The Mole Agent director Maite Alberdi with Anne-Katrin Titze on her composer Vincent van Warmerdam: “He took the reference of film noir and really adapted it to the emotion of the film and the tone of the film in the soft humour.”
Maite Alberdi’s Oscar-nominated Best Documentary Feature The Mole Agent (El Agente Topo), produced by Marcela Santibáñez, shot by Pablo Valdés with a perfect score from Vincent van Warmerdam, and a wonderful dance scene to The Platters’ Only You (And You Alone) was also shortlisted as Chile’s submission in the International Feature Film category. A highlight of last year’s New Directors/New Films, Alberdi’s immensely entertaining and wildly funny film starts out as an investigation into a specific place and slowly evolves into something much larger. Bruno Dumont’s films may come to mind - all that humanity is breathtaking!
Rómulo (Rómulo Aitken) with...
Maite Alberdi’s Oscar-nominated Best Documentary Feature The Mole Agent (El Agente Topo), produced by Marcela Santibáñez, shot by Pablo Valdés with a perfect score from Vincent van Warmerdam, and a wonderful dance scene to The Platters’ Only You (And You Alone) was also shortlisted as Chile’s submission in the International Feature Film category. A highlight of last year’s New Directors/New Films, Alberdi’s immensely entertaining and wildly funny film starts out as an investigation into a specific place and slowly evolves into something much larger. Bruno Dumont’s films may come to mind - all that humanity is breathtaking!
Rómulo (Rómulo Aitken) with...
- 4/16/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
The documentary film community gathered virtually on Facebook Tuesday night to chat and cheer each other on at the annual Cinema Eye Honors Awards. Oscar ballots are due Wednesday at 5pm Pt, and many documentary branch voters were on the livestream.
At the start of the evening, as we waited for the pre-taped presentation to begin, “Crip Camp” nominee Jim Lebrecht congratulated “The Dissident” director Bryan Fogel for his BAFTA nomination that morning. International Documentary Association chief Simon Kilmurry was on the chat, along with Sundance artistic director Tabitha Jackson and Kirsten (Kj) Johnson.
She took home the directing prize for “Dick Johnson is Dead,” one of nine Netflix films nominated and among three winners for the streamer, including “Rolling Thunder Revue” and non-fiction short “Love Song for Latasha.”
Many filmmakers sent in videos introducing themselves, from Martin Scorsese in New York (“Rolling Thunder Revue” won an editing award) and...
At the start of the evening, as we waited for the pre-taped presentation to begin, “Crip Camp” nominee Jim Lebrecht congratulated “The Dissident” director Bryan Fogel for his BAFTA nomination that morning. International Documentary Association chief Simon Kilmurry was on the chat, along with Sundance artistic director Tabitha Jackson and Kirsten (Kj) Johnson.
She took home the directing prize for “Dick Johnson is Dead,” one of nine Netflix films nominated and among three winners for the streamer, including “Rolling Thunder Revue” and non-fiction short “Love Song for Latasha.”
Many filmmakers sent in videos introducing themselves, from Martin Scorsese in New York (“Rolling Thunder Revue” won an editing award) and...
- 3/10/2021
- by Anne Thompson
- Thompson on Hollywood
The documentary film community gathered virtually on Facebook Tuesday night to chat and cheer each other on at the annual Cinema Eye Honors Awards. Oscar ballots are due Wednesday at 5pm Pt, and many documentary branch voters were on the livestream.
At the start of the evening, as we waited for the pre-taped presentation to begin, “Crip Camp” nominee Jim Lebrecht congratulated “The Dissident” director Bryan Fogel for his BAFTA nomination that morning. International Documentary Association chief Simon Kilmurry was on the chat, along with Sundance artistic director Tabitha Jackson and Kirsten (Kj) Johnson.
She took home the directing prize for “Dick Johnson is Dead,” one of nine Netflix films nominated and among three winners for the streamer, including “Rolling Thunder Revue” and non-fiction short “Love Song for Latasha.”
Many filmmakers sent in videos introducing themselves, from Martin Scorsese in New York (“Rolling Thunder Revue” won an editing award) and...
At the start of the evening, as we waited for the pre-taped presentation to begin, “Crip Camp” nominee Jim Lebrecht congratulated “The Dissident” director Bryan Fogel for his BAFTA nomination that morning. International Documentary Association chief Simon Kilmurry was on the chat, along with Sundance artistic director Tabitha Jackson and Kirsten (Kj) Johnson.
She took home the directing prize for “Dick Johnson is Dead,” one of nine Netflix films nominated and among three winners for the streamer, including “Rolling Thunder Revue” and non-fiction short “Love Song for Latasha.”
Many filmmakers sent in videos introducing themselves, from Martin Scorsese in New York (“Rolling Thunder Revue” won an editing award) and...
- 3/10/2021
- by Anne Thompson
- Indiewire
The Romanian film “Collective” has been named the best nonfiction film of 2020 at the 13th annual Cinema Eye Honors, a New York-based awards show devoted to all facets of documentary filmmaking.
Kirsten Johnson took the directing prize for “Dick Johnson Is Dead,” while the award for outstanding debut went to Garrett Bradley for “Time,” which also won for its editing.
“Boys State” won the Audience Award, the only Cinema Eye Honor category in which the public was invited to cast ballots.
The Spotlight Award, which was designed to put attention on a film that deserves wider exposure, went to “The Earth is Blue as an Orange,” directed by Iryna Tsilyk. The Heterodox Award, given to a film that combines nonfictional and fictional techniques, was won by Bill and Turner Ross’ “Bloody Nose, Empty Pockets.”
“The Truffle Hunters” won for cinematography, while “Feels Good Man” won in the graphic design or...
Kirsten Johnson took the directing prize for “Dick Johnson Is Dead,” while the award for outstanding debut went to Garrett Bradley for “Time,” which also won for its editing.
“Boys State” won the Audience Award, the only Cinema Eye Honor category in which the public was invited to cast ballots.
The Spotlight Award, which was designed to put attention on a film that deserves wider exposure, went to “The Earth is Blue as an Orange,” directed by Iryna Tsilyk. The Heterodox Award, given to a film that combines nonfictional and fictional techniques, was won by Bill and Turner Ross’ “Bloody Nose, Empty Pockets.”
“The Truffle Hunters” won for cinematography, while “Feels Good Man” won in the graphic design or...
- 3/10/2021
- by Steve Pond
- The Wrap
The influential Cinema Eye Honors nominations, voted on by documentary filmmakers, help to narrow the wide field for documentary awards contenders. Amazon Studios release “Time,” Garrett Bradley’s poetic black-and-white portrait of one family’s struggle through years of incarceration, leads the field with six nominations, including Outstanding Feature, Direction, Editing, Score and Debut.
Garnering four nominations: Alexander Nanau’s Romanian health system exposé “Collective” (Magnolia), Victor Kossakovsky’s story of a mother pig, “Gunda” (Neon), and David France’s “Welcome to Chechnya” (HBO) with four.
With three nominations each: Amanda McBaine and Jesse Moss’ “Boys State” (Apple), Kirsten Johnson’s “Dick Johnson is Dead” (Netflix), Liz Garbus’ series “I’ll Be Gone in the Dark” (HBO), Gianfranco Rosi’s Italian Oscar submission “Notturno” (Super Ltd), and Michael Dweck & Gregory Kershaw’s “The Truffle Hunters” (Sony Pictures Classics).
Per usual, prolific Netflix leads all distributors/broadcasters with thirteen nominations, while HBO Documentary Films grabbed ten,...
Garnering four nominations: Alexander Nanau’s Romanian health system exposé “Collective” (Magnolia), Victor Kossakovsky’s story of a mother pig, “Gunda” (Neon), and David France’s “Welcome to Chechnya” (HBO) with four.
With three nominations each: Amanda McBaine and Jesse Moss’ “Boys State” (Apple), Kirsten Johnson’s “Dick Johnson is Dead” (Netflix), Liz Garbus’ series “I’ll Be Gone in the Dark” (HBO), Gianfranco Rosi’s Italian Oscar submission “Notturno” (Super Ltd), and Michael Dweck & Gregory Kershaw’s “The Truffle Hunters” (Sony Pictures Classics).
Per usual, prolific Netflix leads all distributors/broadcasters with thirteen nominations, while HBO Documentary Films grabbed ten,...
- 12/10/2020
- by Anne Thompson
- Thompson on Hollywood
The influential Cinema Eye Honors nominations, voted on by documentary filmmakers, help to narrow the wide field for documentary awards contenders. Amazon Studios release “Time,” Garrett Bradley’s poetic black-and-white portrait of one family’s struggle through years of incarceration, leads the field with six nominations, including Outstanding Feature, Direction, Editing, Score and Debut.
Garnering four nominations: Alexander Nanau’s Romanian health system exposé “Collective” (Magnolia), Victor Kossakovsky’s story of a mother pig, “Gunda” (Neon), and David France’s “Welcome to Chechnya” (HBO) with four.
With three nominations each: Amanda McBaine and Jesse Moss’ “Boys State” (Apple), Kirsten Johnson’s “Dick Johnson is Dead” (Netflix), Liz Garbus’ series “I’ll Be Gone in the Dark” (HBO), Gianfranco Rosi’s Italian Oscar submission “Notturno” (Super Ltd), and Michael Dweck & Gregory Kershaw’s “The Truffle Hunters” (Sony Pictures Classics).
Per usual, prolific Netflix leads all distributors/broadcasters with thirteen nominations, while HBO Documentary Films grabbed ten,...
Garnering four nominations: Alexander Nanau’s Romanian health system exposé “Collective” (Magnolia), Victor Kossakovsky’s story of a mother pig, “Gunda” (Neon), and David France’s “Welcome to Chechnya” (HBO) with four.
With three nominations each: Amanda McBaine and Jesse Moss’ “Boys State” (Apple), Kirsten Johnson’s “Dick Johnson is Dead” (Netflix), Liz Garbus’ series “I’ll Be Gone in the Dark” (HBO), Gianfranco Rosi’s Italian Oscar submission “Notturno” (Super Ltd), and Michael Dweck & Gregory Kershaw’s “The Truffle Hunters” (Sony Pictures Classics).
Per usual, prolific Netflix leads all distributors/broadcasters with thirteen nominations, while HBO Documentary Films grabbed ten,...
- 12/10/2020
- by Anne Thompson
- Indiewire
Garrett Bradley’s “Time,” which follows a family through decades of the father’s incarceration, leads all films in nominations for the 14th annual Cinema Eye Honors, a New York-based award established to honor all facets of nonfiction filmmaking.
“Time” received six nominations, including one in the Outstanding Nonfiction Feature category. There, it will compete with “Boys State,” “Collective,” “Dick Johnson Is Dead” and “Gunda.”
“Collective,” “Gunda” and “Welcome to Chechnya” each received four nominations, while “Boys State,” “Dick Johnson Is Dead,” “I’ll Be Gone in the Dark,” “Notturno” and “The Truffle Hunters” landed three each.
“Time” is now the only film to be nominated in the top category by the Cinema Eye Honors, the IDA Documentary Awards, the Critics Choice Documentary Awards and the Gotham Awards, and also receive a spot on Doc NYC’s “Short List” of awards contenders. “Gunda” was honored by four of the five groups,...
“Time” received six nominations, including one in the Outstanding Nonfiction Feature category. There, it will compete with “Boys State,” “Collective,” “Dick Johnson Is Dead” and “Gunda.”
“Collective,” “Gunda” and “Welcome to Chechnya” each received four nominations, while “Boys State,” “Dick Johnson Is Dead,” “I’ll Be Gone in the Dark,” “Notturno” and “The Truffle Hunters” landed three each.
“Time” is now the only film to be nominated in the top category by the Cinema Eye Honors, the IDA Documentary Awards, the Critics Choice Documentary Awards and the Gotham Awards, and also receive a spot on Doc NYC’s “Short List” of awards contenders. “Gunda” was honored by four of the five groups,...
- 12/10/2020
- by Steve Pond
- The Wrap
Madrid — 1844 Entertainment has acquired U.S. rights to Benjamín Naishtat’s “Rojo,” whose theatrical and home entertainment release will be handled by Distrib Films Us, headed by François Scippa-Kohn.
Theatrical releases in New York and Los Angeles are planned for spring 2019, followed by main other markets nationwide, said Distrib Films Us president Scippa-Kohn.
Closed in the run-up to Ventana Sur, the deal builds on a budding U.S. release partnership already in place for Paraguay Oscar entry “The Heiresses,” acquired like “Rojo” from Luxbox, Hedi Zardi and Fiorella Moretti’s Paris-based sales agent.
The partnership between 1844 Entertainment and Distrib Films Us forms part of a wider deal including other titles such as Iranian Oscar submission “No Date No Signature.”
Taking in two of the biggest Latin American arthouse titles of the year, the sales confirm 1844 Ent. and Distrib Films as a burgeoning U.S. outlet for Latin American and...
Theatrical releases in New York and Los Angeles are planned for spring 2019, followed by main other markets nationwide, said Distrib Films Us president Scippa-Kohn.
Closed in the run-up to Ventana Sur, the deal builds on a budding U.S. release partnership already in place for Paraguay Oscar entry “The Heiresses,” acquired like “Rojo” from Luxbox, Hedi Zardi and Fiorella Moretti’s Paris-based sales agent.
The partnership between 1844 Entertainment and Distrib Films Us forms part of a wider deal including other titles such as Iranian Oscar submission “No Date No Signature.”
Taking in two of the biggest Latin American arthouse titles of the year, the sales confirm 1844 Ent. and Distrib Films as a burgeoning U.S. outlet for Latin American and...
- 12/5/2018
- by John Hopewell
- Variety Film + TV
The past is a hurriedly abandoned house, ripe for the looting, in Benjamin Naishtat’s superbly sinister and stylish “Rojo.” And so it begins with one: A mid-sized, detached 1970s home, its windows shuttered like the closed eyes of a coma patient. A portly, well-dressed man emerges carrying an ornamental clock — this scoreless scene, set to chilly early-morning birdsong, is already tinged with absurdity — before a girl scurries off with an armful of clothes, an older lady totters out under the weight of a gilt mirror and some men maneuver a TV through the doorway. They are not residents, nor neighbors attending a yard sale; they are scavengers, implicitly turning some unseen family’s misfortune to their own end. This is regional Argentina in 1975, and while the coup d’état won’t happen for months, the unease of it is already an airborne disease carried backward on the wind. Argentina...
- 9/28/2018
- by Jessica Kiang
- Variety Film + TV
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