While markets such as Afm and the recent Key Buyers Event in Moscow aim to develop the worldwide sales potential of Russian cinema, the Russian branch of Fipresci, the international film critics’ federation, came up with a sure-fire idea to bring media attention to the diversity of Russian production, its varied genres, directions and aesthetics.
From Nov. 11-13, the second Fipresci colloquium on Russian cinema will bring together journalists from a range of international publications, film festival curators, film scholars and members of the Russian film industry. Held under the auspices of the bi-annual St. Petersburg Cultural Forum, the event will take place at the legendary Lenfilm Studio complex in St. Petersburg, the studio that gave the world Grigory Kozintsev, Ilya Averbakh and Aleksey German, as well as Aleksandr Sokurov, who still produces his work there.
Colloquium participants (including this writer) will have the opportunity to tour the building and its historic costume collection,...
From Nov. 11-13, the second Fipresci colloquium on Russian cinema will bring together journalists from a range of international publications, film festival curators, film scholars and members of the Russian film industry. Held under the auspices of the bi-annual St. Petersburg Cultural Forum, the event will take place at the legendary Lenfilm Studio complex in St. Petersburg, the studio that gave the world Grigory Kozintsev, Ilya Averbakh and Aleksey German, as well as Aleksandr Sokurov, who still produces his work there.
Colloquium participants (including this writer) will have the opportunity to tour the building and its historic costume collection,...
- 11/8/2019
- by Alissa Simon
- Variety Film + TV
How would you program this year's newest, most interesting films into double features with movies of the past you saw in 2014?
Looking back over the year at what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2014—in theatres or at a festival—and creatively pair it with an old film they also saw in 2014 to create a unique double feature.
All the contributors were given the option to write some text explaining their 2014 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch...
Looking back over the year at what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2014—in theatres or at a festival—and creatively pair it with an old film they also saw in 2014 to create a unique double feature.
All the contributors were given the option to write some text explaining their 2014 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch...
- 1/5/2015
- by Notebook
- MUBI
Uberto Pasolini’s second feature [pictured] wins at fifth edition of Russian showcase for young European cinema.
Uberto Pasolini’s Still Life was the big winner at the fifth edition of Voices, the Russian showcase for young European cinema, which came to a close on Tuesday evening [July 8] in Vologda.
Pasolini’s second feature as director won the Grand Prix and the award for best actor went to the film’s male lead Eddie Marsan in an “absolutely wonderful performance”.
Jury president Svetlana Proskurina said that the decision for the Grand Prix had been “absolutely unanimous”, while Voices art director Korinna Danielou recalled that having Still Life at the festival had been “a dream come true” for her.
She accepted the award on behalf of Pasolini who had left Vologda on the midnight train to Moscow last Sunday [July 6] on the way to present his film at the festival in Karlovy Vary.
The jury’s award for best cinematography went to...
Uberto Pasolini’s Still Life was the big winner at the fifth edition of Voices, the Russian showcase for young European cinema, which came to a close on Tuesday evening [July 8] in Vologda.
Pasolini’s second feature as director won the Grand Prix and the award for best actor went to the film’s male lead Eddie Marsan in an “absolutely wonderful performance”.
Jury president Svetlana Proskurina said that the decision for the Grand Prix had been “absolutely unanimous”, while Voices art director Korinna Danielou recalled that having Still Life at the festival had been “a dream come true” for her.
She accepted the award on behalf of Pasolini who had left Vologda on the midnight train to Moscow last Sunday [July 6] on the way to present his film at the festival in Karlovy Vary.
The jury’s award for best cinematography went to...
- 7/9/2014
- 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
Alexander Kott’s love story [pictured] awarded the Grand Prix and the prize for best cinematography.
Alexander Kott’s Test was the big winner at this year’s Kinotavr Open Russian Film Festival at the Black Sea resort of Sochi.
The jury headed by Cannes prize-winner Andrey Zvyagintsev awarded its Grand Prix “for the realisation of the dream” and the prize for best cinematography to Kott’s love story, set against the first hydrogen bomb tests in the Kazakh Steppe at the beginning of the 50s.
In addition, Kott’s film received the Elephant Trophy from the Guild of Film Critics and Film Scholars.
Test is handled internationally by Anton Mazurov’s fledgling Russian sales company Ant!pode Sales & Distribution, which saw its other three new titles by four women directors coming away from this year’s Kinotavr with trophies and diplomas in their luggage:
Anna Melikian’s Star received the prizes for best direction and best actress...
Alexander Kott’s Test was the big winner at this year’s Kinotavr Open Russian Film Festival at the Black Sea resort of Sochi.
The jury headed by Cannes prize-winner Andrey Zvyagintsev awarded its Grand Prix “for the realisation of the dream” and the prize for best cinematography to Kott’s love story, set against the first hydrogen bomb tests in the Kazakh Steppe at the beginning of the 50s.
In addition, Kott’s film received the Elephant Trophy from the Guild of Film Critics and Film Scholars.
Test is handled internationally by Anton Mazurov’s fledgling Russian sales company Ant!pode Sales & Distribution, which saw its other three new titles by four women directors coming away from this year’s Kinotavr with trophies and diplomas in their luggage:
Anna Melikian’s Star received the prizes for best direction and best actress...
- 6/9/2014
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
After winning Best Screenplay at Cannes for Leviathan, Andrei Zvyagintsev is to head the jury at the 25th “Kinotavr” Open Russian Film Festival in Sochi.
Zvyagintsev, who will give a masterclass during the festival, will present the Russian premiere of his fourth feature as Kinotavr’s closing film on June 8 in the 141-minute version which premiered in Cannes.
During the Cannes Film Festival, questions were raised about whether this will be the version that is then released in Russian cinemas this September as the film could fall foul of the anti-obscenity law coming into effect on July 1.
However, the director had countered in a press conference that the law could not operate in retrospect and so would not apply to his film.
It was revealed that Russia’s Culture Minister Vladimir Medinsky had indicated that he did not like the film - although he acknowledged Zvyagintsev’s talent - and had taken offence at the copoius drinking...
Zvyagintsev, who will give a masterclass during the festival, will present the Russian premiere of his fourth feature as Kinotavr’s closing film on June 8 in the 141-minute version which premiered in Cannes.
During the Cannes Film Festival, questions were raised about whether this will be the version that is then released in Russian cinemas this September as the film could fall foul of the anti-obscenity law coming into effect on July 1.
However, the director had countered in a press conference that the law could not operate in retrospect and so would not apply to his film.
It was revealed that Russia’s Culture Minister Vladimir Medinsky had indicated that he did not like the film - although he acknowledged Zvyagintsev’s talent - and had taken offence at the copoius drinking...
- 5/29/2014
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Roskino and Russian Cinema Fund to make presentations.
Russian cinema will be represented by not one, but two stands at the Marché du Film much to the bewilderment of some in the industry.
While Roskino, the successor to the former state film organisation Sovexportfilm, is the official organiser of the Russian Pavilion with support from the Ministries of Culture and Foreign Affairs, the Russian Cinema Fund is backing the Russian Cinema stand in the Festival Palais.
Both initiatives will be having presentations of extracts from completed films or works in progress to sales agents, distributors and festival programmers.
Roskino’s line-up on May 17 will include Natalia Meshaninova’s The Hope Factory [pictured], Igor Voloshin’s Moscow-Russia Express, the documentary Rudolf Nureyev. A Rebel Demon, and Sergei Dvortsevoy’s My Little One, co-produced by the late Karl Baumgartner.
The Russian Cinema Fund will follow three days later – on May 20 - with its own showcase of 19 projects at various stages...
Russian cinema will be represented by not one, but two stands at the Marché du Film much to the bewilderment of some in the industry.
While Roskino, the successor to the former state film organisation Sovexportfilm, is the official organiser of the Russian Pavilion with support from the Ministries of Culture and Foreign Affairs, the Russian Cinema Fund is backing the Russian Cinema stand in the Festival Palais.
Both initiatives will be having presentations of extracts from completed films or works in progress to sales agents, distributors and festival programmers.
Roskino’s line-up on May 17 will include Natalia Meshaninova’s The Hope Factory [pictured], Igor Voloshin’s Moscow-Russia Express, the documentary Rudolf Nureyev. A Rebel Demon, and Sergei Dvortsevoy’s My Little One, co-produced by the late Karl Baumgartner.
The Russian Cinema Fund will follow three days later – on May 20 - with its own showcase of 19 projects at various stages...
- 5/13/2014
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Did you already see The Old Donkey (Lao lutou, 2010; Li Riujun)?, folks asked us day in, day out all through Rotterdam, and for most of the festival, the answer was a grumpy, No., thinking, Can't be as good as 13 kleine Esel und der Sonnenhof (1958, d.:Hans Deppe)—production title: 13 alte Esel—and that's already not really good. It wasn't, as we finally found out: Whenever the quietly cheerful donkey was out of the picture and we were forced to deal with the film as such, boredom ruled—another one of dem PRChinese Indies straight from the arthouse-for-Do-Gooders assembly line.
A donkey was also the unannounced star of Huangjiang nüxia (The Swordswoman of Huangjiang, 1930; Chen Kengran), although we're not too supportive about the way he's treated: The eponymous heroine uses it as her means of transport. Harrumph. Yet, in this case we're willing to make an exception, as the swordswoman...
A donkey was also the unannounced star of Huangjiang nüxia (The Swordswoman of Huangjiang, 1930; Chen Kengran), although we're not too supportive about the way he's treated: The eponymous heroine uses it as her means of transport. Harrumph. Yet, in this case we're willing to make an exception, as the swordswoman...
- 7/12/2011
- MUBI
Truce
Stars: Ivan Dobranravov | Written and Directed by Svetlana Proskurina
Truce was the winner of the best film award at Russian film festival Sochi, which should draw attention to this odd and perplexing feature. Egor (Dobranravov) is a truck driver in a rural backwater in Russia and the film follows a series of increasingly unusual events over what appears to be one very long and trying day. His friend Quasimodo blows his finger off, his uncle requires him to stand guard with a rifle whilst he withdraws money from a bank and various friends, all of who appear to criminals, attempt to rope him into various schemes. Then he sets off to find himself a wife. As you do.
I’d be lying if I said I fully understood exactly what I was supposed to take away from Truce. As far as I could tell, it seemed to be an...
Stars: Ivan Dobranravov | Written and Directed by Svetlana Proskurina
Truce was the winner of the best film award at Russian film festival Sochi, which should draw attention to this odd and perplexing feature. Egor (Dobranravov) is a truck driver in a rural backwater in Russia and the film follows a series of increasingly unusual events over what appears to be one very long and trying day. His friend Quasimodo blows his finger off, his uncle requires him to stand guard with a rifle whilst he withdraws money from a bank and various friends, all of who appear to criminals, attempt to rope him into various schemes. Then he sets off to find himself a wife. As you do.
I’d be lying if I said I fully understood exactly what I was supposed to take away from Truce. As far as I could tell, it seemed to be an...
- 10/23/2010
- by Jack Kirby
- Nerdly
Moscow -- Veteran director Svetlana Proskurina collected the Grand Prix at Kinotavr, Russia's main national film festival, whose 21st edition came to a close in the Black Sea resort of Sochi on Sunday, for her existential drama "Peremiriye" (Truce).
At several previous festivals, the main prizes often went to first-time directors, and the dominance of debuts in this year's official selection made observers think that the trend would continue, but the only feature debut to be awarded a major prize was Sergei Loznitsa's "Schastye Moye" (My Joy).
The movie, which was premiered at Cannes last month, brought Loznitsa Kinotavr's best director's award. The best screenplay prize was awarded to Andrei Stempkovsky, the writer/director of "Obratnoye Dvizheniye" "Backwards Movement).
The best cinematography prize went to Roman Vasyanov for his work on "Yavleniye Prirody" (Nature Phenomemon) by Alexander Lungin and Sergei Osepyan. Anna Fenchenko collected the best debut award for...
At several previous festivals, the main prizes often went to first-time directors, and the dominance of debuts in this year's official selection made observers think that the trend would continue, but the only feature debut to be awarded a major prize was Sergei Loznitsa's "Schastye Moye" (My Joy).
The movie, which was premiered at Cannes last month, brought Loznitsa Kinotavr's best director's award. The best screenplay prize was awarded to Andrei Stempkovsky, the writer/director of "Obratnoye Dvizheniye" "Backwards Movement).
The best cinematography prize went to Roman Vasyanov for his work on "Yavleniye Prirody" (Nature Phenomemon) by Alexander Lungin and Sergei Osepyan. Anna Fenchenko collected the best debut award for...
- 6/14/2010
- by By Vladimir Kozlov
- The Hollywood Reporter - Movie News
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