Above: Destello bravío Normally, I’d be writing this dispatch from a hotel room, bar, cafe, movie theatre lobby, in a few minutes ripped out of time, hunched over my computer awkwardly quarter-opened in my lap, before another press screening began. Alas, such a physical, not to mention public, presence at a film festival is still depressingly impossible. Much of the festival world is still held captive by the pandemic that thwarted Cannes, limited Venice, and hobbled Toronto last year. I had hoped our coverage of a predominantly virtual New York Film Festival in October would be our last remote dispatch, yet 2021 looks much the same until vaccinations become ubiquitous. But things are not as they were in March last year. The film world is adapting with greater nimbleness than its creaky 125-year history suggests, and festivals have embraced temporary streaming solutions with remarkable agility and impressive audience engagement. Certainly...
- 2/4/2021
- MUBI
Filmmakers in virtual Rotterdam discussion included Vinothraj P.S., Selim Mourad, Pascal Tagnati and Norika Sefa.
Four Tiger competition directors shared their hopes the platform provided by the International Film Festival Rotterdam (IFFR) will be a springboard to further international exposure.
Speaking at the festival’s virtual daily press conference on January 3, the filmmakers with features in the main competition said they were missing sharing their stories with an audience in-person but remained hopeful the titles would be seen worldwide.
“One major reason we wanted to tell our story to the world is that, when Indian films are mentioned, it is always related to Bollywood,...
Four Tiger competition directors shared their hopes the platform provided by the International Film Festival Rotterdam (IFFR) will be a springboard to further international exposure.
Speaking at the festival’s virtual daily press conference on January 3, the filmmakers with features in the main competition said they were missing sharing their stories with an audience in-person but remained hopeful the titles would be seen worldwide.
“One major reason we wanted to tell our story to the world is that, when Indian films are mentioned, it is always related to Bollywood,...
- 2/4/2021
- by Michael Rosser
- ScreenDaily
Filmmakers in virtual Rotterdam discussion included Vinothraj P.S., Selim Mourad, Pascal Tagnati and Norika Sefa.
Four Tiger competition directors shared their hopes the platform provided by the International Film Festival Rotterdam (IFFR) will be a springboard to further international exposure.
Speaking at the festival’s virtual daily press conference on January 3, the filmmakers with features in the main competition said they were missing sharing their stories with an audience in-person but remained hopeful the titles would be seen worldwide.
“One major reason we wanted to tell our story to the world is that, when Indian films are mentioned, it is always related to Bollywood,...
Four Tiger competition directors shared their hopes the platform provided by the International Film Festival Rotterdam (IFFR) will be a springboard to further international exposure.
Speaking at the festival’s virtual daily press conference on January 3, the filmmakers with features in the main competition said they were missing sharing their stories with an audience in-person but remained hopeful the titles would be seen worldwide.
“One major reason we wanted to tell our story to the world is that, when Indian films are mentioned, it is always related to Bollywood,...
- 2/4/2021
- by Michael Rosser
- ScreenDaily
The Intl. Film Festival Rotterdam had to forego a physical event for its 50th anniversary edition, but it’s aiming to reach a wider audience with expanded competition sections and showcases that include promising new voices and established filmmakers alike.
Under new festival director Vanja Kaludjercic, IFFR has reduced the overall number of films from the more than 270 feature films that unspooled last year while beefing up the main Tiger Competition, which celebrates innovative works from up-and-coming filmmakers, from 10 to 16 titles. Also expanded was the Big Screen Competition, which bridges the gap between popular, classic and arthouse cinema.
The revised competitions “encapsulate IFFR’s spirit as a platform for the discovery of visions that pique our curiosity and capture our imagination,” Kaludjercic says.
Female self-realization is one subject that is explored in a number of films vying for this year’s Tiger Award, namely Karen Cinorre’s U.S. title...
Under new festival director Vanja Kaludjercic, IFFR has reduced the overall number of films from the more than 270 feature films that unspooled last year while beefing up the main Tiger Competition, which celebrates innovative works from up-and-coming filmmakers, from 10 to 16 titles. Also expanded was the Big Screen Competition, which bridges the gap between popular, classic and arthouse cinema.
The revised competitions “encapsulate IFFR’s spirit as a platform for the discovery of visions that pique our curiosity and capture our imagination,” Kaludjercic says.
Female self-realization is one subject that is explored in a number of films vying for this year’s Tiger Award, namely Karen Cinorre’s U.S. title...
- 2/1/2021
- by Ed Meza
- Variety Film + TV
International sales agency The Open Reel has acquired Lebanese filmmaker Selim Mourad’s “Moss Agate” (“Agate mousse”), which is in the Rotterdam Film Festival’s Tiger competition.
In the film, a visit to a cosmetic-surgery clinic and the discovery of a lump in his testicle and an abscess in his mouth confront filmmaker Selim Mourad with transience and decay. After his death, which proceeds without any further explanation or ado, Selim’s image appears in an exhibition by a pretentious photographer, and a visitor to the gallery comments that the round framing of these portraits of the dead is reminiscent of film. The actual film frame then also adopts this circular form, this time with Selim’s friend Tamara at the center.
Mourad describes the film as “an ode to life, an exploration of death and rebirth, a poem about cinema,” in his director’s statement.
The film is the...
In the film, a visit to a cosmetic-surgery clinic and the discovery of a lump in his testicle and an abscess in his mouth confront filmmaker Selim Mourad with transience and decay. After his death, which proceeds without any further explanation or ado, Selim’s image appears in an exhibition by a pretentious photographer, and a visitor to the gallery comments that the round framing of these portraits of the dead is reminiscent of film. The actual film frame then also adopts this circular form, this time with Selim’s friend Tamara at the center.
Mourad describes the film as “an ode to life, an exploration of death and rebirth, a poem about cinema,” in his director’s statement.
The film is the...
- 1/18/2021
- by Naman Ramachandran
- Variety Film + TV
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