Screen speaks to up-and-coming producers from Serbia, Greece, Georgia, Turkey and Bulgaria.
Sarajevo Film Festival’s CineLink industry programme is in full flow. Below, Screen highlights five emerging producers from the region who are making waves.
Nataša Damnjanović (Serbia)
Serbian producer Nataša Damnjanović (pictured, top) started out as an editor, and since she founded the production company Dart Film together with Vladimir Vidić in 2006, she is still doing the editing on most of their films as well.
Damnjanović trained at Sarajevo and Berlinale Talents, Torino FilmLab and Eave, and first produced Nikola Ljuca’s short Sergeant in 2010 (which competed at Tampere), as well three shorts by Dane Komljen - A Surplus of Wind (2014), Our Body (2015), and All Still Orbit (2016), which screened at Locarno, Rotterdam, and Sarajevo.
Ljuca’s first feature Humidity world-premiered in Berlinale’s Forum in 2016 and won four national Serbian awards, including best film and best director. The same year, Komljen’s debut...
Sarajevo Film Festival’s CineLink industry programme is in full flow. Below, Screen highlights five emerging producers from the region who are making waves.
Nataša Damnjanović (Serbia)
Serbian producer Nataša Damnjanović (pictured, top) started out as an editor, and since she founded the production company Dart Film together with Vladimir Vidić in 2006, she is still doing the editing on most of their films as well.
Damnjanović trained at Sarajevo and Berlinale Talents, Torino FilmLab and Eave, and first produced Nikola Ljuca’s short Sergeant in 2010 (which competed at Tampere), as well three shorts by Dane Komljen - A Surplus of Wind (2014), Our Body (2015), and All Still Orbit (2016), which screened at Locarno, Rotterdam, and Sarajevo.
Ljuca’s first feature Humidity world-premiered in Berlinale’s Forum in 2016 and won four national Serbian awards, including best film and best director. The same year, Komljen’s debut...
- 8/17/2017
- by vladan.petkovic@gmail.com (Vladan Petkovic)
- ScreenDaily
Screen speaks to up-and-coming producers from Serbia, Greece, Georgia, Turkey and Bulgaria.
Sarajevo Film Festival’s CineLink industry programme is in full flow. Below, Screen highlights five emerging producers from the region who are making waves.
Nataša Damnjanović (Serbia)
Serbian producer Nataša Damnjanović (pictured, top) started out as an editor, and since she founded the production company Dart Film together with Vladimir Vidić in 2006, she is still doing the editing on most of their films as well.
Damnjanović trained at Sarajevo and Berlinale Talents, Torino FilmLab and Eave, and first produced Nikola Ljuca’s short Sergeant in 2010 (which competed at Tampere), as well three shorts by Dane Komljen - A Surplus of Wind (2014), Our Body (2015), and All Still Orbit (2016), which screened at Locarno, Rotterdam, and Sarajevo.
Ljuca’s first feature Humidity world-premiered in Berlinale’s Forum in 2016 and won four national Serbian awards, including best film and best director. The same year, Komljen’s debut...
Sarajevo Film Festival’s CineLink industry programme is in full flow. Below, Screen highlights five emerging producers from the region who are making waves.
Nataša Damnjanović (Serbia)
Serbian producer Nataša Damnjanović (pictured, top) started out as an editor, and since she founded the production company Dart Film together with Vladimir Vidić in 2006, she is still doing the editing on most of their films as well.
Damnjanović trained at Sarajevo and Berlinale Talents, Torino FilmLab and Eave, and first produced Nikola Ljuca’s short Sergeant in 2010 (which competed at Tampere), as well three shorts by Dane Komljen - A Surplus of Wind (2014), Our Body (2015), and All Still Orbit (2016), which screened at Locarno, Rotterdam, and Sarajevo.
Ljuca’s first feature Humidity world-premiered in Berlinale’s Forum in 2016 and won four national Serbian awards, including best film and best director. The same year, Komljen’s debut...
- 8/17/2017
- by vladan.petkovic@gmail.com (Vladan Petkovic)
- ScreenDaily
As the Sarajevo Film Festival gets underway, Screen considers the regional funding landscape.
Film funds and national agencies in Southeastern Europe are more prevalent than at any point since the breakup of Yugoslavia in the 1990s.
However, while there is growing trust among filmmakers and producers that public funding for their projects is accessible - if not abundant - structural and political challenges still abound.
Below, Screen considers the public funding landscape across the Balkans.
Croatia
For five years the Croatian Audiovisual Fund (Havc) was a shining example of a well-organised and appreciated institution in the region. In the last year, however, the organisation has experienced turbulent change and political interference, which resulted in CEO Hrvoje Hribar resigning in May.
Things are slowly getting back on track under new director Daniel Rafaelić, despite a recent dispute over funding for a Swiss documentary.
“Our greatest challenge at the moment is a further stabilisation and normal functioning of Havc...
Film funds and national agencies in Southeastern Europe are more prevalent than at any point since the breakup of Yugoslavia in the 1990s.
However, while there is growing trust among filmmakers and producers that public funding for their projects is accessible - if not abundant - structural and political challenges still abound.
Below, Screen considers the public funding landscape across the Balkans.
Croatia
For five years the Croatian Audiovisual Fund (Havc) was a shining example of a well-organised and appreciated institution in the region. In the last year, however, the organisation has experienced turbulent change and political interference, which resulted in CEO Hrvoje Hribar resigning in May.
Things are slowly getting back on track under new director Daniel Rafaelić, despite a recent dispute over funding for a Swiss documentary.
“Our greatest challenge at the moment is a further stabilisation and normal functioning of Havc...
- 8/15/2017
- by vladan.petkovic@gmail.com (Vladan Petkovic)
- ScreenDaily
Seven films in early development have been selected for the co-pro market.Scroll down for full details of the projects
CineLink, the industry section of Sarajevo Film Festival (August 11-18), has revealed the first seven projects that will travel to this year’s co-production market.
The films are all in early stages of development and will participate in a preparatory workshop with the CineLink team ahead of being involved in the festival’s Industry Days, which run August 12-17 this year.
All seven of the projects come from the south-eastern European region and will form part of a 35-strong CineLink selection come August.
The initial crop include new films from the directors of Sundance 2014 premiere Viktoria, Locarno 2016 premiere All The Cities Of The North, and the first feature from the star of Dogtooth.
Jovan Marjanovic, head of industry at Sarajevo Film Festival commented: “Come August we will have discovered over 35 projects of different film forms and in...
CineLink, the industry section of Sarajevo Film Festival (August 11-18), has revealed the first seven projects that will travel to this year’s co-production market.
The films are all in early stages of development and will participate in a preparatory workshop with the CineLink team ahead of being involved in the festival’s Industry Days, which run August 12-17 this year.
All seven of the projects come from the south-eastern European region and will form part of a 35-strong CineLink selection come August.
The initial crop include new films from the directors of Sundance 2014 premiere Viktoria, Locarno 2016 premiere All The Cities Of The North, and the first feature from the star of Dogtooth.
Jovan Marjanovic, head of industry at Sarajevo Film Festival commented: “Come August we will have discovered over 35 projects of different film forms and in...
- 3/21/2017
- by tom.grater@screendaily.com (Tom Grater)
- ScreenDaily
Contrary to the alarmist accounts that cinema as an art form is agonizing and nearing the end of its relevance, 2016 sent a clear message stating that sequels, rehashed ideas, and spinoffs, deserved to be axed and replaced with new concepts — even if that means less billion-dollar tent poles per year. Of course, independent and international films are the heroes that continue to reignite audiences passion for the medium, though most of them struggle to achieve the financial success they deserve.
Cinema is far from dead, and that’s obvious if one is looking away from the star-studded formulaic products and into the land of unknown, subtitled, or thematically challenging content. Latin American films had an enviable year that include an Oscar nomination, presence at all world-class festivals, and success finding distribution in the Us and numerous markets. Animated crafted outside of studio constraints took narrative risks unseen previously and demonstrated...
Cinema is far from dead, and that’s obvious if one is looking away from the star-studded formulaic products and into the land of unknown, subtitled, or thematically challenging content. Latin American films had an enviable year that include an Oscar nomination, presence at all world-class festivals, and success finding distribution in the Us and numerous markets. Animated crafted outside of studio constraints took narrative risks unseen previously and demonstrated...
- 12/30/2016
- by Carlos Aguilar
- Sydney's Buzz
Every week, IndieWire asks a select handful of film and TV critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)
Warning: This article reveals critical plot plots from “Rogue One: A Star Wars Story.”
Of all the surprises seen in “Rogue One,” none was more unexpected — or more divisive — than the return of Grand Moff Tarkin, whose presence might have been less of a shock if actor Peter Cushing hadn’t died in 1994.
While this isn’t the first time that a movie has used technology to bring someone back from the grave, the prominence of Tarkin’s role in “Rogue One” has rekindled the debate over digitally manipulating deceased performers. For this week’s survey, we asked our panel of critics a question (or two...
Warning: This article reveals critical plot plots from “Rogue One: A Star Wars Story.”
Of all the surprises seen in “Rogue One,” none was more unexpected — or more divisive — than the return of Grand Moff Tarkin, whose presence might have been less of a shock if actor Peter Cushing hadn’t died in 1994.
While this isn’t the first time that a movie has used technology to bring someone back from the grave, the prominence of Tarkin’s role in “Rogue One” has rekindled the debate over digitally manipulating deceased performers. For this week’s survey, we asked our panel of critics a question (or two...
- 12/19/2016
- by David Ehrlich
- Indiewire
Ralitza Petrova, an emerging filmmaker from Bulgaria, unveiled her powerful debut outing Godless recently at the Locarno Film Festival, where she ended up standing in the spotlight and holding the Golden Leopard award. She thus joined the ranks of talented newcomers initiating a curiosity of future prospect of their careers and how their body of work will eventually evolve. Two years ago, Maya Vitkova, another Bulgarian debutant, appeared on the festival circuit introducing her surprisingly ripe feature-length debut Viktoria. Vitkova touched upon a myriad of subjects related to motherhood and raising a child in a totalitarian state, recalling the not so distant past of Bulgaria. Petrova follows in Vitkova's footsteps in terms of subject matter, while displaying exceptional talent, vision and personal style. Similarly to Vitkova,...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 9/13/2016
- Screen Anarchy
Titles include Molly from British director Sally Potter (Ginger & Rosa) [pictured].Scroll down for full line-up
The 12 projects that will make up this year’s Holland Film Meeting Co-Production Platform (Sept 22-25) have been revealed and include titles from the UK, France and Germany among others.
Filmmakers this year include British filmmaker Sally Potter who will present her latest project, Molly.
Potter’s films include Oscar-nominated Orlando (1992), starring Tilda Swinton; Rage, which competed for Berlin’s Golden Bear in 2009; and her most recent feature, Ginger & Rosa (2012), which screened at Toronto and Iffr among other festivals.
Bulgaria’s Maya Vitkova is back at Hfm with upcoming project Love, following the success of her previous film Viktoria, which played in competition at Sundance and Iffr.
Serbian director Nikola Ležaić will present The Religion of Night Walks, his second feature length work after Tilva Ros, which was selected for Locarno and won the top prize at Sarajevo in 2010.
From Sweden, [link...
The 12 projects that will make up this year’s Holland Film Meeting Co-Production Platform (Sept 22-25) have been revealed and include titles from the UK, France and Germany among others.
Filmmakers this year include British filmmaker Sally Potter who will present her latest project, Molly.
Potter’s films include Oscar-nominated Orlando (1992), starring Tilda Swinton; Rage, which competed for Berlin’s Golden Bear in 2009; and her most recent feature, Ginger & Rosa (2012), which screened at Toronto and Iffr among other festivals.
Bulgaria’s Maya Vitkova is back at Hfm with upcoming project Love, following the success of her previous film Viktoria, which played in competition at Sundance and Iffr.
Serbian director Nikola Ležaić will present The Religion of Night Walks, his second feature length work after Tilva Ros, which was selected for Locarno and won the top prize at Sarajevo in 2010.
From Sweden, [link...
- 8/29/2016
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Clocking in at 155 minutes, Viktoria is as narratively ambitious as debut feature films come. The first picture from director Maya Vitkova, Viktoria is a lengthy and admittedly dense drama, but one that is both audacious in its length, and also decidedly boundary pushing in its subject matter.
Set in Bulgaria during the fall of the communist regime and birth of its democratic system, Viktova’s film at first introduces us to a woman named Boryana (played by the brazenly magnetic Irmena Chichikova) who, through sparse dialogue and even more sparse direction, reveals that she is at once both politically antagonistic towards her ruling government and also pregnant with a child she doesn’t want to have. With dreams of leaving her sterile life in the arms of a country she despises and a husband who is nothing but a crony for that very government, she tries everything in her power to end the pregnancy, only to birth a child of absolute wonder. Born without a belly button, her daughter Viktoria becomes the “Child of the Century,” and ultimately a piece of propaganda for the government, receiving gift after gift from the country.
Throughout this portion of the narrative, and ultimately the film as a whole, Vitkova intersperses both archival footage timestamping the narrative as well as bursts of stark surrealism into what is an almost Dardenne-esque bit of neo-realism. Very much rooted in the type of cinema coming out of Bulgaria’s neighbor to the north, Romania, Vitkova’s direction is dry and static, making these brief punches of surrealism create a world that is at once naturalistic and lived in at yet oozing satirical otherworldliness. A nightmarish segment like the moment in which Viktoria is named Child of the Century, set in a blindingly white hospital room with groups of doctors and government stooges splitting the frame, make the film seem almost Lynchian when paired up against the quiet realism of the previous segments.
When Boryana’s mother arrives on the scene, played wonderfully by Mariana Krumova, the film evolves from strict political satire into something much more ambitious. This picture is as much about a nation on the brink as it is the place of women in Bulgarian society and ultimately the film becomes a familial drama about deep-seeded pains. The lengthy runtime here ultimately hints the viewer into what is a scatterbrained meditation on life in Bulgaria, but with Vitkova’s eyes squarely on the feminine experience this is a singular piece of work. And thankfully, the performances help elevate the material as well.
Chichikova holds much of the film’s weight upon her shoulders, and is more than capable. As the film evolves we begin to unravel layer after layer of Boryana, and discover that she’s more than just a political dissident. Deeply troubled by a less than stellar upbringing as the film goes into length about, Boryana is a character full of nuance and Chichikova’s performance feels completely lived in and coming out of a place of truth and emotional texture. Daria Vitkova is great as Viktoria, and Krumova is a real revelation as Dima, with her moments with Chichikova’s Boryana being really stand out sequences. Vitkova’s turn as Viktoria is a powerfully nuanced turn for such a young actress, and there’s something to her characterization of Viktoria that feels entirely real and raw.
While the film’s run time will absolutely leave some viewers at a pause, this is just the type of quiet, emotionally resonant bit of world cinema counter programming that people will be craving as we head into the summer film season. Marking the debut of a new and singular voice on the world cinema stage (aided by Krum Rodriguez’s brilliant, award-worthy cinematography), Viktoria is an audacious, admittedly scattershot, drama about everything from Bulgaria politics to the female body. While it might not all work, the world would be a far better place if more young directors were this ambitious.
Set in Bulgaria during the fall of the communist regime and birth of its democratic system, Viktova’s film at first introduces us to a woman named Boryana (played by the brazenly magnetic Irmena Chichikova) who, through sparse dialogue and even more sparse direction, reveals that she is at once both politically antagonistic towards her ruling government and also pregnant with a child she doesn’t want to have. With dreams of leaving her sterile life in the arms of a country she despises and a husband who is nothing but a crony for that very government, she tries everything in her power to end the pregnancy, only to birth a child of absolute wonder. Born without a belly button, her daughter Viktoria becomes the “Child of the Century,” and ultimately a piece of propaganda for the government, receiving gift after gift from the country.
Throughout this portion of the narrative, and ultimately the film as a whole, Vitkova intersperses both archival footage timestamping the narrative as well as bursts of stark surrealism into what is an almost Dardenne-esque bit of neo-realism. Very much rooted in the type of cinema coming out of Bulgaria’s neighbor to the north, Romania, Vitkova’s direction is dry and static, making these brief punches of surrealism create a world that is at once naturalistic and lived in at yet oozing satirical otherworldliness. A nightmarish segment like the moment in which Viktoria is named Child of the Century, set in a blindingly white hospital room with groups of doctors and government stooges splitting the frame, make the film seem almost Lynchian when paired up against the quiet realism of the previous segments.
When Boryana’s mother arrives on the scene, played wonderfully by Mariana Krumova, the film evolves from strict political satire into something much more ambitious. This picture is as much about a nation on the brink as it is the place of women in Bulgarian society and ultimately the film becomes a familial drama about deep-seeded pains. The lengthy runtime here ultimately hints the viewer into what is a scatterbrained meditation on life in Bulgaria, but with Vitkova’s eyes squarely on the feminine experience this is a singular piece of work. And thankfully, the performances help elevate the material as well.
Chichikova holds much of the film’s weight upon her shoulders, and is more than capable. As the film evolves we begin to unravel layer after layer of Boryana, and discover that she’s more than just a political dissident. Deeply troubled by a less than stellar upbringing as the film goes into length about, Boryana is a character full of nuance and Chichikova’s performance feels completely lived in and coming out of a place of truth and emotional texture. Daria Vitkova is great as Viktoria, and Krumova is a real revelation as Dima, with her moments with Chichikova’s Boryana being really stand out sequences. Vitkova’s turn as Viktoria is a powerfully nuanced turn for such a young actress, and there’s something to her characterization of Viktoria that feels entirely real and raw.
While the film’s run time will absolutely leave some viewers at a pause, this is just the type of quiet, emotionally resonant bit of world cinema counter programming that people will be craving as we head into the summer film season. Marking the debut of a new and singular voice on the world cinema stage (aided by Krum Rodriguez’s brilliant, award-worthy cinematography), Viktoria is an audacious, admittedly scattershot, drama about everything from Bulgaria politics to the female body. While it might not all work, the world would be a far better place if more young directors were this ambitious.
- 4/29/2016
- by Joshua Brunsting
- CriterionCast
There is little navel-gazing in writer/director/co-producer Maya Vitkova’s Viktoria, in spite of the film’s specific focus and autobiographical elements. In fact, there is no navel at all on its principal protagonist, the young Viktoria (Daria Vitkova as a small child, Kalina Vitkova as a preteen and teenager, both nieces of the filmmaker). She is born in Bulgaria in 1979 without bellybutton or umbilical cord. Her birth falls on the anniversary of the Socialist Revolution, a pretext for the politically motivated anointment of the “Baby of the Decade” and adulation by the general population, at least until their system buckles. “We […]...
- 4/29/2016
- by Howard Feinstein
- Filmmaker Magazine - Blog
Milk of Sorrow: Motherhood and Metaphors Structure Vitkova’s Somber Debut
Using intergenerational familial dilemmas to convey significant historical upheaval is certainly nothing new to fiction or cinema, but a growing global trend of female perspective offerings finds a new forerunner with Maya Vitkova’s directorial debut, Viktoria, credited as the second Bulgarian feature in the past thirty years to receive Us distribution (the first being Kristina Grozeva and Petar Valchanov’s The Lesson, which opened in New York City a year ago).
Continue reading...
Using intergenerational familial dilemmas to convey significant historical upheaval is certainly nothing new to fiction or cinema, but a growing global trend of female perspective offerings finds a new forerunner with Maya Vitkova’s directorial debut, Viktoria, credited as the second Bulgarian feature in the past thirty years to receive Us distribution (the first being Kristina Grozeva and Petar Valchanov’s The Lesson, which opened in New York City a year ago).
Continue reading...
- 4/27/2016
- by Nicholas Bell
- IONCINEMA.com
Loosely based on a stranger than fiction story of a Bulgarian baby born without a belly button and umbilical cord, the expansive Viktoria is part-political allegory, part-coming of age psychodrama, and part-graphically sensual ode to the experiences of women. Set in the decade before the impending collapse of the socialist regime and the ensuing decade after, Maya Vitkova’s debut looks at the internal effects of an oppressive environment on the lives of three generations of women.
In one of many enigmatic storytelling touches, Viktoria painstakingly marks the time periods, opening with a long sequence establishing the political status quo through archival footage, but it belies the true intentions of the movie, which are less engaged with the intimate details of these periods of government and more interested in probing how these fluid governments influence individuals on a psychological level.
For nearly the first forty five minutes, Viktoria centers only...
In one of many enigmatic storytelling touches, Viktoria painstakingly marks the time periods, opening with a long sequence establishing the political status quo through archival footage, but it belies the true intentions of the movie, which are less engaged with the intimate details of these periods of government and more interested in probing how these fluid governments influence individuals on a psychological level.
For nearly the first forty five minutes, Viktoria centers only...
- 4/27/2016
- by Michael Snydel
- The Film Stage
Despite the longer-than-normal gap between its premiere and U.S. release, Viktoria hasn’t been wanting for good buzz. Advance praise for the Bulgarian drama has been high since 2014’s Sundance, during which time writer-director Maya Vitkova was commended for her daring mixture of tones, approaches, ideas, and scales, through these creating what is perhaps one of the definitive films about the Soviet Union’s destruction.
And now it’s coming to the U.S. in a limited release — which, of course, means there is a domestic trailer to gaze over. Fear not: this seems to give away nothing of the plot or incidents, instead allowing one to enjoy some of Vitkova’s much-praised imagery. If it’s indicative of the final result, Viktoria might prove an out-of-left-field stunner.
See the preview below:
Synopsis:
Maya Vitkova’s stunning debut feature Viktoria, which had its World Premiere at the Sundance Film Festival last year,...
And now it’s coming to the U.S. in a limited release — which, of course, means there is a domestic trailer to gaze over. Fear not: this seems to give away nothing of the plot or incidents, instead allowing one to enjoy some of Vitkova’s much-praised imagery. If it’s indicative of the final result, Viktoria might prove an out-of-left-field stunner.
See the preview below:
Synopsis:
Maya Vitkova’s stunning debut feature Viktoria, which had its World Premiere at the Sundance Film Festival last year,...
- 4/5/2016
- by Nick Newman
- The Film Stage
One of the most impressive and idiosyncratic debuts at Sudance last year was Maya Vitkova’s stunning feature "Viktoria," the first Bulgarian feature film to premier at the festival, and it's finally coming to U.S. theaters thanks to Brooklyn-based Big World Pictures.
The film, already featured at several notable U.S. festivals including AFI Fest, Siff, Chicago and RiverRun among others, will continue on the festival circuit through the end of the year before opening theatrically in January 2016.
Here is the official synopsis:
"Viktoria" follows three generations of women in the final years of the People’s Republic of Bulgaria and the early years of the new government, focusing on reluctant mother Boryana and her daughter, Viktoria, who in one of the film’s surreal, magical touches is born without an umbilical cord. Though unwanted by her mother, Viktoria is named the country’s Baby of the Decade, and is showered with gifts and attention until the disintegration of the East Bloc. But can political collapse and the hardship of new times finally bring Viktoria and her reluctant mother closer together?
Big World’s Jonathan Howell praised the film as “both very personal and universal, demonstrating a precocious command of all elements of the filmmaking process. Especially impressive is the film’s visual sensibility and its command of a range of shifting tones, from absurdist humor to political allegory to deeply moving familial drama.”
Vitkova, named a Producer on the Move by the European Film Promotion in Cannes, wrote, produced and directed Viktoria through her own production company Viktoria Films (Bulgaria) and Anca and Cristi Puiu’s Mandragora (Romania). She has previously collaborated with 2015 Silver Bear winner Radu Jude on two shorts, and executive produced Kamen Kalev’s Cannes selection "Eastern Plays."
International Sales are being handled by Viktoria World Sales and Distribution...
The film, already featured at several notable U.S. festivals including AFI Fest, Siff, Chicago and RiverRun among others, will continue on the festival circuit through the end of the year before opening theatrically in January 2016.
Here is the official synopsis:
"Viktoria" follows three generations of women in the final years of the People’s Republic of Bulgaria and the early years of the new government, focusing on reluctant mother Boryana and her daughter, Viktoria, who in one of the film’s surreal, magical touches is born without an umbilical cord. Though unwanted by her mother, Viktoria is named the country’s Baby of the Decade, and is showered with gifts and attention until the disintegration of the East Bloc. But can political collapse and the hardship of new times finally bring Viktoria and her reluctant mother closer together?
Big World’s Jonathan Howell praised the film as “both very personal and universal, demonstrating a precocious command of all elements of the filmmaking process. Especially impressive is the film’s visual sensibility and its command of a range of shifting tones, from absurdist humor to political allegory to deeply moving familial drama.”
Vitkova, named a Producer on the Move by the European Film Promotion in Cannes, wrote, produced and directed Viktoria through her own production company Viktoria Films (Bulgaria) and Anca and Cristi Puiu’s Mandragora (Romania). She has previously collaborated with 2015 Silver Bear winner Radu Jude on two shorts, and executive produced Kamen Kalev’s Cannes selection "Eastern Plays."
International Sales are being handled by Viktoria World Sales and Distribution...
- 5/28/2015
- by Carlos Aguilar
- Sydney's Buzz
The Brooklyn-based distributor has acquired Us rights to Maya Vitkova’s Bulgarian feature debut.
Viktoria premiered in Sundance 2014 and Big World Pictures plans to continue festival appearances through the end of 2015 ahead of a January 2016 theatrical release.
The film follows three generations of women at the cusp of a new political dawn in Bulgaria.
Vitkova wrote, directed and produced Viktoria through her production company Viktoria Films alongside Anca and Cristi Puiu’s Mandragora.
Viktoria Films represents world rights.
Viktoria premiered in Sundance 2014 and Big World Pictures plans to continue festival appearances through the end of 2015 ahead of a January 2016 theatrical release.
The film follows three generations of women at the cusp of a new political dawn in Bulgaria.
Vitkova wrote, directed and produced Viktoria through her production company Viktoria Films alongside Anca and Cristi Puiu’s Mandragora.
Viktoria Films represents world rights.
- 5/27/2015
- ScreenDaily
Sierra-Nevada
Director: Cristi Puiu // Writer: Cristi Puiu
Not much has been heard lately from Romanian New Wave master Cristi Puiu, whose memorable sophomore effort, 2005’s The Death of Mr. Lazarescu won the Un Certain Regard award and became one of the signature titles of that film movement. His less celebrated but equally assured follow-up was 2010’s incredibly bleak Aurora. Since then, he quietly unleashed a terrific 2013 feature Three Exercises of Interpretation, which was one of the best films we saw that year, but it sadly is still without distribution. At the tail end of 2013, Puiu announced two projects in development, the first being Sierra-Nevada. A shoot had been scheduled for late that year for a 2014 premiere, but it was only recently announced that the project had recently received the funding it had been hoping for from Eurimages. The film concerns “a commemoration that never gets to take place,” as Puiu describes it,...
Director: Cristi Puiu // Writer: Cristi Puiu
Not much has been heard lately from Romanian New Wave master Cristi Puiu, whose memorable sophomore effort, 2005’s The Death of Mr. Lazarescu won the Un Certain Regard award and became one of the signature titles of that film movement. His less celebrated but equally assured follow-up was 2010’s incredibly bleak Aurora. Since then, he quietly unleashed a terrific 2013 feature Three Exercises of Interpretation, which was one of the best films we saw that year, but it sadly is still without distribution. At the tail end of 2013, Puiu announced two projects in development, the first being Sierra-Nevada. A shoot had been scheduled for late that year for a 2014 premiere, but it was only recently announced that the project had recently received the funding it had been hoping for from Eurimages. The film concerns “a commemoration that never gets to take place,” as Puiu describes it,...
- 1/8/2015
- by Nicholas Bell
- IONCINEMA.com
It started with an infographic. Then more infographics. And some think pieces. And some brief TwitterRage. Over the last year and a half, women’s role in cinema, specifically Hollywood cinema, has become a lightning rod for discussion and debate, and more so than any time in the past, people are approaching film a little more critically in regards to how women are portrayed. The statistics are mind-numbingly bleak, with women representing a fraction of the work force behind the camera, from director to CEO to the best boy. Women in front of the camera rarely fair much better, with roles such as “beautiful and always understanding girlfriend/wife to the hilarious schlub” and “girl with cleavage that shoots guns in tight clothes”.
Last week I happened across a piece about the Best Actress race for the upcoming Academy Award Ceremony and the author talked about how the Actress race...
Last week I happened across a piece about the Best Actress race for the upcoming Academy Award Ceremony and the author talked about how the Actress race...
- 12/11/2014
- by Jae K. Renfrow
- SoundOnSight
Every year Hollywood gets a curated batch of films from dozens of countries seeking an Academy Award nomination for Best Foreign Language Film. One film per nation is chosen to represent the best of its cinematic production during the previous year. Certainly the chosen film is not always the ideal candidate, but the reasoning behind the selection usually follows two patterns: there are countries that go with the best film even if this is not the most appealing choice and there are countries that go with the most ambitious, industry-friendly, and financially successful work. This year the astonishing number of submissions – a total of 83 – makes for an incredible list of films that range from those that sport festival pedigree of the highest caliber, unknown gems looking for an audience, expensive visual achievements, and obscure art house hopefuls.
This year more than most, there are a great number of films with serious possibilities. There is no unshakable front-runner, but there are numerous favorites. Yet, looking at last year’s 9 shortlisted films and eventual 5 nominees, nothing is written in stone. Critics and audience favorites like “ The Past” (Iran), “Gloria” (Chile), “Heli” (Mexico), and “Wadjda” (Saudi Arabia) were left out to include surprises like “The Missing Picture“ (Cambodia), “An Episode in the Life of an Iron Picker” (Bosnia & Herzegovina) or “The Notebook” (Hungary).
With Awards Season now in full swing and knowing that this is one of the most difficult races to follow, here is a comprehensive list that includes information for each of the 83 submissions. Below each poster you will find the title of the film linked to its page on IMDb Pro followed by the title in the original language; the director’s name also linked to his/her IMDb Page; the language the film is primarily in; the name of the U.S. distributor if there is one; the name of the film’s International Sales Agent (Isa) or Production Company (PC) linked to the film’s page on Cinando; and a link to the film’s trailer (most of them have English subtitles, others are only in the original language, and a few are videos related to the film because a trailer wasn't available). In addition, reviews and interviews with many of these filmmakers will be added regularly.
Before getting into the list, let’s take a look at some of the statistics and patterns among these 83 foreign language features.
Period Dramas/Biopics
Several countries selected films based on the lives of prominent local figures or great period pieces, both showcase the level of films being produced across the globe in terms of production value and scope. Mexico’s “Cantinflas,” Venezuela’s “The Liberator,” Kyrgyzstan “Kurmanjan Datka Queen of the Mountains,” Bolivia’s “Forgotten,” Indonesia’s “Soekarno,” Greece’s “Little England,” Macedonia’s “To the Hilt,” Hong Kong’s “The Golden Era,” Austria’s “The Dark Valley,” Switzerland’s “The Circle,” Bulgaria’s “Bulgarian Rhapsody,” Serbia’s “ See You in Montevideo,” Slovakia’s “A Step Into the Dark” and New Zealand’s “The Dead Lands” are some of the most expensive films ever made in their respective territories. All of them are epic productions that highlight an important historical period using impressive cinematography, a great number of extras, intricate costumes, lavish locations, detailed production design, as well as great battle sequences in several of them. Other more traditional biopics/period pieces on the list include France’s “Saint Laurent,” The Netherlands “ Accused,” Germany’s “Beloved Sisters,” Spain’s “Living Is Easy with Eyes Closed” and the Czech Republic’s “Fair Play”
Masters and Festival Winners
Not surprisingly many of the films on the list come into this race after winning important awards at international festivals. Furthermore, a handful of them are from master filmmakers, masters in the making, or unique new voices. These films include Belgium’s “Two Days, One Night” (Cannes, Telluride, Tiff, Nyff, AFI Fest) by the Dardenne Brothers, Canada’s “Mommy” (Cannes, Telluride, Tiff, AFI Fest) by prodigy Xavier Dolan, Chile’s “To Kill a Man” (Sundance, Rotterdam, Cartagena) by Alejandro Fernandez Almendras, Hungary's "White God" (Cannes) by Kornél Mundruczó, Norway’s “1001 Grams” (Tiff) by Bent Hamer, Poland’s “Ida”(Tiff, Sundance) by Pawel Pawlikowski, Russia’s “Leviathan” (Cannes, Telluride, Tiff, AFI Fest) by Andrey Zvyagintsev, Sweden’s “Force Majeure” (Cannes, Telluride, Tiff) by Ruben Östlund, and Turkey’s “ Winter Sleep” (Cannes, Telluride, Tiff) by Nuri Bilge Ceylan. All of these films have played at renowned international festivals and most have earned important recognition there.
Out of the Box
Whether they are aware of their actual possibilities at a nomination or not, each year a few countries take the risk of sending a film that defies convention despite having more safe choices. But that is not say they are entirely out of the race, films like “The Missing Picture” and “Dogtooth” prove that sometimes there is room for daring and unique filmmaking. With “Rocks in My Pockets” Latvia is the only country to submit an animated film this year. The film is an inventive and colorful look at depression. Then there is the almost-silent and highly poetic Ecuadorian entry “Silence in Dreamland” and Singapore’s musically driven drama “Sayang Disayang.” However, the boldest selection has to be the Philippines’ “Norte, the End of History” by acclaimed auteur Lav Diaz, which runs over four hours and is inspired by Dostoyevsky Crime and Punishment.
Documentaries
Only two countries chose to go with non-fiction entries. One of them is Panama’s “Invasion,” which deals with the aftermath of the U.S. intervention in that country in 1989. This is the Central American nation’s first ever Oscar submission. The other documentary contending is Portugal’s “ What Now? Remind Me,“ a self-portrait by filmmaker Joaquim Pinto exploring his struggles living with HIV. One should note that Portugal is one of the few countries in Western Europe to have never obtained a nomination in the category despite entering films consecutively for several decades.
Lgbt
Films with stories that highlight sexual diversity occasionally make their way into this list. Last year the only Lgbt title submitted was “ Soongava: Dance of the Orchids,” which surprisingly came from Nepal and dealt with the relationship between two young women in the traditional Asian society. This time around two countries selected films with similar themes. Brazil’s festival darling “ The Way He Looks” – a sweet coming-of-age tale- was an audacious choice among the many other films the South American country produces every year. Then there is Switzerland’s “The Circle” about a pioneering gay publication during the 1940s/1950s in Zurich and the real life relationship between two of its prominent members.
Surprising Choices
As it usually happens, some countries go against what the industry expects and decide to send films that weren’t on most people’s radars. Bulgaria for example selected “Bulgarian Rhapsody” by veteran director Ivan Nitchev over Sundance’s “Viktoria” by young female director Maya Vitkova. Similarly, Ukraine overlooked Cannes favorite “The Tribe”- a powerful drama entirely in sign language - and decided to go with “The Guide” by Oles Sanin. Nevertheless, the most shocking decision came from China. Instead of selecting a Chinese-directed film like Berlin’s Golden Bear winner “Black Coal, Thin Ice” or Zhang Yimou’s “Coming Home,” the Chinese selection committee chose “The Nightingale” by French director Philippe Muyl. Despite having a European helmer the film is authentically Chinese in terms of language and story, but it was still an unexpected move from the traditionally patriotic country.
First Timers
The unprecedented number of entries is in part due to the addition of countries submitting for the first time. Besides aforementioned Panama, there are three other debutant nations in the mix. Kosovo- a tiny Balkan state often associated with the rampart war that afflicted the region a few decades ago - is finally showcasing its film production. Their entry titled “Three Windows and a Hanging” is said to be a high quality, affecting drama. Malta - a European island nation near Italy - is often used as astonishing location for big budget studio films. This year, however, “ Simshar,” a great immigration drama will represent the country. Lastly, Mauritania – a prominently Muslim nation in Sub-Saharan Africa – selected Abderrahmane Sissako’s “Timbuktu,”which played in competition at Cannes,as their inaugural submission. Although Sissako has had several successful films at international festivals, this is the first time his country decides to participate.
Female Directors
Out of the 83 films, 14 were directed by women. That’s 17% of all entries. What’s more interesting is the fact that some of these films come from countries that are often seen as traditionally patriarchal societies. 3 Latin American entries were created by female directors: Colombia’s “Mateo,” Costa Rica’s “Red Princesses” and the Dominican Republic’s “Cristo Rey.” 4 from Asia: Hong Kong’s “ The Golden Era,” India’s “Liar’s Dice,” Japan’s “The Light Shines Only There,” and Pakistan’s “Dukhtar.” 2 from the Middle East: Israel’s “Gett: The Trial of Viviane Amsalem” (Co-directed) and Palestine’s “Eyes of a Thief.” Lastly, 5 films from Europe: The Czech Republic’s “Fair Play,” Finland’s “Concrete Night,” Latvia’s “ Rocks in My Pockets,” Malta’s “Simshar” and the Netherlands’ “Accused.”
U.S. Distribution
Another interesting fact is the number of these films that already have U.S. distribution. Several of them have actually already opened theatrically here, and others are set to open early next year. Out 83 films, 24 already have U.S. distribution. That’s 29% of all films. Hopefully that number increases by the end of the season. The films are: Argentina’s “Wild Tales,” Austria’s “The Dark Valley,” Belgium’s “Two Days, One Night,” Brazil’s “The Way He Looks,” Canada’s “Mommy,” Chile’s “To Kill a Man,” France’s “Saint Laurent,” Germany’s “Beloved Sisters,” Hungary’s “White God,” Israel’s “ Gett: The Trial of Viviane Amsalem,” Italy’s “Human Capital,” Latvia’s “Rocks in My Pockets,” Mauritania’s “Timbuktu,” Mexico’s “Cantinflas,” Norway’s “1001 Grams,” The Philippines “Norte, the End of History,” Poland’s “Ida,” Portugal's "What Now? Remind Me," Russia’s “Leviathan,” Spain’s “Living Is Easy with Eyes Closed,” Sweden’s “Force Majeure,” Switzerland’s “The Circle,” Turkey’s “Winter Sleep,” and Venezuela’s “ The Liberator.”
To see which distribution company has each of these films please refer to the list below.
Afghanistan
"A Few Cubic Meters of Love" (چند متر مکعب عشق)
Dir: Jamshid Mahmoudi
Language: Persian
U.S Distribution: None Yet
Isa: Dreamlab Films
Trailer
Argentina
"Wild Tales" (Relatos Salvajes)
Dir: Damián Szifrón
Language: Spanish
U.S Distribution: Sony Pictures Classics
Isa: Film Factory Entertainment
Trailer
Austria
"The Dark Valley" (Das finstere Tal)
Dir: Andreas Prochaska
Language: German
U.S Distribution: Film Movement
Isa: Films Distribution
Trailer
Australia
"Charlie's Country"
Dir: Rolf de Heer
Language: Yolŋu Matha/English
U.S Distribution: None Yet
Isa: Visit Films
Trailer
Azerbaijan
"Nabat"
Dir: Elcin Musaoglu
Language: Azerbaijani
U.S Distribution: None Yet
Isa: Dreamlab Films
Trailer
Bangladesh
"Glow of the Firefly" (Jonakir Alo)
Dir: Khalid Mahmood Mithu
Language: Bengali
U.S Distribution: None Yet
PC: Impress Telefilm
Trailer
Belgium
"Two Days, One Night" (Deux jours, une nuit)
Dir: Jean-Pierre Dardenne & Luc Dardenne
Language: French/Arabic
U.S Distribution: Sundance Selects
Isa: Wild Bunch
Trailer
Bolivia
"Forgotten" (Olvidados)
Dir: Carlos Bolado
Language: Spanish
U.S Distribution: None Yet
PC: Flor de Loto Pictures
Trailer
Bosnia & Herzegovina
"With Mom" (Sa mamom)
Dir: Faruk Loncarevic
Language: Bosnian
U.S Distribution: None Yet
PC: Scca/pro.ba
TraileR
Brazil
"The Way He Looks" (Hoje Eu Quero Voltar Sozinho)
Dir: Daniel Ribeiro
Language: Portuguese
U.S Distribution: Strand Releasing
Isa: Films Boutique Trailer
Bulgaria
"Bulgarian Rhapsody" (българска рапсодия)
Dir: Ivan Nitchev
Language: Bulgarian
U.S Distribution: None Yet
PC: Cinepaz Eood
Trailer
Canada
"Mommy"
Dir: Xavier Dolan
Language: French/English
U.S Distribution: Roadside Attractions
Isa: Seville International
Trailer
Chile
"To Kill a Man" (Matar a un Hombre)
Dir: Alejandro Fernández Almendras
Language: Spanish
U.S Distribution: Film Movement
Isa: Film Factory Entertainment
Trailer
China
"The Nightingale" (夜莺/Le promeneur d'oiseau)
Dir: Philippe Muyl
Language: Mandarin
U.S Distribution: None Yet
Isa: Kinology
Trailer
Colombia
"Mateo"
Dir: Maria Gamboa ♀
Language: Spanish
U.S Distribution: None Yet
Isa: Alpha Violet
Trailer
Costa Rica
"Red Princesses" (Princesas Rojas)
Dir: Laura Astorga ♀
Language: Spanish
U.S Distribution: None Yet
Isa: Latido Films Trailer
Croatia
"Cowboys" (Kauboji)
Dir: Tomislav Mrsic
Language: Croatian
U.S Distribution: None Yet
Isa: Wide
Trailer
Cuba
"Behavior" (Conducta)
Dir: Ernesto Daranas
Language: Spanish
U.S Distribution: None Yet
Isa: Latido Films
Trailer
Czech Republic
"Fair Play"
Dir: Andrea Sedlácková Andrea Sedlácková
Language: Czech
U.S Distribution: None Yet
Isa: IntraMovies
Trailer
Denmark
"Sorrow and Joy" (Sorg og glæde)
Dir: Nils Malmros
Language: Danish
U.S Distribution: None Yet
PC: Nordisk Film Production
Trailer
Dominican Republic
"Cristo Rey"
Dir: Leticia Tonos ♀
Language: Spanish
U.S Distribution: None Yet
Isa: The Little Film Company
Trailer
Ecuador
"Silence in Dreamland" (El Silencio en la Tierra de los Sueños)
Dir: Tito Molina
Language: Spanish
U.S Distribution: None Yet
PC: La Facultad
Trailer
Egypt
"Factory Girl" (فتاة المصنع )
Dir: Mohamed Khan
Language: Arabic
U.S Distribution: None Yet
PC: DayDream Art Production
Trailer
Estonia
"Tangerines" (Mandariinid)
Dir: Zaza Urushadze
Language: Estonian/Russian
U.S Distribution: None Yet
Isa: Cinemavault
Trailer
Ethiopia
"Difret"
Dir: Zeresenay Mehari
Language: Amharic
U.S Distribution: None Yet
Isa: Films Boutique Trailer
Finland
"Concrete Night" (Betoniyö)
Dir: Pirjo Honkasalo ♀
Language: Finnish
U.S Distribution: None Yet
Isa: Film Republic Trailer
France
"Saint Laurent"
Dir: Bertrand Bonello
Language: French
U.S Distribution: Sony Pictures Classics
Isa: Europacorp
Trailer
Georgia
"Corn Island" (სიმინდის კუნძული)
Dir: George Ovashvili
Language: Georgian/Abkhazian/Russian
U.S Distribution: None Yet
Isa: Arizona Productions
Trailer
Germany
"Beloved Sisters" (Die geliebten Schwestern)
Dir: Dominik Graf
Language: German /French
U.S Distribution: Music Box Films
Isa: Global Screen
Trailer
Greece
"Little England" (Μικρά Αγγλία)
Dir: Pantelis Voulgaris
Language: Greek
U.S Distribution: None Yet
PC: Black Orange
Trailer
Hong Kong
"The Golden Era" (黄金时代)
Dir: Ann Hui ♀
Language: Mandarin
U.S Distribution: None Yet
Isa: Edko Films
Trailer
Hungary
"White God" (Fehér isten)
Dir: Kornél Mundruczó
Language: Hungarian/English
U.S Distribution: Magnolia Pictures
Isa: The Match Factory
Trailer
Iceland
"Life in a Fishbowl" (Vonarstræti)
Dir: Baldvin Zophoníasson
Language: None Yet
U.S Distribution: None Yet
Isa: Films Boutique Trailer
India
"Liar's Dice" (लायर्स डाइस)
Dir: Geethu Mohandas ♀
Language: Hindi
U.S Distribution: None Yet
PC: Jar Pictures Trailer
Indonesia
"Soekarno"
Dir: Hanung Bramantyo
Language: Indonesian
U.S Distribution: None Yet
PC: Mvp Pictures
Trailer
Iran
"Today" (امروز )
Dir: Reza Mirkarimi
Language: Persian
U.S Distribution: None Yet
Isa: Dreamlab Films
Trailer
Iraq
"Mardan"
Dir: Batin Ghobadi
Language: Kurdish
U.S Distribution: None Yet
Isa: Versatile Trailer
Ireland
"The Gift" (An Bronntanas)
Dir: Tom Collins
Language: Irish/English
U.S Distribution: None Yet
PC: Rosg/De Facto Films
Trailer
Israel
"Gett: The Trial of Viviane Amsalem" (Gett: Le Procès de Viviane Amsalem)
Dir: Ronit Elkabetz ♀ & Shlomi Elkabetz
Language: Hebrew/French/Arabic
U.S Distribution: Music Box Films
Isa: Films Distribution
Trailer
Italy
"Human Capital" (Il Capitale Umano)
Dir: Paolo Virzì
Language: Italian
U.S Distribution: Film Movement
PC: Indiana Production Company
Trailer
Japan
"The Light Shines Only There" (そこのみにて光輝く)
Dir: Mipo Oh ♀
Language: Japanese
U.S Distribution: None Yet
Isa: Open Sesame
Trailer
Kosovo
"Three Windows and a Hanging" (Tri Dritare dhe një Varje)
Dir: Isa Qosja
Language: Albanian
U.S Distribution: None Yet
PC: CMb Productions
Trailer
Kyrgyzstan
"Kurmanjan Datka Queen of the Mountains" (Курманжан Датка)
Dir: Sadyk Sher-Niyaz
Language: Kirghiz
U.S Distribution: None Yet
PC: Aitysh Film
Trailer
Latvia
"Rocks in My Pockets" (Akmeņi manās kabatās)
Dir: Signe Baumane ♀
Language: Latvian
U.S Distribution: Zeitgeist Films
Isa: New Europe Film Sales
Trailer
Lebanon
"Ghadi" (غدي)
Dir: Amin Dora
Language: Arabic
U.S Distribution: None Yet
Isa: Fortissimo Films
Trailer
Lithuania
"The Gambler" (Lošėjas)
Dir: Ignas Jonynas
Language: Lithuanian
U.S Distribution: None Yet
Isa: Wide
Trailer
Luxembourg
"Never Die Young"
Dir: Pol Cruchten
Language: French
U.S Distribution: None Yet
Isa: EastWest Distribution
Trailer
MacEdonia
"To the Hilt" (До балчак)
Dir: Stole Popov
Language: Macedonian/French/English/ Turkish
U.S Distribution: None Yet
PC: Triangle Film- Skopje
Trailer
Malta
"Simshar"
Dir: Rebecca Cremona ♀
Language: Maltese
U.S Distribution: None Yet
PC: Kukumajsa Productions
Trailer
Mauritania
"Timbuktu"
Dir: Abderrahmane Sissako
Language: French/Arabic/Bambara/English/Songhay/Tamasheq
U.S Distribution: Cohen Media Group
Isa: Le Pacte
Trailer
Mexico
"Cantinflas"
Dir: Sebastian del Amo
Language: Spanish/English
U.S Distribution: Pantelion Films
Isa: 6 Sales
Trailer
Moldova
"The Unsaved" (La Limita de Jos a Cerului)
Dir: Igor Cobileanski
Language: Romanian
U.S Distribution: None Yet
Isa: Insomnia World Sales Trailer
Montenegro
"The Boys from Marx and Engels Street" (Djecaci iz ulice Marksa i Engelsa)
Dir: Nikola Vukcevic
Language: Serbian
U.S Distribution: None Yet
PC: Artikulacija Production
Trailer
Morocco
"The Red Moon" (القمر الأحمر)
Dir: Hassan Benjelloun
Language: Arabic
U.S Distribution: None Yet
PC: Bentaqerla
Trailer
Nepal
"Jhola" (झोला)
Dir: Yadav Kumar Bhattarai
Language: Nepali
U.S Distribution: None Yet
PC: Media for Culture
Trailer
The Netherlands
"Accused" (Lucia de B.)
Dir: Paula van der Oest ♀
Language: Dutch
U.S Distribution: None Yet
Isa: Fortissimo Films
Trailer
New Zealand
"The Dead Lands"
Dir: Toa Fraser
Language: Maori
U.S Distribution: None Yet
Isa: Xyz Films
Trailer
Norway
"1001 Grams" (1001 Gram)
Dir: Bent Hamer
Language: Norwegian/French/ English
U.S Distribution: Kino Lorber
Isa: Les Films du Losange
Trailer
Pakistan
"Dukhtar" (دختر، بیٹی)
Dir: Afia Nathaniel ♀
Language: Urdu
U.S Distribution: None Yet
PC: Zambeel Films
Trailer
Palestine
"Eyes of a Thief" (عيون الحراميه)
Dir: Najwa Najjar ♀
Language: Arabic
U.S Distribution: None Yet
PC: Ustura Films Trailer
Panama
"Invasion" (Invasión)
Dir: Abner Benaim
Language: Spanish
U.S Distribution: None Yet
Isa: Apertura Films Trailer
Peru
"The Gospel of the Flesh" (El Evangelio de la Carne)
Dir: Eduardo Mendoza de Echave
Language: Spanish
U.S Distribution: None Yet
PC: La Soga Producciones
Trailer
The Philippines
"Norte, the End of History" (Norte, Hangganan ng Kasaysayan)
Dir: Lav Diaz
Language: Tagalog/English
U.S Distribution: The Cinema Guild
Isa: M-Appeal World Sales
Trailer
Poland
"Ida"
Dir: Pawel Pawlikowski
Language: Polish
U.S Distribution: Music Box Films
Isa: Portobello Film Sales
Trailer
Portugal
"What Now? Remind Me" (E Agora? Lembra-me)
Dir: Joaquim Pinto
Language: Portuguese
U.S Distribution: The Cinema Guild
PC: C.R.I.M Productions
Trailer
Romania
"The Japanese Dog" (Câinele Japonez)
Dir: Tudor Cristian Jurgiu
Language: Romanian/Japanese
U.S Distribution: None Yet
Isa: M-Appeal World Sales
Trailer
Russia
"Leviathan" (Левиафан)
Dir: Andrey Zvyagintsev
Language: Russian
U.S Distribution: Sony Pictures Classics
Isa: Pyramide International
Trailer
Serbia
"See You in Montevideo" (Montevideo, vidimo se!)
Dir: Dragan Bjelogrlic
Language: Serbian/Spanish/ English
U.S Distribution: None Yet
PC: Intermedia Network
Trailer
Singapore
"Sayang Disayang"
Dir: Sanif Olek
Language: Malay/Indonesian
U.S Distribution: None Yet
PC: ReelJuice
Trailer
Slovakia
"A Step Into the Dark" (Krok do tmy)
Dir: Miloslav Luther
Language: Slovak
U.S Distribution: None Yet
PC: Trigon Production Trailer
Slovenia
"Seduce Me" (Zapelji me)
Dir: Marko Santic
Language: Slovenian
U.S Distribution: None Yet
PC: Radio-Television Slovenia
Trailer
South Africa
"Elelwani"
Dir: Ntshaveni Wa Luruli
Language: Venda
U.S Distribution: None Yet
Isa: EastWest FilmDistribution
Trailer
South Korea
"Haemoo" (해무)
Dir: Sung Bo Shim
Language: Korean
U.S Distribution: None Yet
Isa: Finecut
Trailer
Spain
"Living Is Easy with Eyes Closed" (Vivir es fácil con los ojos cerrados)
Dir: David Trueba
Language: Spanish
U.S Distribution: Outsider Pictures
Isa: 6 Sales
Trailer
Sweden
"Force Majeure" (Turist)
Dir: Ruben Östlund
Language: Swedish/English
U.S Distribution: Magnolia Pictures
Isa: Coproduction Office (Paris)
Trailer
Switzerland
"The Circle" (Der Kreis)
Dir: Stefan Haupt
Language: Swiss German/ German/ French
U.S Distribution: Wolfe Video
Isa: Wide House
Trailer
Taiwan
"Ice Poison" (冰毒)
Dir: Midi Z.
Language: Burmese/Chinese
U.S Distribution: None Yet
Isa: Flash Forward Enterteinment
Trailer
Thailand
"The Teacher's Diary" (คิดถึงวิทยา)
Dir: Nithiwat Tharathorn
Language: Thai
U.S Distribution: None Yet
Isa: Gth
Trailer
Turkey
"Winter Sleep" (Kis uykusu)
Dir: Nuri Bilge Ceylan
Language: Turkish/English
U.S Distribution: Adopt Films
Isa: Memento Films International
Trailer
Ukraine
"The Guide" (Поводир)
Dir: Oles Sanin
Language: Ukrainian/Russia/English
U.S Distribution: None Yet
PC: Pronto Film
Trailer
United Kingdom
"Little Happiness" (Uzun Yol)
Dir: Nihat Seven
Language: Turkish
U.S Distribution: None Yet
Isa: 7&7 Producers' Sales Services
Trailer
Uruguay
"Mr. Kaplan"
Dir: Álvaro Brechner
Language: Spanish
U.S Distribution: None Yet
Isa: Memento Films International
Trailer
Venezuela
"The Liberator" (Libertador)
Dir: Alberto Arvelo
Language: Spanish/English/ French
U.S Distribution: Cohen Media Group
Isa: Mundial
Trailer...
This year more than most, there are a great number of films with serious possibilities. There is no unshakable front-runner, but there are numerous favorites. Yet, looking at last year’s 9 shortlisted films and eventual 5 nominees, nothing is written in stone. Critics and audience favorites like “ The Past” (Iran), “Gloria” (Chile), “Heli” (Mexico), and “Wadjda” (Saudi Arabia) were left out to include surprises like “The Missing Picture“ (Cambodia), “An Episode in the Life of an Iron Picker” (Bosnia & Herzegovina) or “The Notebook” (Hungary).
With Awards Season now in full swing and knowing that this is one of the most difficult races to follow, here is a comprehensive list that includes information for each of the 83 submissions. Below each poster you will find the title of the film linked to its page on IMDb Pro followed by the title in the original language; the director’s name also linked to his/her IMDb Page; the language the film is primarily in; the name of the U.S. distributor if there is one; the name of the film’s International Sales Agent (Isa) or Production Company (PC) linked to the film’s page on Cinando; and a link to the film’s trailer (most of them have English subtitles, others are only in the original language, and a few are videos related to the film because a trailer wasn't available). In addition, reviews and interviews with many of these filmmakers will be added regularly.
Before getting into the list, let’s take a look at some of the statistics and patterns among these 83 foreign language features.
Period Dramas/Biopics
Several countries selected films based on the lives of prominent local figures or great period pieces, both showcase the level of films being produced across the globe in terms of production value and scope. Mexico’s “Cantinflas,” Venezuela’s “The Liberator,” Kyrgyzstan “Kurmanjan Datka Queen of the Mountains,” Bolivia’s “Forgotten,” Indonesia’s “Soekarno,” Greece’s “Little England,” Macedonia’s “To the Hilt,” Hong Kong’s “The Golden Era,” Austria’s “The Dark Valley,” Switzerland’s “The Circle,” Bulgaria’s “Bulgarian Rhapsody,” Serbia’s “ See You in Montevideo,” Slovakia’s “A Step Into the Dark” and New Zealand’s “The Dead Lands” are some of the most expensive films ever made in their respective territories. All of them are epic productions that highlight an important historical period using impressive cinematography, a great number of extras, intricate costumes, lavish locations, detailed production design, as well as great battle sequences in several of them. Other more traditional biopics/period pieces on the list include France’s “Saint Laurent,” The Netherlands “ Accused,” Germany’s “Beloved Sisters,” Spain’s “Living Is Easy with Eyes Closed” and the Czech Republic’s “Fair Play”
Masters and Festival Winners
Not surprisingly many of the films on the list come into this race after winning important awards at international festivals. Furthermore, a handful of them are from master filmmakers, masters in the making, or unique new voices. These films include Belgium’s “Two Days, One Night” (Cannes, Telluride, Tiff, Nyff, AFI Fest) by the Dardenne Brothers, Canada’s “Mommy” (Cannes, Telluride, Tiff, AFI Fest) by prodigy Xavier Dolan, Chile’s “To Kill a Man” (Sundance, Rotterdam, Cartagena) by Alejandro Fernandez Almendras, Hungary's "White God" (Cannes) by Kornél Mundruczó, Norway’s “1001 Grams” (Tiff) by Bent Hamer, Poland’s “Ida”(Tiff, Sundance) by Pawel Pawlikowski, Russia’s “Leviathan” (Cannes, Telluride, Tiff, AFI Fest) by Andrey Zvyagintsev, Sweden’s “Force Majeure” (Cannes, Telluride, Tiff) by Ruben Östlund, and Turkey’s “ Winter Sleep” (Cannes, Telluride, Tiff) by Nuri Bilge Ceylan. All of these films have played at renowned international festivals and most have earned important recognition there.
Out of the Box
Whether they are aware of their actual possibilities at a nomination or not, each year a few countries take the risk of sending a film that defies convention despite having more safe choices. But that is not say they are entirely out of the race, films like “The Missing Picture” and “Dogtooth” prove that sometimes there is room for daring and unique filmmaking. With “Rocks in My Pockets” Latvia is the only country to submit an animated film this year. The film is an inventive and colorful look at depression. Then there is the almost-silent and highly poetic Ecuadorian entry “Silence in Dreamland” and Singapore’s musically driven drama “Sayang Disayang.” However, the boldest selection has to be the Philippines’ “Norte, the End of History” by acclaimed auteur Lav Diaz, which runs over four hours and is inspired by Dostoyevsky Crime and Punishment.
Documentaries
Only two countries chose to go with non-fiction entries. One of them is Panama’s “Invasion,” which deals with the aftermath of the U.S. intervention in that country in 1989. This is the Central American nation’s first ever Oscar submission. The other documentary contending is Portugal’s “ What Now? Remind Me,“ a self-portrait by filmmaker Joaquim Pinto exploring his struggles living with HIV. One should note that Portugal is one of the few countries in Western Europe to have never obtained a nomination in the category despite entering films consecutively for several decades.
Lgbt
Films with stories that highlight sexual diversity occasionally make their way into this list. Last year the only Lgbt title submitted was “ Soongava: Dance of the Orchids,” which surprisingly came from Nepal and dealt with the relationship between two young women in the traditional Asian society. This time around two countries selected films with similar themes. Brazil’s festival darling “ The Way He Looks” – a sweet coming-of-age tale- was an audacious choice among the many other films the South American country produces every year. Then there is Switzerland’s “The Circle” about a pioneering gay publication during the 1940s/1950s in Zurich and the real life relationship between two of its prominent members.
Surprising Choices
As it usually happens, some countries go against what the industry expects and decide to send films that weren’t on most people’s radars. Bulgaria for example selected “Bulgarian Rhapsody” by veteran director Ivan Nitchev over Sundance’s “Viktoria” by young female director Maya Vitkova. Similarly, Ukraine overlooked Cannes favorite “The Tribe”- a powerful drama entirely in sign language - and decided to go with “The Guide” by Oles Sanin. Nevertheless, the most shocking decision came from China. Instead of selecting a Chinese-directed film like Berlin’s Golden Bear winner “Black Coal, Thin Ice” or Zhang Yimou’s “Coming Home,” the Chinese selection committee chose “The Nightingale” by French director Philippe Muyl. Despite having a European helmer the film is authentically Chinese in terms of language and story, but it was still an unexpected move from the traditionally patriotic country.
First Timers
The unprecedented number of entries is in part due to the addition of countries submitting for the first time. Besides aforementioned Panama, there are three other debutant nations in the mix. Kosovo- a tiny Balkan state often associated with the rampart war that afflicted the region a few decades ago - is finally showcasing its film production. Their entry titled “Three Windows and a Hanging” is said to be a high quality, affecting drama. Malta - a European island nation near Italy - is often used as astonishing location for big budget studio films. This year, however, “ Simshar,” a great immigration drama will represent the country. Lastly, Mauritania – a prominently Muslim nation in Sub-Saharan Africa – selected Abderrahmane Sissako’s “Timbuktu,”which played in competition at Cannes,as their inaugural submission. Although Sissako has had several successful films at international festivals, this is the first time his country decides to participate.
Female Directors
Out of the 83 films, 14 were directed by women. That’s 17% of all entries. What’s more interesting is the fact that some of these films come from countries that are often seen as traditionally patriarchal societies. 3 Latin American entries were created by female directors: Colombia’s “Mateo,” Costa Rica’s “Red Princesses” and the Dominican Republic’s “Cristo Rey.” 4 from Asia: Hong Kong’s “ The Golden Era,” India’s “Liar’s Dice,” Japan’s “The Light Shines Only There,” and Pakistan’s “Dukhtar.” 2 from the Middle East: Israel’s “Gett: The Trial of Viviane Amsalem” (Co-directed) and Palestine’s “Eyes of a Thief.” Lastly, 5 films from Europe: The Czech Republic’s “Fair Play,” Finland’s “Concrete Night,” Latvia’s “ Rocks in My Pockets,” Malta’s “Simshar” and the Netherlands’ “Accused.”
U.S. Distribution
Another interesting fact is the number of these films that already have U.S. distribution. Several of them have actually already opened theatrically here, and others are set to open early next year. Out 83 films, 24 already have U.S. distribution. That’s 29% of all films. Hopefully that number increases by the end of the season. The films are: Argentina’s “Wild Tales,” Austria’s “The Dark Valley,” Belgium’s “Two Days, One Night,” Brazil’s “The Way He Looks,” Canada’s “Mommy,” Chile’s “To Kill a Man,” France’s “Saint Laurent,” Germany’s “Beloved Sisters,” Hungary’s “White God,” Israel’s “ Gett: The Trial of Viviane Amsalem,” Italy’s “Human Capital,” Latvia’s “Rocks in My Pockets,” Mauritania’s “Timbuktu,” Mexico’s “Cantinflas,” Norway’s “1001 Grams,” The Philippines “Norte, the End of History,” Poland’s “Ida,” Portugal's "What Now? Remind Me," Russia’s “Leviathan,” Spain’s “Living Is Easy with Eyes Closed,” Sweden’s “Force Majeure,” Switzerland’s “The Circle,” Turkey’s “Winter Sleep,” and Venezuela’s “ The Liberator.”
To see which distribution company has each of these films please refer to the list below.
Afghanistan
"A Few Cubic Meters of Love" (چند متر مکعب عشق)
Dir: Jamshid Mahmoudi
Language: Persian
U.S Distribution: None Yet
Isa: Dreamlab Films
Trailer
Argentina
"Wild Tales" (Relatos Salvajes)
Dir: Damián Szifrón
Language: Spanish
U.S Distribution: Sony Pictures Classics
Isa: Film Factory Entertainment
Trailer
Austria
"The Dark Valley" (Das finstere Tal)
Dir: Andreas Prochaska
Language: German
U.S Distribution: Film Movement
Isa: Films Distribution
Trailer
Australia
"Charlie's Country"
Dir: Rolf de Heer
Language: Yolŋu Matha/English
U.S Distribution: None Yet
Isa: Visit Films
Trailer
Azerbaijan
"Nabat"
Dir: Elcin Musaoglu
Language: Azerbaijani
U.S Distribution: None Yet
Isa: Dreamlab Films
Trailer
Bangladesh
"Glow of the Firefly" (Jonakir Alo)
Dir: Khalid Mahmood Mithu
Language: Bengali
U.S Distribution: None Yet
PC: Impress Telefilm
Trailer
Belgium
"Two Days, One Night" (Deux jours, une nuit)
Dir: Jean-Pierre Dardenne & Luc Dardenne
Language: French/Arabic
U.S Distribution: Sundance Selects
Isa: Wild Bunch
Trailer
Bolivia
"Forgotten" (Olvidados)
Dir: Carlos Bolado
Language: Spanish
U.S Distribution: None Yet
PC: Flor de Loto Pictures
Trailer
Bosnia & Herzegovina
"With Mom" (Sa mamom)
Dir: Faruk Loncarevic
Language: Bosnian
U.S Distribution: None Yet
PC: Scca/pro.ba
TraileR
Brazil
"The Way He Looks" (Hoje Eu Quero Voltar Sozinho)
Dir: Daniel Ribeiro
Language: Portuguese
U.S Distribution: Strand Releasing
Isa: Films Boutique Trailer
Bulgaria
"Bulgarian Rhapsody" (българска рапсодия)
Dir: Ivan Nitchev
Language: Bulgarian
U.S Distribution: None Yet
PC: Cinepaz Eood
Trailer
Canada
"Mommy"
Dir: Xavier Dolan
Language: French/English
U.S Distribution: Roadside Attractions
Isa: Seville International
Trailer
Chile
"To Kill a Man" (Matar a un Hombre)
Dir: Alejandro Fernández Almendras
Language: Spanish
U.S Distribution: Film Movement
Isa: Film Factory Entertainment
Trailer
China
"The Nightingale" (夜莺/Le promeneur d'oiseau)
Dir: Philippe Muyl
Language: Mandarin
U.S Distribution: None Yet
Isa: Kinology
Trailer
Colombia
"Mateo"
Dir: Maria Gamboa ♀
Language: Spanish
U.S Distribution: None Yet
Isa: Alpha Violet
Trailer
Costa Rica
"Red Princesses" (Princesas Rojas)
Dir: Laura Astorga ♀
Language: Spanish
U.S Distribution: None Yet
Isa: Latido Films Trailer
Croatia
"Cowboys" (Kauboji)
Dir: Tomislav Mrsic
Language: Croatian
U.S Distribution: None Yet
Isa: Wide
Trailer
Cuba
"Behavior" (Conducta)
Dir: Ernesto Daranas
Language: Spanish
U.S Distribution: None Yet
Isa: Latido Films
Trailer
Czech Republic
"Fair Play"
Dir: Andrea Sedlácková Andrea Sedlácková
Language: Czech
U.S Distribution: None Yet
Isa: IntraMovies
Trailer
Denmark
"Sorrow and Joy" (Sorg og glæde)
Dir: Nils Malmros
Language: Danish
U.S Distribution: None Yet
PC: Nordisk Film Production
Trailer
Dominican Republic
"Cristo Rey"
Dir: Leticia Tonos ♀
Language: Spanish
U.S Distribution: None Yet
Isa: The Little Film Company
Trailer
Ecuador
"Silence in Dreamland" (El Silencio en la Tierra de los Sueños)
Dir: Tito Molina
Language: Spanish
U.S Distribution: None Yet
PC: La Facultad
Trailer
Egypt
"Factory Girl" (فتاة المصنع )
Dir: Mohamed Khan
Language: Arabic
U.S Distribution: None Yet
PC: DayDream Art Production
Trailer
Estonia
"Tangerines" (Mandariinid)
Dir: Zaza Urushadze
Language: Estonian/Russian
U.S Distribution: None Yet
Isa: Cinemavault
Trailer
Ethiopia
"Difret"
Dir: Zeresenay Mehari
Language: Amharic
U.S Distribution: None Yet
Isa: Films Boutique Trailer
Finland
"Concrete Night" (Betoniyö)
Dir: Pirjo Honkasalo ♀
Language: Finnish
U.S Distribution: None Yet
Isa: Film Republic Trailer
France
"Saint Laurent"
Dir: Bertrand Bonello
Language: French
U.S Distribution: Sony Pictures Classics
Isa: Europacorp
Trailer
Georgia
"Corn Island" (სიმინდის კუნძული)
Dir: George Ovashvili
Language: Georgian/Abkhazian/Russian
U.S Distribution: None Yet
Isa: Arizona Productions
Trailer
Germany
"Beloved Sisters" (Die geliebten Schwestern)
Dir: Dominik Graf
Language: German /French
U.S Distribution: Music Box Films
Isa: Global Screen
Trailer
Greece
"Little England" (Μικρά Αγγλία)
Dir: Pantelis Voulgaris
Language: Greek
U.S Distribution: None Yet
PC: Black Orange
Trailer
Hong Kong
"The Golden Era" (黄金时代)
Dir: Ann Hui ♀
Language: Mandarin
U.S Distribution: None Yet
Isa: Edko Films
Trailer
Hungary
"White God" (Fehér isten)
Dir: Kornél Mundruczó
Language: Hungarian/English
U.S Distribution: Magnolia Pictures
Isa: The Match Factory
Trailer
Iceland
"Life in a Fishbowl" (Vonarstræti)
Dir: Baldvin Zophoníasson
Language: None Yet
U.S Distribution: None Yet
Isa: Films Boutique Trailer
India
"Liar's Dice" (लायर्स डाइस)
Dir: Geethu Mohandas ♀
Language: Hindi
U.S Distribution: None Yet
PC: Jar Pictures Trailer
Indonesia
"Soekarno"
Dir: Hanung Bramantyo
Language: Indonesian
U.S Distribution: None Yet
PC: Mvp Pictures
Trailer
Iran
"Today" (امروز )
Dir: Reza Mirkarimi
Language: Persian
U.S Distribution: None Yet
Isa: Dreamlab Films
Trailer
Iraq
"Mardan"
Dir: Batin Ghobadi
Language: Kurdish
U.S Distribution: None Yet
Isa: Versatile Trailer
Ireland
"The Gift" (An Bronntanas)
Dir: Tom Collins
Language: Irish/English
U.S Distribution: None Yet
PC: Rosg/De Facto Films
Trailer
Israel
"Gett: The Trial of Viviane Amsalem" (Gett: Le Procès de Viviane Amsalem)
Dir: Ronit Elkabetz ♀ & Shlomi Elkabetz
Language: Hebrew/French/Arabic
U.S Distribution: Music Box Films
Isa: Films Distribution
Trailer
Italy
"Human Capital" (Il Capitale Umano)
Dir: Paolo Virzì
Language: Italian
U.S Distribution: Film Movement
PC: Indiana Production Company
Trailer
Japan
"The Light Shines Only There" (そこのみにて光輝く)
Dir: Mipo Oh ♀
Language: Japanese
U.S Distribution: None Yet
Isa: Open Sesame
Trailer
Kosovo
"Three Windows and a Hanging" (Tri Dritare dhe një Varje)
Dir: Isa Qosja
Language: Albanian
U.S Distribution: None Yet
PC: CMb Productions
Trailer
Kyrgyzstan
"Kurmanjan Datka Queen of the Mountains" (Курманжан Датка)
Dir: Sadyk Sher-Niyaz
Language: Kirghiz
U.S Distribution: None Yet
PC: Aitysh Film
Trailer
Latvia
"Rocks in My Pockets" (Akmeņi manās kabatās)
Dir: Signe Baumane ♀
Language: Latvian
U.S Distribution: Zeitgeist Films
Isa: New Europe Film Sales
Trailer
Lebanon
"Ghadi" (غدي)
Dir: Amin Dora
Language: Arabic
U.S Distribution: None Yet
Isa: Fortissimo Films
Trailer
Lithuania
"The Gambler" (Lošėjas)
Dir: Ignas Jonynas
Language: Lithuanian
U.S Distribution: None Yet
Isa: Wide
Trailer
Luxembourg
"Never Die Young"
Dir: Pol Cruchten
Language: French
U.S Distribution: None Yet
Isa: EastWest Distribution
Trailer
MacEdonia
"To the Hilt" (До балчак)
Dir: Stole Popov
Language: Macedonian/French/English/ Turkish
U.S Distribution: None Yet
PC: Triangle Film- Skopje
Trailer
Malta
"Simshar"
Dir: Rebecca Cremona ♀
Language: Maltese
U.S Distribution: None Yet
PC: Kukumajsa Productions
Trailer
Mauritania
"Timbuktu"
Dir: Abderrahmane Sissako
Language: French/Arabic/Bambara/English/Songhay/Tamasheq
U.S Distribution: Cohen Media Group
Isa: Le Pacte
Trailer
Mexico
"Cantinflas"
Dir: Sebastian del Amo
Language: Spanish/English
U.S Distribution: Pantelion Films
Isa: 6 Sales
Trailer
Moldova
"The Unsaved" (La Limita de Jos a Cerului)
Dir: Igor Cobileanski
Language: Romanian
U.S Distribution: None Yet
Isa: Insomnia World Sales Trailer
Montenegro
"The Boys from Marx and Engels Street" (Djecaci iz ulice Marksa i Engelsa)
Dir: Nikola Vukcevic
Language: Serbian
U.S Distribution: None Yet
PC: Artikulacija Production
Trailer
Morocco
"The Red Moon" (القمر الأحمر)
Dir: Hassan Benjelloun
Language: Arabic
U.S Distribution: None Yet
PC: Bentaqerla
Trailer
Nepal
"Jhola" (झोला)
Dir: Yadav Kumar Bhattarai
Language: Nepali
U.S Distribution: None Yet
PC: Media for Culture
Trailer
The Netherlands
"Accused" (Lucia de B.)
Dir: Paula van der Oest ♀
Language: Dutch
U.S Distribution: None Yet
Isa: Fortissimo Films
Trailer
New Zealand
"The Dead Lands"
Dir: Toa Fraser
Language: Maori
U.S Distribution: None Yet
Isa: Xyz Films
Trailer
Norway
"1001 Grams" (1001 Gram)
Dir: Bent Hamer
Language: Norwegian/French/ English
U.S Distribution: Kino Lorber
Isa: Les Films du Losange
Trailer
Pakistan
"Dukhtar" (دختر، بیٹی)
Dir: Afia Nathaniel ♀
Language: Urdu
U.S Distribution: None Yet
PC: Zambeel Films
Trailer
Palestine
"Eyes of a Thief" (عيون الحراميه)
Dir: Najwa Najjar ♀
Language: Arabic
U.S Distribution: None Yet
PC: Ustura Films Trailer
Panama
"Invasion" (Invasión)
Dir: Abner Benaim
Language: Spanish
U.S Distribution: None Yet
Isa: Apertura Films Trailer
Peru
"The Gospel of the Flesh" (El Evangelio de la Carne)
Dir: Eduardo Mendoza de Echave
Language: Spanish
U.S Distribution: None Yet
PC: La Soga Producciones
Trailer
The Philippines
"Norte, the End of History" (Norte, Hangganan ng Kasaysayan)
Dir: Lav Diaz
Language: Tagalog/English
U.S Distribution: The Cinema Guild
Isa: M-Appeal World Sales
Trailer
Poland
"Ida"
Dir: Pawel Pawlikowski
Language: Polish
U.S Distribution: Music Box Films
Isa: Portobello Film Sales
Trailer
Portugal
"What Now? Remind Me" (E Agora? Lembra-me)
Dir: Joaquim Pinto
Language: Portuguese
U.S Distribution: The Cinema Guild
PC: C.R.I.M Productions
Trailer
Romania
"The Japanese Dog" (Câinele Japonez)
Dir: Tudor Cristian Jurgiu
Language: Romanian/Japanese
U.S Distribution: None Yet
Isa: M-Appeal World Sales
Trailer
Russia
"Leviathan" (Левиафан)
Dir: Andrey Zvyagintsev
Language: Russian
U.S Distribution: Sony Pictures Classics
Isa: Pyramide International
Trailer
Serbia
"See You in Montevideo" (Montevideo, vidimo se!)
Dir: Dragan Bjelogrlic
Language: Serbian/Spanish/ English
U.S Distribution: None Yet
PC: Intermedia Network
Trailer
Singapore
"Sayang Disayang"
Dir: Sanif Olek
Language: Malay/Indonesian
U.S Distribution: None Yet
PC: ReelJuice
Trailer
Slovakia
"A Step Into the Dark" (Krok do tmy)
Dir: Miloslav Luther
Language: Slovak
U.S Distribution: None Yet
PC: Trigon Production Trailer
Slovenia
"Seduce Me" (Zapelji me)
Dir: Marko Santic
Language: Slovenian
U.S Distribution: None Yet
PC: Radio-Television Slovenia
Trailer
South Africa
"Elelwani"
Dir: Ntshaveni Wa Luruli
Language: Venda
U.S Distribution: None Yet
Isa: EastWest FilmDistribution
Trailer
South Korea
"Haemoo" (해무)
Dir: Sung Bo Shim
Language: Korean
U.S Distribution: None Yet
Isa: Finecut
Trailer
Spain
"Living Is Easy with Eyes Closed" (Vivir es fácil con los ojos cerrados)
Dir: David Trueba
Language: Spanish
U.S Distribution: Outsider Pictures
Isa: 6 Sales
Trailer
Sweden
"Force Majeure" (Turist)
Dir: Ruben Östlund
Language: Swedish/English
U.S Distribution: Magnolia Pictures
Isa: Coproduction Office (Paris)
Trailer
Switzerland
"The Circle" (Der Kreis)
Dir: Stefan Haupt
Language: Swiss German/ German/ French
U.S Distribution: Wolfe Video
Isa: Wide House
Trailer
Taiwan
"Ice Poison" (冰毒)
Dir: Midi Z.
Language: Burmese/Chinese
U.S Distribution: None Yet
Isa: Flash Forward Enterteinment
Trailer
Thailand
"The Teacher's Diary" (คิดถึงวิทยา)
Dir: Nithiwat Tharathorn
Language: Thai
U.S Distribution: None Yet
Isa: Gth
Trailer
Turkey
"Winter Sleep" (Kis uykusu)
Dir: Nuri Bilge Ceylan
Language: Turkish/English
U.S Distribution: Adopt Films
Isa: Memento Films International
Trailer
Ukraine
"The Guide" (Поводир)
Dir: Oles Sanin
Language: Ukrainian/Russia/English
U.S Distribution: None Yet
PC: Pronto Film
Trailer
United Kingdom
"Little Happiness" (Uzun Yol)
Dir: Nihat Seven
Language: Turkish
U.S Distribution: None Yet
Isa: 7&7 Producers' Sales Services
Trailer
Uruguay
"Mr. Kaplan"
Dir: Álvaro Brechner
Language: Spanish
U.S Distribution: None Yet
Isa: Memento Films International
Trailer
Venezuela
"The Liberator" (Libertador)
Dir: Alberto Arvelo
Language: Spanish/English/ French
U.S Distribution: Cohen Media Group
Isa: Mundial
Trailer...
- 11/11/2014
- by Carlos Aguilar
- Sydney's Buzz
Debut competition titles at cinematography festival unveiled.
Camerimage, the International Film Festival of the Art of Cinematography (Nov 15-22), has revealed the line-up of films screening in three of the festival’s competition sections including Cinematographers’ Debut, Directors’ Debut and Student Etudes.
The entries are:
Cinematographers’ Debut Competition
Duane Hopkins’ Bypass;
UK, 2014; Cinematographer: David Procter
Sidney Lexy Plaut’s Dark Samurai;
Denmark, 2014; Cinematographer: Sidney Lexy Plaut
Zeresenay Berhane Mehari’s Difret;
Ethiopia, USA, 2014; Cinematographer: Monika Lenczewska
Krzysztof Skonieczny’s Hardkor Disko;
Poland, 2014; Cinematographer: Kacper Fertacz
Arild Østin Ommundsen’s It’s Only Make Believe;
Norway, 2013; Cinematographer: Arild Østin Ommundsen
Michael Cody and Amiel Courtin-Wilson’s Ruin;
Australia, 2013; Cinematographer: Ari Wegner
Ester Martin Bergsmark’s Something Must Break;
Sweden, 2014; Cinematographers: Lisabi Fridell and Minka Jakerson
David Pablos’ The Life After;
Mexico, 2013; Cinematographer: José De- La-Torre
Saar Klein’s Things People Do;
USA, 2014; Cinematographer: Matthias Koenigswieser
Jonas Alexander Arnby’s When Animals Dream;
Denmark, 2013; Cinematographer: [link=nm...
Camerimage, the International Film Festival of the Art of Cinematography (Nov 15-22), has revealed the line-up of films screening in three of the festival’s competition sections including Cinematographers’ Debut, Directors’ Debut and Student Etudes.
The entries are:
Cinematographers’ Debut Competition
Duane Hopkins’ Bypass;
UK, 2014; Cinematographer: David Procter
Sidney Lexy Plaut’s Dark Samurai;
Denmark, 2014; Cinematographer: Sidney Lexy Plaut
Zeresenay Berhane Mehari’s Difret;
Ethiopia, USA, 2014; Cinematographer: Monika Lenczewska
Krzysztof Skonieczny’s Hardkor Disko;
Poland, 2014; Cinematographer: Kacper Fertacz
Arild Østin Ommundsen’s It’s Only Make Believe;
Norway, 2013; Cinematographer: Arild Østin Ommundsen
Michael Cody and Amiel Courtin-Wilson’s Ruin;
Australia, 2013; Cinematographer: Ari Wegner
Ester Martin Bergsmark’s Something Must Break;
Sweden, 2014; Cinematographers: Lisabi Fridell and Minka Jakerson
David Pablos’ The Life After;
Mexico, 2013; Cinematographer: José De- La-Torre
Saar Klein’s Things People Do;
USA, 2014; Cinematographer: Matthias Koenigswieser
Jonas Alexander Arnby’s When Animals Dream;
Denmark, 2013; Cinematographer: [link=nm...
- 10/16/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
There’s so much going on at the Chicago International Film Festival, it’s difficult to determine just five movies I’m excited to see. The list could just as easily be 20 or 30 films, and probably more as it seems each time I dig into the program I find something else of interest that I didn’t see the dozen times before. While I’m not a fan of making lists (I’m what you’d call an “all-inclusionist”), the good news is that the festival begins in a few days, and the anticipation will turn into experience and there will be no limits on writing about that. So here are just five, in no particular order of importance.
1. Words With Gods (USA)
At a time when science is being treated like a religion to be blindly believed in – not constantly questioned, which is the entire point of scientific discovery...
1. Words With Gods (USA)
At a time when science is being treated like a religion to be blindly believed in – not constantly questioned, which is the entire point of scientific discovery...
- 10/6/2014
- by Jae K. Renfrow
- SoundOnSight
Next Tuesday, Sept. 30 is the cut-off date for contenders in the Best Foreign Language Film category to be released in their home countries. Slowly but surely all corners of the globe have been declaring their participants, and as these things go, it's been a relatively drama-free build so far. Ok, there have been a couple of eyebrow raisers. Bulgaria's submission, for instance, caused quite a stir some weeks back when Ivan Nichev's "Bulgarian Rhapsody" got the call. The director being a member of the Bulgarian National Film Council that made the choice, as well as the fact that the film has barely been seen (ergo globally vetted) outside of Bulgaria, caused many in the region to speak up. An online petition was even launched to protest the picture's submission and outdated representation of the Bulgaria's film culture. Favorites for the selection in the lead-ip included Maya Vitkova's Sundance...
- 9/22/2014
- by Kristopher Tapley
- Hitfix
The Transilvania International Film Festival’s (Tiff) main prize went this year to Spanish film-maker Rodrigo Sorogoyen’s Stockholm as the week-long festival came to a close on June 8.
The second feature also picked up the Best Performance Award for leads Javier Pereira and Aura Garrido at the gala awards ceremony on Saturday evening (7).
Almost lost for words as he accepted the prize on the stage of Cluj’s National Theatre, an elated Sorogoyen (pictured) said that these were the film’s first international awards.
Stockholm previously earned best actress and new screenwriter honours in Malaga last year and a Goya this year for Pereira.
Tiff’s international jury including Chicago Film Festival director Michael Kutza, Nfts director Nik Powell and Hungarian film-maker Janos Szasz, presented their Best Directing Award to Poland’s Tomasz Wasilewski for his second feature Floating Skyscrapers and the Special Jury Award to Bulgaria’s Maya Vitkova for her debut Viktoria, which had its...
The second feature also picked up the Best Performance Award for leads Javier Pereira and Aura Garrido at the gala awards ceremony on Saturday evening (7).
Almost lost for words as he accepted the prize on the stage of Cluj’s National Theatre, an elated Sorogoyen (pictured) said that these were the film’s first international awards.
Stockholm previously earned best actress and new screenwriter honours in Malaga last year and a Goya this year for Pereira.
Tiff’s international jury including Chicago Film Festival director Michael Kutza, Nfts director Nik Powell and Hungarian film-maker Janos Szasz, presented their Best Directing Award to Poland’s Tomasz Wasilewski for his second feature Floating Skyscrapers and the Special Jury Award to Bulgaria’s Maya Vitkova for her debut Viktoria, which had its...
- 6/8/2014
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Based on their outstanding careers forged on international co-productions, 24 up-and-coming players in the European film industry have been selected to take part in European Film Promotion's (Efp) networking platform Producers on the Move. Now in its 15th year, Efp spotlights emerging European producers at the Cannes Film Festival from May 17-19 and helps them embark on successful cooperation with their similarly ambitious Producers on the Move colleagues from all over Europe.
The programas been financially supported by the Media Program (2007-2013) of the European Union and the participating Efp member organizations who each made a careful selection of their national participants according to specific criteria.
The schedule of Producers on the Move includes working sessions, one-to-one speed-dating meetings and various opportunities to exchange knowledge and follow up discussions on future projects. In addition, Efp will be teaming up with the European cultural channel Arte and the pan-European co-production fund Eurimages for Producers on the Move. For the first time, Eurimages has prepared a case study exclusively for Efp's program to be discussed under the direction of Eurimages Executive Director Roberto Olla.
He points out the importance of programs such as Producers on the Move:
“This is the 4th consecutive year that Eurimages is involved with this initiative which perfectly marries our objectives of encouraging co-operation between producers so as to stimulate cinematographic co-productions and of promoting their international distribution. Further to the success of the collaboration at the Cannes Festival, the Eurimages Fund has strengthened its partnership with European Film Promotion through other initiatives which also seek to unite professionals from the European film industry in order to participate in its development on an international level.”
Looking back at previous editions, Efp's programme results each year in several new trans-national co-productions and gives the producers a higher profile in Cannes. For 2013, almost all of the participants are still in contact with one another and 17 co-productions are in development.
One recent success story is the coming-of-age feature The Word, directed by Anna Kazejak and co-produced by two Producers on the Move from 2011, Lukasz Dzieciol(Opus Film, Poland) and Jesper Morthorst (Sf Film Production, Denmark). The film was released in Poland in March after its premiere at the Berlinale in the Generation sidebar.
Currently in post is Dirk Ohm - The Illusionist That Disappeared, directed by Bobbie Peers. The producer Maria Ekerhovd (Mer Film As, Norway), joined forces for this film with her Producers on the Move colleague from 2011, Gian-Piero Ringel (Neue Road Movies, Germany) and the 2010 Producers on the Move, Lizette Jonjic (Migma Film, Sweden). Norway has scheduled the release for September 2014. Ekerhovd and Ringel also worked together for two further projects: Every Thing Will Be Fine by Wim Wenders and the six episodes for Cathedrals of Culture which have been presented at this year’s Berlinale.
The following producers were selected by the Efp member organizations:
Viktoria
Director: Maya Vitkova
Producer: Maya Vitkova
Viktoria Films, Bulgaria
selected by Bulgarian National Film Centre
Gangster of Love
Director: Nebojša Slijepcevic
Producer: Vanja Jambrović
Restart, Croatia
selected by Croation Audiovisual Centre
Burning Bush
Director: Agnieszka Holland
Producer: Tomáš Hrubỳ
Nutprodukce, Czech Republic
selected by Czech Film Center
Antboy
Director: Ask Hasselbalch
Producer: Eva Jakobsen
Nimbus Film, Denmark
selected by Danish Film Institute
Concrete Night
Director: Pirjo Honkasalo
Producer: Mark Lwoff
Bufo, Finland
selected by Finnish Film Foundation
Möbius
Director: Eric Rochant
Producer: Mathias Rubin
Récifilms, France
selected by UniFrance films
Brides
Director: Tinatin Kajrishvili
Producer: Tinatin Kajrishvili
Gemini, Georgia
selected by Georgian National Film Center
The Special Need
Director: Carlo Zoratti
Producer: Henning Kamm
Detailfilm, Germany
selected by German Films
Standing Aside, Watching
Director: Yorgos Servetas
Producer: Konstantin Kontovrakis
Heretic Creative Producer, Greece
selected by Greek Film Centre
Land of Storms
Director: Adam Csaszi
Producer: Eszter Gyárfás
Proton Cinema, Hungary
selected by Magyar Filmunió/ Hungarian National Film Fund
Metalhead
Director: Ragnar Bragason
Producer: Árni Filippusson
Mystery, Iceland
selected by Icelandic Fim Centre
You're Ugly Too
Director: Mark Noonan
Producer: John Keville
Sp Films, Ireland
selected by Irish Film Board
Black Souls
Director: Francesco Munzi
Producer: Olivia Musini
Cinemaundici, Italy
selected by Istituto Luce Cinecittà
Monument to Michael Jackson
Director: Darko Lungulov
Co-Producer: Ognen Antov
Dream Factory Macedonia, Fyr of Macedonia
selected by Macedonian Film Agency
The Ascent
Director: Nemanja Becanovic
Producer: Ivan Djurović
Artikulacija Production, Montenegro
selected by Ministry of Culture of Montenegro
Totally True Love
Director: Anne Sewitsky
Producer: Teréz Hollo-Klausen
Anna Kron Film, Norway
selected by Norwegian Film Institute
Fuck for Forest
Director: Michal Marczak
Producer: Mikołaj Pokromski
Pokromski Studio, Poland
selected by Polish Film Institute
Collider
Director: Jason Butler
Producer: Nuno Bernardo
beActive Entertainment, Portugal
selected by Ica I.P. / Portugal
Slovakia 2.0
Director: Iveta Grófová, Juraj Herz, Martin Šulík, Miro Jelok, Mišo Suchý, Ondrej Rudavský, Peter Kerekes, Peter Krištúfek, Viera Cákanyová, Zuzana Liová
Producer: Mátyás Prikler
MPhilms, Slovak Republic
selected by Slovak Film Institute
The Extraordinary Tale
Director: José F. Ortuño, Laura Alvea
Producer: Marta Velasco
Áralan Films, Spain
selected by Icaa / Spain
Beyond Beyond
Director: Esben Toft Jacobsen
Producer: Petter Lindblad
Snowcloud Films, Sweden
selected by Swedish Film Institute
Ate Ver La Luz
Director: Basil da Cunha
Producer: Elodie Brunner
Box Productions, Switzerland
selected by Swiss Films
Secrets of War
Director: Dennis Bots
Producer: David Bijker
Bijker Film & TV, The Netherlands
selected by Eye International
Weekend
Director: Andrew Haigh
Producer: Tristan Goligher
The Bureau Film Company, United Kingdom
selected by British Council...
The programas been financially supported by the Media Program (2007-2013) of the European Union and the participating Efp member organizations who each made a careful selection of their national participants according to specific criteria.
The schedule of Producers on the Move includes working sessions, one-to-one speed-dating meetings and various opportunities to exchange knowledge and follow up discussions on future projects. In addition, Efp will be teaming up with the European cultural channel Arte and the pan-European co-production fund Eurimages for Producers on the Move. For the first time, Eurimages has prepared a case study exclusively for Efp's program to be discussed under the direction of Eurimages Executive Director Roberto Olla.
He points out the importance of programs such as Producers on the Move:
“This is the 4th consecutive year that Eurimages is involved with this initiative which perfectly marries our objectives of encouraging co-operation between producers so as to stimulate cinematographic co-productions and of promoting their international distribution. Further to the success of the collaboration at the Cannes Festival, the Eurimages Fund has strengthened its partnership with European Film Promotion through other initiatives which also seek to unite professionals from the European film industry in order to participate in its development on an international level.”
Looking back at previous editions, Efp's programme results each year in several new trans-national co-productions and gives the producers a higher profile in Cannes. For 2013, almost all of the participants are still in contact with one another and 17 co-productions are in development.
One recent success story is the coming-of-age feature The Word, directed by Anna Kazejak and co-produced by two Producers on the Move from 2011, Lukasz Dzieciol(Opus Film, Poland) and Jesper Morthorst (Sf Film Production, Denmark). The film was released in Poland in March after its premiere at the Berlinale in the Generation sidebar.
Currently in post is Dirk Ohm - The Illusionist That Disappeared, directed by Bobbie Peers. The producer Maria Ekerhovd (Mer Film As, Norway), joined forces for this film with her Producers on the Move colleague from 2011, Gian-Piero Ringel (Neue Road Movies, Germany) and the 2010 Producers on the Move, Lizette Jonjic (Migma Film, Sweden). Norway has scheduled the release for September 2014. Ekerhovd and Ringel also worked together for two further projects: Every Thing Will Be Fine by Wim Wenders and the six episodes for Cathedrals of Culture which have been presented at this year’s Berlinale.
The following producers were selected by the Efp member organizations:
Viktoria
Director: Maya Vitkova
Producer: Maya Vitkova
Viktoria Films, Bulgaria
selected by Bulgarian National Film Centre
Gangster of Love
Director: Nebojša Slijepcevic
Producer: Vanja Jambrović
Restart, Croatia
selected by Croation Audiovisual Centre
Burning Bush
Director: Agnieszka Holland
Producer: Tomáš Hrubỳ
Nutprodukce, Czech Republic
selected by Czech Film Center
Antboy
Director: Ask Hasselbalch
Producer: Eva Jakobsen
Nimbus Film, Denmark
selected by Danish Film Institute
Concrete Night
Director: Pirjo Honkasalo
Producer: Mark Lwoff
Bufo, Finland
selected by Finnish Film Foundation
Möbius
Director: Eric Rochant
Producer: Mathias Rubin
Récifilms, France
selected by UniFrance films
Brides
Director: Tinatin Kajrishvili
Producer: Tinatin Kajrishvili
Gemini, Georgia
selected by Georgian National Film Center
The Special Need
Director: Carlo Zoratti
Producer: Henning Kamm
Detailfilm, Germany
selected by German Films
Standing Aside, Watching
Director: Yorgos Servetas
Producer: Konstantin Kontovrakis
Heretic Creative Producer, Greece
selected by Greek Film Centre
Land of Storms
Director: Adam Csaszi
Producer: Eszter Gyárfás
Proton Cinema, Hungary
selected by Magyar Filmunió/ Hungarian National Film Fund
Metalhead
Director: Ragnar Bragason
Producer: Árni Filippusson
Mystery, Iceland
selected by Icelandic Fim Centre
You're Ugly Too
Director: Mark Noonan
Producer: John Keville
Sp Films, Ireland
selected by Irish Film Board
Black Souls
Director: Francesco Munzi
Producer: Olivia Musini
Cinemaundici, Italy
selected by Istituto Luce Cinecittà
Monument to Michael Jackson
Director: Darko Lungulov
Co-Producer: Ognen Antov
Dream Factory Macedonia, Fyr of Macedonia
selected by Macedonian Film Agency
The Ascent
Director: Nemanja Becanovic
Producer: Ivan Djurović
Artikulacija Production, Montenegro
selected by Ministry of Culture of Montenegro
Totally True Love
Director: Anne Sewitsky
Producer: Teréz Hollo-Klausen
Anna Kron Film, Norway
selected by Norwegian Film Institute
Fuck for Forest
Director: Michal Marczak
Producer: Mikołaj Pokromski
Pokromski Studio, Poland
selected by Polish Film Institute
Collider
Director: Jason Butler
Producer: Nuno Bernardo
beActive Entertainment, Portugal
selected by Ica I.P. / Portugal
Slovakia 2.0
Director: Iveta Grófová, Juraj Herz, Martin Šulík, Miro Jelok, Mišo Suchý, Ondrej Rudavský, Peter Kerekes, Peter Krištúfek, Viera Cákanyová, Zuzana Liová
Producer: Mátyás Prikler
MPhilms, Slovak Republic
selected by Slovak Film Institute
The Extraordinary Tale
Director: José F. Ortuño, Laura Alvea
Producer: Marta Velasco
Áralan Films, Spain
selected by Icaa / Spain
Beyond Beyond
Director: Esben Toft Jacobsen
Producer: Petter Lindblad
Snowcloud Films, Sweden
selected by Swedish Film Institute
Ate Ver La Luz
Director: Basil da Cunha
Producer: Elodie Brunner
Box Productions, Switzerland
selected by Swiss Films
Secrets of War
Director: Dennis Bots
Producer: David Bijker
Bijker Film & TV, The Netherlands
selected by Eye International
Weekend
Director: Andrew Haigh
Producer: Tristan Goligher
The Bureau Film Company, United Kingdom
selected by British Council...
- 5/3/2014
- by Sydney Levine
- Sydney's Buzz
UK’s Tristan Goligher and Germany’s Henning Kamm among upcoming European producers set to be showcased at Cannes.Scroll down for the full list
European Film Promotion (Efp) has selected 24 emerging young European producers for the 15th edition of its Producers on the Move networking initiative, which will be held during the upcoming Cannes Film Festival from May 17-19.
The 2014 selection includes the The Bureau Film Company’s Tristan Goligher, who is currently in production on Andrew Haigh’s new feature 45 Years, starring Charlotte Rampling and Tom Courtenay and sold internationally by The Match Factory.
Also on the list is Hamberg-based Henning Kamm, who had two co-productions at this year’s Berlinale – Karim Ainouz’s Praia do Futuro and Kutlug Ataman’s The Lamb - and is now working on new films by Mohammad Rasoulof, Stéphane Robelin and Lili Horvath.
Georgian producer-director Tinatin Kajrishvili has also been selected. Kajrishvili’s feature debut Brides had its premiere...
European Film Promotion (Efp) has selected 24 emerging young European producers for the 15th edition of its Producers on the Move networking initiative, which will be held during the upcoming Cannes Film Festival from May 17-19.
The 2014 selection includes the The Bureau Film Company’s Tristan Goligher, who is currently in production on Andrew Haigh’s new feature 45 Years, starring Charlotte Rampling and Tom Courtenay and sold internationally by The Match Factory.
Also on the list is Hamberg-based Henning Kamm, who had two co-productions at this year’s Berlinale – Karim Ainouz’s Praia do Futuro and Kutlug Ataman’s The Lamb - and is now working on new films by Mohammad Rasoulof, Stéphane Robelin and Lili Horvath.
Georgian producer-director Tinatin Kajrishvili has also been selected. Kajrishvili’s feature debut Brides had its premiere...
- 4/23/2014
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
The first Bulgarian film ever to screen at Sundance, Maya Vitkova’s “Viktoria” manages to say a lot in very few words. “I think words are useless,” the director offered following the film’s premiere, “the emotion is in the image.” Unfolding against the backdrop of the fall of communism, Vitkova’s lyrical imagery elevates her semi-autobiographical debut to poetic heights. Born without an umbilical chord, baby Viktoria’s relationship with her mother (Irmena Chichikova) is severed before it even begins. Hailed as a living symbol of the communist party, the love Viktoria knows growing up is more gubernatorial than it is maternal. Acerbic and absurdist in equal measure, the film forges a powerful metaphorical link between the physical body and the body politic. It’s November 10, 1979, ten years before the fall of communism and Boranya (Chichikova) and her husband Ivan (Dimo Divov) are quietly writhing beneath a set of...
- 1/27/2014
- by Emma Myers
- Indiewire
Russian feminist punk rock protest group Pussy Riot is on the poster and Russia is in focus at Sweden’s 37th Göteborg International Film Festival (Jan 24-Feb 3) – the largest showcase in the Nordic countries.
The selection of 20 films “is both artistically strong and takes up current subjects, such as freedom of speech and distribution of resources,” explained the festival’s artistic director Marit Kapla.
The focus includes Russian director Aleksej German’s Hard to Be a God (Trudno byt Bogom), completed by his wife Svetlana Karmelita and son after German’s death.
Taisija Krugovykh and Vasilij Bogatov’s Pussy versus Putin, about Pussy Riot’s action, will be introduced by the directors, as will Alexander Gentelev’s Putin’s Games.
Unspooling almost 500 films from 76 countries at 25 venues, adding seminars, concerts, talk-shows and exhibtions, the festival – which last year registered 132,447 admissions – will again honour Best Nordic Film with a Dragon Award and Sek 1 million ($150,000) cash, this year from...
The selection of 20 films “is both artistically strong and takes up current subjects, such as freedom of speech and distribution of resources,” explained the festival’s artistic director Marit Kapla.
The focus includes Russian director Aleksej German’s Hard to Be a God (Trudno byt Bogom), completed by his wife Svetlana Karmelita and son after German’s death.
Taisija Krugovykh and Vasilij Bogatov’s Pussy versus Putin, about Pussy Riot’s action, will be introduced by the directors, as will Alexander Gentelev’s Putin’s Games.
Unspooling almost 500 films from 76 countries at 25 venues, adding seminars, concerts, talk-shows and exhibtions, the festival – which last year registered 132,447 admissions – will again honour Best Nordic Film with a Dragon Award and Sek 1 million ($150,000) cash, this year from...
- 1/13/2014
- by jornrossing@aol.com (Jorn Rossing Jensen)
- ScreenDaily
Above: Something Must Break
International Film Festival Rotterdam 2014
Tiger Awards Competition
Afscheid van de Maan/Farewell to the Moon by Dick Tuinder (Netherlands, 2014, world premiere)
Visual artist Dick Tuinder’s second feature revolves around 12-year-old Dutch and his family in the hot summer of 1972, when the Americans launch their last mission to the moon. Tuinder contrasts the tragicomic adventures of his protagonists with the lost illusions of that transitional year, in the aftermath of the Vietnam War and approaching oil crisis. Iffr showed many of Tuinder’s short films, as well as his first feature Winterland (2009).
Anatomy of a Paper Clip by Akira Ikeda (Japan, 2013, European premiere)
Akira Ikeda's crazy and funny second feature is a dark fairytale revolving around Kogure, a paperclip bender in a paperclip factory, a man without characteristics and a stoical loser. One day he finds a butterfly in his flat. She becomes his wife,...
International Film Festival Rotterdam 2014
Tiger Awards Competition
Afscheid van de Maan/Farewell to the Moon by Dick Tuinder (Netherlands, 2014, world premiere)
Visual artist Dick Tuinder’s second feature revolves around 12-year-old Dutch and his family in the hot summer of 1972, when the Americans launch their last mission to the moon. Tuinder contrasts the tragicomic adventures of his protagonists with the lost illusions of that transitional year, in the aftermath of the Vietnam War and approaching oil crisis. Iffr showed many of Tuinder’s short films, as well as his first feature Winterland (2009).
Anatomy of a Paper Clip by Akira Ikeda (Japan, 2013, European premiere)
Akira Ikeda's crazy and funny second feature is a dark fairytale revolving around Kogure, a paperclip bender in a paperclip factory, a man without characteristics and a stoical loser. One day he finds a butterfly in his flat. She becomes his wife,...
- 1/10/2014
- by Notebook
- MUBI
The International Film Festival Rotterdam has completed the lineup for its Hivos Tiger Awards Competition.
These 10 titles join the five previously announced. All 15 first or second features will compete for three equal Tiger awards worth €15,000 each.
Elia Suleiman will lead the jury, also comprised of of Nanouk Leopold, Edwin, Violeta Bava and Kiki Sugino.
The selections (listed in full below) including Dutch artist Dick Tuinder’s second feature after Winterland, a 1972-set Dutch family story entitled Farewell To The Moon; Syria-set debut feature Arwad by Samer Najari and Dominique Chila; Busan audience award winner Han Gong-ju by Lee Su-jin; producer Luis Minarro’s first fiction feature Falling Star, about the lonely king of Spain in 1870; and Mark Jackson’s Us production War Story starring Catherine Keener.
The titles confirmed today are:
Farewell To The Moon (Afscheid van de Maan)
Dick Tuinder (Netherlands, world premiere)
Arwad
Samer Najari and Dominique Chila (Canada)
Casa grande
Fellipe Barbosa (Brazil, world...
These 10 titles join the five previously announced. All 15 first or second features will compete for three equal Tiger awards worth €15,000 each.
Elia Suleiman will lead the jury, also comprised of of Nanouk Leopold, Edwin, Violeta Bava and Kiki Sugino.
The selections (listed in full below) including Dutch artist Dick Tuinder’s second feature after Winterland, a 1972-set Dutch family story entitled Farewell To The Moon; Syria-set debut feature Arwad by Samer Najari and Dominique Chila; Busan audience award winner Han Gong-ju by Lee Su-jin; producer Luis Minarro’s first fiction feature Falling Star, about the lonely king of Spain in 1870; and Mark Jackson’s Us production War Story starring Catherine Keener.
The titles confirmed today are:
Farewell To The Moon (Afscheid van de Maan)
Dick Tuinder (Netherlands, world premiere)
Arwad
Samer Najari and Dominique Chila (Canada)
Casa grande
Fellipe Barbosa (Brazil, world...
- 1/10/2014
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
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