Los Angeles, Nov. 21, 2022 /PRNewswire/ — The eighth annual Asian World Film Festival (Awff) announced its competition winners at a star-studded event November 18 at Beverly Hill’s Saban Theater. The Last Film Show (India), directed by Pan Nalin, won the Snow Leopard Award for Best Film; Mohsen Tanabandeh garnered the Snow Leopard for Best Actor for World War III (Iran), and Hui Fang Hong was honored with the Snow Leopard for Best Actress for Ajoomma (Singapore).
Asian World Film Festival (Awff)
The Snow Leopard Special Jury Award went to World War III, directed by Houman Seyedi, and the Snow Leopard Audience Award to Aurora’s Sunrise (Armenia), directed by Inna Sahakyan. Kerr (Turkey) director of photography, Andreas Sinanos, received the Panavision Best Cinematography Award along with a 60,000 Panavision Camera Grant of cutting-edge filmmaking equipment.
Short films and the talent behind them were also recognized at the standing-room-only event. The Hollywood Foreign Press...
Asian World Film Festival (Awff)
The Snow Leopard Special Jury Award went to World War III, directed by Houman Seyedi, and the Snow Leopard Audience Award to Aurora’s Sunrise (Armenia), directed by Inna Sahakyan. Kerr (Turkey) director of photography, Andreas Sinanos, received the Panavision Best Cinematography Award along with a 60,000 Panavision Camera Grant of cutting-edge filmmaking equipment.
Short films and the talent behind them were also recognized at the standing-room-only event. The Hollywood Foreign Press...
- 11/21/2022
- by Martin Cid Magazine
- Martin Cid Magazine - Movies
“Last Film Show” (aka “Chhello Show”), India’s Oscar contender, was this weekend named winner of the Asian World Film Festival in Los Angeles.
Writer-director Pan Nalin and producer Dheer Momaya were presented with the Snow Leopard trophy at the Saban Theater in Beverly Hills.
“The best movie encompasses everything we want to see in a great film: good storytelling, moving performances, technically appealing, visually intoxicating and heartfelt connectivity to audiences. We received a line of very good movies this year and it was a tough decision. But this film reminded us of why we loved cinema. It reminded us of cinema’s ability to both enchant and inspire. It is a love letter to cinema to light and to life itself,” said festival jurors Janet Nepales and Pitof Jean-Christophe.
The film has been on the festival circuit for over a year, since debuting in in June 2021 at the Tribeca Film Festival.
Writer-director Pan Nalin and producer Dheer Momaya were presented with the Snow Leopard trophy at the Saban Theater in Beverly Hills.
“The best movie encompasses everything we want to see in a great film: good storytelling, moving performances, technically appealing, visually intoxicating and heartfelt connectivity to audiences. We received a line of very good movies this year and it was a tough decision. But this film reminded us of why we loved cinema. It reminded us of cinema’s ability to both enchant and inspire. It is a love letter to cinema to light and to life itself,” said festival jurors Janet Nepales and Pitof Jean-Christophe.
The film has been on the festival circuit for over a year, since debuting in in June 2021 at the Tribeca Film Festival.
- 11/21/2022
- by Patrick Frater
- Variety Film + TV
Titles include Ash Is Purest White and Burning.
Turkey’s Adana Film Festival (September 22-30) has revealed its International Competition titles and jury.
The nine-strong line-up, all Turkish premieres, includes Cannes competition titles Ash Is Purest White (Jia Zhangke) and Burning (Lee Chang-Dong), Karlovy Vary winner I Do Not Care If We Go Down in History As Barbarians (Radu Jude) and Olivier Assayas’ Venice competition title Non-Fiction.
It also includes the Turkish premiere of Mahmut Fazil Coskun’s The Announcement, which won a special jury prize in the Horizons section at Venice Film Festival this month and is also in the festival’s National Competition.
Turkey’s Adana Film Festival (September 22-30) has revealed its International Competition titles and jury.
The nine-strong line-up, all Turkish premieres, includes Cannes competition titles Ash Is Purest White (Jia Zhangke) and Burning (Lee Chang-Dong), Karlovy Vary winner I Do Not Care If We Go Down in History As Barbarians (Radu Jude) and Olivier Assayas’ Venice competition title Non-Fiction.
It also includes the Turkish premiere of Mahmut Fazil Coskun’s The Announcement, which won a special jury prize in the Horizons section at Venice Film Festival this month and is also in the festival’s National Competition.
- 9/17/2018
- by Orlando Parfitt
- ScreenDaily
Festival’s new $20,000 international competition prize goes to Albert Serra for The Death Of Louis Xiv; One Week And A Day wins best Israeli feature.
The 33rd Jerusalem Film Festival, which wraps on Sunday, has awarded its top prizes to The Death Of Louis Xiv by Albert Serra (best international film), One Week And A Day by Asaph Polonsky (best Israeli feature), and Dimona Twist by Michal Aviad (best Israeli documentary).
The international jury was comprised of Cornerstone Films’ Alison Thompson, Icelandic director Grímur Hákonarson, and Israeli director Talya Lavie, who praised Serra “for creating a bold and distinctive chamber piece in a beautifully detailed world. For its stunning set design and cinematography that captures its period brilliantly. For creating an intimate and moving look at the sunset of a great figure in history.”
An honourable mention went to Tobias Lindholm’s A War.
The Death Of Louis Xiv wins the $20,000 cash prize for the festival’s new international...
The 33rd Jerusalem Film Festival, which wraps on Sunday, has awarded its top prizes to The Death Of Louis Xiv by Albert Serra (best international film), One Week And A Day by Asaph Polonsky (best Israeli feature), and Dimona Twist by Michal Aviad (best Israeli documentary).
The international jury was comprised of Cornerstone Films’ Alison Thompson, Icelandic director Grímur Hákonarson, and Israeli director Talya Lavie, who praised Serra “for creating a bold and distinctive chamber piece in a beautifully detailed world. For its stunning set design and cinematography that captures its period brilliantly. For creating an intimate and moving look at the sunset of a great figure in history.”
An honourable mention went to Tobias Lindholm’s A War.
The Death Of Louis Xiv wins the $20,000 cash prize for the festival’s new international...
- 7/15/2016
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Festival’s new $20,000 international competition prize goes to Albert Serra for The Death of Louis Xiv; One Week And a Day wins best Israeli feature.
The 33rd Jerusalem Film Festival, which wraps on Sunday, has awarded its top prizes to The Death of Louis Xiv by Albert Serra (best international film), One Week And A Day by Asaph Polonsky (best Israeli feature), and Dimona Twist by Michal Aviad (best Israeli documentary).
The jury was comprised of Cornerstone Films’ Alison Thompson, Icelandic director Grímur Hákonarson, and Israeli director Talya Lavie, who praised Serra “for creating a bold and distinctive chamber piece in a beautifully detailed world. For its stunning set design and cinematography that captures its period brilliantly. For creating an intimate and moving look at the sunset of a great figure in history.”
An honourable mention went to Tobias Lindholm’s A War.
Louis Xiv wins the $20,000 cash prize for the festival’s new international competition, supported...
The 33rd Jerusalem Film Festival, which wraps on Sunday, has awarded its top prizes to The Death of Louis Xiv by Albert Serra (best international film), One Week And A Day by Asaph Polonsky (best Israeli feature), and Dimona Twist by Michal Aviad (best Israeli documentary).
The jury was comprised of Cornerstone Films’ Alison Thompson, Icelandic director Grímur Hákonarson, and Israeli director Talya Lavie, who praised Serra “for creating a bold and distinctive chamber piece in a beautifully detailed world. For its stunning set design and cinematography that captures its period brilliantly. For creating an intimate and moving look at the sunset of a great figure in history.”
An honourable mention went to Tobias Lindholm’s A War.
Louis Xiv wins the $20,000 cash prize for the festival’s new international competition, supported...
- 7/15/2016
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
The 52nd International Antalya Film Festival this year was a case of “The Show Must Go On”. In spite of several setbacks which made Turkey quite unstable and put it on the U.S. State Department’s Alert List, it took place in the beautiful Turkish seaside site of the recent G20 Conference. It rivals Cannes for its Croisette; its boulevards exceed any street in Cannes. Organized by the Antalya Metropolitan Municipality whose Mayor Menderes Türel, recently reelected for a five year term, is supporting this festival in a major way and directed by Elif Dağdeviren, the Festival’s Closing Night was an extravaganza of special effects as it announced its winners and handed out its Golden Orange 35 times.
The Festival’s industry component, the one year old, Antalya Film Forum (Aff), was directed by filmmaker Zeynep Özbatur Atakan. Industry guests included, among others, Jim Stark and his partner Nicolas Celis whom I had just recently written about. Idfa’s Ally Derks, Tiff’s Piers Handling, International sales agent Catherine Le Clef, BaseWerx for Film’s Claudia Landsberger, and Producer Linda Beath who all attended in spite of warnings of terrorism in Turkey. I also had the good fortune to meet the Bosnian Dp Mirsad Herović who seems to be working non-stop in Turkey these days, on his film “Iftarlik Gazoz/Pop A Revolution”.
At the ceremony I sat next to Alin Tasciyan, President of Fipresci who was also responsible for the international press in attendance. Days later, we went to a fabulous restaurant in Istanbul and talked more about the state of the industry and Turkey in general. This evening was one of the highlights of the trip and deserves an article of its own.
The jury was presided over by the elegant Ömer Vargi, known as the director who revitalized the Turkish cinema and who is also the head of the Istanbul Film Studios. The jury members included the award winning screenwriter Tarik Tufan and L.A.’s own James Ulmer, the entertainment journalist who created a ranking list of actors, known as "The Ulmer Scale" and who wrote the books James Ulmer's Hollywood Hot List -- The Complete Guide to Star Ranking and Directors Hot List, which measure the global value of stars and directors in a variety of areas including bankability, career management, professionalism, promotion, risk factors and talent. We again shared an evening together in Istanbul where we stayed at the same boutique hotel recommend to us by Israel’s Dan and Edna Fainaru , who unfortunately broke her foot at the festival.
The most notable film was “Ivy” which won four awards: National Competition for Best Movie -- plus 100.000 Turkish Lira (3Tl = 1Us$) and whose director-writer Tolga Karaçelik won the National Competition for Best Screenplay and for Best Director (for which he also won 1 million travel miles by Turkish Airlines) and whose actor Nadir Sarıbacak won the Best Actor Award of the National Competition.
“Ivy” is Tolga Karaçelik’s second film and previously played at Sundance 2015, Tiff 2015 Contemporary World Cinema, Thessaloniki, Istanbul and Karlovy Vary Film Festivals in 2015. The story is about a ship sailing to Egypt to load goods bound for Angola. The crew is forbidden to go to shore when a lien is put on the ship because the ship’s owner has gone bankrupt leaving the crew with no salaries paid which puts them into a nasty mood. While in anchorage, supplies run out, the crew fractures into parts, small arguments escalate into major conflicts and the ship becomes a battlefield.
“The Cold of Kalander” also won four prizes: the Dr. Avni Tolunay Jury Special Award, National Competition for Best Music to François Couturier, International Competition Best Actor to Haydar Şişman and National Competition to Nuray Yeşilaraz for Best Actress.
Winning three prizes, “Memories of the Wind," about an intellectual of Armenian origin hiding from Turkish militia by the Georgian border during WWII who falls in love with the wife of the farmer offering shelter, received a great round of applause with its Audience Award in International Competition, International Award for Best Music by Eleonore Fourning and Best Visual Director Award going to Andreas Sinanos. International sales by Arizona Flms.
“For Love of the Neighborhood” won the Special Jury Award, Best Art Direction Award and Best Editing Award. “The Apprentice” won for Best First Movie, and the Best Supporting Actress Award went to Çiğdem Selışık.
Elif Dağdeviren on the state of the festival and its mission today says,
"Our aim was and will continue to be a respected film festival on a par with all the important film festivals around the world. We choose all the films, events, national and international guests according to this mission and vision.
During the first 50 years, the festival served a very important purpose to support the cinema of Turkey locally. This was at a time when there were no other festivals and very few theatres in Turkey.
Antayla opened many doors for other successful local festivals and then needed to renew itself by becoming a meeting point of both the local and the world cinema sector. And it needed to modernize itself according to the technological innovations taking place worldwide. The first two years have proven that this is not a dream but a possible reality."
List of winners:
International Competition Awards
Audience Award: “Memories of the Wind” (Director: Ozcan Alper, Producers: Soner Alper, Mustafa Oğuz, Ali Bayraktar – Turkey)
Best Music Award: Eleni Karaindrou and Irena Popoviç (“Enclave” –Serbia/Germany)
Best Actor: Haydar Şişman (“The Cold of Kalandar” - Turkey)
Best Actress: Alba Rohrwacher (“Sworn Virgin” -Italy/ Switzerland/ Germany/ Albania/ Kosovo/ France)
Best Screenplay: Alexandra-Therese Keining (“Girls Lost” - Sweden)
Best Director: Hany Abu Assad (“The Idol” – U.K./ Palestine/ Netherlands/ United Arab Emirates)
Jury Mansion Award: “Pioneer Heroes” (Director: Natalya Kudryashova, Producer: Sergey Selyanov - Russia)
Best Movie: “Memories on Stone” (Director: Shawkat Amin Korki, Producer: Mehmet Aktaş - Germany/ Iraq)
Antalya Film Forum Awards:
DigiFlame Color and Digital Effect Award: “Goodness” (Producer: Sevil Demirci / Director: Özgür Sevimli) Aff Villa Kult Berlin Artistic Residency Award: “Dormitory” (Producer: Evrim Sanal / Director: Nehir Tuna) Documentary Pitching Jury Special Award : “The Memories of Antoine Köpe” (Producer: Elsa Ginoux / Director: Nefin Dinç) Documentary Pitching Platform Award: “Mr. Gay Syria” (Producer: Cem Doruk / Director: Ayşe Toprak) with 30,000 Tl, “The Olympiad” (Producer: Tuğçe Taçkın / Director: Efe Öztezdoğan) with 30,000 Tl Fiction Pitching Jury Special Award: “Death of the Black Horses” (Producer: Gülistan Acet / Director: Ferit Karahan) Fiction Pitching Award: “Butterflies” (Producer-Director: Tolga Karaçelik) with 30,000 Tl, “The Boarding School” (Producer: Bilge Elif Özköse / Director: Rezan Yeşilbaş) with 30,000 Tl Work in Progress Award: “Rauf” (Producer: Soner Caner, Burak Ozan / Director: Barış Kaya, Soner Caner) with 100,000 Tl Honorary and Lifetime Achivement Awards:
Golden Orange Labor Award : Sonay Kanat
Honarary Award: Kathleen Turner
Lifetime Achievement Award: Catherine Deneuve
Lifetime Achievement Award: Jeremy Irons
Lifetime Achievement Award: Franco Nero
Lifetime Achievement Award: Vanessa Redgrave
Honarary Award: Aysen Gruda
Honarary Award: Erden Kıral
Honarary Award: Kayhan Yıldızoğlu
Honarary Award: Tijen Par
National Competition Awards:
Antalya Film Support Fund Award: “Snow“, Emre Erdoğdu with 100.000Tl
Documentary Audience Award : “Zerk” (Director: İnan Erbil, Producer: Doğacan Aktaş)
Short Film Audience Award: “Zilan” (Director: Mehmet Mahsum Akyel, Producer: Doğacan Aktaş)
National Competition Audience Award: “The Coop” (Director: Ufuk Bayraktar, Producer, Ufuk Bayraktar, Ali Adnan Özgür)
Behlül Dal Jury Special Award (Young Talented Actor): Yağız Can Konyalı (The Team: “For the Love of the Neighborhood”)
Dr. Avni Tolunay Jury Special Award: “ The Cold of Kalandar “(Director: Mustafa Kara, Producer: Nermin Aytekin))
Best Editing: Emre Şahin (The Team: “For the Love of the Neighborhood”)
Best Production Designer: Uykura Bayyurt (The Team: “For the Love of the Neighborhood”)
Best Cinematography: Andreas Sinanos (“Memories of the Wind”)
Best Music: François Couturier (“Memories of The Wind“), Eleonore Fourniau (“The Cold of Kalandar“)
Best Supporting Actor: Kaan Çakır (“Muna“)
Best Supporting Actress: Cigdem Selisik (“The Apprentice“)
Best Actor: Nadir Sarıbacak (“Ivy“)
Best Actress: Nuray Yeşilaraz (“The Cold of Kalandar“)
Best First Movie: “The Apprentice“ (Director: Emre Konuk)
Film-yön Best Director: Selim Evci (“Saklı“)
Best Screenplay: Tolga Karacelik (“Ivy“)
Best Director: Tolga Karacelik (“Ivy“), 1 million Turkish Arlines travel miles
Best Movie: “Ivy” (Producer: Bilge Elif Turhan, Tolga Karacelik) 100.000 Tl award...
The Festival’s industry component, the one year old, Antalya Film Forum (Aff), was directed by filmmaker Zeynep Özbatur Atakan. Industry guests included, among others, Jim Stark and his partner Nicolas Celis whom I had just recently written about. Idfa’s Ally Derks, Tiff’s Piers Handling, International sales agent Catherine Le Clef, BaseWerx for Film’s Claudia Landsberger, and Producer Linda Beath who all attended in spite of warnings of terrorism in Turkey. I also had the good fortune to meet the Bosnian Dp Mirsad Herović who seems to be working non-stop in Turkey these days, on his film “Iftarlik Gazoz/Pop A Revolution”.
At the ceremony I sat next to Alin Tasciyan, President of Fipresci who was also responsible for the international press in attendance. Days later, we went to a fabulous restaurant in Istanbul and talked more about the state of the industry and Turkey in general. This evening was one of the highlights of the trip and deserves an article of its own.
The jury was presided over by the elegant Ömer Vargi, known as the director who revitalized the Turkish cinema and who is also the head of the Istanbul Film Studios. The jury members included the award winning screenwriter Tarik Tufan and L.A.’s own James Ulmer, the entertainment journalist who created a ranking list of actors, known as "The Ulmer Scale" and who wrote the books James Ulmer's Hollywood Hot List -- The Complete Guide to Star Ranking and Directors Hot List, which measure the global value of stars and directors in a variety of areas including bankability, career management, professionalism, promotion, risk factors and talent. We again shared an evening together in Istanbul where we stayed at the same boutique hotel recommend to us by Israel’s Dan and Edna Fainaru , who unfortunately broke her foot at the festival.
The most notable film was “Ivy” which won four awards: National Competition for Best Movie -- plus 100.000 Turkish Lira (3Tl = 1Us$) and whose director-writer Tolga Karaçelik won the National Competition for Best Screenplay and for Best Director (for which he also won 1 million travel miles by Turkish Airlines) and whose actor Nadir Sarıbacak won the Best Actor Award of the National Competition.
“Ivy” is Tolga Karaçelik’s second film and previously played at Sundance 2015, Tiff 2015 Contemporary World Cinema, Thessaloniki, Istanbul and Karlovy Vary Film Festivals in 2015. The story is about a ship sailing to Egypt to load goods bound for Angola. The crew is forbidden to go to shore when a lien is put on the ship because the ship’s owner has gone bankrupt leaving the crew with no salaries paid which puts them into a nasty mood. While in anchorage, supplies run out, the crew fractures into parts, small arguments escalate into major conflicts and the ship becomes a battlefield.
“The Cold of Kalander” also won four prizes: the Dr. Avni Tolunay Jury Special Award, National Competition for Best Music to François Couturier, International Competition Best Actor to Haydar Şişman and National Competition to Nuray Yeşilaraz for Best Actress.
Winning three prizes, “Memories of the Wind," about an intellectual of Armenian origin hiding from Turkish militia by the Georgian border during WWII who falls in love with the wife of the farmer offering shelter, received a great round of applause with its Audience Award in International Competition, International Award for Best Music by Eleonore Fourning and Best Visual Director Award going to Andreas Sinanos. International sales by Arizona Flms.
“For Love of the Neighborhood” won the Special Jury Award, Best Art Direction Award and Best Editing Award. “The Apprentice” won for Best First Movie, and the Best Supporting Actress Award went to Çiğdem Selışık.
Elif Dağdeviren on the state of the festival and its mission today says,
"Our aim was and will continue to be a respected film festival on a par with all the important film festivals around the world. We choose all the films, events, national and international guests according to this mission and vision.
During the first 50 years, the festival served a very important purpose to support the cinema of Turkey locally. This was at a time when there were no other festivals and very few theatres in Turkey.
Antayla opened many doors for other successful local festivals and then needed to renew itself by becoming a meeting point of both the local and the world cinema sector. And it needed to modernize itself according to the technological innovations taking place worldwide. The first two years have proven that this is not a dream but a possible reality."
List of winners:
International Competition Awards
Audience Award: “Memories of the Wind” (Director: Ozcan Alper, Producers: Soner Alper, Mustafa Oğuz, Ali Bayraktar – Turkey)
Best Music Award: Eleni Karaindrou and Irena Popoviç (“Enclave” –Serbia/Germany)
Best Actor: Haydar Şişman (“The Cold of Kalandar” - Turkey)
Best Actress: Alba Rohrwacher (“Sworn Virgin” -Italy/ Switzerland/ Germany/ Albania/ Kosovo/ France)
Best Screenplay: Alexandra-Therese Keining (“Girls Lost” - Sweden)
Best Director: Hany Abu Assad (“The Idol” – U.K./ Palestine/ Netherlands/ United Arab Emirates)
Jury Mansion Award: “Pioneer Heroes” (Director: Natalya Kudryashova, Producer: Sergey Selyanov - Russia)
Best Movie: “Memories on Stone” (Director: Shawkat Amin Korki, Producer: Mehmet Aktaş - Germany/ Iraq)
Antalya Film Forum Awards:
DigiFlame Color and Digital Effect Award: “Goodness” (Producer: Sevil Demirci / Director: Özgür Sevimli) Aff Villa Kult Berlin Artistic Residency Award: “Dormitory” (Producer: Evrim Sanal / Director: Nehir Tuna) Documentary Pitching Jury Special Award : “The Memories of Antoine Köpe” (Producer: Elsa Ginoux / Director: Nefin Dinç) Documentary Pitching Platform Award: “Mr. Gay Syria” (Producer: Cem Doruk / Director: Ayşe Toprak) with 30,000 Tl, “The Olympiad” (Producer: Tuğçe Taçkın / Director: Efe Öztezdoğan) with 30,000 Tl Fiction Pitching Jury Special Award: “Death of the Black Horses” (Producer: Gülistan Acet / Director: Ferit Karahan) Fiction Pitching Award: “Butterflies” (Producer-Director: Tolga Karaçelik) with 30,000 Tl, “The Boarding School” (Producer: Bilge Elif Özköse / Director: Rezan Yeşilbaş) with 30,000 Tl Work in Progress Award: “Rauf” (Producer: Soner Caner, Burak Ozan / Director: Barış Kaya, Soner Caner) with 100,000 Tl Honorary and Lifetime Achivement Awards:
Golden Orange Labor Award : Sonay Kanat
Honarary Award: Kathleen Turner
Lifetime Achievement Award: Catherine Deneuve
Lifetime Achievement Award: Jeremy Irons
Lifetime Achievement Award: Franco Nero
Lifetime Achievement Award: Vanessa Redgrave
Honarary Award: Aysen Gruda
Honarary Award: Erden Kıral
Honarary Award: Kayhan Yıldızoğlu
Honarary Award: Tijen Par
National Competition Awards:
Antalya Film Support Fund Award: “Snow“, Emre Erdoğdu with 100.000Tl
Documentary Audience Award : “Zerk” (Director: İnan Erbil, Producer: Doğacan Aktaş)
Short Film Audience Award: “Zilan” (Director: Mehmet Mahsum Akyel, Producer: Doğacan Aktaş)
National Competition Audience Award: “The Coop” (Director: Ufuk Bayraktar, Producer, Ufuk Bayraktar, Ali Adnan Özgür)
Behlül Dal Jury Special Award (Young Talented Actor): Yağız Can Konyalı (The Team: “For the Love of the Neighborhood”)
Dr. Avni Tolunay Jury Special Award: “ The Cold of Kalandar “(Director: Mustafa Kara, Producer: Nermin Aytekin))
Best Editing: Emre Şahin (The Team: “For the Love of the Neighborhood”)
Best Production Designer: Uykura Bayyurt (The Team: “For the Love of the Neighborhood”)
Best Cinematography: Andreas Sinanos (“Memories of the Wind”)
Best Music: François Couturier (“Memories of The Wind“), Eleonore Fourniau (“The Cold of Kalandar“)
Best Supporting Actor: Kaan Çakır (“Muna“)
Best Supporting Actress: Cigdem Selisik (“The Apprentice“)
Best Actor: Nadir Sarıbacak (“Ivy“)
Best Actress: Nuray Yeşilaraz (“The Cold of Kalandar“)
Best First Movie: “The Apprentice“ (Director: Emre Konuk)
Film-yön Best Director: Selim Evci (“Saklı“)
Best Screenplay: Tolga Karacelik (“Ivy“)
Best Director: Tolga Karacelik (“Ivy“), 1 million Turkish Arlines travel miles
Best Movie: “Ivy” (Producer: Bilge Elif Turhan, Tolga Karacelik) 100.000 Tl award...
- 12/20/2015
- by Sydney Levine
- Sydney's Buzz
To Vlemma Tou Odyssea / Ulysses' Gaze (1995) Direction: Theo Angelopoulos Cast: Harvey Keitel, Erland Josephson, Maia Morgenstern, Thanasis Vengos, Giorgos Mihalakopoulos Screenplay: Theo Angelopoulos, Tonino Guerra, Petros Markaris, Giorgio Silvagni Harvey Keitel, Ulysses' Gaze Greek filmmaker Theo Angelopoulos' 1995 effort To Vlemma tou Odyssea / Ulysses' Gaze is the first of that director's four films that I have seen that is not unequivocally a great work of art. Although there are arguments that can be made in favor of that claim, the film's 173-minute running time is much too long, especially considering that Ulysses' Gaze is the least poetic of the aforementioned four films. (For the record, the others are Landscape in the Mist, Eternity and a Day, and Trilogy: The Weeping Meadow.) Of course, I'm not saying that Ulysses' Gaze is a bad film or that it lacks Angelopoulos' trademark visual poesy. On the other hand, the film lacks several important...
- 1/25/2012
- by Dan Schneider
- Alt Film Guide
CANNES -- Typical of many films at the festival here, Theo Angelopoulos' ''Le Pas Suspendu de la Cigogne'' (The Suspended Step of the Stork) is relentlessly arty, downbeat, political and slow, a motion picture with virtually no motion and virtually no future in U.S. cinemas. Even with the names of Marcello Mastroianni and Jeanne Moreau attached, prospects are slight of finding many outside.
The premise of the film is intriguing: a TV news reporter (Gregory Karr), covering the plight of refugees living in ghettos in a Greek border town, sees a nameless man (Mastroianni) working in a potato patch he suspects could be a high-ranking Greek politician who vanished 10 years earlier under mysterious circumstances.
Thus begins some sleuthing to discover whether or not the reporter's hunch is right and, if so, why the man decided to bolt, not only from the public eye and his esteemed position as a political golden boy but also from his wife, played by Moreau.
Angelopoulos, obviously fascinated with his subject and characters, takes his time in covering the ground, filling much of the footage with the slow camera pans while the actors take slow walks, give slow reactions, look at each other with slow stares and make slow moves to a conclusion that seems interminable in arriving. Deep it may be; static it is.
Mastroianni, a performer who gives impact to any film in which he appears, is of only limited help in adding spirit here, mainly because -- despite the first billing -- he has only limited time on camera, not appearing except at a shadowy distance until approximately 70 minutes into the proceedings. Instead, the camera rarely leaves Karr who, for the most part, is limp and uninteresting as the supposedly hot-shot reporter.
Anyone pulled to ''Cigogne'' by hopes of seeing a crackling, or even sentimental, reunion of Mastroianni and Moreau as co-stars are also doomed to disappointment. They share no scenes throughout, coming together long enough for just one stare. Moreau, called on to do little but bleakly walk through snow-covered streets while recalling the past in a forlorn fashion, is nevertheless effective in adding the only real punch the film possesses. For Mastroianni, now one of the best character stars in films today, ''Cigogne'' is a minor turn, demanding little from him except his presence.
The only other role of significance is done by Dora Chrysikou as a Greek girl separated from her long-time fiance by political barriers. Also attracted to Karr, she stares at him a great deal, he stares back and they make occasional slow walks to his bedroom.
Technical credits are good. Cinematography by Yorgos Arvanitis and Andreas Sinanos effectivly gives an added chill to the grim Greek locale where the film is set, and their pictures are further enhanced by Mikes Karapiperis' production design, equally somber as the script by Angelopoulos, Tonio Guerra and Petros Markaris requires.
For the record, the title refers to a stance taken twice in the film, once by a Colonel (Ilias Logothetis), once by Karr, simulating the look of a stork with one leg suspended in air, ready to step. In this case, the step could be fatal. It occurs on a bridge at the Greek-Turkey border where a ''no trespassing'' line has been drawn. Anytime one of those suspended legs comes down on the wrong side of the line, a soldier is waiting, rifle in hand, ready to execute the trespasser.
The film had a number of walk outs during the press screening, while others shouted an enthusiastic ''bravo!'' at the conclusion. A man to my left audibly dozed throughout.
LE PAS SUSPENDU DE LA CIGOGNE (THE SUSPENDED STEP OF THE STORK)
(French-Greek-Swiss-Italian)
Director Theo Angelopoulos
Screenplay Theo Angelopoulos, Tonio Guerra,
Petros Markaris
Cinematography Yorgos Arvanitis,
Andreas Sinanos
Production design Mikes Karapiperis
Costumes Giorgos Patsas
Music Helena Karaindrou
Editing Giannis Tsitsopoulos
Producers Bruno Pesery, Theo Angelopoulos
Co-producers Ruth Waldburger, Angelo Rizzoli
Color
Cast:
The refugee Marcello Mastroianni
The woman Jeanne Moreau
The reporter Gregory Karr
The girl Dora Chrysikou
The ColonelIlias Logothetis
Running time -- 145 minutes
(c) The Hollywood Reporter...
The premise of the film is intriguing: a TV news reporter (Gregory Karr), covering the plight of refugees living in ghettos in a Greek border town, sees a nameless man (Mastroianni) working in a potato patch he suspects could be a high-ranking Greek politician who vanished 10 years earlier under mysterious circumstances.
Thus begins some sleuthing to discover whether or not the reporter's hunch is right and, if so, why the man decided to bolt, not only from the public eye and his esteemed position as a political golden boy but also from his wife, played by Moreau.
Angelopoulos, obviously fascinated with his subject and characters, takes his time in covering the ground, filling much of the footage with the slow camera pans while the actors take slow walks, give slow reactions, look at each other with slow stares and make slow moves to a conclusion that seems interminable in arriving. Deep it may be; static it is.
Mastroianni, a performer who gives impact to any film in which he appears, is of only limited help in adding spirit here, mainly because -- despite the first billing -- he has only limited time on camera, not appearing except at a shadowy distance until approximately 70 minutes into the proceedings. Instead, the camera rarely leaves Karr who, for the most part, is limp and uninteresting as the supposedly hot-shot reporter.
Anyone pulled to ''Cigogne'' by hopes of seeing a crackling, or even sentimental, reunion of Mastroianni and Moreau as co-stars are also doomed to disappointment. They share no scenes throughout, coming together long enough for just one stare. Moreau, called on to do little but bleakly walk through snow-covered streets while recalling the past in a forlorn fashion, is nevertheless effective in adding the only real punch the film possesses. For Mastroianni, now one of the best character stars in films today, ''Cigogne'' is a minor turn, demanding little from him except his presence.
The only other role of significance is done by Dora Chrysikou as a Greek girl separated from her long-time fiance by political barriers. Also attracted to Karr, she stares at him a great deal, he stares back and they make occasional slow walks to his bedroom.
Technical credits are good. Cinematography by Yorgos Arvanitis and Andreas Sinanos effectivly gives an added chill to the grim Greek locale where the film is set, and their pictures are further enhanced by Mikes Karapiperis' production design, equally somber as the script by Angelopoulos, Tonio Guerra and Petros Markaris requires.
For the record, the title refers to a stance taken twice in the film, once by a Colonel (Ilias Logothetis), once by Karr, simulating the look of a stork with one leg suspended in air, ready to step. In this case, the step could be fatal. It occurs on a bridge at the Greek-Turkey border where a ''no trespassing'' line has been drawn. Anytime one of those suspended legs comes down on the wrong side of the line, a soldier is waiting, rifle in hand, ready to execute the trespasser.
The film had a number of walk outs during the press screening, while others shouted an enthusiastic ''bravo!'' at the conclusion. A man to my left audibly dozed throughout.
LE PAS SUSPENDU DE LA CIGOGNE (THE SUSPENDED STEP OF THE STORK)
(French-Greek-Swiss-Italian)
Director Theo Angelopoulos
Screenplay Theo Angelopoulos, Tonio Guerra,
Petros Markaris
Cinematography Yorgos Arvanitis,
Andreas Sinanos
Production design Mikes Karapiperis
Costumes Giorgos Patsas
Music Helena Karaindrou
Editing Giannis Tsitsopoulos
Producers Bruno Pesery, Theo Angelopoulos
Co-producers Ruth Waldburger, Angelo Rizzoli
Color
Cast:
The refugee Marcello Mastroianni
The woman Jeanne Moreau
The reporter Gregory Karr
The girl Dora Chrysikou
The ColonelIlias Logothetis
Running time -- 145 minutes
(c) The Hollywood Reporter...
- 5/21/1991
- The Hollywood Reporter - Movie News
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