A film enamored with stories and with the art of telling them, Éléonore Saintagnan’s Camping du Lac opens with the director addressing the audience the way a raconteur might start a campfire yarn: “I’d like to tell you about an odd thing that happened…” Many things will indeed be told over the seventy minutes that follow—some odd, some improbable, some outright incredible. An artist and a documentarian, Saintagnan has a way of seamlessly dancing between truth and fiction, and her feature debut unspools like a tale passed on through generations. Yet her bewitching film does something more than capture the anachronistic pleasures of storytelling; it also understands the practice as a moral duty, one of the last means at our disposal to find meaning and solace in each other.
Here in triple duty as writer, director, and actor, Saintagnan plays a filmmaker whose Renault breaks down near the shores of Lake Guerlédan,...
Here in triple duty as writer, director, and actor, Saintagnan plays a filmmaker whose Renault breaks down near the shores of Lake Guerlédan,...
- 11/21/2023
- by Leonardo Goi
- The Film Stage
Having recently shifted away from their one-film-a-day approach, Mubi has now unveiled their October lineup, which is headlined by Ira Sachs’ stellar drama Passages following its theatrical run this summer. The slate also features handpicked selections by Sachs, with work by Maurice Pialat, Luchino Visconti, Jack Hazan, Shirley Clarke, and Tsai Ming-liang.
Also arriving in October is “Watch If You Dare: Horror Halloween,” a series featuring a trio of giallo classics, with The Fifth Cord, The Possessed, and Forbidden Photos of a Lady Above Suspicion, alongside Guillermo del Toro’s The Devil’s Backbone and more. The service will also spotlight the work of underseen Japanese director Yasuzô Masumura, including his aching melodrama Red Angel, his biting workplace satire Giants and Toys, his thrilling noir Black Test Car, and more.
Check out the lineup below and get 30 days free here.
October 1
The Infiltrators, directed by Alex Rivera, Cristina Ibarra | National Hispanic Heritage Month
The Vanished Elephant,...
Also arriving in October is “Watch If You Dare: Horror Halloween,” a series featuring a trio of giallo classics, with The Fifth Cord, The Possessed, and Forbidden Photos of a Lady Above Suspicion, alongside Guillermo del Toro’s The Devil’s Backbone and more. The service will also spotlight the work of underseen Japanese director Yasuzô Masumura, including his aching melodrama Red Angel, his biting workplace satire Giants and Toys, his thrilling noir Black Test Car, and more.
Check out the lineup below and get 30 days free here.
October 1
The Infiltrators, directed by Alex Rivera, Cristina Ibarra | National Hispanic Heritage Month
The Vanished Elephant,...
- 9/28/2023
- by Leonard Pearce
- The Film Stage
International attendees point to IFFR’s sense of community, inclusivity – and wide sweep of films.
“The one word that keeps springing back to mind is: finally,” says International Film Festival Rotterdam (IFFR) director Vanja Kaludjercic, with the first in-person festival since the pandemic drawing to a close yesterday (Feburary 5) after 97 feature films world premiered, 2,195 film professionals attended from 92 countries and 11 days of sold-out screenings.
“Finally, we’re back in person after a forced three-year hiatus. Finally, we get to see audiences welcoming us again with such warmth and roaring enthusiasm,” Kaludjercic says. “And finally, we can welcome the filmmakers who...
“The one word that keeps springing back to mind is: finally,” says International Film Festival Rotterdam (IFFR) director Vanja Kaludjercic, with the first in-person festival since the pandemic drawing to a close yesterday (Feburary 5) after 97 feature films world premiered, 2,195 film professionals attended from 92 countries and 11 days of sold-out screenings.
“Finally, we’re back in person after a forced three-year hiatus. Finally, we get to see audiences welcoming us again with such warmth and roaring enthusiasm,” Kaludjercic says. “And finally, we can welcome the filmmakers who...
- 2/6/2023
- by Mona Tabbara
- ScreenDaily
Italian-French co-production “Heads or Tails?” (“Testa o Croce?”) claimed Eurimages Co-Production Development Award at Rotterdam’s CineMart on Tuesday.
Directed by Alessio Rigo de Righi and Matteo Zoppis, and set in the 1890s, it seduced jurors Ilse Ronteltap, Mira Staleva and Konstantina Stavrianou with its retro-flavored story of lovers on the run. “It brings us [closer] to the legends that we rarely see nowadays,” said Staleva. “It’s about violence, mystery, freedom, injustice and friendship.”
“Billi and Rosa decide to escape, but many people are chasing them. Then he becomes a hero to some, an icon. Which, obviously, goes straight to his head. The story is really about her own path: her journey to freedom,” Alessio Rigo de Righi told Variety following his win.
“It’s a western too, a real genre film, which is what we always wanted to do. One that’s actually set in Italy and owning it,...
Directed by Alessio Rigo de Righi and Matteo Zoppis, and set in the 1890s, it seduced jurors Ilse Ronteltap, Mira Staleva and Konstantina Stavrianou with its retro-flavored story of lovers on the run. “It brings us [closer] to the legends that we rarely see nowadays,” said Staleva. “It’s about violence, mystery, freedom, injustice and friendship.”
“Billi and Rosa decide to escape, but many people are chasing them. Then he becomes a hero to some, an icon. Which, obviously, goes straight to his head. The story is really about her own path: her journey to freedom,” Alessio Rigo de Righi told Variety following his win.
“It’s a western too, a real genre film, which is what we always wanted to do. One that’s actually set in Italy and owning it,...
- 1/31/2023
- by Marta Balaga
- Variety Film + TV
Awards handed out to projects in 40th anniversary edition of CineMart.
Italy-France co-production Heads Or Tails (Testa o Croce)? and Ukrainian title Consider Vera were the major winners at Rotterdam’s IFFR Pro industry awards recognising projects from International Film Festival Rotterdam’s co-production market, CineMart.
The co-production market marks its 40th anniversary this year and hosted 20 features and five immersive projects. Itd ran from January 29 to February 1.
Heads Or Tails? from Italian-American directors Alessio Rigo de Righi and Matteo Zoppis took home the Eurimages Co-production Development Award of €20,000. It is produced by Ring Film and Shellac Sud and follows...
Italy-France co-production Heads Or Tails (Testa o Croce)? and Ukrainian title Consider Vera were the major winners at Rotterdam’s IFFR Pro industry awards recognising projects from International Film Festival Rotterdam’s co-production market, CineMart.
The co-production market marks its 40th anniversary this year and hosted 20 features and five immersive projects. Itd ran from January 29 to February 1.
Heads Or Tails? from Italian-American directors Alessio Rigo de Righi and Matteo Zoppis took home the Eurimages Co-production Development Award of €20,000. It is produced by Ring Film and Shellac Sud and follows...
- 1/31/2023
- by Mona Tabbara
- ScreenDaily
20 features and five immersive projects will be presented at the co-production market.
International Film Festival Rotterdam (IFFR) has selected 20 feature projects for the 40th edition of its CineMart co-production market, including Eldorado, the next feature from The Unknown Saint director Alaa Eddine Aljem.
The project follows a group of migrants seeking to reach the secret utopian island of Eldorado, who actually end up in a factory of the same name that produces tomato sauce.
Scroll down for the full CineMart 2023 selection
The project is being produced by Francesca Duca for Morocco’s Le Moindre Geste.
Aljem’s debut feature The...
International Film Festival Rotterdam (IFFR) has selected 20 feature projects for the 40th edition of its CineMart co-production market, including Eldorado, the next feature from The Unknown Saint director Alaa Eddine Aljem.
The project follows a group of migrants seeking to reach the secret utopian island of Eldorado, who actually end up in a factory of the same name that produces tomato sauce.
Scroll down for the full CineMart 2023 selection
The project is being produced by Francesca Duca for Morocco’s Le Moindre Geste.
Aljem’s debut feature The...
- 12/15/2022
- by Ben Dalton
- ScreenDaily
Lazio Filmcommission has previously backed films including Matteo Garrone’s ‘Pinocchio’.
The Roma Lazio Filmcommission has launched a €10m fund to attract international film, television, documentary and animated productions to shoot in the Italian region.
Applications to Lazio Cinema International will be evaluated by a committee and will be based on productions meeting the eligbility criteria.
“As Roma Lazio Filmcommission we constantly work towards developing international partnerships, at promoting the resources of the region and also at assisting both national and international productions,” said Cristina Priarone, director general of the Rome Lazio Filmcommission.
“We have always valued and sought to...
The Roma Lazio Filmcommission has launched a €10m fund to attract international film, television, documentary and animated productions to shoot in the Italian region.
Applications to Lazio Cinema International will be evaluated by a committee and will be based on productions meeting the eligbility criteria.
“As Roma Lazio Filmcommission we constantly work towards developing international partnerships, at promoting the resources of the region and also at assisting both national and international productions,” said Cristina Priarone, director general of the Rome Lazio Filmcommission.
“We have always valued and sought to...
- 6/20/2022
- by Alina Trabattoni
- ScreenDaily
Not quite a musical, sort of a folktale, and almost but not entirely a hardscrabble hunk of post-war realism before all of a sudden changing gears, “Scarlet” – which opened the 2022 Cannes Film Festival’s Directors’ Fortnight sidebar on Wednesday – is a tricky project to pin down. Of course, director Pietro Marcello wouldn’t have it any other way.
Shooting in French for the first time, the Italian filmmaker made his name with documentaries before working found and historical footage into the world of make-believe with 2019’s “Martin Eden.” With this more ambitious (if more uneven) follow-up, Marcello continues at a similar pace, folding fact into fiction as he explores both the landscapes of rural Normandy in the aftermath of the First World War and the plight of the working poor, all through the crags of his leading man’s brow.
That brow (and those crags) belongs to Raphael (Raphaël Thiéry...
Shooting in French for the first time, the Italian filmmaker made his name with documentaries before working found and historical footage into the world of make-believe with 2019’s “Martin Eden.” With this more ambitious (if more uneven) follow-up, Marcello continues at a similar pace, folding fact into fiction as he explores both the landscapes of rural Normandy in the aftermath of the First World War and the plight of the working poor, all through the crags of his leading man’s brow.
That brow (and those crags) belongs to Raphael (Raphaël Thiéry...
- 5/18/2022
- by Ben Croll
- The Wrap
Paolo Sorrentino’s “The Hand of God” and Gabriele Mainetti’s “Freaks Out” lead the pack at the David di Donatello Awards this year with 16 nominations each.
Here’s the complete list of nominees:
Picture
“Ariaferma” (The Inner Cage), Leonardo Di Costanzo
“The Hand of God,” Paolo Sorrentino
“Ennio,” Giuseppe Tornatore
“Freaks Out,” Gabriele Mainetti
“Qui Rido Io” (The King of Laughter), Mario Martone
Director
“Ariaferma” (The Inner Cage), Leonardo Di Costanzo
“The Hand of God,” Paolo Sorrentino
“Ennio,” Giuseppe Tornatore
“Freaks Out,” Gabriele Mainetti
“Qui Rido Io” (The King of Laughter), Mario Martone
Debut Director
“The Bad Poet,” Gianluca Jodice
“Maternal,” Maura Delpero
“Small Body,” Laura Samani
“Re Granchio” (The Legend of King Crab), Alessio Rigo De Righi, Matteo Zoppis
“Una Femmina” (The Code of Silence), Francesco Constabile
Producer
“A Chiara,” Jon Coplon, Paolo Carpignano, Ryan Zacarias, Jonas Carpignano (Stayblack Productions) — Rai Cinema
“Ariaferma” (The Inner Cage), Carlo Cresto...
Here’s the complete list of nominees:
Picture
“Ariaferma” (The Inner Cage), Leonardo Di Costanzo
“The Hand of God,” Paolo Sorrentino
“Ennio,” Giuseppe Tornatore
“Freaks Out,” Gabriele Mainetti
“Qui Rido Io” (The King of Laughter), Mario Martone
Director
“Ariaferma” (The Inner Cage), Leonardo Di Costanzo
“The Hand of God,” Paolo Sorrentino
“Ennio,” Giuseppe Tornatore
“Freaks Out,” Gabriele Mainetti
“Qui Rido Io” (The King of Laughter), Mario Martone
Debut Director
“The Bad Poet,” Gianluca Jodice
“Maternal,” Maura Delpero
“Small Body,” Laura Samani
“Re Granchio” (The Legend of King Crab), Alessio Rigo De Righi, Matteo Zoppis
“Una Femmina” (The Code of Silence), Francesco Constabile
Producer
“A Chiara,” Jon Coplon, Paolo Carpignano, Ryan Zacarias, Jonas Carpignano (Stayblack Productions) — Rai Cinema
“Ariaferma” (The Inner Cage), Carlo Cresto...
- 4/30/2022
- by Nick Vivarelli
- Variety Film + TV
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSDesigned by Hartland Villa, the official poster for the 75th edition of the Cannes Film Festival features a still from Peter Weir and Andrew Niccol’s The Truman Show. The festival has also unveiled the lineup for its official selection, which features a hefty list of competitors for the Palme d'Or. Check out the full lineup here.Accompanying the official selection are the Directors' Fortnight and Critics' Week lineups, which are not to be overlooked. Pietro Marcello's French-language debut Scarlet will be opening the Directors' Fortnight, while Yann Gonzalez and July Jung will be premiering new films at Critics' Week. Kelly Reichardt will be receiving an honorary Golden Leopard from this year's Locarno International Film Festival in celebration of her distinguished career, throughout which she's "[redesigned] the profile of genres, from western to thriller,...
- 4/20/2022
- MUBI
Alessio Rigo de Righi & Matteo Zoppis's The Tale of King Crab is exclusively showing on Mubi in most countries starting April 20, 2022 in the series Undiscovered.The Tale of King Crab is the third chapter of a trilogy based on oral tales that we heard in a small hunting lodge in the province of Viterbo, in the Tuscia region of Italy. The hunters would gather together in this lodge after a hunt to eat, drink, and tell stories. Almost all of the people who play in this film are non-professional actors, laborers, hunters, and farmers from the town of Vejano.While the first two films, Belva Nera (2013) and Il Solengo (2015), were documentaries, this time the story went back too far in time for anyone to recall, so we didn't have many elements to work with and these only lead up to the protagonist's exile in Argentina. So we went to...
- 4/19/2022
- MUBI
The bizarre tale of an Italian village drunk which switches to a crustacean-assisted treasure hunt aims for warped horror but doesn’t always get it right
A group of elderly Italian men sit around drinking red wine, eating spaghetti and trading local folk stories passed down by their parents and grandparents. It was different back then, explains one old boy; there was no TV, so people had to sit around talking of an evening (though sitting around talking is precisely what this lot are doing). He tells the tale of Luciano, the illegitimate son of a local doctor sometime in the 19th century. It’s a dark story, he warns. Though possibly not dark enough. What first-time feature directors Alessio Rigo de Righi and Matteo Zoppis seem to be going for here is a Herzogian waking nightmare, but the necessary sense of horror and despair never fully comes off.
Their...
A group of elderly Italian men sit around drinking red wine, eating spaghetti and trading local folk stories passed down by their parents and grandparents. It was different back then, explains one old boy; there was no TV, so people had to sit around talking of an evening (though sitting around talking is precisely what this lot are doing). He tells the tale of Luciano, the illegitimate son of a local doctor sometime in the 19th century. It’s a dark story, he warns. Though possibly not dark enough. What first-time feature directors Alessio Rigo de Righi and Matteo Zoppis seem to be going for here is a Herzogian waking nightmare, but the necessary sense of horror and despair never fully comes off.
Their...
- 4/18/2022
- by Cath Clarke
- The Guardian - Film News
The Tale Of King Crab, a cinematically striking fable shot in rural Italy and Argentina, opened to a three-day gross of 5,120 at Film at Lincoln Center this weekend — the first in a string of Italian offerings set to arrive on the specialty scene through the summer.
“In today’s challenging arthouse market, we count this early result as a success and believe the film will continue to find a devoted audience as it rolls out nationally,” said Andrew Carlin, head of distribution for Oscilloscope Laboratories, which presents the film directed by Alessio Rigo de Righi and Matteo Zoppis. Set in a remote 19th-century Italian village and the distant Argentine province of Tierra del Fuego, it expands to LA’s Landmark Nuart on April 29 and into top 50 markets throughout May.
“We saw this at Cannes last year on the biggest and best screen possible and found it equal parts beguiling and immersive.
“In today’s challenging arthouse market, we count this early result as a success and believe the film will continue to find a devoted audience as it rolls out nationally,” said Andrew Carlin, head of distribution for Oscilloscope Laboratories, which presents the film directed by Alessio Rigo de Righi and Matteo Zoppis. Set in a remote 19th-century Italian village and the distant Argentine province of Tierra del Fuego, it expands to LA’s Landmark Nuart on April 29 and into top 50 markets throughout May.
“We saw this at Cannes last year on the biggest and best screen possible and found it equal parts beguiling and immersive.
- 4/17/2022
- by Jill Goldsmith
- Deadline Film + TV
“I see nothing happening on a major scale to try to get the older audiences back to theaters,” griped Sony Pictures Classics’ co-president Tom Bernard.
Ideally, Bernard wants NATO to trumpet cinema safety in a big public campaign. (A NATO rep says not in the cards.) He’d like that campaign alongside a creative marketing push by independent movie chains, combined with a steadier flow of specialty films with wider appeal. That could include SPC’s upcoming The Duke, Jazz Fest: A New Orleans Story and The Phantom of the Open.
Focus Features’ bellwether Downton Abby: A New Era is the big test. If the Crawley family can’t rout lingering Covid jitters and force of habit to nudge older demos off home screens, then nothing can.
Hoping to prime the pump for this potential spring rebound, SPC and the Angelika Film Center this week unveiled “Bring A Friend Back To The Movies,...
Ideally, Bernard wants NATO to trumpet cinema safety in a big public campaign. (A NATO rep says not in the cards.) He’d like that campaign alongside a creative marketing push by independent movie chains, combined with a steadier flow of specialty films with wider appeal. That could include SPC’s upcoming The Duke, Jazz Fest: A New Orleans Story and The Phantom of the Open.
Focus Features’ bellwether Downton Abby: A New Era is the big test. If the Crawley family can’t rout lingering Covid jitters and force of habit to nudge older demos off home screens, then nothing can.
Hoping to prime the pump for this potential spring rebound, SPC and the Angelika Film Center this week unveiled “Bring A Friend Back To The Movies,...
- 4/15/2022
- by Jill Goldsmith
- Deadline Film + TV
In the Italian town of Vejano, local hunters gather to share stories rich enough to inspire movies. Over the past decade, filmmakers Alessio Rigo de Righi and Matteo Zoppis have been dutifully documenting these sessions — some fact-based, others blurring the lines of reality — translating them to screen via films that entertain, while also testing what audiences might believe. The first two, “Belva Nera” (about a black panther sighting) and “Il Solengo” (focused on an enigmatic recluse), were fashioned as nonfiction portraits, but the latest legend proved fanciful enough to call for a more narrative approach. And thus, “The Tale of King Crab” was born.
Debuting in Directors’ Fortnight at Cannes last summer, this surprising account of a curious cross-continental quest already feels timeless, like one of Pasolini’s classic allegorical films (“The Arabian Nights”) or Alice Rohrwacher’s more recent, loosely fact-based “Happy as Lazzaro.” It’s an old-fashioned literary fable,...
Debuting in Directors’ Fortnight at Cannes last summer, this surprising account of a curious cross-continental quest already feels timeless, like one of Pasolini’s classic allegorical films (“The Arabian Nights”) or Alice Rohrwacher’s more recent, loosely fact-based “Happy as Lazzaro.” It’s an old-fashioned literary fable,...
- 4/15/2022
- by Peter Debruge
- Variety Film + TV
He’s a good man, they say, but when he drinks, he loses control of himself. And he drinks a lot.
Perhaps he has reason to. Alessio Rigo de Righi and Matteo Zoppis’ rambling, mythic tale opens with a documentary element: a group of old men sitting around a table in a small Tuscan bar, sharing stories and a song about the doctor’s son, Luciano, who once lived in those parts. Even from the outset, there’s a melancholic tone to it, a reflection on what might have been but was snatched away by fate. his mother made him a bastard, the song says. Recollections vary, but one theme which holds fast is his resentment and his certainty that he ought to have the same rights as any other man. This is, after all, supposed to be a republic. Why should he not live as he pleases, like any other man,...
Perhaps he has reason to. Alessio Rigo de Righi and Matteo Zoppis’ rambling, mythic tale opens with a documentary element: a group of old men sitting around a table in a small Tuscan bar, sharing stories and a song about the doctor’s son, Luciano, who once lived in those parts. Even from the outset, there’s a melancholic tone to it, a reflection on what might have been but was snatched away by fate. his mother made him a bastard, the song says. Recollections vary, but one theme which holds fast is his resentment and his certainty that he ought to have the same rights as any other man. This is, after all, supposed to be a republic. Why should he not live as he pleases, like any other man,...
- 4/14/2022
- by Jennie Kermode
- eyeforfilm.co.uk
Shellfish People: Rigo de Righi & Matteo Zoppis Craft Unique Narrative Steeped in Oral Tradition
For their directorial debut The Tale of King Crab, directors Alessio Rigo de Righi & Matteo Zoppis fashion a framed tale about a legendary drunk as relayed by a tavern full of modern day bar flies reminiscing about their collective nostalgia. With a certain essence of plot holes being filled in along the way, the two part odyssey of an unfortunate ruffian switches tone and style for its second half, jumping from tragedy to bizarrely humorous. Like a spaghetti western, it hits a definite genre groove which feels uniquely self aware without seeming arch, a narrative crafted collaboratively for its own meandering, maximum effect.…...
For their directorial debut The Tale of King Crab, directors Alessio Rigo de Righi & Matteo Zoppis fashion a framed tale about a legendary drunk as relayed by a tavern full of modern day bar flies reminiscing about their collective nostalgia. With a certain essence of plot holes being filled in along the way, the two part odyssey of an unfortunate ruffian switches tone and style for its second half, jumping from tragedy to bizarrely humorous. Like a spaghetti western, it hits a definite genre groove which feels uniquely self aware without seeming arch, a narrative crafted collaboratively for its own meandering, maximum effect.…...
- 4/13/2022
- by Nicholas Bell
- IONCINEMA.com
One of the highlights of the new release calendar this month is Italian filmmakers Alessio Rigo de Righi and Matteo Zoppis’ Cannes and NYFF selection The Tale of King Crab. The film follows a wandering outcast in a remote, late 19th-century Italian village. He embarks on an odyssey after being exiled to the distant Argentine province of Tierra del Fuego where, with the help of ruthless gold-diggers, he searches for a mythical treasure, paving his way toward redemption. Courtesy of Oscilloscope, who will release this Friday, April 15 starting at Film at Lincoln Center, we’re delighted to premiere an exclusive clip that shows off the beginnings of this dreamy odyssey.
Rory O’Connor said in his review, “A rare and elusive sense of myth is captured in The Tale of King Crab, a story of a 19th-century vagabond who falls in love with the daughter of a local farmer only to run afoul of a prince.
Rory O’Connor said in his review, “A rare and elusive sense of myth is captured in The Tale of King Crab, a story of a 19th-century vagabond who falls in love with the daughter of a local farmer only to run afoul of a prince.
- 4/12/2022
- by Leonard Pearce
- The Film Stage
Oscilloscope Laboratories has snagged North American rights to Helmut Dosantos’ documentary “Gods of Mexico,” an exploration of the rich diversity of indigenous and Afro-descendant communities across Mexico.
The film had its world premiere at this year’s True/False Film Festival.
Hailed as “a tribute to those who fight to preserve their cultural identity amidst the shadows of modernization,” Dosantos transports audiences “through salt pans, deserts, highlands, jungle, and underground mines, in both richly saturated color and black-and-white melodic interludes.”
The “ethnographic portrait offers a critical consideration of values and challenges structures that breed displacement,” the synopsis reads.
Commented O-Scope’s Dan Berger: “’Gods of Mexico’ is inarguably one of the most astonishing filmic experiences I’ve had.” “The imagery is beyond stunning and the dialogue-free (but far from silent) soundtrack is utterly immersive,” he said, adding: “And this says nothing about the access that Helmut was able to...
The film had its world premiere at this year’s True/False Film Festival.
Hailed as “a tribute to those who fight to preserve their cultural identity amidst the shadows of modernization,” Dosantos transports audiences “through salt pans, deserts, highlands, jungle, and underground mines, in both richly saturated color and black-and-white melodic interludes.”
The “ethnographic portrait offers a critical consideration of values and challenges structures that breed displacement,” the synopsis reads.
Commented O-Scope’s Dan Berger: “’Gods of Mexico’ is inarguably one of the most astonishing filmic experiences I’ve had.” “The imagery is beyond stunning and the dialogue-free (but far from silent) soundtrack is utterly immersive,” he said, adding: “And this says nothing about the access that Helmut was able to...
- 4/6/2022
- by Anna Marie de la Fuente
- Variety Film + TV
One of the most transportive, transfixing discoveries of last year’s festival circuit was the Cannes and NYFF selection The Tale of King Crab. Coming from Italian filmmakers Alessio Rigo de Righi and Matteo Zoppis, who have mostly dabbled in on-fiction, the film follows a wandering outcast in a remote, late 19th-century Italian village. He embarks on an odyssey after being exiled to the distant Argentine province of Tierra del Fuego where, with the help of ruthless gold-diggers, he searches for a mythical treasure, paving his way toward redemption. Picked up by Oscilloscope, it’ll now get a release on April 15 beginning at Film at Lincoln Center and the gorgeous trailer and poster have arrived.
Rory O’Connor said in his review, “A rare and elusive sense of myth is captured in The Tale of King Crab, a story of a 19th-century vagabond who falls in love with the daughter of...
Rory O’Connor said in his review, “A rare and elusive sense of myth is captured in The Tale of King Crab, a story of a 19th-century vagabond who falls in love with the daughter of...
- 3/24/2022
- by Jordan Raup
- The Film Stage
Part Herzogian ecstatic ethnography, part Pasolinian picaresque, “The Tale of King Crab” finds directors Alessio Rigo de Righi and Matteo Zoppis traveling from Italy to Argentina in a two-pronged folktale. The film, which has strands of ’70s arthouse in its DNA — including its immersive shot-on-film imagery — world-premiered at Cannes Directors’ Fortnight in summer 2021 and enjoyed a solid run on the festival circuit, including at the New York Film Festival.
Now, Oscilloscope Laboratories will open the film April 15 in New York exclusively at Film at Lincoln Center, followed by a Los Angeles opening April 29. Exclusively on IndieWire, you can watch the trailer for the film below ahead of its stateside release.
The film centers on Luciano (Gabriele Silli), a meandering outcast in a far-off, late-19th-century Italian village. His life is marred by all manner of conflict, from the dangers of drink to forbidden love, as well as unrest with the...
Now, Oscilloscope Laboratories will open the film April 15 in New York exclusively at Film at Lincoln Center, followed by a Los Angeles opening April 29. Exclusively on IndieWire, you can watch the trailer for the film below ahead of its stateside release.
The film centers on Luciano (Gabriele Silli), a meandering outcast in a far-off, late-19th-century Italian village. His life is marred by all manner of conflict, from the dangers of drink to forbidden love, as well as unrest with the...
- 3/24/2022
- by Ryan Lattanzio
- Indiewire
Samuel Theis’ “Softie” won the top prize at the 62nd Thessaloniki Film Festival, which wrapped Sunday night with a ceremony in Greece’s second city.
The film, which premiered in Cannes’ Critics’ Week section, was awarded the Golden Alexander and a €10,000 cash prize by a jury comprised of writer-director Nanouk Leopold, sound designer Roland Vajs and actor Michelle Valley.
The Special Jury Award was given to “Clara Sola,” by Natalie Álvarez Mesén, while the Special Jury Award for best director went to Lorenzo Vigas for “The Box.”
The award for best actress went to Sofia Kokkali for her performance in “Moon, 66 Questions,” by director Jacqueline Lentzou. Aliocha Reinert won the prize for best actor for his role in Golden Alexander winner “Softie.” The award for best screenplay went to Laurynas Bareiša for his film “Pilgrims,” while a special mention was given to Alexandre Koberidze for “What Do We See When We Look at the Sky?...
The film, which premiered in Cannes’ Critics’ Week section, was awarded the Golden Alexander and a €10,000 cash prize by a jury comprised of writer-director Nanouk Leopold, sound designer Roland Vajs and actor Michelle Valley.
The Special Jury Award was given to “Clara Sola,” by Natalie Álvarez Mesén, while the Special Jury Award for best director went to Lorenzo Vigas for “The Box.”
The award for best actress went to Sofia Kokkali for her performance in “Moon, 66 Questions,” by director Jacqueline Lentzou. Aliocha Reinert won the prize for best actor for his role in Golden Alexander winner “Softie.” The award for best screenplay went to Laurynas Bareiša for his film “Pilgrims,” while a special mention was given to Alexandre Koberidze for “What Do We See When We Look at the Sky?...
- 11/14/2021
- by Christopher Vourlias
- Variety Film + TV
A rare and elusive sense of myth is captured in The Tale of King Crab, a story of a 19th-century vagabond who falls in love with the daughter of a local farmer only to run afoul of a prince. (Tough luck.) Later on, astonishingly, he finds himself on the other side of the world.
With that kind of spatial and temporal scope, it’s remarkable that Crab is only the first narrative feature from Italian filmmakers Alessio Rigo de Righi and Matteo Zoppis, a duo whose output, while ostensibly non-fiction to this point, has often played on the boundary of fable. Small traces of both Black Beast (their 2013 short about a legendary animal) and Il Sonengo (their 2018 feature documentary about a lone hermit) can be located in Crab, a film with all the texture of a folktale—one passed through generations, the facts blurring and embellishments only growing more ethereal with each retelling.
With that kind of spatial and temporal scope, it’s remarkable that Crab is only the first narrative feature from Italian filmmakers Alessio Rigo de Righi and Matteo Zoppis, a duo whose output, while ostensibly non-fiction to this point, has often played on the boundary of fable. Small traces of both Black Beast (their 2013 short about a legendary animal) and Il Sonengo (their 2018 feature documentary about a lone hermit) can be located in Crab, a film with all the texture of a folktale—one passed through generations, the facts blurring and embellishments only growing more ethereal with each retelling.
- 11/11/2021
- by Rory O'Connor
- The Film Stage
China’s Pingyao International Film Festival got under way on Tuesday with the gala screening of Zhang Lu’s new drama film “Yanagawa.” The festival will unspool Oct. 12-19 with a familiar package of competition screenings a work in progress section, a film lab, a project market and a tribute section dedicated to Tsui Hark.
Organizers announced an ambitious twelve-title competition section (“Crouching Tigers”) for first second and third films from around the world.
These include: “Amparo,” directed by Simón Mesa Soto; “As Far As I Can Walk,” directed by Strahinja Banovic; “Feathers,” directed by Omar El Zohairy; “Mama, I’m Home” directed by Vladimir Bitokov (Russia); “Pedro” directed by Natesh Hegde (India); “Playground” (Un Monde) directed by Laura Wandel (Belgium); “Prayers for the Stolen” (Noche de Fuego) directed by Tatiana Huezo; “Rehana” (Rehana Maryam Noor) directed by Abdullah Mohammad Saad; “The Tale of King Crab” (Re Granchio) directed by...
Organizers announced an ambitious twelve-title competition section (“Crouching Tigers”) for first second and third films from around the world.
These include: “Amparo,” directed by Simón Mesa Soto; “As Far As I Can Walk,” directed by Strahinja Banovic; “Feathers,” directed by Omar El Zohairy; “Mama, I’m Home” directed by Vladimir Bitokov (Russia); “Pedro” directed by Natesh Hegde (India); “Playground” (Un Monde) directed by Laura Wandel (Belgium); “Prayers for the Stolen” (Noche de Fuego) directed by Tatiana Huezo; “Rehana” (Rehana Maryam Noor) directed by Abdullah Mohammad Saad; “The Tale of King Crab” (Re Granchio) directed by...
- 10/13/2021
- by Patrick Frater
- Variety Film + TV
Festival, which opens today, also annouced its Crouching Tigers and Hidden Dragons competition sections.
This year’s Pingyao International Film Festival (Octobner 12-19) will open with Korean-Chinese director Zhang Lu’s Yanagawa and close with Xu Lei’s The Great Director.
Starring Ni Ni, Zhang Luyi and Xin Baiqing, Yanagawa revolves around two brothers who travel to Japan in search of the woman they both loved in their youth. The film, which is receiving its world premiere at Busan in the Icons section, is produced by Midnight Blur Films and sold internationally by Hishow Entertainment. The Great Director is described...
This year’s Pingyao International Film Festival (Octobner 12-19) will open with Korean-Chinese director Zhang Lu’s Yanagawa and close with Xu Lei’s The Great Director.
Starring Ni Ni, Zhang Luyi and Xin Baiqing, Yanagawa revolves around two brothers who travel to Japan in search of the woman they both loved in their youth. The film, which is receiving its world premiere at Busan in the Icons section, is produced by Midnight Blur Films and sold internationally by Hishow Entertainment. The Great Director is described...
- 10/12/2021
- by Liz Shackleton
- ScreenDaily
For their narrative debut, documentary filmmakers Alessio Rigo de Righi and Matteo Zoppis tackle a two-pronged film whose two halves share visions of one another, as well as a few familiar faces, but only ever-so-gently collide across disparate worlds. “The Tale of King Crab” divides its time between 19th-century rural Italy and the coast of the southernmost tip of Argentina. Part Herzogian ecstatic ethnography given the verisimilitude at play in the film’s naturalistic settings, and part Pasolinian picaresque in its portrayal of a louche, sotted antihero tumbling through folly upon folly,, despite a bifurcated structure that makes for two occasionally tantalizing films in one.
At its core, the film is about the feint of storytelling itself, a well-worn topic that can make for a frustrating viewing experience when the directors are trying to go too deep inside their own heads. There’s a framing device that sets up the...
At its core, the film is about the feint of storytelling itself, a well-worn topic that can make for a frustrating viewing experience when the directors are trying to go too deep inside their own heads. There’s a framing device that sets up the...
- 9/30/2021
- by Ryan Lattanzio
- Indiewire
A group of elderly Italian hunters gather in a pub to tell each other folktales at the beginning of Alessio Rigo de Righi and Matteo Zoppis’ cinematic fable. “This is the story of Luciano. It’s a dark tale,” one of them announces forebodingly. So you can’t say the film hasn’t given you fair warning.
The debut feature from the heretofore documentary filmmakers (Belva Nera, Il Solengo), The Tale of King Crab strains mightily for a poetic quality that it never quite achieves. Divided into two stylistically diverse chapters, the film doesn’t evoke primitive folktales so much ...
The debut feature from the heretofore documentary filmmakers (Belva Nera, Il Solengo), The Tale of King Crab strains mightily for a poetic quality that it never quite achieves. Divided into two stylistically diverse chapters, the film doesn’t evoke primitive folktales so much ...
- 9/29/2021
- The Hollywood Reporter - Film + TV
A group of elderly Italian hunters gather in a pub to tell each other folktales at the beginning of Alessio Rigo de Righi and Matteo Zoppis’ cinematic fable. “This is the story of Luciano. It’s a dark tale,” one of them announces forebodingly. So you can’t say the film hasn’t given you fair warning.
The debut feature from the heretofore documentary filmmakers (Belva Nera, Il Solengo), The Tale of King Crab strains mightily for a poetic quality that it never quite achieves. Divided into two stylistically diverse chapters, the film doesn’t evoke primitive folktales so much ...
The debut feature from the heretofore documentary filmmakers (Belva Nera, Il Solengo), The Tale of King Crab strains mightily for a poetic quality that it never quite achieves. Divided into two stylistically diverse chapters, the film doesn’t evoke primitive folktales so much ...
- 9/29/2021
- The Hollywood Reporter - Movie News
Beijing-based distributor Hugoeast Media has acquired Chinese distribution rights to Cannes Directors’ Fortnight film “The Tale of King Crab,” the first feature venture into narrative fiction of Italian filmmakers Alessio Rigo de Righi and Matteo Zoppis.
Hugoeast Media plans a limited theatrical release in Chinese theaters in the course of 2022.
The deal with Hugoeast Media was closed by the international sales arm of France’s Shellac. It adds to a North American pick-up by Oscilloscope Laboratories, negotiated by Shellac’s Thomas Ordonneau and Egle Cepaite and announced a week after “Crab King” world premiered at the Cannes Festival.
An out-there tale of tragedy and redemption, “The Tale of King Crab” is based on vague local legend picked up by the filmmakers of a man, Luciano, living in a benighted Italian village in the late 1800s or early twentieth century decried as a “madman, an aristocrat, a saint and a drunkard.
Hugoeast Media plans a limited theatrical release in Chinese theaters in the course of 2022.
The deal with Hugoeast Media was closed by the international sales arm of France’s Shellac. It adds to a North American pick-up by Oscilloscope Laboratories, negotiated by Shellac’s Thomas Ordonneau and Egle Cepaite and announced a week after “Crab King” world premiered at the Cannes Festival.
An out-there tale of tragedy and redemption, “The Tale of King Crab” is based on vague local legend picked up by the filmmakers of a man, Luciano, living in a benighted Italian village in the late 1800s or early twentieth century decried as a “madman, an aristocrat, a saint and a drunkard.
- 9/21/2021
- by John Hopewell
- Variety Film + TV
Oscilloscope Laboratories has acquired U.S. rights to “Stanleyville,” starring “Goodnight Mommy’s” Susanne Wuest, ahead of the film’s world premiere at this month’s Fantasia Film Festival.
One of the high-profile Fantasia deal announcements, the pick-up, brokered with Yellow Veil Pictures, will see Oscilloscope open “Stanleyville” in U.S. theaters this Winter.
“Stanleyville” marks the feature film debut of Canadian actor-turned-director Maxwell McCabe-Lokos, who has appeared in a slew of movies and TV series, including “Antibirth,” “Lars and the Real Girl,” “The Incredible Hulk” and “Tin Star.”
Directed by Bruce McDonald, McCabe-Lokos’ first feature screenplay, “The Husband,” which he starred in, premiered at Toronto 2013. His directorial debut, 2016 short “Ape Sodom,” and 2017 short “Midnight Confession” were also both selected for Toronto.
Written by McCabe-Lokos and Rob Benvie, who also took a co-scribe credit on “Midnight Confession,” “Stanleyville” brings McCabe-Lokos’ satirical vision of the state of the modern world to...
One of the high-profile Fantasia deal announcements, the pick-up, brokered with Yellow Veil Pictures, will see Oscilloscope open “Stanleyville” in U.S. theaters this Winter.
“Stanleyville” marks the feature film debut of Canadian actor-turned-director Maxwell McCabe-Lokos, who has appeared in a slew of movies and TV series, including “Antibirth,” “Lars and the Real Girl,” “The Incredible Hulk” and “Tin Star.”
Directed by Bruce McDonald, McCabe-Lokos’ first feature screenplay, “The Husband,” which he starred in, premiered at Toronto 2013. His directorial debut, 2016 short “Ape Sodom,” and 2017 short “Midnight Confession” were also both selected for Toronto.
Written by McCabe-Lokos and Rob Benvie, who also took a co-scribe credit on “Midnight Confession,” “Stanleyville” brings McCabe-Lokos’ satirical vision of the state of the modern world to...
- 8/2/2021
- by John Hopewell
- Variety Film + TV
Below you will find an index of our coverage from the Cannes Film Festival, Directors' Fortnight, and Critics' Week in 2021, as well as our favorite films.Awardstop 10Leonardo GOI1. Drive My Car (Ryusuke Hamaguchi)2. Memoria (Apichatpong Weerasethakul)3. The Souvenir: Part II (Joanna Hogg)4. Titane (Julia Ducournau)5. Neptune Frost (Anisia Uzeyman, Saul Williams)6. The Tale of King Crab (Alessio Rigo de Righi, Matteo Zoppis)7. Ahed's Knee (Nadav Lapid)8. Unclenching the Fists (Kira Kovalenko)9. A Hero (Asghar Farhadi)10. Red Rocket (Sean Baker)Coverageleonardo GOICannes 2021: Festival PreviewNadav Lapid’s Ahed’s Knee, Arthur Harari’s Onoda, and Joanna Hogg’s The Souvenir: Part IIPaul Verhoeven’s Benedetta, Kogonada’s After Yang, Andrea Arnold’s CowHamaguchi’s Drive My Car, Hansen-Løve’s Bergman Island, Anderson’s The French DispatchDucournau’s Titane, Rigo de Righi and Zoppis’s The Tale of King Crab, Williams and Uzeyman’s Neptune FrostApichatpong’s Memoria, Kovalenko’s Unclenching the Fists,...
- 7/21/2021
- MUBI
After a pandemic-forced cancellation last year, Cannes Film Festival made a triumphant return this year, featuring some premieres pegged for the 2020 edition as well as a new crop of work. While our coverage will continue over the next week or so, and far beyond as we provide updates on the journey of these selections, we’ve asked our contributors on the ground to share their favorites from this year’s festival.
See their picks below and explore all of our coverage here.
Rory O’Connor
1. Drive My Car (Ryusuke Hamaguchi)
2. Vortex (Gaspar Noé)
3. Memoria (Apichatpong Weerasethakul)
4. Titane (Julia Ducournau)
5. Compartment No. 6 (Juho Kuosmanen)
6. Red Rocket (Sean Baker)
7. Annette (Leos Carax)
8. The Tale of King Crab (Alessio Rigo de Righi and Matteo Zoppis)
9. Great Freedom (Sebastian Meise)
10. Ahed’s Knee (Nadav Lapid)
Honorable Mention: The Hill Where The Lionesses Roar (Luàna Bajrami)
David Katz
1. Drive My Car (Ryusuke Hamaguchi)
2. Memoria (Apichatpong Weerasethakul)
3. In Front of Your Face...
See their picks below and explore all of our coverage here.
Rory O’Connor
1. Drive My Car (Ryusuke Hamaguchi)
2. Vortex (Gaspar Noé)
3. Memoria (Apichatpong Weerasethakul)
4. Titane (Julia Ducournau)
5. Compartment No. 6 (Juho Kuosmanen)
6. Red Rocket (Sean Baker)
7. Annette (Leos Carax)
8. The Tale of King Crab (Alessio Rigo de Righi and Matteo Zoppis)
9. Great Freedom (Sebastian Meise)
10. Ahed’s Knee (Nadav Lapid)
Honorable Mention: The Hill Where The Lionesses Roar (Luàna Bajrami)
David Katz
1. Drive My Car (Ryusuke Hamaguchi)
2. Memoria (Apichatpong Weerasethakul)
3. In Front of Your Face...
- 7/20/2021
- by The Film Stage
- The Film Stage
Exclusive: Oscilloscope Laboratories has picked up North American rights to Alessio Rigo de Righi and Matteo Zoppis’s first fiction feature film The Tale Of King Crab.
The Pic recently had its world premiere in Cannes Film Festival’s Directors’ Fortnight section. Oscilloscope said it was planning a theatrical release on a yet-to-be-determined date.
Story follows Luciano, who lives as a wandering drunkard in a remote Italian village of the region Tuscia. Spiteful actions ensue between him and the prince of the region over the right of passage through an ancient gateway. Fueled by passions and jealousy, these actions result in a horrible misdeed.
The deal with Oscilloscope was negotiated by Shellac’s Thomas Ordonneau and Egle Cepaite. This is the second Directors’ Fortnight title the company has bought this year, following Clara Sola.
Filmmakers Alessio Rigo de Righi and Matteo Zoppis said, “We are very excited to present our...
The Pic recently had its world premiere in Cannes Film Festival’s Directors’ Fortnight section. Oscilloscope said it was planning a theatrical release on a yet-to-be-determined date.
Story follows Luciano, who lives as a wandering drunkard in a remote Italian village of the region Tuscia. Spiteful actions ensue between him and the prince of the region over the right of passage through an ancient gateway. Fueled by passions and jealousy, these actions result in a horrible misdeed.
The deal with Oscilloscope was negotiated by Shellac’s Thomas Ordonneau and Egle Cepaite. This is the second Directors’ Fortnight title the company has bought this year, following Clara Sola.
Filmmakers Alessio Rigo de Righi and Matteo Zoppis said, “We are very excited to present our...
- 7/20/2021
- by Tom Grater
- Deadline Film + TV
A Hero Don’t let the now infamous mishap cloud Saturday night’s historic achievement: with the Palme d’Or handed out to Titane, Julia Ducournau is only the second female director to win Cannes’s top prize in the festival’s history, twenty-eight years after Jane Campion did so with The Piano. It’s a towering achievement, whose surprise was spoiled thirty minutes earlier than planned by Jury President Spike Lee, who began the awards ceremony by reading out the big winner, effectively putting the whole Moonlight vs La La Land Oscar debacle to shame. It was an astonishing finale worthy of this very unusual year, and as I type these last words—no longer in a press lounge besieged by paparazzi and fellow journalists, but from the comforts of home—I’m still genuinely baffled by it all.Running a fest in the midst of a pandemic was no small feat.
- 7/19/2021
- MUBI
Titane A few days ago, on the eve of the fest, I wrote about how excited I was at the prospect of catching a number of films from directors who’d screened works in previous Cannes editions, but had only now found a spot in the official competition. Such was the case for Julia Ducournau, who’d first travelled to Cannes in 2016, when her cannibal coming-of-age thriller Raw nabbed the Fipresci award in the Critics Week. Watching her second feature, Titane, felt like treading into a familiar turf. The film features motifs Ducournau’s debut pivoted on, chiefly an interest in our bodily urges, in the fluidity and unpredictability of our desires. Much like Raw, it’s a gross-out peppered with stomach-churning moments, but one that swims between tenderness and brutality to complicate the distinction between humans and the objects we fetishize. It’s in that miraculous, unstable balance that...
- 7/15/2021
- MUBI
The Italian film industry, which did not pause during the pandemic, is clearly a top priority within the country’s post Covid-19 recovery plan. The plan sees Rome’s Cinecittà Studios set for a €300 million ($358 million) cash injection earmarked by the European Union’s post-pandemic recovery fund for a radical overhaul of the famed facilities.
In June European Commission president Ursula von der Leyen and Italian premier Mario Draghi jointly visited the Cinecittà lot and held a press conference in its vast Studio 5, known as the late, great Federico Fellini’s second home. Italian culture minister Dario Franceschini announced still undeveloped plans to upgrade and expand the iconic studios “in order to adequately meet the growing international demand” for studio space.
Meanwhile Cinema Italiano will be out in full force at Cannes. Veteran auteur Marco Bellocchio will present his personal doc “Marx Can Wait” out-of-competition and be feted with an...
In June European Commission president Ursula von der Leyen and Italian premier Mario Draghi jointly visited the Cinecittà lot and held a press conference in its vast Studio 5, known as the late, great Federico Fellini’s second home. Italian culture minister Dario Franceschini announced still undeveloped plans to upgrade and expand the iconic studios “in order to adequately meet the growing international demand” for studio space.
Meanwhile Cinema Italiano will be out in full force at Cannes. Veteran auteur Marco Bellocchio will present his personal doc “Marx Can Wait” out-of-competition and be feted with an...
- 7/9/2021
- by Nick Vivarelli
- Variety Film + TV
Past winners of the first feature prize include Jim Jarmusch, Mira Nair, Naomi Kawase, Steve McQueen, Houda Benyamina and Lukas Dhont.
The Cannes Film Festival has named French actress Mélanie Thierry as jury president for the 2021 Caméra d’Or award reserved for all first features premiering across Official Selection and the parallel sections of Directors’ Fortnight and Critics’ Week.
”Nothing is as fragile or as miraculous as a first movie. This testifies to the courage and the faith of all the directors who, after such a long period of seclusion, succeeded in providing us with a window on the outside world,...
The Cannes Film Festival has named French actress Mélanie Thierry as jury president for the 2021 Caméra d’Or award reserved for all first features premiering across Official Selection and the parallel sections of Directors’ Fortnight and Critics’ Week.
”Nothing is as fragile or as miraculous as a first movie. This testifies to the courage and the faith of all the directors who, after such a long period of seclusion, succeeded in providing us with a window on the outside world,...
- 6/30/2021
- by Melanie Goodfellow
- ScreenDaily
The lineup for the 2021 Directors' Fortnight (Quinzaine des Réalisateurs) at Cannes has been announced. See also the full lineups of the Official Selection and Critics’ Week.Our MenFEATURE Films A Chiara (Jonas Carpignano): The story of 15-year-old Chiara whose close-knit family falls apart after her father abandons them in Calabria. Chiara starts to investigate to understand why her father disappeared and as she gets closer to the truth, she is forced to decide what kind of future she wants for herself.Ali & Ava (Clio Barnard): Both lonely for different reasons, Ali and Ava meet through their shared affection for Sofia—the child of Ali’s Slovakian tenants, whom Ava teaches. Over a lunar month, sparks fly and a deep connection begins to grow.Between Two Worlds (Emmanuel Carrère)The Braves (Anaïs Volpé)A Brighter Tomorrow (Yassine Qnia)Clara Sola (Nathalie Álvarez Mesen)The Employer and the Employee (Manuel...
- 6/9/2021
- MUBI
The lineup for the Cannes Directors Fortnight was revealed on Tuesday, featuring new films by Clio Barnard, Joanna Hogg and Alice Rohrwacher. Of the 24 films selected for the lineup, exactly half have at least one woman director.
The 12 of 24 films in the Cannes Directors Fortnight, which is the independent arm of the Cannes Film Festival kicking off next month, dwarfs the number of female directors in the Cannes main competition lineup, in which only four of the 24 selected movies were directed by women. However, some of the movies for the Directors Fortnight feature women as co-directors, so 12 of 29 of the total directors are women.
The Directors Fortnight will host a special screening of Hogg’s “The Souvenir Part 1,” as “Part 2” will be playing in competition. Other notable films include “A Night of Knowing Nothing,” the first feature by actress Payal Kapadia, and “Hit the Road,” another debut feature by Panah Panahi,...
The 12 of 24 films in the Cannes Directors Fortnight, which is the independent arm of the Cannes Film Festival kicking off next month, dwarfs the number of female directors in the Cannes main competition lineup, in which only four of the 24 selected movies were directed by women. However, some of the movies for the Directors Fortnight feature women as co-directors, so 12 of 29 of the total directors are women.
The Directors Fortnight will host a special screening of Hogg’s “The Souvenir Part 1,” as “Part 2” will be playing in competition. Other notable films include “A Night of Knowing Nothing,” the first feature by actress Payal Kapadia, and “Hit the Road,” another debut feature by Panah Panahi,...
- 6/8/2021
- by Brian Welk
- The Wrap
On the heels of yesterday’s announcement of the Cannes Critics’ Week lineup, now comes confirmation of the 25 movies that will screen in the festival’s other prestigious sidebar section, Directors’ Fortnight. The lineup includes eight debut features, including “Hit the Road” by Jafar Panahi’s son, Panah Panahi. Directors’ Fortnight 2021 opens with Emmanuel Carrère’s “Between Two Worlds,” starring Juliette Binoche as an author experiencing job insecurity. Other notable titles include “A Chiara,” the latest movie from “Mediterranea” and “A Ciambra” director Jonas Carpignano.
Perhaps the biggest draw for U.S. audiences will be the world premiere of Joanna Hogg’s “The Souvenir Part II,” starring Honor Swinton Byrne, Tilda Swinton, Charlie Heaton, Harris Dickinson, and Joe Alwyn. The film is executive produced by Martin Scorsese, who is also an executive producer on Fortnight title “Murina” (directed by Antoneta Alamat Kusijanović). Hogg’s original “The Souvenir” was one...
Perhaps the biggest draw for U.S. audiences will be the world premiere of Joanna Hogg’s “The Souvenir Part II,” starring Honor Swinton Byrne, Tilda Swinton, Charlie Heaton, Harris Dickinson, and Joe Alwyn. The film is executive produced by Martin Scorsese, who is also an executive producer on Fortnight title “Murina” (directed by Antoneta Alamat Kusijanović). Hogg’s original “The Souvenir” was one...
- 6/8/2021
- by Zack Sharf
- Indiewire
The Directors’ Fortnight parallel section of the Cannes Film Festival has unveiled its lineup for the 2021 edition which runs from July 7-17. Scroll down for the full list.
Fortnight chief Paolo Moretti, who took over the reins in 2019, presented the roster from the Forum des Images in Paris, saying, “After a very painful year for everyone, we are happy to present a selection of discovery.” Out of 24 features, 22 filmmakers are showing their films for first time at Cannes. Half of the films this year are directed or co-directed by women including Clio Barnard’s Ali & Ava; documentary Futura from Alice Rohrwacher, Pietro Marcello and Francesco Munzi; and Joanna Hogg’s The Souvenir: Part II with Tilda Swinton and Richard Ayoade.
There are eight debut features in the lineup, including Jadde Khaki (Hit the Road), the first film from Jafar Panahi’s son Panah Panahi, and Antoneta Alamat Kusijanović’s Murina...
Fortnight chief Paolo Moretti, who took over the reins in 2019, presented the roster from the Forum des Images in Paris, saying, “After a very painful year for everyone, we are happy to present a selection of discovery.” Out of 24 features, 22 filmmakers are showing their films for first time at Cannes. Half of the films this year are directed or co-directed by women including Clio Barnard’s Ali & Ava; documentary Futura from Alice Rohrwacher, Pietro Marcello and Francesco Munzi; and Joanna Hogg’s The Souvenir: Part II with Tilda Swinton and Richard Ayoade.
There are eight debut features in the lineup, including Jadde Khaki (Hit the Road), the first film from Jafar Panahi’s son Panah Panahi, and Antoneta Alamat Kusijanović’s Murina...
- 6/8/2021
- by Nancy Tartaglione
- Deadline Film + TV
Joanna Hogg, Clio Barnard, Jonas Carpignano titles among Cannes’ Directors’ Fortnight 2021 selection
Parallel Cannes section will unveil 24 new films.
Clio Barnard’s Ali & Ava and Joanna Hogg’s The Souvenir Part II will be among the 24 features world premiering in Cannes Directors’ Fortnight, running July 7-17 this year.
The non-competitive Cannes parallel section, overseen by French directors guild the Société des Réalisateurs (Srf), has unveiled an eclectic 2021 line-up of new films by established directors and emerging talent at a press conference in Paris on Tuesday (June 8).
Scroll down for the full selection
UK directors Barnard and Hogg were hotly tipped for Cannes 2020 until the main festival and parallel selections were cancelled due to the pandemic.
Clio Barnard’s Ali & Ava and Joanna Hogg’s The Souvenir Part II will be among the 24 features world premiering in Cannes Directors’ Fortnight, running July 7-17 this year.
The non-competitive Cannes parallel section, overseen by French directors guild the Société des Réalisateurs (Srf), has unveiled an eclectic 2021 line-up of new films by established directors and emerging talent at a press conference in Paris on Tuesday (June 8).
Scroll down for the full selection
UK directors Barnard and Hogg were hotly tipped for Cannes 2020 until the main festival and parallel selections were cancelled due to the pandemic.
- 6/8/2021
- by Melanie Goodfellow
- ScreenDaily
Parallel Cannes section will unveil 24 new films.
Clio Barnard’s Ali & Ava and Joanna Hogg’s The Souvenir Part II will be among the 24 features world premiering in Cannes Directors’ Fortnight, running July 7 to 17 this year.
The non-competitive Cannes parallel section, overseen by the French directors guild the Société des Réalisateurs (Srf), has unveiled an eclectic 2021 line-up of new films by established directors and emerging talent at a press conference in Paris on Tuesday (June 8).
Scroll down for the full selection
UK directors Barnard and Hogg were hotly tipped for Cannes 2020 until the main festival and parallel selections were cancelled due to the pandemic.
Clio Barnard’s Ali & Ava and Joanna Hogg’s The Souvenir Part II will be among the 24 features world premiering in Cannes Directors’ Fortnight, running July 7 to 17 this year.
The non-competitive Cannes parallel section, overseen by the French directors guild the Société des Réalisateurs (Srf), has unveiled an eclectic 2021 line-up of new films by established directors and emerging talent at a press conference in Paris on Tuesday (June 8).
Scroll down for the full selection
UK directors Barnard and Hogg were hotly tipped for Cannes 2020 until the main festival and parallel selections were cancelled due to the pandemic.
- 6/8/2021
- by Melanie Goodfellow
- ScreenDaily
After canceling its last edition due to the pandemic, Directors’ Fortnight, a section running alongside the Cannes Film Festival, will be back with a stylish and eclectic international lineup, including Joanna Hogg’s highly anticipated “The Souvenir Part II,” Clio Barnard’s “Ali & Ava,” Jonas Carpignano’s “A Chiara,” Saul Williams and Anisia Uzeyman’s Rwanda-set sci-fi film “Neptune Frost,” and Alice Rohrwacher, Pietro Marcello and Francesco Munzi’s “Futura.”
The highlight of this edition will likely be the world premiere of “The Souvenir Part II,” which will mark the first presence of Hogg, an acclaimed British writer-director, at Cannes. The romance-drama is headlined by Tilda Swinton — who will also be in Cannes for “The French Dispatch” and “Memoria” competing in the festival’s Official Selection — as well as Richard Ayoade, Charlie Heaton and Harris Dickinson. Executive produced by Martin Scorsese, the film revolves around a student who begins to...
The highlight of this edition will likely be the world premiere of “The Souvenir Part II,” which will mark the first presence of Hogg, an acclaimed British writer-director, at Cannes. The romance-drama is headlined by Tilda Swinton — who will also be in Cannes for “The French Dispatch” and “Memoria” competing in the festival’s Official Selection — as well as Richard Ayoade, Charlie Heaton and Harris Dickinson. Executive produced by Martin Scorsese, the film revolves around a student who begins to...
- 6/8/2021
- by Elsa Keslassy
- Variety Film + TV
The second feature from Alessio Rigo de Righi and Matteo Zoppis is co-produced and sold by the French company, which is expanding on all fronts. Headed by Thomas Ordonneau, French company Shellac works in production, distribution and international sales around an audacious and artistically demanding editorial line. In the complex climate of the health crisis, the company didn’t slow down its activities, on the contrary. After launching VOD subscription formulas on its website to counter the closure of French cinemas since last December, the company is also focused on its future, which is dominated by production. Involved in many projects in the making, the company is making extra efforts and investments in this domain. Standing out among them is The Tale of King Crab (Re Granchio), the second feature film, though the first fiction feature, from Italian duo Alessio Rigo de Righi and Matteo Zoppis after their documentary Il Solengo.
Bosnian filmmaker Jasmila Zbanic’s upcoming drama about a family trapped in war-torn Srebrenica, Polish director Agnieszka Holland’s postwar film chronicling the rise and fall of a mysterious Czech healer, and Luxembourg helmer Jacques Molitor’s tale of a wealthy and bloodthirsty clan of wine-growing lycanthropes are among the projects taking part in this year’s Venice Gap-Financing Market.
The 6th edition of the market section, which runs during the Venice Film Festival from Aug. 30 to Sept. 1, presents 51 international projects in the final stages of development and funding, including 28 feature films and documentaries.
Among the projects selected for the market, part of the Venice Production Bridge program, is Zbanic’s tentatively titled European co-production “Quo Vadis Aida.” In the film, the director of the Golden Bear-winning “Grbavica” revisits the horrors of the Bosnian War in a story about a family trapped in Srebrenica during the city’s occupation by Serb forces.
The 6th edition of the market section, which runs during the Venice Film Festival from Aug. 30 to Sept. 1, presents 51 international projects in the final stages of development and funding, including 28 feature films and documentaries.
Among the projects selected for the market, part of the Venice Production Bridge program, is Zbanic’s tentatively titled European co-production “Quo Vadis Aida.” In the film, the director of the Golden Bear-winning “Grbavica” revisits the horrors of the Bosnian War in a story about a family trapped in Srebrenica during the city’s occupation by Serb forces.
- 8/30/2019
- by Ed Meza
- Variety Film + TV
Holland’s upcoming feature Charlatan among 51 headed to the Lido.
This year’s Venice Gap-Financing Market, returning for its sixth edition in 2019, has named the 51 projects that will participate across its four strands.
There are 28 features, fiction and documentaries, heading to the Lido this year. Among them is Agnieszka Holland’s upcoming feature Charlatan (Sarlatan), which is being produced by Czech outfit Marlene Film in co-production with Film & Music Entertainment (F&me)’s Irish outpost and Slovakia’s Furia Film.
The project is based on the life of Jan Mikolášek, a Czech healer who lived in totalitarian 1950s Czechoslovakia. Films Boutique is handling sales.
This year’s Venice Gap-Financing Market, returning for its sixth edition in 2019, has named the 51 projects that will participate across its four strands.
There are 28 features, fiction and documentaries, heading to the Lido this year. Among them is Agnieszka Holland’s upcoming feature Charlatan (Sarlatan), which is being produced by Czech outfit Marlene Film in co-production with Film & Music Entertainment (F&me)’s Irish outpost and Slovakia’s Furia Film.
The project is based on the life of Jan Mikolášek, a Czech healer who lived in totalitarian 1950s Czechoslovakia. Films Boutique is handling sales.
- 7/2/2019
- by Tom Grater
- ScreenDaily
The sixth edition of the Venice Gap-Financing Market (August 30 – September 1), which takes place during the Venice Film Festival, will feature 51 projects in the final stages of development and funding.
Of those, 23 projects from Europe and beyond are narrative features with 70% funding in place. Five projects are documentaries.
Among highlights are Czech feature Sarlatan by Oscar-nominated Polish director Agnieszka Holland (Mr. Jones) about a man gifted with exceptional abilities set against the background of the events of the totalitarian ’50s; Russian film Air by Dovlatov director Alexey German Jr; Grbavica director Jasmila Zbanic’s Euro co-pro Quo Vadis Aida (working title); and Canadian pic Saint-Narcisse by Bruce La Bruce.
Here’s a full list of projects taking part in the market:
28 Selected Fiction And Documentary Projects
Air (Russia) by Alexey German Jr., SAGa, Metrafilms Alam (France, Lebanon, Belgium) by Firas Khoury, Mpm Film A la sombra de los árboles (Chile) by Matías Rojas Valencia,...
Of those, 23 projects from Europe and beyond are narrative features with 70% funding in place. Five projects are documentaries.
Among highlights are Czech feature Sarlatan by Oscar-nominated Polish director Agnieszka Holland (Mr. Jones) about a man gifted with exceptional abilities set against the background of the events of the totalitarian ’50s; Russian film Air by Dovlatov director Alexey German Jr; Grbavica director Jasmila Zbanic’s Euro co-pro Quo Vadis Aida (working title); and Canadian pic Saint-Narcisse by Bruce La Bruce.
Here’s a full list of projects taking part in the market:
28 Selected Fiction And Documentary Projects
Air (Russia) by Alexey German Jr., SAGa, Metrafilms Alam (France, Lebanon, Belgium) by Firas Khoury, Mpm Film A la sombra de los árboles (Chile) by Matías Rojas Valencia,...
- 7/2/2019
- by Andreas Wiseman
- Deadline Film + TV
The Masked MonkeysThe cutting edge of cinema culture at this moment is not what’s premiering in competition at Cannes or picking up the Grand Jury Prize at Sundance. Rather, it is at the quietly flourishing but deeply influential genre of film festival focusing on new and adventurous work in documentary filmmaking. More than any red carpet extravaganza, this type of festival is consistently challenging audiences to expand their understanding of how the art of cinema explores reality and how reality complicates moviemaking. Whether big, like Copenhagen’s Cph:dox, or smaller, like Missouri’s True/False Film Fest, these events go further than the traditional and staid vision of festivals devoted to documentary film, whose emphasis is above all on the camera as a bland tool to invisibly tell a nonfiction story, and instead present more closely curated programs that showcase the infinite nuance and complexity—not to mention shades...
- 11/29/2016
- MUBI
In partnership with New York's Film Society of Lincoln Center, Mubi will be hosting four films recently shown at Art of the Real, the Film Society's annual showcase for boundary-pushing nonfiction films. Il Solengo will be showing April 27 - May 26, 2016 on Mubi in the United States.A group of elders gathers in a hunting lodge and recalls the life of Mario “de’ Marcella,” a man who lived in a cave over 60 years of his life. Why he chose to live a solitary existence is unknown. Perhaps it had something to do with a mysterious and tragic event of his childhood...Directors Matteo Zoppis (right) and Alessio Rigo De Righi (center).Notebook: This film almost seems to be a sequel to your short, Belva Nera, since it's a new mysterious tale which takes place in an area you know very well…Alessio Rigo De Righi & Matteo Zoppis: We are fascinated...
- 4/27/2016
- MUBI
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