The Grand Prix was bestowed upon Marko Škop’s drama at the up-and-coming Kazakh gathering, while Maryam Touzani received the Best Director Award for Adam. The fresh-faced and dynamic Almaty Film Festival has wrapped after a successful seven-day run (14-20 September), and ended on Friday night with the awards ceremony, which was held at the Palace of the Republic in Kazakhstan’s largest city. The triumphant film of the night was Marko Škop’s Let There Be Light, which won the Grand Prix in the Official Selection, focused on films that were co-produced by at least two countries. The prizes were dished out by the International Jury, headed up by British director-producer Hugh Hudson, and comprising Russian producer Natalya Ivanova, Portuguese producer António Costa Valente, president of the Tokyo International Film Festival Takeo Hisamatsu and Kazakh actress Samal Yeslyamova. The Best Director Award went to Maryam Touzani’s feature debut,...
Russian actress and director Vera Glagoleva has died at a German clinic where she was being treated for cancer. She was 61.
Her death was announced late Wednesday by family and friends in Russia in a number of messages on social media platforms.
Natalia Ivanova, who produced Glagoleva's final film in 2014, Two Women, a 19th-century period piece based on Ivan Turgenev's play A Month in the Country that starred Ralph Fiennes, wrote on Facebook that Glagoleva was not only a "favorite actress" and director but also a "guardian angel, friend and accomplice."
Ivanova, who produces through her Moscow-based company...
Her death was announced late Wednesday by family and friends in Russia in a number of messages on social media platforms.
Natalia Ivanova, who produced Glagoleva's final film in 2014, Two Women, a 19th-century period piece based on Ivan Turgenev's play A Month in the Country that starred Ralph Fiennes, wrote on Facebook that Glagoleva was not only a "favorite actress" and director but also a "guardian angel, friend and accomplice."
Ivanova, who produces through her Moscow-based company...
- 8/17/2017
- by Nick Holdsworth
- The Hollywood Reporter - Movie News
Roskino revealed the project, amongst others, at a Marche presentation today.
A host of new Russian projects in all kinds of different genres were announced in Cannes at a special presentation organised by Roskino.
Vera Glagoleva [pictured], director of Ralph Fiennes-starrer, Two Women, introduced her new project A Friend From Afar. Produced by Natalia Ivanova, this is the story of Russian writer Ivan Turgenev’s fatal affair with a French opera star seen through the eyes of his illegitimate daughter.
Audiences were also given their first look at The Other Cheek from producers Anastasia Perova, Vincent Cespedes, and Julia Lukashuk. The film focuses on a former figure-skater turned sports reporter plunged into the heavy-hitting world of boxing.
Producer Ilya Stewart presented Blood On The Dancefloor, a futuristic Hunger Games-style project set in a Europe recovering from a global war which has lapsed into a militant, misogynist Puritanism. Stewart confirmed the casting of three young Russian stars in leading...
A host of new Russian projects in all kinds of different genres were announced in Cannes at a special presentation organised by Roskino.
Vera Glagoleva [pictured], director of Ralph Fiennes-starrer, Two Women, introduced her new project A Friend From Afar. Produced by Natalia Ivanova, this is the story of Russian writer Ivan Turgenev’s fatal affair with a French opera star seen through the eyes of his illegitimate daughter.
Audiences were also given their first look at The Other Cheek from producers Anastasia Perova, Vincent Cespedes, and Julia Lukashuk. The film focuses on a former figure-skater turned sports reporter plunged into the heavy-hitting world of boxing.
Producer Ilya Stewart presented Blood On The Dancefloor, a futuristic Hunger Games-style project set in a Europe recovering from a global war which has lapsed into a militant, misogynist Puritanism. Stewart confirmed the casting of three young Russian stars in leading...
- 5/15/2016
- by geoffrey@macnab.demon.co.uk (Geoffrey Macnab)
- ScreenDaily
Eight projects in production or post-production will compete at this year’s festival.
The 19th Tallinn Black Nights Film Festival (Nov 13-29) has unveiled the eight projects that will be featured in its Works in Progress programme this year.
The titles selected represent a variety of countries deliberately chosen for being outside of the mainstream, including a project from Krygystan and co-productions from Latvia-Japan-Estonia and Egypt-France.
The Latvia-Japan-Estonia co-production Magic Kimono comes from director Maris Martinsons, whose 2008 film Loss was submitted by Lithuania to the Academy Award’s foreign language pool.
Freedom, the Germany-Slovakia co-pro, is produced by Sol Bondy, who was named by Screen as a future leader at Cannes 2013, and Jamila Wenske; the pair were both co-producers on Pan Nalin’s comedy drama Angry Indian Goddesses.
The film is directed by Jan Speckenbach, whose Reported Missing was nominated for a European Film Award in 2012.
Mohamed Hefzy, also a Screen future leader in 2013, produces Sherif Elbendary’s Ali...
The 19th Tallinn Black Nights Film Festival (Nov 13-29) has unveiled the eight projects that will be featured in its Works in Progress programme this year.
The titles selected represent a variety of countries deliberately chosen for being outside of the mainstream, including a project from Krygystan and co-productions from Latvia-Japan-Estonia and Egypt-France.
The Latvia-Japan-Estonia co-production Magic Kimono comes from director Maris Martinsons, whose 2008 film Loss was submitted by Lithuania to the Academy Award’s foreign language pool.
Freedom, the Germany-Slovakia co-pro, is produced by Sol Bondy, who was named by Screen as a future leader at Cannes 2013, and Jamila Wenske; the pair were both co-producers on Pan Nalin’s comedy drama Angry Indian Goddesses.
The film is directed by Jan Speckenbach, whose Reported Missing was nominated for a European Film Award in 2012.
Mohamed Hefzy, also a Screen future leader in 2013, produces Sherif Elbendary’s Ali...
- 11/3/2015
- ScreenDaily
Yevgeny Yevtushenko’s 1990 drama Stalin’s Funeral, starring Vanessa Redgrave as an English journalist, will be shown at Vyborg’s “Window on Europe” Film Festival of Russian Cinema (Aug 7-13)
The 83-year-old Russian poet will come to Vyborg – 38km from the border with Finland – and meet with the festival audience to talk about his life’s work as well as to present Stalin’s Funeral (Pokhorony Stalina), which openly attacked the evils of Stalinism and celebrates its 25th anniversary this year.
Co-Production Competition
Bakur Bakuradze’s Russian-Serbian co-production Brother Dejan, which has its world premiere in Locarno’s International Competition this afternoon (Aug 6), is one of ten titles selected for Vyborg’s Co-Production Competition to be judged by actor-producer Alexey Guskov, Two Women producer Natalia Ivanova and the Armenian-born writer Narine Abgarian.
Other titles include Johnny O’Reilly’s Russian-Irish co-production Moscow Never Sleeps, Oleg Taktarov, Alexander Mosin and Valery Ibragimov’s St Petersburg/Las Vegas-set adventure...
The 83-year-old Russian poet will come to Vyborg – 38km from the border with Finland – and meet with the festival audience to talk about his life’s work as well as to present Stalin’s Funeral (Pokhorony Stalina), which openly attacked the evils of Stalinism and celebrates its 25th anniversary this year.
Co-Production Competition
Bakur Bakuradze’s Russian-Serbian co-production Brother Dejan, which has its world premiere in Locarno’s International Competition this afternoon (Aug 6), is one of ten titles selected for Vyborg’s Co-Production Competition to be judged by actor-producer Alexey Guskov, Two Women producer Natalia Ivanova and the Armenian-born writer Narine Abgarian.
Other titles include Johnny O’Reilly’s Russian-Irish co-production Moscow Never Sleeps, Oleg Taktarov, Alexander Mosin and Valery Ibragimov’s St Petersburg/Las Vegas-set adventure...
- 8/6/2015
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
UK film-makers are in the spotlight at the fifth edition of Vologda’s Voices festival (July 4-8), which will open with Ken Loach’s Cannes Competition film Jimmy’s Hall.
British actress Justine Waddell, who learnt Russian for her role in Alexander Zeldovich’s Target (Mishen), will join the competition’s international jury, including Moscow Film Festival programme director Kirill Razlogov, Russian actress Olga Sutulova, and Armenian-French actor-director-producer Serge Avedikian, with writer-director Svetlana Proskurina as jury chairperson.
The competition line-up of 10 first and second features are as follows:
Life Feels Good, dir: Maciej Pieprzyca, PolandStill Life, dir: Uberto Pasolini, UKClass Enemy, dir: Rok Bicek, SloveniaBlind, dir: Eskil Vogt, NorwayStereo, dir: Maximilian Erlenwein, GermanyThe Art Of Happiness, dir: Alessandro Rak, ItalyWolf, dir: Jim Taihuttu, The NetherlandsTo See The Sea, dir: Jirí Mádl, Czech RepublicWhen Animals Dream, dir: Jonas Alexander Arnby, DenmarkSkinless, dir: Vladimir Beck, Russia.
Sidebars include the out-of-competition European section with such films as The Great Beauty...
British actress Justine Waddell, who learnt Russian for her role in Alexander Zeldovich’s Target (Mishen), will join the competition’s international jury, including Moscow Film Festival programme director Kirill Razlogov, Russian actress Olga Sutulova, and Armenian-French actor-director-producer Serge Avedikian, with writer-director Svetlana Proskurina as jury chairperson.
The competition line-up of 10 first and second features are as follows:
Life Feels Good, dir: Maciej Pieprzyca, PolandStill Life, dir: Uberto Pasolini, UKClass Enemy, dir: Rok Bicek, SloveniaBlind, dir: Eskil Vogt, NorwayStereo, dir: Maximilian Erlenwein, GermanyThe Art Of Happiness, dir: Alessandro Rak, ItalyWolf, dir: Jim Taihuttu, The NetherlandsTo See The Sea, dir: Jirí Mádl, Czech RepublicWhen Animals Dream, dir: Jonas Alexander Arnby, DenmarkSkinless, dir: Vladimir Beck, Russia.
Sidebars include the out-of-competition European section with such films as The Great Beauty...
- 7/1/2014
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Latvia’s Official entry for the Academy Awards Gulf Stream Under The Iceberg will have its North American premiere this month at the Scandinavian Film Festival of Los Angeles - www.Ssfla.net.
The Sffla is leading the industry by extending its program to include its Baltic neighbors from Latvia and Lithuania. Ahead of the curve, the 14 year old festival has carved out a loyal and dedicated audience during the last lobbying weeks of a busy award season over the two weekends in January 12&13 and 19&20 at the Writer’s Guild in Beverly Hills.
“Northern European countries have often taken to the seas with a cargo of culture, commerce and collaboration,” says festival founder/director James Koenig. “We have an exciting program that follows old routes to new worlds and now we are journeying around to our Baltic neighborhood where cultural cross-currents have been a reality since even before Hanseatic ‘happenings’!”
This year the program will begin with Yevgeny Pashkevich’s mythical fairy tale Gulf Stream Under the Iceberg, a kaleidoscopic and hypnotic affair inspired by the works of Anatole France and influenced by Talmud and the medieval books of Cabala. It is the self-absorbing story about Adam´s first wife, Lilith – how humanity tries to run away from Eden and strives to become sinless, yet ultimately ends up trapped in its own unconsciousness.A
Written & Directed by Yevgeny Pahskevich, Gulf Stream Under the Iceberg is produced by Yevgeny Pashkevich, Natalia Ivanova and stars Olga Shepitskaya, Ville Haapasalo, Danila Kozlovsky, Liubomiras Lauciavicius, and Yuriy Tsurilo. Executive producers are Kristians Luhaers, Antra Cilinska and Maria Ksinopulo. Wide Management is handling worldwide sales.
Sffla 2013 will continue its strong line-up of showcasing Scandinavian films - premiering features, documentaries, shorts from Denmark, Finland, Iceland, Norway and Sweden and which will include this year’s Academy’s short-list of Foreign Language films from Iceland Baltasar Kormakur’s The Deep, and Norway’s Golden Globe nominee Joachim Rønning & Espen Sandberg’s Kon-tiki; with Sweden’s Nikolaj Arcel’s A Royal Affair closing the festival. Other Academy submissions include Finland’s entry Antti Joinen’s Purge, Latvia’s Yevgeny Pashkevich’s Gulf Stream Under the Iceberg and Lithuania’s Loss from Maris Martinsons.
The shorts program will also include two Academy short-listed films: Anders Walter’s 9 Meter (Denmark) and Goran Kapetanovic’s Kiruna-Kigali (Sweden)
Gulf Stream Under the Iceberg Premieres Saturday, January 12 at 11am
WGA
135 S. Doheny Drive, Beverly Hills - www.nidafilma.lv
Ticket sales: www.Sffla.net
Sales enquiries: www.widemanagement.com...
The Sffla is leading the industry by extending its program to include its Baltic neighbors from Latvia and Lithuania. Ahead of the curve, the 14 year old festival has carved out a loyal and dedicated audience during the last lobbying weeks of a busy award season over the two weekends in January 12&13 and 19&20 at the Writer’s Guild in Beverly Hills.
“Northern European countries have often taken to the seas with a cargo of culture, commerce and collaboration,” says festival founder/director James Koenig. “We have an exciting program that follows old routes to new worlds and now we are journeying around to our Baltic neighborhood where cultural cross-currents have been a reality since even before Hanseatic ‘happenings’!”
This year the program will begin with Yevgeny Pashkevich’s mythical fairy tale Gulf Stream Under the Iceberg, a kaleidoscopic and hypnotic affair inspired by the works of Anatole France and influenced by Talmud and the medieval books of Cabala. It is the self-absorbing story about Adam´s first wife, Lilith – how humanity tries to run away from Eden and strives to become sinless, yet ultimately ends up trapped in its own unconsciousness.A
Written & Directed by Yevgeny Pahskevich, Gulf Stream Under the Iceberg is produced by Yevgeny Pashkevich, Natalia Ivanova and stars Olga Shepitskaya, Ville Haapasalo, Danila Kozlovsky, Liubomiras Lauciavicius, and Yuriy Tsurilo. Executive producers are Kristians Luhaers, Antra Cilinska and Maria Ksinopulo. Wide Management is handling worldwide sales.
Sffla 2013 will continue its strong line-up of showcasing Scandinavian films - premiering features, documentaries, shorts from Denmark, Finland, Iceland, Norway and Sweden and which will include this year’s Academy’s short-list of Foreign Language films from Iceland Baltasar Kormakur’s The Deep, and Norway’s Golden Globe nominee Joachim Rønning & Espen Sandberg’s Kon-tiki; with Sweden’s Nikolaj Arcel’s A Royal Affair closing the festival. Other Academy submissions include Finland’s entry Antti Joinen’s Purge, Latvia’s Yevgeny Pashkevich’s Gulf Stream Under the Iceberg and Lithuania’s Loss from Maris Martinsons.
The shorts program will also include two Academy short-listed films: Anders Walter’s 9 Meter (Denmark) and Goran Kapetanovic’s Kiruna-Kigali (Sweden)
Gulf Stream Under the Iceberg Premieres Saturday, January 12 at 11am
WGA
135 S. Doheny Drive, Beverly Hills - www.nidafilma.lv
Ticket sales: www.Sffla.net
Sales enquiries: www.widemanagement.com...
- 1/6/2013
- by Sydney Levine
- Sydney's Buzz
Ralph Fiennes is in talks to star in an adaptation of Russian author Ivan Turgenev’s 1872 play "A Month In The Country" for Horosho Production reports Screen Daily.
Despite the play's age, this would mark its first adaptation for the cinema. Fiennes has met with producer Natalia Ivanova and discussed the possibility of him playing Rakitin, the devoted, but resentful admirer of a rich landowner’s wife.
Fiennes has apparently said that he would even be prepared to learn Russian for the part. Fiennes previously starred in another cinematic adaptation of a Russian classic - Martha Fiennes’ 1999 film "Onegin" which was based on Alexander Pushkin’s epic verse novel.
Despite the play's age, this would mark its first adaptation for the cinema. Fiennes has met with producer Natalia Ivanova and discussed the possibility of him playing Rakitin, the devoted, but resentful admirer of a rich landowner’s wife.
Fiennes has apparently said that he would even be prepared to learn Russian for the part. Fiennes previously starred in another cinematic adaptation of a Russian classic - Martha Fiennes’ 1999 film "Onegin" which was based on Alexander Pushkin’s epic verse novel.
- 7/11/2011
- by Garth Franklin
- Dark Horizons
Just as the lead character named Tolstoy suffers a little whenever he must own up to not being related to the famous Russian novelist, "The Barber of Siberia" is a sprawling, period epic that suffers in comparison to its rich cinematic and literary heritage. Prospects for a major American distribution deal are dim.
The much-anticipated opening film of the 52nd Cannes International Film Festival, and the first feature from director Nikita Mikhalkov since his Oscar-winning "Burnt by the Sun", "Barber" is ostensibly a love story, but not a very complex or compelling one. At nearly three hours, the mostly English-language film indulges in long sequences of Slavic-style comedy that don't necessarily further the story of an enigmatic American woman's love affair with a charismatic Russian army cadet.
Although she confidently attacks the role, Julia Ormond is allowed to indulge in far too many contemporary nuances in her performance as Jane, a lone woman in Czarist Russia circa 1885 on a mission to help desperate inventor McCracken (Richard Harris) secure funds to finish creating a steam-driven forest-harvesting machine, which he hopes will make him rich. Like most of the cast, she tries to keep the energy level high, but one never feels very connected to her character and rarely laughs with the bemused outsider at her zany hosts.
Oleg Menshikov as Cadet Tolstoy, on the other hand, is terrific as the passionate young man who meets Jane on the train to Moscow. They share some champagne in her compartment and a few laughs as his comrades fumble about. Later, they are both on the street in Moscow when mysterious shooters in black assassinate an official. In one of the film's best scenes, Tolstoy shows he's not the best soldier-in-the-making when he lets one of the assassins go free.
Jane visits McCracken's workshop and watches the old coot almost destroy his invention in one of many comic scenes that fall flat. The plan is for Jane to butter up one Gen. Radkov (Alexey Petrenko) in order to gain access to the grand duke -- a source of completion funds, if you will, for McCracken's tree "barber." Open, aggressive, a smoker and seemingly free to wed, Jane succeeds in charming Radkov, but Tolstoy is thoroughly smitten and obviously a much better match despite his lackluster social status.
From cadets polishing a dance floor to outdoor festivals with vodka-drinking bears to a climactic performance of "The Marriage of Figaro", there are some entertaining moments, but the pacing often slows to a crawl, and the framing device of the story -- Ormond's character revealing to her American Army recruit son his origins -- has weak ongoing gags involving gas masks and crude insults aimed at Mozart.
At one point, Tolstoy risks everything to fight a duel over Jane's honor. But he goes even further down the road to ruin when he becomes convinced she's playing all the angles, which she is. Still, he proposes to her, barely beating Radkov to the punch. She is then forced to reveal that she's not who she seems to be -- certainly not McCracken's daughter, as she claimed -- and relates a horrible fact about her past.
Eventually, as in seemingly all Russian love stories of this size and breadth, the lovers are separated -- he's sent off to prison for attacking Radkov in a jealous fit, and she goes back to the States. Ten years later, she accompanies McCracken to Siberia for a test of his machine and goes searching for Tolstoy, who settled there after serving his sentence.
While visually the film has some nice touches, with Mikhalkov working in widescreen for the first time, the overused narration of Ormond's character doesn't wait for one to absorb the story visually. Time and location titles are also employed needlessly, accentuating the overall stodgy feeling to the storytelling. The director has a splendid cameo as Emperor Alexander III, but Harris is disappointing as the mad inventor -- except for a shot of his character yelling on top of a train steaming through the forests in one of this film's rare transcendent moments, the kind one expects a lot more of from Mikhalkov.
THE BARBER OF SIBERIA
Camera One, ThreeProds.,
France 2 Cinema, Medusa, Barrandov Biografia
Michel Seydoux presents
In association with Intermedia Films
Director: Nikita Mikhalkov
Screenwriters: Rustam Ibragimbekov, Nikita Mikhalkov
Producer: Michel Sedoux
Executive producer: Leonid Vereschagin
Cinematographer: Pavel Lebeshev
Production designer: Vladimir Aronin
Editor: Enzo Meniconi
Costume designers: Natacha Ivanova, Sergey Struchev
Music: Edward Nicolay Artemyev
Color/stereo
Cast:
Jane: Julia Ormond
Tolstoy: Oleg Menshikov
McCracken: Richard Harris
Radkov: Alexey Petrenko
Running time -- 176 minutes
MPAA rating:...
The much-anticipated opening film of the 52nd Cannes International Film Festival, and the first feature from director Nikita Mikhalkov since his Oscar-winning "Burnt by the Sun", "Barber" is ostensibly a love story, but not a very complex or compelling one. At nearly three hours, the mostly English-language film indulges in long sequences of Slavic-style comedy that don't necessarily further the story of an enigmatic American woman's love affair with a charismatic Russian army cadet.
Although she confidently attacks the role, Julia Ormond is allowed to indulge in far too many contemporary nuances in her performance as Jane, a lone woman in Czarist Russia circa 1885 on a mission to help desperate inventor McCracken (Richard Harris) secure funds to finish creating a steam-driven forest-harvesting machine, which he hopes will make him rich. Like most of the cast, she tries to keep the energy level high, but one never feels very connected to her character and rarely laughs with the bemused outsider at her zany hosts.
Oleg Menshikov as Cadet Tolstoy, on the other hand, is terrific as the passionate young man who meets Jane on the train to Moscow. They share some champagne in her compartment and a few laughs as his comrades fumble about. Later, they are both on the street in Moscow when mysterious shooters in black assassinate an official. In one of the film's best scenes, Tolstoy shows he's not the best soldier-in-the-making when he lets one of the assassins go free.
Jane visits McCracken's workshop and watches the old coot almost destroy his invention in one of many comic scenes that fall flat. The plan is for Jane to butter up one Gen. Radkov (Alexey Petrenko) in order to gain access to the grand duke -- a source of completion funds, if you will, for McCracken's tree "barber." Open, aggressive, a smoker and seemingly free to wed, Jane succeeds in charming Radkov, but Tolstoy is thoroughly smitten and obviously a much better match despite his lackluster social status.
From cadets polishing a dance floor to outdoor festivals with vodka-drinking bears to a climactic performance of "The Marriage of Figaro", there are some entertaining moments, but the pacing often slows to a crawl, and the framing device of the story -- Ormond's character revealing to her American Army recruit son his origins -- has weak ongoing gags involving gas masks and crude insults aimed at Mozart.
At one point, Tolstoy risks everything to fight a duel over Jane's honor. But he goes even further down the road to ruin when he becomes convinced she's playing all the angles, which she is. Still, he proposes to her, barely beating Radkov to the punch. She is then forced to reveal that she's not who she seems to be -- certainly not McCracken's daughter, as she claimed -- and relates a horrible fact about her past.
Eventually, as in seemingly all Russian love stories of this size and breadth, the lovers are separated -- he's sent off to prison for attacking Radkov in a jealous fit, and she goes back to the States. Ten years later, she accompanies McCracken to Siberia for a test of his machine and goes searching for Tolstoy, who settled there after serving his sentence.
While visually the film has some nice touches, with Mikhalkov working in widescreen for the first time, the overused narration of Ormond's character doesn't wait for one to absorb the story visually. Time and location titles are also employed needlessly, accentuating the overall stodgy feeling to the storytelling. The director has a splendid cameo as Emperor Alexander III, but Harris is disappointing as the mad inventor -- except for a shot of his character yelling on top of a train steaming through the forests in one of this film's rare transcendent moments, the kind one expects a lot more of from Mikhalkov.
THE BARBER OF SIBERIA
Camera One, ThreeProds.,
France 2 Cinema, Medusa, Barrandov Biografia
Michel Seydoux presents
In association with Intermedia Films
Director: Nikita Mikhalkov
Screenwriters: Rustam Ibragimbekov, Nikita Mikhalkov
Producer: Michel Sedoux
Executive producer: Leonid Vereschagin
Cinematographer: Pavel Lebeshev
Production designer: Vladimir Aronin
Editor: Enzo Meniconi
Costume designers: Natacha Ivanova, Sergey Struchev
Music: Edward Nicolay Artemyev
Color/stereo
Cast:
Jane: Julia Ormond
Tolstoy: Oleg Menshikov
McCracken: Richard Harris
Radkov: Alexey Petrenko
Running time -- 176 minutes
MPAA rating:...
- 5/13/1999
- The Hollywood Reporter - Movie News
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