Berlinale Talents 2018 approaches its theme “Secrets” from multiple angles. In addition to the public talks, the 250 Talents participate in an interdisciplinary creative process in which trust and exchange play a major role: Through “Project Labs”, field-specific studio technique workshops, and in a variety of networking formats, they develop their project ideas and present themselves at the European Film Market or in the context of the “Talent Project Market” of the Berlinale Co-Production Market.
Berlinale Talents 2018 delves into the hidden worlds of film. With the theme “Secrets”, the 16th edition of the Berlinale’s networking platform focuses on the messages behind cinematic stories and images and on unexplored paths into the film business.
The key visual for Berlinale Talents 2018 lends a visual dimension to the theme of “Secrets”: by not revealing everything, Talents, guests and the Berlin public are invited to complete the various statements with their own interpretations.
250 international Talents and over 100 experts,...
Berlinale Talents 2018 delves into the hidden worlds of film. With the theme “Secrets”, the 16th edition of the Berlinale’s networking platform focuses on the messages behind cinematic stories and images and on unexplored paths into the film business.
The key visual for Berlinale Talents 2018 lends a visual dimension to the theme of “Secrets”: by not revealing everything, Talents, guests and the Berlin public are invited to complete the various statements with their own interpretations.
250 international Talents and over 100 experts,...
- 12/2/2017
- by Sydney Levine
- Sydney's Buzz
Harvey Weinstein is reportedly on the verge of joining a small club of disgraced public figures who have been stripped of their honorary British titles and decorations.
Following the mogul’s recent sexual assault and harassment scandal, the British government’s Honors Forfeiture Committee is actively considering removing his Cbe, an honorary title that stands for Commander of the Order of the British Empire, according to the BBC.
Weinstein received the title, which is one step down from a knighthood, from Queen Elizabeth II in 2004 for his contribution to the British film industry.
Related: People Cover Story: Breaking Down...
Following the mogul’s recent sexual assault and harassment scandal, the British government’s Honors Forfeiture Committee is actively considering removing his Cbe, an honorary title that stands for Commander of the Order of the British Empire, according to the BBC.
Weinstein received the title, which is one step down from a knighthood, from Queen Elizabeth II in 2004 for his contribution to the British film industry.
Related: People Cover Story: Breaking Down...
- 10/27/2017
- by Mike Miller
- PEOPLE.com
My Happy Family also wins two awards at Wiesbaden festival.
Bojan Vuletic’s second feature Requiem For Mrs J. has become the first Serbian film in the history of the goEast - Festival of Central and Eastern European Film’s 17 years to win the top award, the €10,000 Golden Lily, for best film in Wiesbaden’s competition.
The co-production between Serbia’s See Film Pro, Bulgaria’s Geopoly Film, Fyr Macedonia’s Skopje Film Studio, France’s Surprise Alley and Russia’s Non-Stop Production had had its world premiere at the Berlinale’s Panorama section in February and is in the sales line-up of Belgrade-based Soul Food Films.
Vuletic, who had attended his film’s screenings and last night’s awards ceremony with lead actress Mirjana Karanovic (both pictured, top, alongside filmmaker Hana Jusic and festival director Gaby Babic), is no stranger to goEast after his feature debut Practical Guide To Belgrade With Singing And Crying had its...
Bojan Vuletic’s second feature Requiem For Mrs J. has become the first Serbian film in the history of the goEast - Festival of Central and Eastern European Film’s 17 years to win the top award, the €10,000 Golden Lily, for best film in Wiesbaden’s competition.
The co-production between Serbia’s See Film Pro, Bulgaria’s Geopoly Film, Fyr Macedonia’s Skopje Film Studio, France’s Surprise Alley and Russia’s Non-Stop Production had had its world premiere at the Berlinale’s Panorama section in February and is in the sales line-up of Belgrade-based Soul Food Films.
Vuletic, who had attended his film’s screenings and last night’s awards ceremony with lead actress Mirjana Karanovic (both pictured, top, alongside filmmaker Hana Jusic and festival director Gaby Babic), is no stranger to goEast after his feature debut Practical Guide To Belgrade With Singing And Crying had its...
- 5/3/2017
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
British politician Tobias Ellwood rushed to the aid of a fallen Parliament police officer following a deadly terror attack in London on Wednesday, as his efforts were dramatically captured at the center of violence.
The America-born member of Parliament attempted to save the officer’s life, performing CPR and mouth-to-mouth inside the gates of the Palace of Westminster shortly after authorities said an armed attacker drove a car into nearby pedestrians before crashing and stabbing the officer with a knife.
The fast actions of Ellwood — a former British Army officer whose brother was killed by terrorist bombings in Bali, Indonesia,...
The America-born member of Parliament attempted to save the officer’s life, performing CPR and mouth-to-mouth inside the gates of the Palace of Westminster shortly after authorities said an armed attacker drove a car into nearby pedestrians before crashing and stabbing the officer with a knife.
The fast actions of Ellwood — a former British Army officer whose brother was killed by terrorist bombings in Bali, Indonesia,...
- 3/22/2017
- by Phil Boucher
- PEOPLE.com
Kate Middleton and Prince William kicked off their two-day trip to Paris on Friday. The couple, who celebrated St. Patrick's Day at the Irish Guards Parade in London earlier that morning, jetted off to the City of Light in the afternoon. After they arrived they met with French President Francois Hollande at the Élysée Palace. Kate, who appeared to fly in the same outfit, flashed her signature smile while chatting with the president. She also threw some loving glances at William, which may surprise some people as the Duchess of Cambridge was reportedly unhappy with her husband's behavior during his recent ski trip to the Swiss Alps. They then attended a reception at the British Embassy, where Kate stunned in a black dress and matching heels, and ended the night at a dinner at the British Embassy. Related:Kate Middleton Looks Totally at Ease While Drinking Guinness and Chatting With Soldiers The following day,...
- 3/18/2017
- by Caitlin Hacker
- Popsugar.com
Hollywood royalty, meet English royalty.
Angelina Jolie and her son Maddox visited Buckingham Palace on Tuesday, not long after the actress delivered a speech on women’s rights at the London School of Economics. Jolie and Maddox, 15, enjoyed a private tour of some of the state rooms on the low-key visit, which didn’t include any meetings with the royal family.
Jolie and her family made a visit to the palace back in 2014, not long after her marriage to Brad Pitt. A palace source told People at the time that she met Queen Elizabeth for about 20 minutes and was awarded the title of Honorary Dame.
Angelina Jolie and her son Maddox visited Buckingham Palace on Tuesday, not long after the actress delivered a speech on women’s rights at the London School of Economics. Jolie and Maddox, 15, enjoyed a private tour of some of the state rooms on the low-key visit, which didn’t include any meetings with the royal family.
Jolie and her family made a visit to the palace back in 2014, not long after her marriage to Brad Pitt. A palace source told People at the time that she met Queen Elizabeth for about 20 minutes and was awarded the title of Honorary Dame.
- 3/15/2017
- by Mike Miller and Simon Perry
- PEOPLE.com
Angelina Jolie just got a first taste of the teaching life.
The filmmaker and activist, 41, was a guest lecturer at the London School of Economics Tuesday morning at the Centre for Women, Peace and Security, People confirms. It is the same place where Jolie will start teaching a master’s course in September on the same subject.
Jolie’s lecture focused on women’s rights in the context of refugee camps, and how displacement and statelessness makes women and girls vulnerable to sexual violence and other crimes. The class also discussed the connection between the field and the policy work...
The filmmaker and activist, 41, was a guest lecturer at the London School of Economics Tuesday morning at the Centre for Women, Peace and Security, People confirms. It is the same place where Jolie will start teaching a master’s course in September on the same subject.
Jolie’s lecture focused on women’s rights in the context of refugee camps, and how displacement and statelessness makes women and girls vulnerable to sexual violence and other crimes. The class also discussed the connection between the field and the policy work...
- 3/14/2017
- by Ale Russian and Phil Boucher
- PEOPLE.com
The Simple Reason Prince William Won't Be Visiting Princess Diana's Death Site During His Paris Trip
Prince William and Kate Middleton will embark on a two-day trip to Paris on March 17. While it hits particularly close to home given the fact that it's the same city where Princess Diana died in a tragic car accident nearly 20 years ago, the royal couple will not be making any public visits to any of the locations associated with her death. Will and Kate have been sent to the French capital by the British Foreign Office to build a relationship between Britain and France just as their country is gearing up to leave the European Union after last year's Brexit vote. The focus of their trip is more about shaking hands rather than remembrance. They will then follow up their Paris trip with a tour of Germany and Poland in July. No word on whether Princess Charlotte or Prince George will join them.
- 3/7/2017
- by Monica Sisavat
- Popsugar.com
When Prince William and Princess Kate cross the channel for a two-day trip to Paris later this month, there will be no public visit to the places associated with the last days of William’s mother, Princess Diana.
Diana died in the city after a car crash almost 20 years ago. And while the late Princess will undoubtedly be on William’s mind over the two days, the visit, which kicks off on March 17, is more about shaking hands and building relationships rather than remembrance. William and Kate will use their so-called “soft” power to help their country’s agenda for the here and now.
Diana died in the city after a car crash almost 20 years ago. And while the late Princess will undoubtedly be on William’s mind over the two days, the visit, which kicks off on March 17, is more about shaking hands and building relationships rather than remembrance. William and Kate will use their so-called “soft” power to help their country’s agenda for the here and now.
- 3/6/2017
- by Simon Perry
- PEOPLE.com
David Oyelowo, born in England to Nigerian parents, is an actor of blazing talent and rare grace. On screen, he's stirring and soulful as Martin Luther King in Selma; on HBO, he's chilling and heart-piercing as a war vet coming apart in Nightingale; on stage, doing Shakespeare, he's miraculous at capturing the stature and tragic weakness of the Moor in Othello. So to say that Oyelowo is giving one of his best and most electrifying performances in A United Kingdom – that means something. He's set the bar high.
Based on...
Based on...
- 2/9/2017
- Rollingstone.com
In a passionate speech Monday night, Prince Charles warned that the lessons of the last world war are in “danger of being forgotten.”
The royal was speaking at a fundraiser for the World Jewish Relief charity that has helped people fleeing civil war-torn Syria forge new lives in Greece, Turkey and the U.K.
Some of those who heard the speech interpreted it as a thinly-veiled attack on President Donald Trump, as it came just days after he had signed the executive order banning refugees and citizens of seven mainly Muslim countries from entering the U.S.
But a palace...
The royal was speaking at a fundraiser for the World Jewish Relief charity that has helped people fleeing civil war-torn Syria forge new lives in Greece, Turkey and the U.K.
Some of those who heard the speech interpreted it as a thinly-veiled attack on President Donald Trump, as it came just days after he had signed the executive order banning refugees and citizens of seven mainly Muslim countries from entering the U.S.
But a palace...
- 1/31/2017
- by Simon Perry
- PEOPLE.com
President Donald Trump’s state visit to Britain has put the Queen in a “very difficult position,” the former head of the U.K. Foreign Office claims.
Lord Peter Ricketts says the visit, announced by British Prime Minister Theresa May while meeting President Trump in Washington on Friday, should be downgraded from a state visit to spare Her Majesty any controversy.
As a UK petition to stop President Trump’s planned visit to Britain reached more than 1.5 million signatures and thousands protested across Britain on Monday, Lord Ricketts, in a letter to the The Times of London, said the invitation...
Lord Peter Ricketts says the visit, announced by British Prime Minister Theresa May while meeting President Trump in Washington on Friday, should be downgraded from a state visit to spare Her Majesty any controversy.
As a UK petition to stop President Trump’s planned visit to Britain reached more than 1.5 million signatures and thousands protested across Britain on Monday, Lord Ricketts, in a letter to the The Times of London, said the invitation...
- 1/31/2017
- by Sara Nathan
- PEOPLE.com
Somali-born Olympic runner Mo Farah breathed a sigh of relief after learning that he will be able to return to his home in the United States because Donald Trump‘s temporary refugee and immigration ban does not apply to him.
The British gold-medalist’s spokesperson said in a statement that he is “relieved” to learn that although his native country, Somalia, is among the seven countries whose nationals are banned from entering the U.S., he will be allowed to return to the U.S. because he would not traveling from Somalia, according to the BBC.
However, Farah “still fundamentally...
The British gold-medalist’s spokesperson said in a statement that he is “relieved” to learn that although his native country, Somalia, is among the seven countries whose nationals are banned from entering the U.S., he will be allowed to return to the U.S. because he would not traveling from Somalia, according to the BBC.
However, Farah “still fundamentally...
- 1/30/2017
- by Char Adams
- PEOPLE.com
Thanks to the support of the German Federal Foreign Office, for the first time the 2017 Berlinale will provide a platform for innovative projects and ideas from across the continental African film industry. The “Berlinale Africa Hub” is an initiative of… Continue Reading →...
- 12/15/2016
- by shadowandact
- ShadowAndAct
Prince Harry the island hopper!
The royal is heading to the Caribbean from November 20 to December 4 to represent his grandmother Queen Elizabeth in seven countries, including the Realms of Antigua and Barbuda, St. Kitts and Nevis, St. Lucia, St. Vincent and the Grenadines, Grenada and Barbados,” his office at Kensington Palace announced Tuesday. He will also visit Guyana on behalf of the Foreign Office.
Harry will begin his two-week tour in Antigua and Barbuda, which is one of three countries he will visit that is marking a significant independence anniversary in 2016 — the 35th anniversary of independence. He will also be...
The royal is heading to the Caribbean from November 20 to December 4 to represent his grandmother Queen Elizabeth in seven countries, including the Realms of Antigua and Barbuda, St. Kitts and Nevis, St. Lucia, St. Vincent and the Grenadines, Grenada and Barbados,” his office at Kensington Palace announced Tuesday. He will also visit Guyana on behalf of the Foreign Office.
Harry will begin his two-week tour in Antigua and Barbuda, which is one of three countries he will visit that is marking a significant independence anniversary in 2016 — the 35th anniversary of independence. He will also be...
- 10/25/2016
- by simonperrytimeinc
- PEOPLE.com
goEast winners in Wiesbaden; Polish Film Institute backs Ida producers; Berlin-based A Company launches Ukrainian distributor.
Russian director Aleksandr Kott’s Insight was named Best Film at this year’s goEast Festival of Central and European Cinema (20-26 April) in Wiesbaden, Germany.
The intimate drama charting a love affair between a blind man and his nurse premiered at last year’s Kinotavr festival in Sochi and was also shown at the Black Nights Film Festival in Tallinn.
During the festival, Kott, whose previous films include the 2010 war drama The Brest Fortress and 2014’s Test, confirmed to Screen that his next feature project, Soyuz Spaseniya (Union Of Salvation), will begin shooting from next year for a release date at the end of 2018.
The $10.7m (RUB700m) production from Direktsiya Kino with Russia’s Channel One Television is a historical drama set at the beginning of the 19th century about the founding of secret political society the Decembrists.
This...
Russian director Aleksandr Kott’s Insight was named Best Film at this year’s goEast Festival of Central and European Cinema (20-26 April) in Wiesbaden, Germany.
The intimate drama charting a love affair between a blind man and his nurse premiered at last year’s Kinotavr festival in Sochi and was also shown at the Black Nights Film Festival in Tallinn.
During the festival, Kott, whose previous films include the 2010 war drama The Brest Fortress and 2014’s Test, confirmed to Screen that his next feature project, Soyuz Spaseniya (Union Of Salvation), will begin shooting from next year for a release date at the end of 2018.
The $10.7m (RUB700m) production from Direktsiya Kino with Russia’s Channel One Television is a historical drama set at the beginning of the 19th century about the founding of secret political society the Decembrists.
This...
- 4/27/2016
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
The Queen of Bhutan has a new flower to add to her English garden! Prince William and 'Princess gave her a specially created variety of rose when they visited with the royal family in the mountain kingdom last week. The red flower, named the "Queen of Bhutan Rose," was created for the King and Queen of Bhutan, who founded the annual Royal Bhutan Flower Show last year and have started an English garden. Kate, who received a gift of her own - a Buddhist symbol necklace by Bhutanese designer Sonam Rabgye - from the Queen, presented the new rose with...
- 4/22/2016
- by Simon Perry, @SPerryPeoplemag
- PEOPLE.com
Prince George and Princess Charlotte are going to have to rely on someone else to assist the Easter Bunny this year. The young royals will wake up on Easter Sunday without their dad around. That's because Prince William has headed to Kenya for four days. He's expected to return on Sunday. The future king is taking the mostly private trip to see "first-hand some of the longstanding conservation and anti-poaching initiatives" supported by the Tusk Trust, of which he is a patron, his office confirms to People. He's also thought to be heading to the wedding of old friend and former flame,...
- 3/24/2016
- by Simon Perry, @SPerryPeoplemag
- PEOPLE.com
This 66th edition of the Berlinale did not focus so much on films as it did on issues, especially the issue of mass migration including Germany’s one million immigrants being welcomed by Angela Merkel. The sentiment of the Berlinale was expressed by Festival Director Dieter Kosslick in his introductory comment, “We are 90 million Germans. What are one million Syrians? We spent billions and billions to educate our kids, to teach them what happened in the Holocaust.” Nevertheless, the controversy throughout Germany and Europe continues to grow, as it does in the U.S. about what to do about the massive wave of migration, as if there were any other place the people, dispossessed and disposed of by their governments and the governments of the west to go.
Dealing with the plight of African and Syrian refugees, “Fire at Sea”/ “Fuocoammare” by Giovanni Rosi won the Golden Bear led by the jury president Meryl Streep. All North American rights have subsequently been acquired from its international sales agent, Doc & Film by Kino Lorber who plans an autumn release. “Gianfranco Rosi captured the hearts and minds of the Berlinale this year with what will become one of the essential films of our times,” said CEO Richard Lorber. The Italian distributor 01 Distribution profited from its Saturday night Golden Bear win as the Italian box office’s Sunday profits spiked +166%. Tuesday’s take was 40% up on Monday’s box office. By Wednesday the film had taken $169.5k (€154k) and the following weekend 01 almost doubled screens to 76. Imovision took Brazil, Caramel took Spain, Curzon took U.K. Rosi previously won the 2013 Venice Golden Lion for his documentary “Sacro Gra”.
“Fire at Sea” captures today’s Zeitgeist. Though it may not be a film of the highest merit when judged over time, it is the film with the highest contemporary-social-issue-political focus.
Its story is told from a superior point of view; what misery we see of the immigrants’ plight makes us sad and depressed – though not as much as the actual footage we see daily on the news. The only uplift we receive is to witness the acts of the good physician Pietro Bartolo. He not only cares for the island’s 4,000 inhabitants as they go about their daily business of fishing, keeping house, and going to school without much interaction with the invasion of refugees, but he also cares for the 400,000 immigrants from Africa and the Middle East, treating them or identifying them as already dead. As he said at his press conference, “This has become a dramatic problem, an epochal problem. I don’t think that a barbed-wire fence can stop these people. I don’t think there’s a person on earth who wants to leave his country if he isn’t forced to.”
A noble effort, the film in many ways misses the boat. Not to say that any other film was better (I did not see them all), but to make a point about the Berlinale itself as a festival, I note here the majority of other films in the Competition all had socially relevant foci and that is the point of the Berlinale. It is to its credit that it takes a stand and to its detriment that perhaps the films chosen do not attain cinematic stature internationally. The recent years’ Golden Bear winners were (in my opinion) certainly worthy with a couple of exceptions. “Caesar Must Die” a doc about Italian prisoners engaging in the production of Shakespeare’s “Julius Caesar” and “Black Coal, Thin Ice” a Chinese hard-boiled detective saga were both quickly forgotten.
Memorable winners worth noting were in 2011 with Iran’s “ Jodaeiye Nader az Simin/ “A Separation”, Romania’s 2013 “ Poziţia Copilului”/ “Child‘s Pose” and again from Iran in 2015, Jafar Panahi’s “ Taxi”.
Looking at the other films in Competition this year, Mohamed Ben Attia’s “Hedi”(Isa: The Match Factory, sold to date to Austria’s Polyfilm, Germany’s Pandora, Norway’s Mer Film, Switzerland ’s Cineworx, Taiwan’s Maison Motion) deals with a quiet man’s personal struggle for freedom from the constraints of his Tunisian society; Ivo M. Ferreira’s “Letters from War” (Isa: The Match Factory) deals with the final years of the Angolan War of Independence against Portugal in 1961-74; Danis Tanovic deals with the more recent Bosnian War as a Frenchman sits in his hotel room while a World War I Commemoration takes place in Sarajevo in “Death in Sarajevo” (Isa: The Match Factory); protests against the Nazi regime are the subject of “Alone in Berlin” (Isa: Cornerstone, the new sales company of Alison Thompson and Mark Gooder, sold to Altitude for U.K., Pathe for France. X Film, the producer keeps German rights) by Vincent Perez; in Rafi Pitts’ “Soy Nero”( Isa: The Match Factory, sold to date to Neue Visionen for Germany, Sophie Dulac Distribution for France, Ama Films for Greece, Bomba Films for Poland, Filmarti for Turkey,MegaCom for Serbia and Montenegro, Moving Turtle for Lebanon, trigon-film for Switzerland) about a 19-year-old Mexican boy dreaming of immigrating north to the U.S. who takes the route of joining the U.S. Army to fight in the Middle East in order to get his “green card”. The Philippine Revolution against Spanish Colonization is treated in a 482 minute epic “ A Lullaby to the Sorrowful Mystery” (Isa: Films Boutique) by Lav Diaz. In “United States of Love” (Isa: Films New Europe sold to Imovision for Brazil and Angel for Denmark), four women share the urge to change their lives in 1990, immediately after the fall of Communism. All of these films are dealing with issues of gaining freedom today. “Being 17”(Isa: Elle Driver sold Belgium to Lumière, Brazil to F ênix, France to Wild Bunch, Serbia to McF Megacom, Switzerland to Frenetic) by Andre Techine also deals with adolescents growing up gay in a working-class neighborhood in France, another current human rights issue.
These film choices remind us that the Berlinale itself was founded in 1950 during the Cold War as West Berlin’s way of confronting East Berlin’s imprisonment of its people by flaunting its own freedom, a truly Berlin way of life which still today animates its spirit of freedom. This casts a certain character upon the films chosen by the Berlinale selection committee to this day.
A political tone of the festival was also echoed by the pronouncement “We are all Africans really” spoken by Meryl Streep when she was questioned about why the Berlin Film Festival had appointed an all-white jury (not that she was responsible for choosing the jury).
Meryl Streep’s rather blithe comment, to quote Lindiwe Dovey in The Guardian , “plunged the actress into a debate about the lack of diversity in Hollywood. At best, Streep’s comment was an attempt to show solidarity. But what she unwittingly also underlined was the absence of Africans and African filmmaking in mainstream cinema. If we really are all Africans, and if we are going to take black filmmaking more seriously, why are we not watching African films?” Again, Streep is not responsible for the Berlinale’s selection either.
Only five African films are being shown at this year's festival and they are not all sub-Saharan African, that is to say “black”, but are also North African -- that is to say of the Mena region or Arab. These are two very different aspects of the giant continent called Africa. We are seeing many films from the Mena, that is Arab and North African regions this year.
In an attempt to find answers to this question of why we are not seeing more “black” films, we attended the Berlinale World Cinema Fund’s “Africa Day”. This one-off, and therefore insufficient, day was dedicated to discussing the memory, present and future of African films. Insufficient for finding answers and for creating any call for action, the day was, nonetheless, important and for that we all should thank the German Federal Cultural Foundation for providing the funds which guarantee the existence of the World Cinema Fund until at least 2018 and to the German Foreign Office, which substantially raised its level of support allowing the Wcf additional discretion in its actions.
The presentation by Nigerian film critic Didi Anni Cheeka was a fascinating exposé of what has happened to the “archives” of Nigerian cinema. The 60s to the 80s’ post-colonial cinema is not discussed today at all and Cheeka has searched for those filmmakers, called “The Seven Ups” who worked along with such filmmakers as Chris Marker and Alain Resnais. The Ministry of Information in Nigeria gave him permission to organize the films of the 60s which were lost during the Civil War in a collective amnesia. In the process, he discovered a room closed, locked and forgotten in the 1960s at the end of the independent movements throughout Africa, a room containing movie machines and more than 2,000 cans of films laying around like dusty dead bodies. This and other sad cases have revealed that in fact, there are no archives of African cinema at all.
But even the later Nollywood producers do not have copies of their films. Memories of what Africa looked like are lost along with the artistic efforts of its cineastes. Silence has been instilled by the governments of today as well.
Cinema as culture does not really exist in Africa. To create awareness takes education, leisure, city life and a cultural and cinema community nourishing one another. More than production funds, awareness needs the support of people with ideas.
Cheeka also stated, "We have the strange situation that new cineplexes are coming up every day, but they only show Hollywood movies. It's a common problem all over Africa: High quality movies from the continent hardly find an audience or even a place to be shown. Without a market in sight, few high-quality movies are shot. Only so-called ‘Nollywood movies’, mostly produced in Nigeria in just a few days or weeks, are thriving. Nigeria's movie industry earns around Us $250 million from Nollywood movies. This is the first time an economy has been established around the notion of film. In 1999 the first Nollywood delegaton came to Sithengi, the South African Film Market and they took over. Last year in Nigeria, many layers of Nollywood were apparent; the usual low budget exploitation or dramatic movie was giving space to other kinds of film. This opens the possibility of further discussion of film economy in all Africa, from Algeria to South Africa.
Pedro Pimento, Director of the Durban International Film Festival, gave the keynote address analyzing the lack of African film and the lack of distribution for what few African films there are. This was the high point of the day as he was heard loud and clear, at least by me, as he was articulate and to the point.
Pedro Pimenta is a filmmaker and producer from Mozambique. He produced the 1997 film "Fools", the first feature film shot by a black South African, Ramadan Suleman, and the same year "Africa Dreaming" a chronicle of Africa in six acts, with the common theme the love. Pimenta is also "foreign corresponding member" of the "Association of Real Cinema" the international meeting of documentary films held at the Pompidou Center in Paris created in 1978 which invites the public and professionals to discover film auteurs. The producer-director is also the founder and director of the documentary film festival "Dockanema" in Maputo, Mozambique. The first edition was held in September 2006 with support from the Mozambican Ebano Multimedia, in association with Amocine (Mozambican Association of Filmmakers).
According to Pimenta, "the documentary is an observation and testimony which brings the spectator something which otherwise would be merely read as news and quickly forgotten. Directed by great filmmakers, it can be a work of art; made by an amateur holding a small hand-held camera, it is a daily familiar record of an historic moment. The documentary brings us closer to the great achievements of the better side of humanity even as it brings us the violent scourge of today's world. It thus gives us the opportunity to replace prejudice by solidly based judgments and to take conscious positions."
Pedro Pimenta started his movie career with the National film Institute of Mozambique in 1977. Since then, he has produced and co-produced numerous short fiction, documentaries and feature movies in his country as well as in other African nations.
Between 1997 and 2003 Pedro was the chief Technical Adviser of the Unesco Zimbabwe Film and Video Training Project for Southern Africa in Harare. As part of his function, he conceived and managed various training programs. He is one of the founders of Avea (Audio Visual Entrepreneurs of Africa) which runs an annual training program for professional producers in Southern Africa. Until December 2005, Pedro was a member of the Prince Claus Fund Awards Committee of the Netherlands.
He presented practical and pragmatic steps for a concrete approach to invigorate African Cinema.
First of all, there is no case for Africa as a country. It is too diverse and too vast. Knowing the context(s) of film, there is a solution. However, there is a total lack of reliable data vis á vis Africa, just as there has been a lack of data for the case of women in film until the past couple of years. A structure as a way to access information must be built. Experience has been accumulated for what works and what does not work in changing contexts; there are constant paradigm shifts; there is “generational regeneration” in content every few years; but all facts are anecdotal and not data oriented.
And there is the traditional value chain of cinema going like this:
The money follows from production costs to recoupment through distribution and it should be put back into film education along with production. The weakest point in the chain is exhibition.
Currently there is good energy, but there is no system. There are two recognized international film festivals and Mogadishu might be a third festival but it will take four to five years. There were attempts to create Pan African film distribution utopias, but they failed. Neither the British nor the French ever involved themselves in distribution systems and the models died.
From the mid 80s to 2000 the Imf World Bank’s involvement in Africa was built on a model of all nations feeding off of Mother Africa like a litter of trucks feeding off the oil tank that was Africa.
Today, the need to control distribution is apparent and it can generate money, but governments have made it clear that culture today is a “negative priority”. International corporations serve as African nations’ only means of survival.
While commercial distribution models have failed, the number of film festivals has increased. Out of the 54 countries in Africa, only two have no film festival. From 1980 to 2000 there were only two countries with festivals. Plus there is the current digital revolution which points to new directions one can go.
If any form of distribution reaches a critical mass like that of Nollywood, the governments can think critically about its policies. Keep an eye on the cinemas opening in Ethiopia which are based on local demands for local films. Ethiopia is currently producing 200 films per year. Uganda has informal screening spaces located all over the capital city. Pathé looks like it might have a shot in Francophone Africa. These examples all go to show there is a small cultural economy through cinema.
Morocco and Mauritius have local incentives to encourage local production.
But overall, exhibition is the weakest link in the value chain shown above.
In 2016 we see Netflix, Amazon, Apple, Iroko TV/ Buni. We see TV, African Films and TV, Vidi, On Tap TV etc.
However, I am of the belief that VOD is not the answer for Africa and African cinema. A minority of so-called middle class Africans, who do not identify or show interest for African films will have access. The majority of Africans (the market) are left on the sideline (once again) and are not really considered in any strategy.
But with 1.4 billion people, 60% of whom live in urban settings and with a majority of young people, young consumers – one out of three being “middle class”, there is a demand for entertainment. But we need to find the reality and economy of Our Cinema.
There is a demand for a mirror of oneself. The origin of an audience is Our Grandmother. What does she say about our ideas? She was the storyteller who passed our values on to this new generation. How can our creative cinema advance if we do not head this real mirror.
Here are the transversal issues:
1. Training vs. Education. There are many training initiatives in Africa, but what of film education? To train an audience, to train storytellers rather than to train support for outside production companies shooting in Africa is imperative.
2. Relevance of data. Data is limited to say the least.
3. Role of the producer in Africa’s content and support strategies.
4. Role of film festivals. By default they are the exhibitor of African content throughout Europe and they are part of a larger year-round circuit supporting African films for African audiences.
5. European support models only create two to three projects a year. This includes Hubert Bals Fund of Netherlands, Cinema du Monde of France, World Cinema Fund of Germany and Acp of the European Market.
We need new ways and a new system of support from Europe that is matched by support from Africa. Any system based on support however is not adequate.
“Screen space” is not necessarily a theater. It can be universities, museums; it might be similar to the recent attempts in Cuba of “salon cinemas” which were separate rooms in restaurants and hair salons.
Another model might be Argentina’s building of 45 digital cinemas throughout Latin America for Latin American content or the recent creation of Retina Latina, a free online service of Latin American films for Latin America.
The Market exists. There is a lot of money in Africa. The problem is that the money's offices are in London.
Pimento’s response when I sent him Meryl Streep’s comment as it was reported in The Guardian follows.
“Interesting but what bothers me really is the fact that we never really critically talk about quality (or not) of African films and also the belief that things will happen out of some divine intervention and not by triggering purposeful market dynamics .
I find also that using Ms. Streep’s comment as a way to reach some visibility does not necessarily reflect any intellectual honesty… it’s just a quick expedient for a sector of dogmatic- bordering-on-racism African filmmakers who claim the rest of the world needs to provide solutions to their problems/ frustrations/ obstacles .....
There are many less visible examples of positive African people and initiatives driven by the notion that our destiny is in our hands really and not in the hands of any international cooperation/ aid/ humanitarian system."...
Dealing with the plight of African and Syrian refugees, “Fire at Sea”/ “Fuocoammare” by Giovanni Rosi won the Golden Bear led by the jury president Meryl Streep. All North American rights have subsequently been acquired from its international sales agent, Doc & Film by Kino Lorber who plans an autumn release. “Gianfranco Rosi captured the hearts and minds of the Berlinale this year with what will become one of the essential films of our times,” said CEO Richard Lorber. The Italian distributor 01 Distribution profited from its Saturday night Golden Bear win as the Italian box office’s Sunday profits spiked +166%. Tuesday’s take was 40% up on Monday’s box office. By Wednesday the film had taken $169.5k (€154k) and the following weekend 01 almost doubled screens to 76. Imovision took Brazil, Caramel took Spain, Curzon took U.K. Rosi previously won the 2013 Venice Golden Lion for his documentary “Sacro Gra”.
“Fire at Sea” captures today’s Zeitgeist. Though it may not be a film of the highest merit when judged over time, it is the film with the highest contemporary-social-issue-political focus.
Its story is told from a superior point of view; what misery we see of the immigrants’ plight makes us sad and depressed – though not as much as the actual footage we see daily on the news. The only uplift we receive is to witness the acts of the good physician Pietro Bartolo. He not only cares for the island’s 4,000 inhabitants as they go about their daily business of fishing, keeping house, and going to school without much interaction with the invasion of refugees, but he also cares for the 400,000 immigrants from Africa and the Middle East, treating them or identifying them as already dead. As he said at his press conference, “This has become a dramatic problem, an epochal problem. I don’t think that a barbed-wire fence can stop these people. I don’t think there’s a person on earth who wants to leave his country if he isn’t forced to.”
A noble effort, the film in many ways misses the boat. Not to say that any other film was better (I did not see them all), but to make a point about the Berlinale itself as a festival, I note here the majority of other films in the Competition all had socially relevant foci and that is the point of the Berlinale. It is to its credit that it takes a stand and to its detriment that perhaps the films chosen do not attain cinematic stature internationally. The recent years’ Golden Bear winners were (in my opinion) certainly worthy with a couple of exceptions. “Caesar Must Die” a doc about Italian prisoners engaging in the production of Shakespeare’s “Julius Caesar” and “Black Coal, Thin Ice” a Chinese hard-boiled detective saga were both quickly forgotten.
Memorable winners worth noting were in 2011 with Iran’s “ Jodaeiye Nader az Simin/ “A Separation”, Romania’s 2013 “ Poziţia Copilului”/ “Child‘s Pose” and again from Iran in 2015, Jafar Panahi’s “ Taxi”.
Looking at the other films in Competition this year, Mohamed Ben Attia’s “Hedi”(Isa: The Match Factory, sold to date to Austria’s Polyfilm, Germany’s Pandora, Norway’s Mer Film, Switzerland ’s Cineworx, Taiwan’s Maison Motion) deals with a quiet man’s personal struggle for freedom from the constraints of his Tunisian society; Ivo M. Ferreira’s “Letters from War” (Isa: The Match Factory) deals with the final years of the Angolan War of Independence against Portugal in 1961-74; Danis Tanovic deals with the more recent Bosnian War as a Frenchman sits in his hotel room while a World War I Commemoration takes place in Sarajevo in “Death in Sarajevo” (Isa: The Match Factory); protests against the Nazi regime are the subject of “Alone in Berlin” (Isa: Cornerstone, the new sales company of Alison Thompson and Mark Gooder, sold to Altitude for U.K., Pathe for France. X Film, the producer keeps German rights) by Vincent Perez; in Rafi Pitts’ “Soy Nero”( Isa: The Match Factory, sold to date to Neue Visionen for Germany, Sophie Dulac Distribution for France, Ama Films for Greece, Bomba Films for Poland, Filmarti for Turkey,MegaCom for Serbia and Montenegro, Moving Turtle for Lebanon, trigon-film for Switzerland) about a 19-year-old Mexican boy dreaming of immigrating north to the U.S. who takes the route of joining the U.S. Army to fight in the Middle East in order to get his “green card”. The Philippine Revolution against Spanish Colonization is treated in a 482 minute epic “ A Lullaby to the Sorrowful Mystery” (Isa: Films Boutique) by Lav Diaz. In “United States of Love” (Isa: Films New Europe sold to Imovision for Brazil and Angel for Denmark), four women share the urge to change their lives in 1990, immediately after the fall of Communism. All of these films are dealing with issues of gaining freedom today. “Being 17”(Isa: Elle Driver sold Belgium to Lumière, Brazil to F ênix, France to Wild Bunch, Serbia to McF Megacom, Switzerland to Frenetic) by Andre Techine also deals with adolescents growing up gay in a working-class neighborhood in France, another current human rights issue.
These film choices remind us that the Berlinale itself was founded in 1950 during the Cold War as West Berlin’s way of confronting East Berlin’s imprisonment of its people by flaunting its own freedom, a truly Berlin way of life which still today animates its spirit of freedom. This casts a certain character upon the films chosen by the Berlinale selection committee to this day.
A political tone of the festival was also echoed by the pronouncement “We are all Africans really” spoken by Meryl Streep when she was questioned about why the Berlin Film Festival had appointed an all-white jury (not that she was responsible for choosing the jury).
Meryl Streep’s rather blithe comment, to quote Lindiwe Dovey in The Guardian , “plunged the actress into a debate about the lack of diversity in Hollywood. At best, Streep’s comment was an attempt to show solidarity. But what she unwittingly also underlined was the absence of Africans and African filmmaking in mainstream cinema. If we really are all Africans, and if we are going to take black filmmaking more seriously, why are we not watching African films?” Again, Streep is not responsible for the Berlinale’s selection either.
Only five African films are being shown at this year's festival and they are not all sub-Saharan African, that is to say “black”, but are also North African -- that is to say of the Mena region or Arab. These are two very different aspects of the giant continent called Africa. We are seeing many films from the Mena, that is Arab and North African regions this year.
In an attempt to find answers to this question of why we are not seeing more “black” films, we attended the Berlinale World Cinema Fund’s “Africa Day”. This one-off, and therefore insufficient, day was dedicated to discussing the memory, present and future of African films. Insufficient for finding answers and for creating any call for action, the day was, nonetheless, important and for that we all should thank the German Federal Cultural Foundation for providing the funds which guarantee the existence of the World Cinema Fund until at least 2018 and to the German Foreign Office, which substantially raised its level of support allowing the Wcf additional discretion in its actions.
The presentation by Nigerian film critic Didi Anni Cheeka was a fascinating exposé of what has happened to the “archives” of Nigerian cinema. The 60s to the 80s’ post-colonial cinema is not discussed today at all and Cheeka has searched for those filmmakers, called “The Seven Ups” who worked along with such filmmakers as Chris Marker and Alain Resnais. The Ministry of Information in Nigeria gave him permission to organize the films of the 60s which were lost during the Civil War in a collective amnesia. In the process, he discovered a room closed, locked and forgotten in the 1960s at the end of the independent movements throughout Africa, a room containing movie machines and more than 2,000 cans of films laying around like dusty dead bodies. This and other sad cases have revealed that in fact, there are no archives of African cinema at all.
But even the later Nollywood producers do not have copies of their films. Memories of what Africa looked like are lost along with the artistic efforts of its cineastes. Silence has been instilled by the governments of today as well.
Cinema as culture does not really exist in Africa. To create awareness takes education, leisure, city life and a cultural and cinema community nourishing one another. More than production funds, awareness needs the support of people with ideas.
Cheeka also stated, "We have the strange situation that new cineplexes are coming up every day, but they only show Hollywood movies. It's a common problem all over Africa: High quality movies from the continent hardly find an audience or even a place to be shown. Without a market in sight, few high-quality movies are shot. Only so-called ‘Nollywood movies’, mostly produced in Nigeria in just a few days or weeks, are thriving. Nigeria's movie industry earns around Us $250 million from Nollywood movies. This is the first time an economy has been established around the notion of film. In 1999 the first Nollywood delegaton came to Sithengi, the South African Film Market and they took over. Last year in Nigeria, many layers of Nollywood were apparent; the usual low budget exploitation or dramatic movie was giving space to other kinds of film. This opens the possibility of further discussion of film economy in all Africa, from Algeria to South Africa.
Pedro Pimento, Director of the Durban International Film Festival, gave the keynote address analyzing the lack of African film and the lack of distribution for what few African films there are. This was the high point of the day as he was heard loud and clear, at least by me, as he was articulate and to the point.
Pedro Pimenta is a filmmaker and producer from Mozambique. He produced the 1997 film "Fools", the first feature film shot by a black South African, Ramadan Suleman, and the same year "Africa Dreaming" a chronicle of Africa in six acts, with the common theme the love. Pimenta is also "foreign corresponding member" of the "Association of Real Cinema" the international meeting of documentary films held at the Pompidou Center in Paris created in 1978 which invites the public and professionals to discover film auteurs. The producer-director is also the founder and director of the documentary film festival "Dockanema" in Maputo, Mozambique. The first edition was held in September 2006 with support from the Mozambican Ebano Multimedia, in association with Amocine (Mozambican Association of Filmmakers).
According to Pimenta, "the documentary is an observation and testimony which brings the spectator something which otherwise would be merely read as news and quickly forgotten. Directed by great filmmakers, it can be a work of art; made by an amateur holding a small hand-held camera, it is a daily familiar record of an historic moment. The documentary brings us closer to the great achievements of the better side of humanity even as it brings us the violent scourge of today's world. It thus gives us the opportunity to replace prejudice by solidly based judgments and to take conscious positions."
Pedro Pimenta started his movie career with the National film Institute of Mozambique in 1977. Since then, he has produced and co-produced numerous short fiction, documentaries and feature movies in his country as well as in other African nations.
Between 1997 and 2003 Pedro was the chief Technical Adviser of the Unesco Zimbabwe Film and Video Training Project for Southern Africa in Harare. As part of his function, he conceived and managed various training programs. He is one of the founders of Avea (Audio Visual Entrepreneurs of Africa) which runs an annual training program for professional producers in Southern Africa. Until December 2005, Pedro was a member of the Prince Claus Fund Awards Committee of the Netherlands.
He presented practical and pragmatic steps for a concrete approach to invigorate African Cinema.
First of all, there is no case for Africa as a country. It is too diverse and too vast. Knowing the context(s) of film, there is a solution. However, there is a total lack of reliable data vis á vis Africa, just as there has been a lack of data for the case of women in film until the past couple of years. A structure as a way to access information must be built. Experience has been accumulated for what works and what does not work in changing contexts; there are constant paradigm shifts; there is “generational regeneration” in content every few years; but all facts are anecdotal and not data oriented.
And there is the traditional value chain of cinema going like this:
The money follows from production costs to recoupment through distribution and it should be put back into film education along with production. The weakest point in the chain is exhibition.
Currently there is good energy, but there is no system. There are two recognized international film festivals and Mogadishu might be a third festival but it will take four to five years. There were attempts to create Pan African film distribution utopias, but they failed. Neither the British nor the French ever involved themselves in distribution systems and the models died.
From the mid 80s to 2000 the Imf World Bank’s involvement in Africa was built on a model of all nations feeding off of Mother Africa like a litter of trucks feeding off the oil tank that was Africa.
Today, the need to control distribution is apparent and it can generate money, but governments have made it clear that culture today is a “negative priority”. International corporations serve as African nations’ only means of survival.
While commercial distribution models have failed, the number of film festivals has increased. Out of the 54 countries in Africa, only two have no film festival. From 1980 to 2000 there were only two countries with festivals. Plus there is the current digital revolution which points to new directions one can go.
If any form of distribution reaches a critical mass like that of Nollywood, the governments can think critically about its policies. Keep an eye on the cinemas opening in Ethiopia which are based on local demands for local films. Ethiopia is currently producing 200 films per year. Uganda has informal screening spaces located all over the capital city. Pathé looks like it might have a shot in Francophone Africa. These examples all go to show there is a small cultural economy through cinema.
Morocco and Mauritius have local incentives to encourage local production.
But overall, exhibition is the weakest link in the value chain shown above.
In 2016 we see Netflix, Amazon, Apple, Iroko TV/ Buni. We see TV, African Films and TV, Vidi, On Tap TV etc.
However, I am of the belief that VOD is not the answer for Africa and African cinema. A minority of so-called middle class Africans, who do not identify or show interest for African films will have access. The majority of Africans (the market) are left on the sideline (once again) and are not really considered in any strategy.
But with 1.4 billion people, 60% of whom live in urban settings and with a majority of young people, young consumers – one out of three being “middle class”, there is a demand for entertainment. But we need to find the reality and economy of Our Cinema.
There is a demand for a mirror of oneself. The origin of an audience is Our Grandmother. What does she say about our ideas? She was the storyteller who passed our values on to this new generation. How can our creative cinema advance if we do not head this real mirror.
Here are the transversal issues:
1. Training vs. Education. There are many training initiatives in Africa, but what of film education? To train an audience, to train storytellers rather than to train support for outside production companies shooting in Africa is imperative.
2. Relevance of data. Data is limited to say the least.
3. Role of the producer in Africa’s content and support strategies.
4. Role of film festivals. By default they are the exhibitor of African content throughout Europe and they are part of a larger year-round circuit supporting African films for African audiences.
5. European support models only create two to three projects a year. This includes Hubert Bals Fund of Netherlands, Cinema du Monde of France, World Cinema Fund of Germany and Acp of the European Market.
We need new ways and a new system of support from Europe that is matched by support from Africa. Any system based on support however is not adequate.
“Screen space” is not necessarily a theater. It can be universities, museums; it might be similar to the recent attempts in Cuba of “salon cinemas” which were separate rooms in restaurants and hair salons.
Another model might be Argentina’s building of 45 digital cinemas throughout Latin America for Latin American content or the recent creation of Retina Latina, a free online service of Latin American films for Latin America.
The Market exists. There is a lot of money in Africa. The problem is that the money's offices are in London.
Pimento’s response when I sent him Meryl Streep’s comment as it was reported in The Guardian follows.
“Interesting but what bothers me really is the fact that we never really critically talk about quality (or not) of African films and also the belief that things will happen out of some divine intervention and not by triggering purposeful market dynamics .
I find also that using Ms. Streep’s comment as a way to reach some visibility does not necessarily reflect any intellectual honesty… it’s just a quick expedient for a sector of dogmatic- bordering-on-racism African filmmakers who claim the rest of the world needs to provide solutions to their problems/ frustrations/ obstacles .....
There are many less visible examples of positive African people and initiatives driven by the notion that our destiny is in our hands really and not in the hands of any international cooperation/ aid/ humanitarian system."...
- 3/16/2016
- by Sydney Levine
- Sydney's Buzz
All four members of the British band Viola Beach were killed in a Swedish car accident that left five dead on Saturday, according to the Associated Press. The group was traveling in a rental car near Stockholm when they crashed through a barrier set up to stop vehicles from crossing an opening drawbridge. The car plunged more than 80 feet into a canal, killing Kris Leonard, River Reeves, Tomas Lowe and Jack Dakin, according to the AP. All the men were aged between 19 and 32. The fifth man was the band's manager, Craig Tarry, his family confirmed through a statement issued Sunday through Britain's Foreign Office.
- 2/14/2016
- by Lindsay Kimble, @lekimble
- PEOPLE.com
Serbian director Vuk Rsumovic’s No One’s Child and Slovak filmmaker Ivan Ostrochovský fiction debut Koza were the big winners at the 15th edition of the goEast Festival of Central and East European Film (April 22-28) in Wiesbaden.
The international jury headed by Czech producer Pavel Strnad of Negativ Film and including Filmfestival Cottbus’ artistic director Bernd Buder and Bosnian writer-director Ines Tanovic awarded the Grand Prix to Rsumovic’s feature debut which is being handled internationally by Belgrade-based Soul Food Distribution.
In addition, Achim Forst of broadcaster 3sat announced at the awards ceremony on Tuesday evening that hise channel has interest in acquiring the broadcast rights to the film.
Last year, 3sat picked up the 2014 Grand Prix winner Blind Dates and broadcast the film on the eve of this year’s goEast.
Ostrochovský’s road movie about an ex-boxer known as ¨The Goat¨ (Koza) received the City of Wiesbaden’s Prize for Best Director and the...
The international jury headed by Czech producer Pavel Strnad of Negativ Film and including Filmfestival Cottbus’ artistic director Bernd Buder and Bosnian writer-director Ines Tanovic awarded the Grand Prix to Rsumovic’s feature debut which is being handled internationally by Belgrade-based Soul Food Distribution.
In addition, Achim Forst of broadcaster 3sat announced at the awards ceremony on Tuesday evening that hise channel has interest in acquiring the broadcast rights to the film.
Last year, 3sat picked up the 2014 Grand Prix winner Blind Dates and broadcast the film on the eve of this year’s goEast.
Ostrochovský’s road movie about an ex-boxer known as ¨The Goat¨ (Koza) received the City of Wiesbaden’s Prize for Best Director and the...
- 4/29/2015
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Serbian director Vuk Rsumovic’s No One’s Child and Slovak filmmaker Ivan Ostrochovský fiction debut Goat (Koza) were the big winners at the 15th edition of the goEast Festival of Central and East European Film (April 22-28) in Wiesbaden.
The international jury headed by Czech producer Pavel Strnad of Negativ Film and including Filmfestival Cottbus’ artistic director Bernd Buder and Bosnian writer-director Ines Tanovic awarded the Grand Prix to Rsumovic’s feature debut which is being handled internationally by Belgrade-based Soul Food Distribution.
In addition, Achim Forst of broadcaster 3sat announced at the awards ceremony on Tuesday evening that hise channel has interest in acquiring the broadcast rights to the film.
Last year, 3sat picked up the 2014 Grand Prix winner Blind Dates and broadcast the film on the eve of this year’s goEast.
Ostrochovský’s road movie about an ex-boxer known as ¨The Goat¨ (Koza) received the City of Wiesbaden’s Prize for Best Director...
The international jury headed by Czech producer Pavel Strnad of Negativ Film and including Filmfestival Cottbus’ artistic director Bernd Buder and Bosnian writer-director Ines Tanovic awarded the Grand Prix to Rsumovic’s feature debut which is being handled internationally by Belgrade-based Soul Food Distribution.
In addition, Achim Forst of broadcaster 3sat announced at the awards ceremony on Tuesday evening that hise channel has interest in acquiring the broadcast rights to the film.
Last year, 3sat picked up the 2014 Grand Prix winner Blind Dates and broadcast the film on the eve of this year’s goEast.
Ostrochovský’s road movie about an ex-boxer known as ¨The Goat¨ (Koza) received the City of Wiesbaden’s Prize for Best Director...
- 4/29/2015
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
In the ruins above Tataouine.
Tataouine, the Tunisian village that became famous the world over when used as Tatooine in the Star Wars films, is increasingly being used by Isis rebels crossing over from Syria, it has emerged. This could be a serious blow to the Tunisian tourist industry, as the small desert enclave has become on of its most popular attractions.
Although Tataouine is well within Tunisian borders, it is vulnerable to fighters crossing the southeastern desert, where there are few settlements, and it is strategically important as the first point of entry to major highways leading to the cities of the north. It's also used by smugglers and according to CNN, two arms caches have recently been found there. The country remains on high alert following an attack on the Bardo museum in Tunis last week.
The UK Foreign Office has warned Star Wars fans not to visit the area,...
Tataouine, the Tunisian village that became famous the world over when used as Tatooine in the Star Wars films, is increasingly being used by Isis rebels crossing over from Syria, it has emerged. This could be a serious blow to the Tunisian tourist industry, as the small desert enclave has become on of its most popular attractions.
Although Tataouine is well within Tunisian borders, it is vulnerable to fighters crossing the southeastern desert, where there are few settlements, and it is strategically important as the first point of entry to major highways leading to the cities of the north. It's also used by smugglers and according to CNN, two arms caches have recently been found there. The country remains on high alert following an attack on the Bardo museum in Tunis last week.
The UK Foreign Office has warned Star Wars fans not to visit the area,...
- 3/25/2015
- by Jennie Kermode
- eyeforfilm.co.uk
On the third day of his four-day visit to Japan, Prince William dove into the nation's traditional cultural trappings as represented by the county's most iconic television show - the historical Taiga drama, which has been on the air so long his grandmother, Queen Elizabeth II, attended a taping of it in 1975. As studio staff draped a jinbaori short coat over William, 32, on Saturday and crowned him with a kabuto samurai warrior helmet as part of a tour of the set, William looked almost cartoonish with samurai garb over his suit - and he may well have known it, as...
- 2/28/2015
- by John Matthews
- PEOPLE.com
After the successful completion of the second edition of Sofa – School of Film Agents – and just in time for the Berlinale – the Sofa-team is proud to announce their, "Call for Proposals" for a third round slated to take place in Wroclaw, Poland from August 21st – 30th, 2015 . Sofa is a workshop initiative for young film professionals and mediators from Central and Eastern Europe, the Baltic States, Central Asia, Greece and Germany with the goal of supporting and realizing innovative cinema projects.
Sofa’s first success stories are able to be told thanks to the overwhelming response derived from a visionary and unique pan-european target group, from the undying support of the initiative’s partners as well as from the hands-on contributions of exceptional expertise from some of Europe’s most knowledgeable film professionals (e.g., 2014 Eurimages’ Executive Director, Roberto Olla, "Ida," "Als wir träumten")
Sofa Director, Nikolaj Nikitin is immensely pleased with the results of Fbo, which, for Nikitin, only reaffirm the indispensability and significance of Sofa: "Fbo will revolutionize the future of the film industry. For the first time, not only will the makers of film festivals, but also producers and financiers be able to have access to the concrete numbers behind so-called 'festival films'. It has been clear for quite some time that the international success of a film can no longer be measured based on classic theatrical statistics and attendance figures. These methods of evaluation often have no relevance or do not function as well in other countries, particularly in 'low-capacity' countries where the distribution of European film content no longer finds its audience in the typical art house cinema on the corner, but rather at active and numerous film festivals. These festivals often take the place of the role of a distribution company, making a film available to viewers year round whilst collecting information on audience development. That’s why Fbo will serve as one of the most important assessment tools for a new generation of filmmakers. We are thrilled that this idea was conceived and developed in Serbia, where it has already received funding and will be further subsidized in Strasbourg by Eurimages.“
Here, some more details about this unique and innovative project from the creators / developers themselves – the company Soulfood from Belgrad:
"Fbo - Festival Box Office is an internet-based platform aggregating all relevant data and figures regarding international festivals’ presentation of films . In addition to showcasing film presentations at international festivals (with the focus on European festivals), Fbo will provide information about 1) the number of the festivals where the film was screened 2) number of films presented at festival(s) 3) actual number of festival screenings 4) total number of audience attendees and 5) the total and average income from ticket sales. The purpose of this subscriber-based service - with a detailed festival film overview – is to provide quantitative data that can be used as a powerful production tool. Information from large, one-time or occasional events will provide producers, distributors and sales agents with a more detailed account of the commercial potential of films, films that may otherwise only be seen only as showcase events.“
From Sofa’s second edition in 2014 comes the outstanding project „Transylvania Film Fund“ which is soon to become Romania’s first regional film funding body. The Romanian Sofa participant, Cristian Hordila,managed to get his ambitious project off the ground in less than one year. This project has even managed to branch out geographically and will kick-off much larger than originally planned. Hordila comments: "Before participating at Sofa, I had an idea for a project, yet still so many questions, even doubts about how to get it in gear. After 10 hard-working, super creative days with the Sofa family, I returned home with all the necessary tools and resources to create the foundation of the first regional film fund in Romania, the Transylvania Film Fund. Sofa made me go from just having an idea to absolutely nothing and then back gain; I destroyed my initial concepts during those 10 days so many times and the team at Sofa always helped me rebuild each time...better and better. I’m very proud to say that without Sofa, the Transylvania Film Fund wouldn’t be the same project with the same vision and approach as it is today. Romania will have its first regional film fund this year. The Transylvania Film Fund release is planned for mid-May and Sofa is definitely one of the founders.“
Nikitin adds: "From the very beginning, the establishment of regional / national film funding in Eastern Europe was of particular importance to us. Our years of experience have shown us that additional funding and support schemes are often exactly that needed to stimulate national film production, create new job opportunities for those seeking work in the film sector along with the establishment of new film companies, not to mention pushing forward the professionalization of the audio-visual sector. The longstanding success of one of Sofa’s partners, the Film und Medien Stiftung Nrw , illustrates this point perfectly. We wish Cristian and his colleagues the very best and are certain that the establishment of such an institution will positively nurture and support the wave of success that Romanian cinema is currently experiencing."
The Lithuanian project Front – Film Republic of Networked Theater has taken major steps forward towards realization. Sofa-Participant Kestutis Drazdauskas:
„Sofa made me realize the European dimension of my project. Following Sofa, we at the Vilnius Film Cluster conducted research which took into consideration the knowledge I acquired at the Sofa-workshop. The research received 30.000 Euro support by the Cultural Council of Lithuania. We evaluated the infrastructural needs as well as social, cultural and economical circumstances in thirty municipalities in Lithuania. At present we are working on the investment plan for the establishment of the regional cinema network.“
Many other projects from the first two edition of Sofa are on the road to success and will continue to be supported and presented by the Sofa team in the future.
New projects for Sofa 2015 may be submitted as of now here . Deadline for submissions is April 10th, 2015.
Sofa – School of Film Agents is a joint project of the Filmplus gUG (Cologne) and the Fundacja Filmplus (Warsaw) together with the city of Wroclaw (Breslau) and the Polish Film Institute, funded by the Foundation for Polish-German Cooperation, theFederal Foreign Office, the International Visegrad Fund,the Film und Medien Stiftung Nrw,The Creative Europe Desk Poland , The Alfred Toepfer Foundation and Eave – European Audiovisual Entrepreneurs and supported by theAdam Mickiewicz Institute, in collaboration with the Goethe-Institut in Poland (Krakow), Serbia, Hungary, Slovakia, Romania, Lithuania, Greece and its Head Office in Germany, and with the support of theFilm Commission Poland and the Wroclaw Film Commission.
Sofa’s first success stories are able to be told thanks to the overwhelming response derived from a visionary and unique pan-european target group, from the undying support of the initiative’s partners as well as from the hands-on contributions of exceptional expertise from some of Europe’s most knowledgeable film professionals (e.g., 2014 Eurimages’ Executive Director, Roberto Olla, "Ida," "Als wir träumten")
Sofa Director, Nikolaj Nikitin is immensely pleased with the results of Fbo, which, for Nikitin, only reaffirm the indispensability and significance of Sofa: "Fbo will revolutionize the future of the film industry. For the first time, not only will the makers of film festivals, but also producers and financiers be able to have access to the concrete numbers behind so-called 'festival films'. It has been clear for quite some time that the international success of a film can no longer be measured based on classic theatrical statistics and attendance figures. These methods of evaluation often have no relevance or do not function as well in other countries, particularly in 'low-capacity' countries where the distribution of European film content no longer finds its audience in the typical art house cinema on the corner, but rather at active and numerous film festivals. These festivals often take the place of the role of a distribution company, making a film available to viewers year round whilst collecting information on audience development. That’s why Fbo will serve as one of the most important assessment tools for a new generation of filmmakers. We are thrilled that this idea was conceived and developed in Serbia, where it has already received funding and will be further subsidized in Strasbourg by Eurimages.“
Here, some more details about this unique and innovative project from the creators / developers themselves – the company Soulfood from Belgrad:
"Fbo - Festival Box Office is an internet-based platform aggregating all relevant data and figures regarding international festivals’ presentation of films . In addition to showcasing film presentations at international festivals (with the focus on European festivals), Fbo will provide information about 1) the number of the festivals where the film was screened 2) number of films presented at festival(s) 3) actual number of festival screenings 4) total number of audience attendees and 5) the total and average income from ticket sales. The purpose of this subscriber-based service - with a detailed festival film overview – is to provide quantitative data that can be used as a powerful production tool. Information from large, one-time or occasional events will provide producers, distributors and sales agents with a more detailed account of the commercial potential of films, films that may otherwise only be seen only as showcase events.“
From Sofa’s second edition in 2014 comes the outstanding project „Transylvania Film Fund“ which is soon to become Romania’s first regional film funding body. The Romanian Sofa participant, Cristian Hordila,managed to get his ambitious project off the ground in less than one year. This project has even managed to branch out geographically and will kick-off much larger than originally planned. Hordila comments: "Before participating at Sofa, I had an idea for a project, yet still so many questions, even doubts about how to get it in gear. After 10 hard-working, super creative days with the Sofa family, I returned home with all the necessary tools and resources to create the foundation of the first regional film fund in Romania, the Transylvania Film Fund. Sofa made me go from just having an idea to absolutely nothing and then back gain; I destroyed my initial concepts during those 10 days so many times and the team at Sofa always helped me rebuild each time...better and better. I’m very proud to say that without Sofa, the Transylvania Film Fund wouldn’t be the same project with the same vision and approach as it is today. Romania will have its first regional film fund this year. The Transylvania Film Fund release is planned for mid-May and Sofa is definitely one of the founders.“
Nikitin adds: "From the very beginning, the establishment of regional / national film funding in Eastern Europe was of particular importance to us. Our years of experience have shown us that additional funding and support schemes are often exactly that needed to stimulate national film production, create new job opportunities for those seeking work in the film sector along with the establishment of new film companies, not to mention pushing forward the professionalization of the audio-visual sector. The longstanding success of one of Sofa’s partners, the Film und Medien Stiftung Nrw , illustrates this point perfectly. We wish Cristian and his colleagues the very best and are certain that the establishment of such an institution will positively nurture and support the wave of success that Romanian cinema is currently experiencing."
The Lithuanian project Front – Film Republic of Networked Theater has taken major steps forward towards realization. Sofa-Participant Kestutis Drazdauskas:
„Sofa made me realize the European dimension of my project. Following Sofa, we at the Vilnius Film Cluster conducted research which took into consideration the knowledge I acquired at the Sofa-workshop. The research received 30.000 Euro support by the Cultural Council of Lithuania. We evaluated the infrastructural needs as well as social, cultural and economical circumstances in thirty municipalities in Lithuania. At present we are working on the investment plan for the establishment of the regional cinema network.“
Many other projects from the first two edition of Sofa are on the road to success and will continue to be supported and presented by the Sofa team in the future.
New projects for Sofa 2015 may be submitted as of now here . Deadline for submissions is April 10th, 2015.
Sofa – School of Film Agents is a joint project of the Filmplus gUG (Cologne) and the Fundacja Filmplus (Warsaw) together with the city of Wroclaw (Breslau) and the Polish Film Institute, funded by the Foundation for Polish-German Cooperation, theFederal Foreign Office, the International Visegrad Fund,the Film und Medien Stiftung Nrw,The Creative Europe Desk Poland , The Alfred Toepfer Foundation and Eave – European Audiovisual Entrepreneurs and supported by theAdam Mickiewicz Institute, in collaboration with the Goethe-Institut in Poland (Krakow), Serbia, Hungary, Slovakia, Romania, Lithuania, Greece and its Head Office in Germany, and with the support of theFilm Commission Poland and the Wroclaw Film Commission.
- 2/13/2015
- by Sydney Levine
- Sydney's Buzz
The Berlinale Residency is now in its third round. Filmmakers who have screened their first films with success at international festivals and cinemas, have until March 16, 2015 to submit feature films, documentary or cross-media projects which they are currently developing. Eligible projects must have one producer in place in order to be selected.
The “Berlin 24/7” program Berlinale Residency invites three filmmakers to Berlin, where they will be able to work on their projects from September 1 to November 30, 2015. Besides individual meetings with script consultants and mentors from the film industry, their producers will also be invited to Berlin for a workshop towards the end of their stay. In order to find further co-producers and financiers, the filmmakers and their producers will return to Berlin to participate in the Berlinale Co-Production Market in February 2016.
“We are delighted that with the Berlinale Residency programme we again have the opportunity to support not only filmmakers but also producers in developing their film projects. The Residency has already borne fruit, as can be seen in Sacha Polak’s film Zurich, which is having its world premiere in this year’s Forum,” says Festival Director Dieter Kosslick.
For more information go to: www.berlinale-residency.de
The Berlinale Residency is an initiative of the Berlin International Film Festival. It is supported by the Medienboard Berlin-Brandenburg and the Federal Foreign Office.
The “Berlin 24/7” program Berlinale Residency invites three filmmakers to Berlin, where they will be able to work on their projects from September 1 to November 30, 2015. Besides individual meetings with script consultants and mentors from the film industry, their producers will also be invited to Berlin for a workshop towards the end of their stay. In order to find further co-producers and financiers, the filmmakers and their producers will return to Berlin to participate in the Berlinale Co-Production Market in February 2016.
“We are delighted that with the Berlinale Residency programme we again have the opportunity to support not only filmmakers but also producers in developing their film projects. The Residency has already borne fruit, as can be seen in Sacha Polak’s film Zurich, which is having its world premiere in this year’s Forum,” says Festival Director Dieter Kosslick.
For more information go to: www.berlinale-residency.de
The Berlinale Residency is an initiative of the Berlin International Film Festival. It is supported by the Medienboard Berlin-Brandenburg and the Federal Foreign Office.
- 2/11/2015
- by Sydney Levine
- Sydney's Buzz
Government officials due at the Berlinale for the signing of the treaty.
In Berlin today [Feb 7], the Dutch-German coproduction treaty will finally be ratified.
The Dutch Minister of Education, Culture and Science Dr. Jet Bussemaker and German State ministers Prof. Monika Grütters, Federal Government Commissioner for Culture and the Media, and Dr. Andreas Görgen, Head of Culture and Communication at the Federal Foreign Office, are due at the Berlinale for the signing of the treaty.
The German Federal Film Förderungs Anstalt (Ffa) and Netherlands Film Fund took the lead in recent years, preparing the treaty, which will boost bilateral co-production and the development of the film industry and film culture in both countries.
“With the coproduction agreement between Germany and the Netherlands, we are starting yet another chapter of our successful partnership,” Ffa Executive Managing Director Peter Dinges told ScreenDaily.
“The agreement is a logical result of the initiative of the Netherlands Film Fund and the German Federal Film Board (Ffa) and...
In Berlin today [Feb 7], the Dutch-German coproduction treaty will finally be ratified.
The Dutch Minister of Education, Culture and Science Dr. Jet Bussemaker and German State ministers Prof. Monika Grütters, Federal Government Commissioner for Culture and the Media, and Dr. Andreas Görgen, Head of Culture and Communication at the Federal Foreign Office, are due at the Berlinale for the signing of the treaty.
The German Federal Film Förderungs Anstalt (Ffa) and Netherlands Film Fund took the lead in recent years, preparing the treaty, which will boost bilateral co-production and the development of the film industry and film culture in both countries.
“With the coproduction agreement between Germany and the Netherlands, we are starting yet another chapter of our successful partnership,” Ffa Executive Managing Director Peter Dinges told ScreenDaily.
“The agreement is a logical result of the initiative of the Netherlands Film Fund and the German Federal Film Board (Ffa) and...
- 2/7/2015
- by geoffrey@macnab.demon.co.uk (Geoffrey Macnab)
- ScreenDaily
Prince Andrew has faced tabloid headlines all his adult life - both laudatory and unsavory. The Queen's second son and fifth in line to the throne courted controversy with his one-time girlfriend actress Koo Stark, won admirers for his service with the Royal Navy in the Falklands War and endured endless media attention for his marriage to, split from and post-divorce friendship with the Duchess of York, Sarah Ferguson. Now, he is engulfed in a scandal stemming from a friendship with a disgraced billionaire that mystified and troubled Buckingham Palace insiders. The scandal broke last week after Florida court...
- 1/6/2015
- by Simon Perry, @SPerryPeoplemag
- PEOPLE.com
A video has been posted online purporting to show the beheading by the Islamic State group of British aid worker David Haines, who went missing in Syria last year. The video emerged hours after the family of Haines issued a public plea on Saturday urging his captors to contact them. Islamic State militants have beheaded two American journalists - Steven Sotloff and James Foley - and posted video evidence online. At the end of the last video showing the beheading of Sotloff, they threatened to kill Haines next and briefly showed him on camera. The 44-year-old Haines was abducted in...
- 9/13/2014
- by Associated Press
- PEOPLE.com
A video has been posted online purporting to show the beheading by the Islamic State group of British aid worker David Haines, who went missing in Syria last year. The video emerged hours after the family of Haines issued a public plea on Saturday urging his captors to contact them. Islamic State militants have beheaded two American journalists - Steven Sotloff and James Foley - and posted video evidence online. At the end of the last video showing the beheading of Sotloff, they threatened to kill Haines next and briefly showed him on camera. The 44-year-old Haines was abducted in...
- 9/13/2014
- by Associated Press
- PEOPLE.com
The Europe-wide, one of a kind workshop program Sofa - School of Film Agents - which supports international film professionals and mediators in the realization of film cultural projects will take place from August 15th – 24th, 2014 in the Polish city of Wroclaw (Breslau). Founded in 2013, the second edition of Sofa’s workshop-initiative will invite young "film agents“ from Central and Eastern Europe, Germany, Central Asia, the Baltic Republics and, for the first time, Greece to work together with experts on their projects with the goal of further developing the regional film culture and industries in their respective countries.
Within the framework of the Works in Progress« screenings at the 49th International Film Festival Karlovy Vary (Czech Republic) – the most important film cultural event for the Sofa-relevant territories – Director, Nikolaj Nikitin introduced the eight participants to take part in the second edition of Sofa. "From innovative VoD solutions to a large-scale national cinema / theatrical digitialization project, to the founding of a regional film subsidy initiative: the breadth of these participating projects reflects - with impressive ideas - the film-structural challenges we are attempting to address in those respective regions“, states Nikitin.
In the presence of numerous Sofa partners and former participants, Nikitin presented the following eight participants of the second edition:
Anna Bielak, Poland : Aur! Magazine – Awesome / Unique / Radical!«. A high-quality cinema magazine in print for Poland. Dániel Deák, Hungary : Festivalised - Community Platform for Film Festival Guests«. A film festival advisory system which helps filmmakers to find the right festivals for their particular projects. Kestutis Drazdauskas, Lithuania : Front – Film Republic of Networked Theaters«. A cinema digitialization network for Lithuania. Cristian Hordila, Romania : Cluj City Film Fund. A film fund with which Cluj-Napoca intends to re-open its doors to the film world, re-creating a film production center around the city. Marija Stojanovic, Serbia : What I See - Program for Audience Development and Stimulation of Critical Approach in the Field of Audio-Visual Culture and Arts«. What we see is what we are: an educational film project for Serbia. Angeliki Vergou, Greece : Octapus - A delicious new way to watch Greek films«. A VOD-Platform for Greek films. Jakub Viktorín, Slovakia : Dds – Digital Database of Slovakia: Your Personal Online Library of All Film Content Slovakia can Provide. An internet-based database revolving around the film culture of Slovakia. Jonas Weydemann, Germany : »Directors Collection«. A b2b platform connecting producers/worldsales directly with national cinemas around Europe, providing a transparent system for licensor and licensee. From August 15th – 24th, 2014 the eight participants will work intensively on their projects with internationally experienced experts and mentors in the Polish city of Wroclaw (Breslau) - European Capital of Culture 2016. They will be supported by Sibylle Kurz (pitching expert, Frankfurt), Roberto Olla (Eurimages, Strasbourg), Ewa Puszczynska (Opus Film, Lodz), Renaud Redien-Collot (Novancia Business School, Paris), Peter Rommel (Peter Rommel Film, Berlin), Katriel Schory (Israel Film Fund, Tel Aviv) among others.
The success of Sofa has been proven: numerous projects from the first edition of Sofa 2013 have already been able to be realized or are shortly before. For example, Leana Jaluske’s project "Doktok“ – a distribution initiative for Estonian documentary films – was able to be established with the help of Sofa. Melinda Boros is currently leading the „Tiff Studio Workshops“ in Cluj and Sonja Topalovic was recently able to rejoice over Eurimages funding for her interactive database "Fbo – Festival Box Office“.
Sofa – School of Film Agents is a joint project of the Filmplus gUG (Cologne) and the Fundacja Filmplus (Warsaw) together with the city of Wroclaw (Breslau) and the Polish Film Institute, funded by the Foundation for Polish-German Cooperation, the Federal Foreign Office, the International Visegrad Fund, the Film- und Medienstiftung Nrw, The Creative Europe Desk Poland, The Alfred Toepfer Foundatio and Eave – European Audiovisual Entrepreneurs and supported by the Adam Mickiewicz Institute, in collaboration with the Goethe-Institut in Poland (Krakow), Serbia, Hungary, Slovakia, Romania, Lithuania and its Head Office in Germany, and with the support of the Film Commission Poland and the Wroclaw Film Commission.
Within the framework of the Works in Progress« screenings at the 49th International Film Festival Karlovy Vary (Czech Republic) – the most important film cultural event for the Sofa-relevant territories – Director, Nikolaj Nikitin introduced the eight participants to take part in the second edition of Sofa. "From innovative VoD solutions to a large-scale national cinema / theatrical digitialization project, to the founding of a regional film subsidy initiative: the breadth of these participating projects reflects - with impressive ideas - the film-structural challenges we are attempting to address in those respective regions“, states Nikitin.
In the presence of numerous Sofa partners and former participants, Nikitin presented the following eight participants of the second edition:
Anna Bielak, Poland : Aur! Magazine – Awesome / Unique / Radical!«. A high-quality cinema magazine in print for Poland. Dániel Deák, Hungary : Festivalised - Community Platform for Film Festival Guests«. A film festival advisory system which helps filmmakers to find the right festivals for their particular projects. Kestutis Drazdauskas, Lithuania : Front – Film Republic of Networked Theaters«. A cinema digitialization network for Lithuania. Cristian Hordila, Romania : Cluj City Film Fund. A film fund with which Cluj-Napoca intends to re-open its doors to the film world, re-creating a film production center around the city. Marija Stojanovic, Serbia : What I See - Program for Audience Development and Stimulation of Critical Approach in the Field of Audio-Visual Culture and Arts«. What we see is what we are: an educational film project for Serbia. Angeliki Vergou, Greece : Octapus - A delicious new way to watch Greek films«. A VOD-Platform for Greek films. Jakub Viktorín, Slovakia : Dds – Digital Database of Slovakia: Your Personal Online Library of All Film Content Slovakia can Provide. An internet-based database revolving around the film culture of Slovakia. Jonas Weydemann, Germany : »Directors Collection«. A b2b platform connecting producers/worldsales directly with national cinemas around Europe, providing a transparent system for licensor and licensee. From August 15th – 24th, 2014 the eight participants will work intensively on their projects with internationally experienced experts and mentors in the Polish city of Wroclaw (Breslau) - European Capital of Culture 2016. They will be supported by Sibylle Kurz (pitching expert, Frankfurt), Roberto Olla (Eurimages, Strasbourg), Ewa Puszczynska (Opus Film, Lodz), Renaud Redien-Collot (Novancia Business School, Paris), Peter Rommel (Peter Rommel Film, Berlin), Katriel Schory (Israel Film Fund, Tel Aviv) among others.
The success of Sofa has been proven: numerous projects from the first edition of Sofa 2013 have already been able to be realized or are shortly before. For example, Leana Jaluske’s project "Doktok“ – a distribution initiative for Estonian documentary films – was able to be established with the help of Sofa. Melinda Boros is currently leading the „Tiff Studio Workshops“ in Cluj and Sonja Topalovic was recently able to rejoice over Eurimages funding for her interactive database "Fbo – Festival Box Office“.
Sofa – School of Film Agents is a joint project of the Filmplus gUG (Cologne) and the Fundacja Filmplus (Warsaw) together with the city of Wroclaw (Breslau) and the Polish Film Institute, funded by the Foundation for Polish-German Cooperation, the Federal Foreign Office, the International Visegrad Fund, the Film- und Medienstiftung Nrw, The Creative Europe Desk Poland, The Alfred Toepfer Foundatio and Eave – European Audiovisual Entrepreneurs and supported by the Adam Mickiewicz Institute, in collaboration with the Goethe-Institut in Poland (Krakow), Serbia, Hungary, Slovakia, Romania, Lithuania and its Head Office in Germany, and with the support of the Film Commission Poland and the Wroclaw Film Commission.
- 7/21/2014
- by Sydney Levine
- Sydney's Buzz
The Duchess of Cambridge got an insight into her family history when she met a woman who worked alongside her grandmother at a World War II code-breaking center. On Wednesday, Kate, 32, was at Bletchley Park, the secret wartime spy base brought to life in the movie Enigma starring Kate Winslet. The base's historic huts where the code breakers worked have been renovated to look like they did 70 years ago. And Kate looked the part. She dressed in a 1940s-style navy pencil skirt and cream outfit by Alexander McQueen and sapphire and diamond earrings that once belonged to her late mother-in-law,...
- 6/18/2014
- by Simon Perry
- PEOPLE.com
Pawel Pawlikowski’s Ida received the Skoda Film Prize for Best Film at Wiesbaden’s goEast – Festival of Central and Eastern European Film, which ended with the awards ceremony on Tuesday evening (April 15).
Ida, which had taken the prize for Best Narrative Film a day before at the Sarasota Film Festival in the Us, was released by Arsenal Film on 26 prints in German cinemas last Thursday (April 10) after opening goEast the previous evening.
The International Jury, headed by German-born producer Jan Harlan and including Russian actor Ivan Shvedoff, Ukrainian producer Dmytro Tiazhlov and Georgian film-maker Nana Ekvtimishvili and Hungarian film critic Ivan Forgacs, praised “a precise screenplay and the outstanding direction” of Pawlikowski’s Polish-language debut.
On announcing the winner, Harlan said that the whole jury was ¨agreed¨ and ¨elated¨ about giving the top honour to Pawlikowski’s film which includes a cash prize of € 10,000 for the producers.
Opus Film’s Ewa Puszczynska, the film’s...
Ida, which had taken the prize for Best Narrative Film a day before at the Sarasota Film Festival in the Us, was released by Arsenal Film on 26 prints in German cinemas last Thursday (April 10) after opening goEast the previous evening.
The International Jury, headed by German-born producer Jan Harlan and including Russian actor Ivan Shvedoff, Ukrainian producer Dmytro Tiazhlov and Georgian film-maker Nana Ekvtimishvili and Hungarian film critic Ivan Forgacs, praised “a precise screenplay and the outstanding direction” of Pawlikowski’s Polish-language debut.
On announcing the winner, Harlan said that the whole jury was ¨agreed¨ and ¨elated¨ about giving the top honour to Pawlikowski’s film which includes a cash prize of € 10,000 for the producers.
Opus Film’s Ewa Puszczynska, the film’s...
- 4/16/2014
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Birds of a Feather: ITV, 8:30pm
This final episode brings the tenth series to a close tonight and Sharon and Tracey are given an unpleasant glimpse of their future.
Meanwhile, Dorien appears in court and attempts to save her reputation after losing her job last week.
37 Days: BBC Two, 9pm
This three-part political thriller series written by Mark Hayhurst begins tonight, and centres on the movements of those in power in the unpredictable days leading up to the outbreak of the First World War.
News of an assassination in the Balkans reaches Sir Edward Grey (Ian McDiarmid) - leader of the British Foreign Office - and rapidly sets events into motion.
In Berlin, the Kaiser (Rainer Sellien) attempts to use this assassination and the subsequent unsteady political climate to his own advantage.
The Big Reunion: ITV2, 9pm
In this week's show two more bands - Damage and...
This final episode brings the tenth series to a close tonight and Sharon and Tracey are given an unpleasant glimpse of their future.
Meanwhile, Dorien appears in court and attempts to save her reputation after losing her job last week.
37 Days: BBC Two, 9pm
This three-part political thriller series written by Mark Hayhurst begins tonight, and centres on the movements of those in power in the unpredictable days leading up to the outbreak of the First World War.
News of an assassination in the Balkans reaches Sir Edward Grey (Ian McDiarmid) - leader of the British Foreign Office - and rapidly sets events into motion.
In Berlin, the Kaiser (Rainer Sellien) attempts to use this assassination and the subsequent unsteady political climate to his own advantage.
The Big Reunion: ITV2, 9pm
In this week's show two more bands - Damage and...
- 3/6/2014
- Digital Spy
Feature Alex Westthorp 19 Feb 2014 - 07:00
Nostalgia ahoy! With Sherlock Holmes more popular than ever, Alex looks back at eighties children's drama, The Baker Street Boys...
The BBC's contemporary take on Arthur Conan Doyle's short stories has made Sherlock the most popular television drama series in many years. Benedict Cumberbatch has made Sherlock his own, his approach to the role as radical for the current era as the late, great Jeremy Brett's was a generation ago. Martin Freeman has banished our memories of his role as Tim Canterbury in Ricky Gervais and Stephen Merchant's The Office, with his wonderful re-assessment of Dr John Watson. The corporation is making the most of the Conan Doyle franchise. After from two rather lacklustre yuletide cases, firstly with Richard Roxburgh in 2002 then Rupert Everett in 2004; they finally have a hit on their hands. The benchmark hitherto has always been Granada Television...
Nostalgia ahoy! With Sherlock Holmes more popular than ever, Alex looks back at eighties children's drama, The Baker Street Boys...
The BBC's contemporary take on Arthur Conan Doyle's short stories has made Sherlock the most popular television drama series in many years. Benedict Cumberbatch has made Sherlock his own, his approach to the role as radical for the current era as the late, great Jeremy Brett's was a generation ago. Martin Freeman has banished our memories of his role as Tim Canterbury in Ricky Gervais and Stephen Merchant's The Office, with his wonderful re-assessment of Dr John Watson. The corporation is making the most of the Conan Doyle franchise. After from two rather lacklustre yuletide cases, firstly with Richard Roxburgh in 2002 then Rupert Everett in 2004; they finally have a hit on their hands. The benchmark hitherto has always been Granada Television...
- 2/18/2014
- by louisamellor
- Den of Geek
Mandarins are upset that the venerable story-clearance system failed to operate for the Nsa leaks. But they should value any kind of consensual arrangement with a free press
It's as English as Downton Abbey, and not much more invigorating either. The defence advisory (aka D notice) committee, founded in 1912 with all its attendant warning notices, has chugged along amiably through two world wars and the entirety of the cold war: a team of mandarins, chaired by the permanent secretary at the MoD, and a team of media nominees, meeting and chatting and keeping dodgy stuff under wraps. But now, somewhat ridiculously, the end may be nigh.
Jon Thompson, top dog for the MoD, has grown agitated through the Guardian's months of coverage of Snowden's Nsa documents (a story that wasn't referred to the committee or its secretary, Air Vice-Marshal Andrew Vallance, first). What's the use of a voluntary story-clearance system...
It's as English as Downton Abbey, and not much more invigorating either. The defence advisory (aka D notice) committee, founded in 1912 with all its attendant warning notices, has chugged along amiably through two world wars and the entirety of the cold war: a team of mandarins, chaired by the permanent secretary at the MoD, and a team of media nominees, meeting and chatting and keeping dodgy stuff under wraps. But now, somewhat ridiculously, the end may be nigh.
Jon Thompson, top dog for the MoD, has grown agitated through the Guardian's months of coverage of Snowden's Nsa documents (a story that wasn't referred to the committee or its secretary, Air Vice-Marshal Andrew Vallance, first). What's the use of a voluntary story-clearance system...
- 2/2/2014
- by Peter Preston
- The Guardian - Film News
It is time we saw films that show the evil perpetrated in the name of British empire
Over the weekend, at a sold-out screening in Brixton, I watched Steve McQueen's much-lauded 12 Years a Slave. Having read a lot about the film beforehand, I knew that it was going to be hard to watch but nothing prepared me for the skin-rending violence I was about to see. As the film finished and the credits started to roll I, like most of the audience, sat in complete silence, partly in reverence, partly due to revulsion, but glad that a film of this nature had finally been made by a black director.
Writing in the New Yorker, David Denby described 12 Years a Slave as "easily the greatest feature film ever made about American slavery". All across America the film is enabling a discussion about the horror of slavery. Many people have asked...
Over the weekend, at a sold-out screening in Brixton, I watched Steve McQueen's much-lauded 12 Years a Slave. Having read a lot about the film beforehand, I knew that it was going to be hard to watch but nothing prepared me for the skin-rending violence I was about to see. As the film finished and the credits started to roll I, like most of the audience, sat in complete silence, partly in reverence, partly due to revulsion, but glad that a film of this nature had finally been made by a black director.
Writing in the New Yorker, David Denby described 12 Years a Slave as "easily the greatest feature film ever made about American slavery". All across America the film is enabling a discussion about the horror of slavery. Many people have asked...
- 1/14/2014
- by Kele Okereke
- The Guardian - Film News
Homeland actor says he is hugely embarrassed that remark about 'over-the-top, fruity actor' was taken to refer to McKellen
The Homeland actor Damian Lewis has apologised to Sir Ian McKellen after saying he did not want to end up a "fruity actor" who is known for playing wizards.
Lewis, 42, admitted he was "hugely embarrassed" after McKellen, 74, who plays the wizard Gandalf in the Lord Of The Rings and The Hobbit films, responsed acerbically in the Radio Times.
Lewis issued a statement on Wednesday night, saying: "I am hugely embarrassed that comments of mine have been linked in a negative way to Sir Ian McKellen. I have always been, and continue to be, an enormous fan and admirer of Sir Ian's.
"He's one of the greats and one of the reasons I became an actor. My comment in the Guardian was a soundbite I've been giving since 1999 – it was a generic...
The Homeland actor Damian Lewis has apologised to Sir Ian McKellen after saying he did not want to end up a "fruity actor" who is known for playing wizards.
Lewis, 42, admitted he was "hugely embarrassed" after McKellen, 74, who plays the wizard Gandalf in the Lord Of The Rings and The Hobbit films, responsed acerbically in the Radio Times.
Lewis issued a statement on Wednesday night, saying: "I am hugely embarrassed that comments of mine have been linked in a negative way to Sir Ian McKellen. I have always been, and continue to be, an enormous fan and admirer of Sir Ian's.
"He's one of the greats and one of the reasons I became an actor. My comment in the Guardian was a soundbite I've been giving since 1999 – it was a generic...
- 12/12/2013
- The Guardian - Film News
Hobbit actor hits back at Homeland star, saying there's nothing wrong with playing wizards
Sir Ian McKellen has hit back at Damian Lewis after the Homeland star said he did not want to end up a "fruity actor" known for playing wizards.
McKellen, who reprises his role as Gandalf in the Hobbit sequel The Desolation of Smaug, said "no one needs to feel sorry for me" after Lewis alluded to his career as one of the reasons why he wanted to break out of the theatre.
Lewis, in a Guardian interview in October, said he worried in his 20s that he would be "one of these slightly over-the-top, fruity actors who would have an illustrious career on stage, but wouldn't start getting any kind of film work until I was 50 and then start playing wizards".
McKellen was forthright in his response but, like Lewis, declined to name names. "I wouldn't...
Sir Ian McKellen has hit back at Damian Lewis after the Homeland star said he did not want to end up a "fruity actor" known for playing wizards.
McKellen, who reprises his role as Gandalf in the Hobbit sequel The Desolation of Smaug, said "no one needs to feel sorry for me" after Lewis alluded to his career as one of the reasons why he wanted to break out of the theatre.
Lewis, in a Guardian interview in October, said he worried in his 20s that he would be "one of these slightly over-the-top, fruity actors who would have an illustrious career on stage, but wouldn't start getting any kind of film work until I was 50 and then start playing wizards".
McKellen was forthright in his response but, like Lewis, declined to name names. "I wouldn't...
- 12/10/2013
- by John Plunkett
- The Guardian - Film News
The Berlinale World Cinema Fund has awarded production and distribution funding of €165,000 ($223,000) to eight films.
The jury made their selection from 121 submissions from 43 countries and chose the following features:
Production funding
Los Hongos
Dir: Óscar Ruiz Navia (Colombia). Production: Burning Blue & Contravia Films, Colombia. Feature film.
Funding: €30,000.
Benjamín o el Planetario
Dir: Carlos Machado Quintela (Cuba). Production: Rizoma, Argentina. German partner: M-Appeal. Feature film.
Funding: €35,000.
Ejercicios de la Memoria
Dir: Paz Encina (Paraguay). Production: Autentika Film, Germany. Documentary.
Funding: €35,000.
Te Prometo Anarquía
Dir: Julio Hernández Cordón (Guatemala). Production: Interior 13, Mexico. Feature film.
Funding: €30,000.
In the Last Days of the City
Dir: Tamer El Said (Egypt). Production: Zero Production (Egypt). Documentary.
Funding: €20,000.
Distribution funding
Coming Forth by Day
Dir: Hala Lofty (Egypt). German distributor: Arsenal für Film und Videokunst e.V. Release in Germany: Nov 14, 2013.
Funding: €4,357.50.
Carne de Perro
Dir: Fernando Guzzoni (Chile). German distributor: déjà-vu film Ug. Release in Germany: Jan 23, 2014.
Funding: €5,000.
Workers
Dir: José Luís Valle...
The jury made their selection from 121 submissions from 43 countries and chose the following features:
Production funding
Los Hongos
Dir: Óscar Ruiz Navia (Colombia). Production: Burning Blue & Contravia Films, Colombia. Feature film.
Funding: €30,000.
Benjamín o el Planetario
Dir: Carlos Machado Quintela (Cuba). Production: Rizoma, Argentina. German partner: M-Appeal. Feature film.
Funding: €35,000.
Ejercicios de la Memoria
Dir: Paz Encina (Paraguay). Production: Autentika Film, Germany. Documentary.
Funding: €35,000.
Te Prometo Anarquía
Dir: Julio Hernández Cordón (Guatemala). Production: Interior 13, Mexico. Feature film.
Funding: €30,000.
In the Last Days of the City
Dir: Tamer El Said (Egypt). Production: Zero Production (Egypt). Documentary.
Funding: €20,000.
Distribution funding
Coming Forth by Day
Dir: Hala Lofty (Egypt). German distributor: Arsenal für Film und Videokunst e.V. Release in Germany: Nov 14, 2013.
Funding: €4,357.50.
Carne de Perro
Dir: Fernando Guzzoni (Chile). German distributor: déjà-vu film Ug. Release in Germany: Jan 23, 2014.
Funding: €5,000.
Workers
Dir: José Luís Valle...
- 11/19/2013
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
The Britain's Got Talent judge says she was attacked by an unnamed comic, 21st-century comics grapple with homosexuality, and David Brent realises his rock-god dreams
Not much to laugh about in today's top story, as Amanda Holden writes in her autobiography that she was once assaulted by "a famous comedian". The Britain's Got Talent judge claims she was cornered by the unnamed comic at a public event, during a period when she was patching up her marriage to Les Dennis after an affair with Men Behaving Badly star Neil Morrissey. "[Dennis and I] went to an event together," Holden writes, "and on my way back from the loo, I was cornered by a famous comedian, who tried to kiss me and put his hands in places they shouldn't have been. I was scared and tried to push him away … but he wasn't put off … My body went limp, and I just stood there...
Not much to laugh about in today's top story, as Amanda Holden writes in her autobiography that she was once assaulted by "a famous comedian". The Britain's Got Talent judge claims she was cornered by the unnamed comic at a public event, during a period when she was patching up her marriage to Les Dennis after an affair with Men Behaving Badly star Neil Morrissey. "[Dennis and I] went to an event together," Holden writes, "and on my way back from the loo, I was cornered by a famous comedian, who tried to kiss me and put his hands in places they shouldn't have been. I was scared and tried to push him away … but he wasn't put off … My body went limp, and I just stood there...
- 10/15/2013
- by Brian Logan
- The Guardian - Film News
Quai d’Orsay
Written by Christophe Blain and Abel Lanzac
Directed by Bertrand Tavernier
France, 2013
Promoted as a French comedy in the spirit of In The Loop and Veep, Quai d’Orsay is a very enjoyable watch, full of wit and fun. Based on the graphic novel of the same name written by Antonin Baudry (under the pseudonym Abel Lanzac) and based on his own experiences, the film follows a young politico (Raphael Personnaz) navigating his way as a speechwriter for the French foreign minister (Thierry Lhermitte). Nearly blindsided by the hurdles of his new position, Arthur Vlaminck (Personnaz) works through no to little guidance, some in-office saboteurs, and the slamming doors and blown away papers that mark the minister’s coming and going (to the chagrin of the office cat). For most of the film, Vlaminck is working on one very important speech, one that has him running around...
Written by Christophe Blain and Abel Lanzac
Directed by Bertrand Tavernier
France, 2013
Promoted as a French comedy in the spirit of In The Loop and Veep, Quai d’Orsay is a very enjoyable watch, full of wit and fun. Based on the graphic novel of the same name written by Antonin Baudry (under the pseudonym Abel Lanzac) and based on his own experiences, the film follows a young politico (Raphael Personnaz) navigating his way as a speechwriter for the French foreign minister (Thierry Lhermitte). Nearly blindsided by the hurdles of his new position, Arthur Vlaminck (Personnaz) works through no to little guidance, some in-office saboteurs, and the slamming doors and blown away papers that mark the minister’s coming and going (to the chagrin of the office cat). For most of the film, Vlaminck is working on one very important speech, one that has him running around...
- 9/20/2013
- by Diana Drumm
- SoundOnSight
On August 29th in Poland's largest Art-house Cinema Nowe Horyzonty, the hard work and effort of the first class of Sofa, a program that serves as a fast-track school for film agents, came to fruition as they presented their work to a panel of distinguished industry experts. Among the class-lectures were Claudia Dillmann (German Film Institute), Marion Döring (European Film Academy), Karel Och (Karlovy Vary International Film Festival) and Katriel Schory (Israel Film Fund) and tutors Oliver Baumgarten (Filmplus) and Ewa Puszczynska (Opus Film), who shared their knowledge and challenged the participants from Central and Eastern Europe, the Caucasus, and Central Asia.
The multicultural atmosphere provided for an eclectic array of views that was helpful to discuss the sociocultural factors that play into the success of a film. It is evident that the underdeveloped film industries and markets in many of these countries contribute to the difficulty to create a product that is well-received at home as well as in the international film festival scene, in which many of the art-house films perform satisfactorily. At Sofa, the participants expressed the need for alternative distribution on the big screen for these films and developing interest in a new audience of younger viewers to sustain the industry for years to come.
This a unique workshop initiative that provides interdisciplinary and intercultural knowledge exchange at eye level, some of the projects discussed during the program are already closer to become realities due to the fantastic intercultural exchange and networking opportunities it presents its participants with, "We are particularly pleased that in these two weeks transnational cooperations have emerged, contributing to the strength of the projects and underlining their importance for the international cinema culture" - said initiator Nikolaj Nikitin.
This incredibly hands-on opportunity will will be held again in Wroclaw next year. Projects for the second edition can be submitted from now on.
Sofa is a project of Filmplus Ug, in cooperation with the City of Wroclaw, the Polish Film Institute and the New Horizons Association, funded by the Northern Dimension Partnership on Culture, the Foundation for Polish-German Cooperation, the International Visegrad Fund, the Foreign Office, the Film- und Medienstiftung Nrw, Media Desk Poland andGoethe- Institute Krakow, and supported by the Adam-Mickiewicz-Institute, the Goethe-Institute Georgia, the Goethe-Institute Hungary, the Goethe-Institute Romania, the Cinema Development Foundation, the Film Commission Poland, the Wroclaw Film Commission and the German Consul General in Wroclaw.
For more information on Sofa click Here...
The multicultural atmosphere provided for an eclectic array of views that was helpful to discuss the sociocultural factors that play into the success of a film. It is evident that the underdeveloped film industries and markets in many of these countries contribute to the difficulty to create a product that is well-received at home as well as in the international film festival scene, in which many of the art-house films perform satisfactorily. At Sofa, the participants expressed the need for alternative distribution on the big screen for these films and developing interest in a new audience of younger viewers to sustain the industry for years to come.
This a unique workshop initiative that provides interdisciplinary and intercultural knowledge exchange at eye level, some of the projects discussed during the program are already closer to become realities due to the fantastic intercultural exchange and networking opportunities it presents its participants with, "We are particularly pleased that in these two weeks transnational cooperations have emerged, contributing to the strength of the projects and underlining their importance for the international cinema culture" - said initiator Nikolaj Nikitin.
This incredibly hands-on opportunity will will be held again in Wroclaw next year. Projects for the second edition can be submitted from now on.
Sofa is a project of Filmplus Ug, in cooperation with the City of Wroclaw, the Polish Film Institute and the New Horizons Association, funded by the Northern Dimension Partnership on Culture, the Foundation for Polish-German Cooperation, the International Visegrad Fund, the Foreign Office, the Film- und Medienstiftung Nrw, Media Desk Poland andGoethe- Institute Krakow, and supported by the Adam-Mickiewicz-Institute, the Goethe-Institute Georgia, the Goethe-Institute Hungary, the Goethe-Institute Romania, the Cinema Development Foundation, the Film Commission Poland, the Wroclaw Film Commission and the German Consul General in Wroclaw.
For more information on Sofa click Here...
- 9/16/2013
- by Carlos Aguilar
- Sydney's Buzz
New York, August 28: When you travel abroad you have to be careful of certain laws or customs, which may sound although peculiar, that the country they are visiting have implemented.
British Foreign Office has warned travellers that seemingly harmless acts could result in arrest, the New York Post reported.
In Venice it's against the law to feed pigeons.
While in Japan it's illegal to carry commonly available nasal sprays that have pseudoephedrine in them into the country.
In Barcelona it is against the law to don a bikini, swimming trunks or go bare-chested away from the beach front area of the city.
It is an offence to dress in camouflage clothing in Barbados.
Whereas in Nigeria, it's illegal.
British Foreign Office has warned travellers that seemingly harmless acts could result in arrest, the New York Post reported.
In Venice it's against the law to feed pigeons.
While in Japan it's illegal to carry commonly available nasal sprays that have pseudoephedrine in them into the country.
In Barcelona it is against the law to don a bikini, swimming trunks or go bare-chested away from the beach front area of the city.
It is an offence to dress in camouflage clothing in Barbados.
Whereas in Nigeria, it's illegal.
- 8/28/2013
- by Shiva Prakash
- RealBollywood.com
It turns out the golden age of Hollywood wasn't so bright after all. A nefarious side of Hollywood's history has been unveiled in the new book "The Collaboration: Hollywood's Pact With Hitler," which explores the U.S. movie industry's apparent contentious dealings with Nazi Germany during the 1930s.
The book's author, Harvard post-doctoral fellow Ben Urwand, combed through archival documents that reportedly uncover negotiations between the two entities. The Hollywood Reporter notes that "collaboration" is a word that appears repeatedly throughout the correspondence, which details agreements to mitigate any unfavorable depictions of Germany or the Nazi Party in American movies. The studios felt compliance was needed because at the time Germany offered the second largest film market in the world and threatened to exclude American films that clashed with Nazi ideology.
Hollywood studios reportedly ran scripts and even finished movies past German officials for approval, according to Urwand's research. Movies...
The book's author, Harvard post-doctoral fellow Ben Urwand, combed through archival documents that reportedly uncover negotiations between the two entities. The Hollywood Reporter notes that "collaboration" is a word that appears repeatedly throughout the correspondence, which details agreements to mitigate any unfavorable depictions of Germany or the Nazi Party in American movies. The studios felt compliance was needed because at the time Germany offered the second largest film market in the world and threatened to exclude American films that clashed with Nazi ideology.
Hollywood studios reportedly ran scripts and even finished movies past German officials for approval, according to Urwand's research. Movies...
- 8/1/2013
- by Matthew Jacobs
- Huffington Post
The first School of Film Agents (Sofa) will run in Wroclaw from August 19 -30.
Young film professionals from Central and Eastern Europe, Central Asia, the republics of Caucasus and Germany are being invited to Wroclaw in Poland for a two-week workshop.
It marks the first School of Film Agents (Sofa) and will run from August 19 -30, initiated by Nikolaj Nikitin, the Berlinale’s pre-selector for Eastern Europe.
Sofa provides residency and intensive workshops enabling ten young film agents to develop a tailor-made concept and financing plan for their particular project - individually and intensively accompanied by the experts’ feedback.
It is designed for curators, festival organizers, distributors and cinema operators – “film mediators“ - who actively contribute to the sustainable noticeability of film and cinema in their respective home country.
“Sofa is a unique institution which strongly and sustainably supports diversity and freedom of the arts”, says Nikitin.
Possible projects which participants submitted for selection include film festivals...
Young film professionals from Central and Eastern Europe, Central Asia, the republics of Caucasus and Germany are being invited to Wroclaw in Poland for a two-week workshop.
It marks the first School of Film Agents (Sofa) and will run from August 19 -30, initiated by Nikolaj Nikitin, the Berlinale’s pre-selector for Eastern Europe.
Sofa provides residency and intensive workshops enabling ten young film agents to develop a tailor-made concept and financing plan for their particular project - individually and intensively accompanied by the experts’ feedback.
It is designed for curators, festival organizers, distributors and cinema operators – “film mediators“ - who actively contribute to the sustainable noticeability of film and cinema in their respective home country.
“Sofa is a unique institution which strongly and sustainably supports diversity and freedom of the arts”, says Nikitin.
Possible projects which participants submitted for selection include film festivals...
- 7/3/2013
- by vladan.petkovic@gmail.com (Vladan Petkovic)
- ScreenDaily
The Berlinale World Cinema Fund has awarded 5 projects a total of $200,000 (€154,300) in its latest round of funding. The World Cinema Fund is an initiative of the German Federal Cultural Foundation and the Berlin International Film Festival, funded by the Federal Government Commissioner for Culture and the Media, in cooperation with the Goethe Institut, with the support of the Federal Foreign Office. Since its establishment in October 2004, the Wcf has granted production or distribution backing to a total of 111 projects, selected from 2,011 submissions from Africa, Latin America, the Middle East, Central and Southeast Asia, and the Caucasus. All of the Wcf films...
- 7/2/2013
- by Tambay A. Obenson
- ShadowAndAct
The Berlinale World Cinema Fund has awarded five projects a total of $200,000 (€154,300) in its latest round of funding.
A total of 130 submissions were made from 48 countries. The jury for the 18th session comprised film scholar and curator Viola Shafik (Germany/Egypt), documentary film producer Marta Andreu (Spain), distributor and producer Jan De Clercq (Belgium), and Wcf project managers Sonja Heinen and Vincenzo Bugno.
The projects to receive production funding were:
Sin Título
Director: Lisandro Alonso (Argentina)Production: 4L, ArgentinaFunding: €50,000
Big Father, Small Father and Other Stories
Director: Di Phan Dang (Vietnam)Production: VBlock Media, VietnamFunding: €40,000
Pelo Malo
Director: Mariana Rondón (Venezuela)Production: Sudaca Films, VenezuelaFunding: €30,000
The Valley
Director: Ghassan Salhab (Lebanon)Production: unafilms, GermanyFunding: €30,000
The project to receive distribution funding was:
Fidai
Director: Damien Ounouri (Algeria).Distributor: mec filmRelease in Germany: May 13, 2013.Funding: €4,300
The World Cinema Fund is an initiative of the German Federal Cultural Foundation and the Berlin International Film Festival, funded by the...
A total of 130 submissions were made from 48 countries. The jury for the 18th session comprised film scholar and curator Viola Shafik (Germany/Egypt), documentary film producer Marta Andreu (Spain), distributor and producer Jan De Clercq (Belgium), and Wcf project managers Sonja Heinen and Vincenzo Bugno.
The projects to receive production funding were:
Sin Título
Director: Lisandro Alonso (Argentina)Production: 4L, ArgentinaFunding: €50,000
Big Father, Small Father and Other Stories
Director: Di Phan Dang (Vietnam)Production: VBlock Media, VietnamFunding: €40,000
Pelo Malo
Director: Mariana Rondón (Venezuela)Production: Sudaca Films, VenezuelaFunding: €30,000
The Valley
Director: Ghassan Salhab (Lebanon)Production: unafilms, GermanyFunding: €30,000
The project to receive distribution funding was:
Fidai
Director: Damien Ounouri (Algeria).Distributor: mec filmRelease in Germany: May 13, 2013.Funding: €4,300
The World Cinema Fund is an initiative of the German Federal Cultural Foundation and the Berlin International Film Festival, funded by the...
- 7/2/2013
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Thomas Clay, director of 2008 film Soi Cowboy, pays tribute to 33-year-old as 'my closest colleague and best friend'
Members of the British film industry have paid tribute to Joseph Lang, who has died in Vietnam at the age of 33. The writer and producer was found dead on Monday outside a medical centre in Ho Chi Minh City. The cause of death is not yet known and Lang's Sussex-based family are awaiting the results of a post-mortem examination.
Lang's credits include the 2008 film Soi Cowboy, directed by Thomas Clay, described by the Guardian film critic Peter Bradshaw as "a thoughtful and disquieting poetic meditation on the Thai experience of globalisation and its complex relationship with foreigners".
He also co-wrote and produced Clay's controversial 2005 feature The Great Ecstasy of Robert Carmichael, which starred Danny Dyer and Lesley Manville. The film, about three teenagers' drug-fuelled descent into violence in the seaside town of Newhaven,...
Members of the British film industry have paid tribute to Joseph Lang, who has died in Vietnam at the age of 33. The writer and producer was found dead on Monday outside a medical centre in Ho Chi Minh City. The cause of death is not yet known and Lang's Sussex-based family are awaiting the results of a post-mortem examination.
Lang's credits include the 2008 film Soi Cowboy, directed by Thomas Clay, described by the Guardian film critic Peter Bradshaw as "a thoughtful and disquieting poetic meditation on the Thai experience of globalisation and its complex relationship with foreigners".
He also co-wrote and produced Clay's controversial 2005 feature The Great Ecstasy of Robert Carmichael, which starred Danny Dyer and Lesley Manville. The film, about three teenagers' drug-fuelled descent into violence in the seaside town of Newhaven,...
- 6/28/2013
- by Toby Chasseaud
- The Guardian - Film News
David Cameron could act to bring UK territories into line on offshore investments but he's in thrall to powerful City players
The British media is now in moving-on mode on the issue of tax havens. It would do well to pause, be less excitable about the pantomime of brand shaming and actually examine the depth to which tax havenry is hardwired into our economic model and columns of state.
Among the millions of column inches generated in the past two years on this issue, three words you will not find in sequential order are "City of London". Extraordinary, when one considers the critical advantage our tax haven network offers the preponderance of offshore lawyers and accountants that cluster the Square Mile, siphoning off the rewards of capital flight. And that network that is growing, not receding.
Back in 2008, in the epicentre of the financial crisis, the City of London – mindful...
The British media is now in moving-on mode on the issue of tax havens. It would do well to pause, be less excitable about the pantomime of brand shaming and actually examine the depth to which tax havenry is hardwired into our economic model and columns of state.
Among the millions of column inches generated in the past two years on this issue, three words you will not find in sequential order are "City of London". Extraordinary, when one considers the critical advantage our tax haven network offers the preponderance of offshore lawyers and accountants that cluster the Square Mile, siphoning off the rewards of capital flight. And that network that is growing, not receding.
Back in 2008, in the epicentre of the financial crisis, the City of London – mindful...
- 6/26/2013
- by Mark Donne
- The Guardian - Film News
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