Ferro), a tense, self-contained man in his 30s, returns to the Argentine city of Santa Fe to redeem his good name in the Open Waters Marathon, a daunting river challenge. He becomes a coach to up-and-comer Chino (Nicolas Mateo), a more measured, less instinctual athlete who sees competitive swimming as a ticket out of poverty for himself and his pregnant girlfriend, Luisa Jimena Anganuzzi). The ambivalence of the young couple's relationship contrasts with Goyo's failed attempts to reconcile with his ex-wife, Maria (Gloria Carra), and the daughter who doesn't know he exists. Goyo is so cut off, he all but ignores the gentle but obvious advances of Ana (Leonora Balcarce), his daughter's swimming teacher; when they do get together, he's not capable of real contact. But with startling selflessness Goyo does ultimately break through his protective carapace.
The script by Chen and Pablo Lago offers no easy resolution to the existential dilemmas it presents. In what could have been banal symbolism, water becomes a character in its own right, life-giving and destructive. Sensuous photography underscores the precision, propulsion, suspension and grace of the swimmer's body, with essential contributions from editors Jacopo Quadri and Cesar D'Angiolillo. The effective, understated performances are in service to this very physical storytelling. Besides its compelling emotional twist, the climactic river sequence is as stunning as the scenes of a windswept desert landscape that open the film.
PALM SPRINGS -- Screenwriter-director Veronica Chen and cinematographer Sabine Lancelin achieve a bracingly visceral cinematic language in "Agua", the stripped-down tale of two swimmers at different points in their careers. With spare use of dialogue, Chen's second feature (after 2001's "Smokers Only") homes in on matters of identity, purpose and will with striking originality. Her approach will be too oblique for some, but those ready to go with "Agua's" flow will find an affecting drama. The Argentine-French co-production recently received the Special Jury Prize in the Palm Springs International Film Festival's New Voices/New Visions competition.
A decade after he was disgraced in a doping scandal, champion swimmer Goyo (Rafael Ferro), a tense, self-contained man in his 30s, returns to the Argentine city of Santa Fe to redeem his good name in the Open Waters Marathon, a daunting river challenge. He becomes a coach to up-and-comer Chino (Nicolas Mateo), a more measured, less instinctual athlete who sees competitive swimming as a ticket out of poverty for himself and his pregnant girlfriend, Luisa Jimena Anganuzzi). The ambivalence of the young couple's relationship contrasts with Goyo's failed attempts to reconcile with his ex-wife, Maria (Gloria Carra), and the daughter who doesn't know he exists. Goyo is so cut off, he all but ignores the gentle but obvious advances of Ana (Leonora Balcarce), his daughter's swimming teacher; when they do get together, he's not capable of real contact. But with startling selflessness Goyo does ultimately break through his protective carapace.
The script by Chen and Pablo Lago offers no easy resolution to the existential dilemmas it presents. In what could have been banal symbolism, water becomes a character in its own right, life-giving and destructive. Sensuous photography underscores the precision, propulsion, suspension and grace of the swimmer's body, with essential contributions from editors Jacopo Quadri and Cesar D'Angiolillo. The effective, understated performances are in service to this very physical storytelling. Besides its compelling emotional twist, the climactic river sequence is as stunning as the scenes of a windswept desert landscape that open the film.
Michel Piccoli's flamboyant and very weird "C'est Pas Tout a Fait La Vie Dont J'avais Reve" (Not Exactly the Life I Dreamed of) is an intriguing fable about a precise man who leads a deeply eccentric life.
The film is presented Out of Competition, which might be a good thing, though its florid tones are eye-catching and it's rendered in very good spirits. Short for a feature at 75 minutes, securing theatrical distribution could be problematic, but it would be a shame to see it reduced to television as Piccoli and cinematographer Sabine Lancelin fill the wide screen with great splashes of color.
The husband of the piece is an older gentleman of impeccable taste with a splendidly proper home, the finest apparel, membership to a quite sober club and a set of keys to any number of locks.
Among these is an expansive wine cellar and a dining room wine cabinet that is kept at a precise temperature for immediate needs. He supplies his docile and somewhat defeated wife and their diligent and attentive housekeeper with weekly supplies of cash to keep the household running.
When he goes out, always exactly to the minute, it's to play cards at his club, go for a walk with his grandson or dress up in a lion skin to romp with his mistress. Very often, they will play a game of scrabble. They also enjoy a good chortle.
Quite sedate at home, the man is given to skipping and whooping when out on his own or with the little boy. They like to play with tin soldiers and make a regular visit to the park to see the Guignol puppet show.
Piccoli has drawn much of his inspiration from the children's entertainment, and his characters match those in the Guignol. Quite what he is trying to say remains elusive, but with engaging performances and accompaniment from boulevardier Arno on the soundtrack, it ends up being a surprising little treasure.
C'EST PAS TOUT A FAIT LA VIE DONT J'AVAIS REVE (NOT EXACTLY THE LIFE I DREAMED OF)
Gemini Films
Credits: Director: Michel Piccoli; Screenwriters: Ludivine Clerc & Michel Piccoli; Cinematographer: Sabine Lancelin; Art direction: Yves Fournier; Editor: Catherine Quesmand; Music: Arno. Cast: Husband: Roger Jendly; Wife: Michele Gleizer; Mistress: Elisabeth Margoni; Housekeeper: Monique Eberle; Little boy: Nicola Barbot.
No MPAA rating, running time 75 minutes...
The film is presented Out of Competition, which might be a good thing, though its florid tones are eye-catching and it's rendered in very good spirits. Short for a feature at 75 minutes, securing theatrical distribution could be problematic, but it would be a shame to see it reduced to television as Piccoli and cinematographer Sabine Lancelin fill the wide screen with great splashes of color.
The husband of the piece is an older gentleman of impeccable taste with a splendidly proper home, the finest apparel, membership to a quite sober club and a set of keys to any number of locks.
Among these is an expansive wine cellar and a dining room wine cabinet that is kept at a precise temperature for immediate needs. He supplies his docile and somewhat defeated wife and their diligent and attentive housekeeper with weekly supplies of cash to keep the household running.
When he goes out, always exactly to the minute, it's to play cards at his club, go for a walk with his grandson or dress up in a lion skin to romp with his mistress. Very often, they will play a game of scrabble. They also enjoy a good chortle.
Quite sedate at home, the man is given to skipping and whooping when out on his own or with the little boy. They like to play with tin soldiers and make a regular visit to the park to see the Guignol puppet show.
Piccoli has drawn much of his inspiration from the children's entertainment, and his characters match those in the Guignol. Quite what he is trying to say remains elusive, but with engaging performances and accompaniment from boulevardier Arno on the soundtrack, it ends up being a surprising little treasure.
C'EST PAS TOUT A FAIT LA VIE DONT J'AVAIS REVE (NOT EXACTLY THE LIFE I DREAMED OF)
Gemini Films
Credits: Director: Michel Piccoli; Screenwriters: Ludivine Clerc & Michel Piccoli; Cinematographer: Sabine Lancelin; Art direction: Yves Fournier; Editor: Catherine Quesmand; Music: Arno. Cast: Husband: Roger Jendly; Wife: Michele Gleizer; Mistress: Elisabeth Margoni; Housekeeper: Monique Eberle; Little boy: Nicola Barbot.
No MPAA rating, running time 75 minutes...
- 5/19/2005
- The Hollywood Reporter - Movie News
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