The webinar takes place today at 9am UK time (6pm Busan time).
The latest in our ScreenDaily Talks live Q&a series will take place on Monday October 26 at 9am UK time (6pm Busan time) and will explore how filmmaking is safely restarting in Asia. This instalment of ScreenDaily Talks is sponsored by the Film Development Council of the Philippines.
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Experts from across Asia will discuss safe shooting protocols in different territories, and also how producers are nimbly re-imagining location shooting and the refinancing of films. We also look ahead to the 2021 production pipeline, including trends...
The latest in our ScreenDaily Talks live Q&a series will take place on Monday October 26 at 9am UK time (6pm Busan time) and will explore how filmmaking is safely restarting in Asia. This instalment of ScreenDaily Talks is sponsored by the Film Development Council of the Philippines.
Click here to register
Experts from across Asia will discuss safe shooting protocols in different territories, and also how producers are nimbly re-imagining location shooting and the refinancing of films. We also look ahead to the 2021 production pipeline, including trends...
- 10/26/2020
- by Screen staff
- ScreenDaily
White Sun wins key award at the 27th Singapore International Film Festival.
White Sun won best film in the Silver Screen Awards at the 27th Singapore International Film Festival.
The second feature of Nepalese director Deepak Rauniyar is about a Maoist who returns home to bury his father.
The jury found it “an exceptional and incisive film about civil war and memory that encapsulates the never-ending conflict that is the state of the world today, with a message of hope that a different future for all of us can be possible through our children”.
Abdullah Mohammad Saad was named best director for his debut feature Live From Dhaka, which also took best performance for actor Mostafa Monwar. Shot in grainy black and white, it tells the story of a partially handicapped man who lives his days in anguish as he tries to find a way to leave Dhaka.
A special mention went to Turah, the debut feature...
White Sun won best film in the Silver Screen Awards at the 27th Singapore International Film Festival.
The second feature of Nepalese director Deepak Rauniyar is about a Maoist who returns home to bury his father.
The jury found it “an exceptional and incisive film about civil war and memory that encapsulates the never-ending conflict that is the state of the world today, with a message of hope that a different future for all of us can be possible through our children”.
Abdullah Mohammad Saad was named best director for his debut feature Live From Dhaka, which also took best performance for actor Mostafa Monwar. Shot in grainy black and white, it tells the story of a partially handicapped man who lives his days in anguish as he tries to find a way to leave Dhaka.
A special mention went to Turah, the debut feature...
- 12/4/2016
- by screenasia@yahoo.com (Silvia Wong)
- ScreenDaily
For 10 years, Five Flavours Film Festival has been presenting the best cinema from Asia, its meanings and contexts. Initially, the Festival focused solely on Vietnamese films, but it evolved to become a yearly review of the cinema of East and Southeast Asia, the only such event in the country.
The 10th edition is held in Warsaw, on November 16-23 (Muranów and Kinoteka cinemas), and in Wrocław on November 18-24 (New Horizons Cinema).
This year’s edition of Five Flavours is the biggest in history – it presents over 40 productions. The program combines artistic and commercial cinema, allowing the audience to experience the best Asian films have to offer. On the one hand, there are the intimate stories with a social angle, on the other – fresh, innovative blockbusters, filled with the sheer joy of cinematic creation, attracting millions of viewers in their homelands.
Three
This diversity is already visible in the choice...
The 10th edition is held in Warsaw, on November 16-23 (Muranów and Kinoteka cinemas), and in Wrocław on November 18-24 (New Horizons Cinema).
This year’s edition of Five Flavours is the biggest in history – it presents over 40 productions. The program combines artistic and commercial cinema, allowing the audience to experience the best Asian films have to offer. On the one hand, there are the intimate stories with a social angle, on the other – fresh, innovative blockbusters, filled with the sheer joy of cinematic creation, attracting millions of viewers in their homelands.
Three
This diversity is already visible in the choice...
- 10/28/2016
- by Panos Kotzathanasis
- AsianMoviePulse
Upcoming 27th edition to open with Asian premiere of Dain Iskandar Said’s Interchange on November 23.
The 27th Singapore International Film Festival (Sgiff) has unveiled its full line-up, comprising 161 titles from 52 countries across 13 sections.
The selection includes 16 world premieres, nine international premieres and 18 Asian premieres.
Among them are new features by masters such as Garin Nugroho, Lav Diaz, Tran Anh Hung, Naomi Kawase, Fruit Chan, Anurag Kashyap, Reha Erdem, Trinh Minh-ha, Kirill Serebrennikov, Kelly Reichardt and Ken Loach, many of whose earlier works were previously screened at the festival, according to programme director Zhang Wenjie.
In addition to the masters, Wenjie adds that a number of new filmmakers from Indonesia, Cambodia, Laos, Vietnam, Philippines, Mongolia, Japan, Nepal, Turkey, Afghanistan, Bangladesh, France, Latin America, Taiwan, Singapore and the Us are featured across various sections.
10 Asian films are vying for the Silver Screen Awards, including the world premieres of Abdulla Mohammed Saad’s Live From Dhaka and Wicaksono Wisnu Legowo...
The 27th Singapore International Film Festival (Sgiff) has unveiled its full line-up, comprising 161 titles from 52 countries across 13 sections.
The selection includes 16 world premieres, nine international premieres and 18 Asian premieres.
Among them are new features by masters such as Garin Nugroho, Lav Diaz, Tran Anh Hung, Naomi Kawase, Fruit Chan, Anurag Kashyap, Reha Erdem, Trinh Minh-ha, Kirill Serebrennikov, Kelly Reichardt and Ken Loach, many of whose earlier works were previously screened at the festival, according to programme director Zhang Wenjie.
In addition to the masters, Wenjie adds that a number of new filmmakers from Indonesia, Cambodia, Laos, Vietnam, Philippines, Mongolia, Japan, Nepal, Turkey, Afghanistan, Bangladesh, France, Latin America, Taiwan, Singapore and the Us are featured across various sections.
10 Asian films are vying for the Silver Screen Awards, including the world premieres of Abdulla Mohammed Saad’s Live From Dhaka and Wicaksono Wisnu Legowo...
- 10/27/2016
- ScreenDaily
Halfway through the Cannes Film Festival, buzz is hearing about “Jackie”, now in post-production, an account of the days of First Lady Jacqueline Kennedy in the immediate aftermath of John F. Kennedy's assassination in 1963, directed by Pablo Larraín whose Directors’ Fortnight contender “Neruda” is receiving raves here. Another hot Directors’ Fortnight film “Mean Dreams” with Bill Paxton is praised by one important film buyer as “Mud” meets “Cold in July” in a tense coming-of-age drama about a 15-year-old boy. And Sony Pictures Classics has snatched U.S. rights to the German Competition comedy, “Toni Erdmann”.
This year in the Cannes Film Festival’s Official Competition Section, there are no first time film directors, only established masters, some praised and some panned. However, Cannes Official Un Certain Regard specifically shows emerging filmmakers who are considered to be the next generation of master auteurs of cinema. Out of its 17 films, seven were first features from Romania, France, Israel, USA, Argentina, Finland and the Netherlands. Three of the seven are by women: Stéphanie Di Giusto’s “La Danseuse” (“The Dancer”) is about Loïe Fuller, the toast of the Folies Bergères at the turn of the 20th century and an inspiration for Toulouse-Lautrec and the Lumière Brothers.
Maha Haj From Israel debuted on the first day with “Personal Affairs”, about an old couple in Nazareth and their son and daughter who live on the other side of the border. Other first films are the much-anticipated “The Red Turtle”, a dialogue-free animated feature from Studio Ghibli but made in France and directed by Dutch-born, London-based animator Michael Dudok de Wit, the Finnish-German-Swedish “The Happiest Day In The Life Of Olli Mäki” and Bogdan Mirica’s “Dogs”. The debut So. Korean film, “Train to Busan”, showed in the Official Midnight Screening section and featured a zombie-virus breaking out in South Korea, and a couple of passengers struggling to survive on the train from Seoul to Busan – enough to make me want to stop traveling.
“Fool Moon” by France’s Gregoire Leprinr-Foret had a Special Screening within the Official selection and received mixed reviews. In Critics Week, three of ten films selected and judged bycritics as the best films of the year thus far are first features: K. Rajapal’s drama “A Yellow Bird” from Singapore and France about a Singaporean Indian man trying to reconnect with his estranged family after he is released from prison, Mehmet Can Mertoglu’s “Albüm” from Turkey, France and Romania (See the trailer here) and Alessandro Comidin’s “Happy Times Will Come Soon” from Italy. The Acid sidebar of eight very independent features has two first films.
Also noticeable this year is the high number of films co-financed by the Doha Film Institute. Asgaard Farhadi's " The Salesman" will have its world premiere in the Festival’s Official Competition where it competes for the coveted Palme d’Or. “The Salesman” is about a couple who is forced out of their apartment due to dangerous works on a neighboring building. It is one of two Iranian films this year. The other, “Inversion” will play in Un Certain Regard.” Newly established Doha Film Institute lent financial support to two films showing in Un Certain Regard section – “Apprentice” (Singapore, Germany, France, Hong Kong, Qatar) written and directed by Boo Junfeng; and debut feature “Dogs” (Romania, France, Bulgaria, Qatar). Directors’ Fortnight is screens “Divines” (Morocco, France, Qatar) and three Dfi grantee films compete for top honors in the Critics Week: “Mimosas” (Spain, Morocco, France, Qatar) by Oliver Laxe; “Tramontane” (Lebanon, France, UAE, Qatar) by Vatche Boulghourjian; and “Diamond Island” (Cambodia, France, Germany, Qatar) by Davy Chou touted as poetic and beautiful, a part of what might be a Cambodian New Wave. This New Wave from Cambodia is being helped along by the Doha Film Institute whose CEO, Fatma Al Remaihi says:
“At the very core of Dfi’s film funding mandate is to contribute to World Cinema and ensure that great stories continue to be told. These projects will also inspire the young Qatari film professionals to create compelling content that will gain international acclaim.”
Shahrbanoo Sadat’s debut feature “Wolf and Sheep”, in Directors’ Fortnight, is about Sadat herself, who lives in Kabul and Denmark. It takes place in the isolated village in Central Afghanistan where she grew up and where young boys and girls are shepherds. International coproductions are the engine driving the film business today and this one, a Denmark-France-Sweden-Afghanistan coproduction is a prime example. Sadat was spotted previously when her 2011 short “Vice Versa One” screened at Directors’ Fortnight and was invited to develop “Wolf And Sheep” at Cannes Cinefondation Residency in 2010, which mentors emerging talent. Virginie Devesa of the international sales company Alpha Violet picked up the film here in Cannes. Alpha Violet is also selling ”A Yellow Bird” in Critics’ Week and is representing “Luxembourg”, the newest film by Myroslav Slaboshpytskiy, whose first film “The Tribe” played in Sundance and other top fests.
This year in the Cannes Film Festival’s Official Competition Section, there are no first time film directors, only established masters, some praised and some panned. However, Cannes Official Un Certain Regard specifically shows emerging filmmakers who are considered to be the next generation of master auteurs of cinema. Out of its 17 films, seven were first features from Romania, France, Israel, USA, Argentina, Finland and the Netherlands. Three of the seven are by women: Stéphanie Di Giusto’s “La Danseuse” (“The Dancer”) is about Loïe Fuller, the toast of the Folies Bergères at the turn of the 20th century and an inspiration for Toulouse-Lautrec and the Lumière Brothers.
Maha Haj From Israel debuted on the first day with “Personal Affairs”, about an old couple in Nazareth and their son and daughter who live on the other side of the border. Other first films are the much-anticipated “The Red Turtle”, a dialogue-free animated feature from Studio Ghibli but made in France and directed by Dutch-born, London-based animator Michael Dudok de Wit, the Finnish-German-Swedish “The Happiest Day In The Life Of Olli Mäki” and Bogdan Mirica’s “Dogs”. The debut So. Korean film, “Train to Busan”, showed in the Official Midnight Screening section and featured a zombie-virus breaking out in South Korea, and a couple of passengers struggling to survive on the train from Seoul to Busan – enough to make me want to stop traveling.
“Fool Moon” by France’s Gregoire Leprinr-Foret had a Special Screening within the Official selection and received mixed reviews. In Critics Week, three of ten films selected and judged bycritics as the best films of the year thus far are first features: K. Rajapal’s drama “A Yellow Bird” from Singapore and France about a Singaporean Indian man trying to reconnect with his estranged family after he is released from prison, Mehmet Can Mertoglu’s “Albüm” from Turkey, France and Romania (See the trailer here) and Alessandro Comidin’s “Happy Times Will Come Soon” from Italy. The Acid sidebar of eight very independent features has two first films.
Also noticeable this year is the high number of films co-financed by the Doha Film Institute. Asgaard Farhadi's " The Salesman" will have its world premiere in the Festival’s Official Competition where it competes for the coveted Palme d’Or. “The Salesman” is about a couple who is forced out of their apartment due to dangerous works on a neighboring building. It is one of two Iranian films this year. The other, “Inversion” will play in Un Certain Regard.” Newly established Doha Film Institute lent financial support to two films showing in Un Certain Regard section – “Apprentice” (Singapore, Germany, France, Hong Kong, Qatar) written and directed by Boo Junfeng; and debut feature “Dogs” (Romania, France, Bulgaria, Qatar). Directors’ Fortnight is screens “Divines” (Morocco, France, Qatar) and three Dfi grantee films compete for top honors in the Critics Week: “Mimosas” (Spain, Morocco, France, Qatar) by Oliver Laxe; “Tramontane” (Lebanon, France, UAE, Qatar) by Vatche Boulghourjian; and “Diamond Island” (Cambodia, France, Germany, Qatar) by Davy Chou touted as poetic and beautiful, a part of what might be a Cambodian New Wave. This New Wave from Cambodia is being helped along by the Doha Film Institute whose CEO, Fatma Al Remaihi says:
“At the very core of Dfi’s film funding mandate is to contribute to World Cinema and ensure that great stories continue to be told. These projects will also inspire the young Qatari film professionals to create compelling content that will gain international acclaim.”
Shahrbanoo Sadat’s debut feature “Wolf and Sheep”, in Directors’ Fortnight, is about Sadat herself, who lives in Kabul and Denmark. It takes place in the isolated village in Central Afghanistan where she grew up and where young boys and girls are shepherds. International coproductions are the engine driving the film business today and this one, a Denmark-France-Sweden-Afghanistan coproduction is a prime example. Sadat was spotted previously when her 2011 short “Vice Versa One” screened at Directors’ Fortnight and was invited to develop “Wolf And Sheep” at Cannes Cinefondation Residency in 2010, which mentors emerging talent. Virginie Devesa of the international sales company Alpha Violet picked up the film here in Cannes. Alpha Violet is also selling ”A Yellow Bird” in Critics’ Week and is representing “Luxembourg”, the newest film by Myroslav Slaboshpytskiy, whose first film “The Tribe” played in Sundance and other top fests.
- 5/27/2016
- by Sydney Levine
- Sydney's Buzz
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