If they do not want to be persecuted by the state, while keeping their chances at the international film festival circuit, the Iranian filmmakers must not be too open in their criticism towards the state policies. Carefully inserted metaphors are usually the way to go for covering tracks and Vahid Jalilvand has so far managed to do so with his previous films, “Wednesday, May 9” (2015) and “No Date, No Signature” (2017) which both premiered at Venice Horizons section. He tries to do the same with his newest effort “Beyond the Wall”, which premiered at the main competition of last year’s Venice. After a tour of festivals like Toronto, Busan, Hamburg and Göteborg, it was shown at the competition of Belgrade International Film Festival, where we caught it.
When we meet our protagonist, Ali, he is in such a desperate state that he tries to commit suicide in his spartan apartment in...
When we meet our protagonist, Ali, he is in such a desperate state that he tries to commit suicide in his spartan apartment in...
- 3/1/2023
- by Marko Stojiljković
- AsianMoviePulse
Nobody emerges unscathed — least of all the audience — from Vahid Jalilvand’s highly effective, deeply unpleasant “Beyond the Wall,” a morbidly violent allegory for the effects of state-sponsored trauma on the individual that places contemporary Iranian society somewhere on the map between the sixth and seventh circles of hell. A strange combination of intricate, almost sci-fi-inflected psychological thriller, splenetic social-breakdown broadside and two-hander (torture) chamber drama, it is an exercise in bravura filmmaking applied to a story so relentlessly grim you might wish it were a little less well-made, giving you an excuse to look away. In his 2017 film “No Date No Signature” (which won Best Director and Best Actor in Venice’s Horizons sidebar), Jalilvand pictured a stratified society teetering on the edge of legality and morality; here, however, it has toppled entirely into the abyss. The only way is down, and the filmmaker is bringing you with it.
- 9/8/2022
- by Jessica Kiang
- Variety Film + TV
The constant arrests and impediments of its filmmakers hasn’t stopped Iranian cinema from soaring to greater heights.
After the showcase of Iranian cinema at Berlin, Cannes and Karlovy Vary, Venice has five films from the country, two of which are in competition, reports Variety.
What’s more? Leila Hatami, star of Cannes festival jurist Asghar Farhadi’s ‘A Separation’, is a member of Venice’s main jury panel.
“We have never received so many submissions from Iran, and many of them are good,” says Venice chief Alberto Barbera, quoted by Variety.
He notes that “the paradox is that this is happening at a time when the Iranian regime is among the most rigidly conservative and repressive in the world,” and is responding to uprisings sparked by the country’s harsh economic conditions by re-incarcerating directors such as Jafar Panahi, whose latest film “No Bears” launches from Venice, fellow dissident filmmaker Mohammad Rasoulof,...
After the showcase of Iranian cinema at Berlin, Cannes and Karlovy Vary, Venice has five films from the country, two of which are in competition, reports Variety.
What’s more? Leila Hatami, star of Cannes festival jurist Asghar Farhadi’s ‘A Separation’, is a member of Venice’s main jury panel.
“We have never received so many submissions from Iran, and many of them are good,” says Venice chief Alberto Barbera, quoted by Variety.
He notes that “the paradox is that this is happening at a time when the Iranian regime is among the most rigidly conservative and repressive in the world,” and is responding to uprisings sparked by the country’s harsh economic conditions by re-incarcerating directors such as Jafar Panahi, whose latest film “No Bears” launches from Venice, fellow dissident filmmaker Mohammad Rasoulof,...
- 9/5/2022
- by Glamsham Bureau
- GlamSham
Iranian cinema is having a great year despite the many impediments film directors face there, including being jailed.
Reflecting this burst of irrepressible cinematic energy, after strong showing of Iranian cinema at Berlin, Cannes and Karlovy Vary, Venice has five films from the country, two of which are in competition. Also, Leila Hatami, star of Cannes festival jurist Asghar Farhadi’s “A Separation,” is a member of Venice’s main jury panel.
“We have never received so many submissions from Iran, and many of them are good,” says Venice chief Alberto Barbera. He notes that “the paradox is that this is happening at a time when the Iranian regime is among the most rigidly conservative and repressive in the world,” and is responding to uprisings sparked by the country’s harsh economic conditions by re-incarcerating directors such as Jafar Panahi, whose latest film “No Bears” launches from Venice, fellow dissident filmmaker Mohammad Rasoulof,...
Reflecting this burst of irrepressible cinematic energy, after strong showing of Iranian cinema at Berlin, Cannes and Karlovy Vary, Venice has five films from the country, two of which are in competition. Also, Leila Hatami, star of Cannes festival jurist Asghar Farhadi’s “A Separation,” is a member of Venice’s main jury panel.
“We have never received so many submissions from Iran, and many of them are good,” says Venice chief Alberto Barbera. He notes that “the paradox is that this is happening at a time when the Iranian regime is among the most rigidly conservative and repressive in the world,” and is responding to uprisings sparked by the country’s harsh economic conditions by re-incarcerating directors such as Jafar Panahi, whose latest film “No Bears” launches from Venice, fellow dissident filmmaker Mohammad Rasoulof,...
- 9/5/2022
- by Nick Vivarelli
- Variety Film + TV
Filmmaker Vahid Jalilvand returns to the Lido for the third time.
The Match Factory has acquired worldwide rights to Vahid Jalilvand’s Iranian feature Beyond The Wall, which will have its world premiere in the Venice Competition in September.
It is a sixth Venice pickup for The Match Factory, and third Competition title; it announced the acquisitions of Gianni Amelio’s Lord Of The Ants and Susanna Nicchiarelli’s Chiara earlier this week.
Beyond The Wall follows a blind man whose suicide attempt is interrupted by his building’s concierge. The concierge informs him that an escaped woman is hidden...
The Match Factory has acquired worldwide rights to Vahid Jalilvand’s Iranian feature Beyond The Wall, which will have its world premiere in the Venice Competition in September.
It is a sixth Venice pickup for The Match Factory, and third Competition title; it announced the acquisitions of Gianni Amelio’s Lord Of The Ants and Susanna Nicchiarelli’s Chiara earlier this week.
Beyond The Wall follows a blind man whose suicide attempt is interrupted by his building’s concierge. The concierge informs him that an escaped woman is hidden...
- 7/29/2022
- by Ben Dalton
- ScreenDaily
Though Iran is in the throes of a deep economic crisis, battered by hard-line politics and a mismanaged pandemic, it’a shaping up to be a great year for Iranian cinema.
Paradoxically, Iran’s cinematic landscape is bursting with powerful, fresh films likely to make an international splash just as talks between Tehran and world powers continue to be deadlocked on reviving the nuclear deal that could lift the country’s crippling sanctions that block exports.
This filmmaking fervor is reflected in the fact that Iranian pics have scored two Cannes competition berths, plus one in the Cannes Critics’ Week, which marks Iran’s first presence in this section dedicated to first and second works in almost two decades.
“What everybody is so pleased about is that Cannes, fortunately, is now representing the young generation of Iranian filmmakers,” said international distributor Mohammad Attebai, who heads Tehran-based company Iranian Independents.
Finally,...
Paradoxically, Iran’s cinematic landscape is bursting with powerful, fresh films likely to make an international splash just as talks between Tehran and world powers continue to be deadlocked on reviving the nuclear deal that could lift the country’s crippling sanctions that block exports.
This filmmaking fervor is reflected in the fact that Iranian pics have scored two Cannes competition berths, plus one in the Cannes Critics’ Week, which marks Iran’s first presence in this section dedicated to first and second works in almost two decades.
“What everybody is so pleased about is that Cannes, fortunately, is now representing the young generation of Iranian filmmakers,” said international distributor Mohammad Attebai, who heads Tehran-based company Iranian Independents.
Finally,...
- 5/22/2022
- by Nick Vivarelli
- Variety Film + TV
Exclusive: In an unusual move, but one that speaks to fluidity in the distribution landscape and increasing demand for foreign-language series, LA-based film firm The Exchange is launching world sales (excluding Iran) at the upcoming Cannes virtual market on hit Iranian TV series The Frog.
The series follows Ramin, a man dissatisfied with a life of low-paying petty crime in Tehran, who determines with friends to rob an enormously wealthy former classmate. However, the theft goes fatally awry and Ramin finds himself entangled in a dangerous web of deceit involving the police, local gangsters, and greedy family members.
It’s rare for TV series to be launched at film markets. But the very concept of a market has been fraying in recent years, especially in the Covid era. Sales increasingly take place across the year and traditional film companies are increasingly working in TV.
The Exchange has also boarded remake...
The series follows Ramin, a man dissatisfied with a life of low-paying petty crime in Tehran, who determines with friends to rob an enormously wealthy former classmate. However, the theft goes fatally awry and Ramin finds himself entangled in a dangerous web of deceit involving the police, local gangsters, and greedy family members.
It’s rare for TV series to be launched at film markets. But the very concept of a market has been fraying in recent years, especially in the Covid era. Sales increasingly take place across the year and traditional film companies are increasingly working in TV.
The Exchange has also boarded remake...
- 6/11/2021
- by Andreas Wiseman
- Deadline Film + TV
2019 Foreign Language Film Oscar Submissions Algeria – Until The End Of Time – Yasmine Chouikh Argentina– The Angel (El Angel) – Luis Ortega Austria – The Waldheim Waltz – Ruth Beckermann Belarus – Crystal Swan – Darya Zhuk Belgium – Girl – Lukas Dhont Bolivia – Muralla – Rodrigo Patiño Bosnia – Never Leave Me – Aida Begic Brazil – The Great Mystical Circus – Carlos Diegues Bulgaria – Omnipresent – Ilian Djevelekov Cambodia – Graves Without A Name – Rithy Pan Canada – Watch Dog – Sophie Dupuis Chile – And Suddenly The Dawn – Silvio Caiozzi Colombia– Birds of Passage, Cristina Gallego & Ciro Guerra Croatia – The Eighth Commissioner – Ivan Salaj Czech Republic – Winter Flies – Olmo Omerzu Denmark – The Guilty – Gustav Möller Dominican Republic – Cocote – Nelson Carlo de los Santos Ecuador – A Son Of Man – Jamaicanoproblem and Pablo Agüero Egypt – Yomeddine – Abu Bakr Shawky Estonia – Take It Or Leave It – Liina Trishkina-Vanhatalo Finland – Euthanizer – Teemu Nikin France – Memoir Of War – Emmanuel Finkiel Georgia – Namme – Zaza Khalvashi Germany – Never Look Away – Florian Henckel von Donnersmarck...
- 8/21/2020
- by Nancy Tartaglione
- Deadline Film + TV
After bowing at Venice where it was nominated for the Horizons Award, “Hava, Maryam, Ayesha” has its Asian premiere at the Busan International Film Festival. Directed by debutante Sahraa Karimi, it plays in the ‘A Window On Asian Cinema’ strand.
The film is a rarity in that it is an Afghan film made by an Afghani woman in Afghanistan, using local talent. The powerhouse behind the film is producer Katayoon Shahabi, who produced through her Paris and Tehran based outfit Noori Pictures.
Through Sheherazad Media International from 2001, and then with Noori from 2011, Shahabi has been championing the cause of Afghan and Iranian cinema. She served on the Cannes competition jury in 2016.
Noori’s recent successes include Vahid Jalilvand’s “No Date, No Signature” which won multiple awards at Venice, Las Palmas, Bratislava, Fajr, Stockholm, Thessaloniki and the Asia Pacific Screen Awards in 2017; and Jamshid Mahmoudi’s “Rona, Azim’s Mother” which collected prizes at Vesoul,...
The film is a rarity in that it is an Afghan film made by an Afghani woman in Afghanistan, using local talent. The powerhouse behind the film is producer Katayoon Shahabi, who produced through her Paris and Tehran based outfit Noori Pictures.
Through Sheherazad Media International from 2001, and then with Noori from 2011, Shahabi has been championing the cause of Afghan and Iranian cinema. She served on the Cannes competition jury in 2016.
Noori’s recent successes include Vahid Jalilvand’s “No Date, No Signature” which won multiple awards at Venice, Las Palmas, Bratislava, Fajr, Stockholm, Thessaloniki and the Asia Pacific Screen Awards in 2017; and Jamshid Mahmoudi’s “Rona, Azim’s Mother” which collected prizes at Vesoul,...
- 10/4/2019
- by Naman Ramachandran
- Variety Film + TV
After writing the DVD Obscura column for years at Movies.com, TheWrap’s Film Reviews Editor Alonso Duralde brings it to its new home. In an age where niche and classic movies are harder and harder to find via traditional streaming services, it’s still worth maintaining a collection of physical media that can’t disappear from the internet (or even from your own online library). Each month, Duralde highlights new DVD, Blu-ray and 4K releases in six categories: Indie, Foreign, Documentary, Grindhouse, Classics and TV.
New Indies
Both hilarious and heartbreaking, “Can You Ever Forgive Me?” (20th Century Fox Home Entertainment) may be one of the best films ever made about the plight of the writer — whether it’s the agony of having to be her own publicist or the realization that she’s most valued for her skill at mimicking the voices of other authors, Lee Israel (the...
New Indies
Both hilarious and heartbreaking, “Can You Ever Forgive Me?” (20th Century Fox Home Entertainment) may be one of the best films ever made about the plight of the writer — whether it’s the agony of having to be her own publicist or the realization that she’s most valued for her skill at mimicking the voices of other authors, Lee Israel (the...
- 3/19/2019
- by Alonso Duralde
- The Wrap
Among the Middle East’s 10 submissions, three of which are helmed by women, are several titles that are likely to be competitive in the foreign-language category. These include the Cannes jury prize-winner “Capernaum,” from Lebanon’s helmer-actress Nadine Labaki, and “The Cakemaker” from Israel’s Ofir Raul Grazier. While the lineup includes some films that premiered at major festivals such as Berlin, Venice and Cannes, nearly all of the regional entries, with the exception of the Yemeni title “10 Days Before the Wedding,” have screened in multiple smaller festivals and nabbed several awards.
Labaki’s third feature, “Capernaum,” is the story of an impoverished Beirut boy who launches a lawsuit against his parents for bringing him into the world. It has a lot going for it: It’s a heart-tugging social-issues drama with adorable non-pro child actors, and it plays like, er, a “Slumdog Beirut.” Moreover, the film, due out Stateside in December,...
Labaki’s third feature, “Capernaum,” is the story of an impoverished Beirut boy who launches a lawsuit against his parents for bringing him into the world. It has a lot going for it: It’s a heart-tugging social-issues drama with adorable non-pro child actors, and it plays like, er, a “Slumdog Beirut.” Moreover, the film, due out Stateside in December,...
- 11/8/2018
- by Alissa Simon
- Variety Film + TV
‘Jirga’
Benjamin Gilmour’s Afghanistan-set drama Jirga will carry Australia’s hopes of being nominated for this year’s Best Foreign Language Film Oscar.
The international recognition as Australia’s official submission follows the film’s international premiere at the Toronto International Film Festival and winning the $100,000 best film prize, Australia’s richest, at CinfestOZ.
Produced and distributed by John Maynard, the film stars Sam Smith as a former Australian soldier who returns to Afghanistan seeking forgiveness and puts his life in the hands of the village justice system – the Jirga.
There are 87 countries vying for the prize, including first-time entrants Malawi and Niger and high-profile contenders such as Mexico’s Roma and Poland’s Cold War, both of which are hoping to break out of the foreign race and earn nominations for best picture, best director and more.
Gilmour said: “We are thrilled about the honour of representing Australia.
Benjamin Gilmour’s Afghanistan-set drama Jirga will carry Australia’s hopes of being nominated for this year’s Best Foreign Language Film Oscar.
The international recognition as Australia’s official submission follows the film’s international premiere at the Toronto International Film Festival and winning the $100,000 best film prize, Australia’s richest, at CinfestOZ.
Produced and distributed by John Maynard, the film stars Sam Smith as a former Australian soldier who returns to Afghanistan seeking forgiveness and puts his life in the hands of the village justice system – the Jirga.
There are 87 countries vying for the prize, including first-time entrants Malawi and Niger and high-profile contenders such as Mexico’s Roma and Poland’s Cold War, both of which are hoping to break out of the foreign race and earn nominations for best picture, best director and more.
Gilmour said: “We are thrilled about the honour of representing Australia.
- 10/8/2018
- by The IF Team
- IF.com.au
First-time submissions come from Malawi and Niger as Austrlia and New Zealand join the list.
Eighty-seven countries have submitted films for this year’s foreign language film Oscar, the Academy of Motion Pictures Arts and Sciences has revealed, a drop from the record 92 that submitted last year.
Countries submitting films in the category for the first time include Malawi, which has entered Shemu Joyah’s The Road to Sunrise, and Niger, whose submission is Rahmatou Keïta’s The Wedding Ring.
Submissions that had not previously been confirmed include Australian entry Jirga, from director Benjamin Gilmour, and New Zealand contender Yellow Is Forbidden,...
Eighty-seven countries have submitted films for this year’s foreign language film Oscar, the Academy of Motion Pictures Arts and Sciences has revealed, a drop from the record 92 that submitted last year.
Countries submitting films in the category for the first time include Malawi, which has entered Shemu Joyah’s The Road to Sunrise, and Niger, whose submission is Rahmatou Keïta’s The Wedding Ring.
Submissions that had not previously been confirmed include Australian entry Jirga, from director Benjamin Gilmour, and New Zealand contender Yellow Is Forbidden,...
- 10/8/2018
- by John Hazelton
- ScreenDaily
First-time submissions come from Malawi and Niger as Austrlia and New Zealand join the list.
Eighty-seven countries have submitted films for this year’s foreign language film Oscar, the Academy of Motion Pictures Arts and Sciences has revealed, a drop from the record 92 that submitted last year.
Countries submitting films in the category for the first time include Malawi, which has entered Shemu Joyah’s The Road to Sunrise, and Niger, whose submission is Rahmatou Keïta’s The Wedding Ring.
Submissions that had not previously been confirmed include Australian entry Jirga, from director Benjamin Gilmour, and New Zealand contender Yellow Is Forbidden,...
Eighty-seven countries have submitted films for this year’s foreign language film Oscar, the Academy of Motion Pictures Arts and Sciences has revealed, a drop from the record 92 that submitted last year.
Countries submitting films in the category for the first time include Malawi, which has entered Shemu Joyah’s The Road to Sunrise, and Niger, whose submission is Rahmatou Keïta’s The Wedding Ring.
Submissions that had not previously been confirmed include Australian entry Jirga, from director Benjamin Gilmour, and New Zealand contender Yellow Is Forbidden,...
- 10/8/2018
- by John Hazelton
- ScreenDaily
Eighty-seven countries have submitted films for consideration in the foreign language category for the 91st Academy Awards.
Oscar nominations will be announced on Jan. 22 and the ceremony will be held on Feb. 24 at Los Angeles’ Dolby Theatre. Malawi and Niger are first-time entrants. The Academy of Motion Picture Arts and Sciences made the announcement on Monday.
High-profile titles include Alfonso Cuaron’s “Roma,” the Mexican entry; Denmark’s “The Guilty”; Germany’s “Never Look Away,” from previous Oscar winner Florian Henckel von Donnersmarck; Hirokazu Kore-eda’s “Shoplifters,” the Japanese entry that won the Palme d’Or at this year’s Cannes Film Festival; Nadine Labaki’s “Capernaum,” the Cannes jury prize winner from Lebanon; and Pawel Pawlikowski’s “Cold War,” the Cannes best director prize winner from Poland.
The 2018 submissions are:
Afghanistan, “Rona Azim’s Mother,” Jamshid Mahmoudi, director;
Algeria, “Until the End of Time,” Yasmine Chouikh, director;
Argentina, “El Ángel,...
Oscar nominations will be announced on Jan. 22 and the ceremony will be held on Feb. 24 at Los Angeles’ Dolby Theatre. Malawi and Niger are first-time entrants. The Academy of Motion Picture Arts and Sciences made the announcement on Monday.
High-profile titles include Alfonso Cuaron’s “Roma,” the Mexican entry; Denmark’s “The Guilty”; Germany’s “Never Look Away,” from previous Oscar winner Florian Henckel von Donnersmarck; Hirokazu Kore-eda’s “Shoplifters,” the Japanese entry that won the Palme d’Or at this year’s Cannes Film Festival; Nadine Labaki’s “Capernaum,” the Cannes jury prize winner from Lebanon; and Pawel Pawlikowski’s “Cold War,” the Cannes best director prize winner from Poland.
The 2018 submissions are:
Afghanistan, “Rona Azim’s Mother,” Jamshid Mahmoudi, director;
Algeria, “Until the End of Time,” Yasmine Chouikh, director;
Argentina, “El Ángel,...
- 10/8/2018
- by Dave McNary
- Variety Film + TV
The Academy of Motion Picture Arts and Sciences has announced the official list of submissions for the 2019 Oscar for best foreign language film. There are 87 countries vying for the prize this awards season, including first-time entrants Malawi and Niger. Included among the titles are high-profile contenders such as Mexico’s “Roma” and Poland’s “Cold War,” both of which are vying to break out of the foreign race and earn nominations for best picture, best director, and more.
Nominations for the 91st Academy Awards will be announced on Tuesday, January 22, 2019. The 91st Oscars will be held on Sunday, February 24, 2019. Click here to view predictions for the foreign language Oscar race from IndieWire’s awards editor Anne Thompson.
2018 Foreign Oscar Submissions
Afghanistan, “Rona Azim’s Mother,” Jamshid Mahmoudi, director
Algeria, “Until the End of Time,” Yasmine Chouikh, director
Argentina, “El Ángel,” Luis Ortega, director
Armenia, “Spitak,” Alexander Kott, director
Australia, “Jirga,...
Nominations for the 91st Academy Awards will be announced on Tuesday, January 22, 2019. The 91st Oscars will be held on Sunday, February 24, 2019. Click here to view predictions for the foreign language Oscar race from IndieWire’s awards editor Anne Thompson.
2018 Foreign Oscar Submissions
Afghanistan, “Rona Azim’s Mother,” Jamshid Mahmoudi, director
Algeria, “Until the End of Time,” Yasmine Chouikh, director
Argentina, “El Ángel,” Luis Ortega, director
Armenia, “Spitak,” Alexander Kott, director
Australia, “Jirga,...
- 10/8/2018
- by Zack Sharf
- Indiewire
The Academy of Motion Picture Arts & Sciences announced today that 87 countries have qualified for this year’s Foreign Language Film competition. With some of the
strongest entries in recent years this is shaping up as one of the richest fields of contenders in memory. Of course one of the Netflix titles, Mexico’s Roma from director Alfonso Cuaron has been widely acclaimed at numerous festivals and already won top prize at Venice which makes it the front runner here. It is also expected to be in contention for a Best Picture nomination as well as other categories and that could enhance its chances. However could an upset be in the offing? I would say there are a number of equally fine movies in the mix here including Japan’s Cannes Palme d’Or winner, Shoplifters; Denmark’s riveting The Guilty; Germany’s epic Never Look Away from previous Oscar winner...
strongest entries in recent years this is shaping up as one of the richest fields of contenders in memory. Of course one of the Netflix titles, Mexico’s Roma from director Alfonso Cuaron has been widely acclaimed at numerous festivals and already won top prize at Venice which makes it the front runner here. It is also expected to be in contention for a Best Picture nomination as well as other categories and that could enhance its chances. However could an upset be in the offing? I would say there are a number of equally fine movies in the mix here including Japan’s Cannes Palme d’Or winner, Shoplifters; Denmark’s riveting The Guilty; Germany’s epic Never Look Away from previous Oscar winner...
- 10/8/2018
- by Pete Hammond
- Deadline Film + TV
Vladivostok’s 16th Pacific Meridian International Film Festival of Asian Pacific Countries took place from September 21st to 27th 2018.
Jean-Marc Thérouanne co-founder and General Manager of the Vesoul International Film Festival of Asian Cinema was there, along with his wife Martine Thérouanne – who was also a member of the Netpac Jury – and this is his report of the event:
“The town of Vladivostok, founded in 1860, has quickly evolved into a big city thanks to the Trans-Siberian Railway and its commercial and military port. Vladivostok’s festival organizers are very proud actor Yul Brynner has been born in the city back in 1920.
This year’s program included 199 long and short fiction and documentary features in different sections: Competition, Panorama, Russian Cinema, Tribute to Yamamura Koji, Moving Forward, Documentaries, “Family Time” topic, horror movies (After Midnight), Russian Animation, Ingmar Bergman retrospective, film school movies including productions of Vladivostok’s movie school.
The...
Jean-Marc Thérouanne co-founder and General Manager of the Vesoul International Film Festival of Asian Cinema was there, along with his wife Martine Thérouanne – who was also a member of the Netpac Jury – and this is his report of the event:
“The town of Vladivostok, founded in 1860, has quickly evolved into a big city thanks to the Trans-Siberian Railway and its commercial and military port. Vladivostok’s festival organizers are very proud actor Yul Brynner has been born in the city back in 1920.
This year’s program included 199 long and short fiction and documentary features in different sections: Competition, Panorama, Russian Cinema, Tribute to Yamamura Koji, Moving Forward, Documentaries, “Family Time” topic, horror movies (After Midnight), Russian Animation, Ingmar Bergman retrospective, film school movies including productions of Vladivostok’s movie school.
The...
- 10/2/2018
- by Adriana Rosati
- AsianMoviePulse
Nadine Labaki’s “Capernaum,” the winner of the Jury Prize at the Cannes Film Festival, has been selected by Lebanon as its candidate for the upcoming foreign-language Oscar race.
“Capernaum,” which was acquired by Sony Pictures Classics ahead of its world premiere at Cannes, features mostly non-professional actors and tells the story of a 12-year-old boy, Zein, who takes his parents to court “for giving me life” in a world of pain and suffering.
“Capernaum” was written by Labaki, along with Jihad Hojeily, Michelle Kesrouani, Georges Khabbaz and Labaki’s husband, Khaled Mouzanar, who also produced the film and composed the music. The movie opens in Lebanon on Thursday. Sony Pictures Classics will release it in the U.S. on Dec. 14. Spc had previously handled “Where Do We Go Now?”, Labaki’s 2011 film.
In its review, Variety said “Capernaum” tackled its subject matter “with intelligence and heart,” and called Labaki...
“Capernaum,” which was acquired by Sony Pictures Classics ahead of its world premiere at Cannes, features mostly non-professional actors and tells the story of a 12-year-old boy, Zein, who takes his parents to court “for giving me life” in a world of pain and suffering.
“Capernaum” was written by Labaki, along with Jihad Hojeily, Michelle Kesrouani, Georges Khabbaz and Labaki’s husband, Khaled Mouzanar, who also produced the film and composed the music. The movie opens in Lebanon on Thursday. Sony Pictures Classics will release it in the U.S. on Dec. 14. Spc had previously handled “Where Do We Go Now?”, Labaki’s 2011 film.
In its review, Variety said “Capernaum” tackled its subject matter “with intelligence and heart,” and called Labaki...
- 9/19/2018
- by Elsa Keslassy
- Variety Film + TV
Iran has selected Vahid Jalilvand's psychological drama No Date, No Signature as its submission for best foreign-language film at the Oscars.
Written and directed by Jalilvand, No Date tells a complex story of a forensic pathologist, Dr. Nariman (Amir Aghaee), who injures an 8-year-old boy in a collision with a motorcycle driven by the child's father. The doctor's offers of help are rebuffed, but soon after, at the hospital where he works, Dr. Nariman learns that the boy has been brought in for an autopsy after a suspicious death.
No Date, No Signature screened in the Horizons section ...
Written and directed by Jalilvand, No Date tells a complex story of a forensic pathologist, Dr. Nariman (Amir Aghaee), who injures an 8-year-old boy in a collision with a motorcycle driven by the child's father. The doctor's offers of help are rebuffed, but soon after, at the hospital where he works, Dr. Nariman learns that the boy has been brought in for an autopsy after a suspicious death.
No Date, No Signature screened in the Horizons section ...
- 9/15/2018
- The Hollywood Reporter - Movie News
Iran has selected Vahid Jalilvand's psychological drama No Date, No Signature as its submission for best foreign-language film at the Oscars.
Written and directed by Jalilvand, No Date tells a complex story of a forensic pathologist, Dr. Nariman (Amir Aghaee), who injures an 8-year-old boy in a collision with a motorcycle driven by the child's father. The doctor's offers of help are rebuffed, but soon after, at the hospital where he works, Dr. Nariman learns that the boy has been brought in for an autopsy after a suspicious death.
No Date, No Signature screened in the Horizons section ...
Written and directed by Jalilvand, No Date tells a complex story of a forensic pathologist, Dr. Nariman (Amir Aghaee), who injures an 8-year-old boy in a collision with a motorcycle driven by the child's father. The doctor's offers of help are rebuffed, but soon after, at the hospital where he works, Dr. Nariman learns that the boy has been brought in for an autopsy after a suspicious death.
No Date, No Signature screened in the Horizons section ...
- 9/15/2018
- The Hollywood Reporter - Film + TV
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