Like Beijing itself, Dusk Dawn Club — or simply Ddc, to the locals who stumbled out at all hours — blended centuries of history into a neon blur. Located in the city center’s trendy Gulou district, down one of its many winding, sparsely lit stone alleys, the club was housed in a traditional courtyard adorned with swinging paper lanterns and floridly carved wood eaves. Rock bands thrashed and flailed in a converted living room as fans spilled out onto the patio, jostling for a view through crooked windowpanes.
I visited Dusk...
I visited Dusk...
- 6/24/2021
- by Stacey Anderson
- Rollingstone.com
This story about “Ne Zha” first appeared in the International Film Issue of TheWrap’s Oscar magazine.
China often submits epic-scale films to the Oscar race; the surprise was that this year’s entry, “Ne Zha,” was an epic animated film based on a beloved Chinese legend.
Director Yu Yang sat down to discuss his film, a giant box office hit in his homeland. (The interview was conducted via email.)
What led you to make a movie from this story?
For a long time, the quality of most animation features produced in China hasn’t been very good. Chinese audiences have been very disappointed with domestic animation, and domestic animation has been often labeled as an inferior product. Being animators in China, we appreciate and admire many outstanding animation works from abroad. They’re the driving force and role model for us choosing to be involved in the animation industry.
China often submits epic-scale films to the Oscar race; the surprise was that this year’s entry, “Ne Zha,” was an epic animated film based on a beloved Chinese legend.
Director Yu Yang sat down to discuss his film, a giant box office hit in his homeland. (The interview was conducted via email.)
What led you to make a movie from this story?
For a long time, the quality of most animation features produced in China hasn’t been very good. Chinese audiences have been very disappointed with domestic animation, and domestic animation has been often labeled as an inferior product. Being animators in China, we appreciate and admire many outstanding animation works from abroad. They’re the driving force and role model for us choosing to be involved in the animation industry.
- 11/21/2019
- by Steve Pond
- The Wrap
Among the record 92 submissions this year, 27 titles are directed or co-directed by women. There are six documentaries in the mix, as well as two animated features. Moreover, for the first time, Ghana and Uzbekistan are each fielding an entry. However, Nigeria’s submission was disqualified by the Academy as being mostly in the English language. Here’s a guide to the films, including logline and sales or production contact.
Albania
“The Delegation”
Director: Bujar Alimani
Logline: In autumn 1990,
a political prisoner is secretly taken out of jail to meet the head of the European delegation investigating human-rights violations. But nothing goes according to plan.
Key Cast: Viktor Zhusti, Ndriçim Xhepa, Xhevdet Feri
Sales: Art Film
Algeria
“Papicha”
Director: Mounia Meddour
Logline: A female student rebels against the bans set by radicals during the civil war and plans a fashion show.
Key Cast: Lyna Khoudri, Shirine Boutella, Amira Hilda Douaouda
Sales:...
Albania
“The Delegation”
Director: Bujar Alimani
Logline: In autumn 1990,
a political prisoner is secretly taken out of jail to meet the head of the European delegation investigating human-rights violations. But nothing goes according to plan.
Key Cast: Viktor Zhusti, Ndriçim Xhepa, Xhevdet Feri
Sales: Art Film
Algeria
“Papicha”
Director: Mounia Meddour
Logline: A female student rebels against the bans set by radicals during the civil war and plans a fashion show.
Key Cast: Lyna Khoudri, Shirine Boutella, Amira Hilda Douaouda
Sales:...
- 11/6/2019
- by Alissa Simon
- Variety Film + TV
Earlier in the week, we finally learned which films would be selected by all of the countries in search of Academy Award love in Best International Feature. Not only did we get the answers to some questions regarding what each nation would pick, but we found that a record breaking 93 submissions have been made here in 2019. It’s truly the largest slate ever for voters to sift through. Talk about a good problem to have! Below you can see all of the titles in competition for the Best International Feature Oscar. Right now, only Parasite from South Korea and Pain and Glory from Spain seem like safe bets, with the former almost assured of winning the Academy Award. Aside from them? Anything goes in this category, which has potential nominees like Atlantics from Senegal, Beanpole from Russia, The Boy Who Harnessed the Wind from the United Kingdom, The Chambermaid from Mexico,...
- 10/12/2019
- by Joey Magidson
- Hollywoodnews.com
Which film will follow on from ‘Roma’ in winning the prize?
The 93 submissions for the best international feature award at the 2020 Oscars have been announced, and Screen has kept a list of all the entries below.
This is the first year the award will be given under the new name of ‘best international feature film’, after a change in April from ‘foreign-language film’.
Scroll down for latest entries
The eligibility rules remain the same: an international feature film is defined as a feature-length motion picture produced outside the Us with a predominantly non-English dialogue track and can include animated and documentary features.
The 93 submissions for the best international feature award at the 2020 Oscars have been announced, and Screen has kept a list of all the entries below.
This is the first year the award will be given under the new name of ‘best international feature film’, after a change in April from ‘foreign-language film’.
Scroll down for latest entries
The eligibility rules remain the same: an international feature film is defined as a feature-length motion picture produced outside the Us with a predominantly non-English dialogue track and can include animated and documentary features.
- 10/8/2019
- by 1101321¦Ben Dalton¦26¦¬0¦Emma Kiely, Nancy Epton¦0¦
- ScreenDaily
A record 93 countries submitted entries in the International Feature Film race at the 2020 Oscars. That is up by six from last year,when the category was still called Best Foreign-Language Film, and eclipses the record 92 submissions in 2018. The nations represented ranged from A (Albania) to V (Vietnam). Predicting the eventual five Oscar nominees is made difficult by the two-step process.
First, the several hundred academy members of the Foreign-Language Film screening committee are required to watch a number of the submissions (upwards of a dozen) over a two-month period that ends in mid December. They will rate them from 6 to 10 and their top six vote-getters make it to the next round, as will three films added by the 20 members of the executive committee.
Those nine semi-finalists will be screened three per day beginning in early January by select committee members in Gotham, Hollywood, London and San Francisco. These 40 folks will...
First, the several hundred academy members of the Foreign-Language Film screening committee are required to watch a number of the submissions (upwards of a dozen) over a two-month period that ends in mid December. They will rate them from 6 to 10 and their top six vote-getters make it to the next round, as will three films added by the 20 members of the executive committee.
Those nine semi-finalists will be screened three per day beginning in early January by select committee members in Gotham, Hollywood, London and San Francisco. These 40 folks will...
- 10/7/2019
- by Paul Sheehan
- Gold Derby
A record-breaking total of 93 countries have submitted entries to be considered for best international film nominations at the Academy Awards.
The Academy announced the full list of eligible films and countries on Monday. Ghana, Nigeria and Uzbekisztan are competing for the first time in the category, which was previously known as the best foreign-language film category.
The previous high for submissions was 92 in 2017. A total of 87 films were submitted last year. Alfonso Cuaron’s “Roma” won the category this year, becoming the first Mexican entry to win the award.
High-profile entries include South Korea’s “Parasite,” Bong Joon Ho’s black comedy which won the Palme d’Or at the Cannes Film Festival; Spain’s “Pain and Glory” from Pedro Almodovar with Antonio Banderas starring as a film director; Japan’s “Weathering With You,” the country’s first animated entry since “Princess Mononoke”; Senegal’s “Atlantics” from director Mati Diop,...
The Academy announced the full list of eligible films and countries on Monday. Ghana, Nigeria and Uzbekisztan are competing for the first time in the category, which was previously known as the best foreign-language film category.
The previous high for submissions was 92 in 2017. A total of 87 films were submitted last year. Alfonso Cuaron’s “Roma” won the category this year, becoming the first Mexican entry to win the award.
High-profile entries include South Korea’s “Parasite,” Bong Joon Ho’s black comedy which won the Palme d’Or at the Cannes Film Festival; Spain’s “Pain and Glory” from Pedro Almodovar with Antonio Banderas starring as a film director; Japan’s “Weathering With You,” the country’s first animated entry since “Princess Mononoke”; Senegal’s “Atlantics” from director Mati Diop,...
- 10/7/2019
- by Dave McNary
- Variety Film + TV
The 2020 foreign-language Oscar nominees will come from submissions from 93 countries, up from last year’s 87, and breaking the record 92 from 2017. A contender for the renamed Best International Feature must be a feature-length motion picture (more than 40 minutes) produced outside the United States with a predominantly non-English dialogue track.
Ghana, Nigeria, and Uzbekistan are first-time entrants, but Uganda did not qualify. China (Yu Yang’s “Ne Zha”) and Senegal (Mati Diop’s “Atlantics”) submitted their films under the wire on the deadline of October 1.
Earlier this year, the Academy’s Board of Governors voted not only to rename the Foreign Language Film category, but to expand the shortlist from nine films to 10.
The 2019 submissions, listed in alphabetical order by country, are:
Albania, “The Delegation,” Bujar Alimani, director;
Algeria, “Papicha,” Mounia Meddour, director;
Argentina, “Heroic Losers,” Sebastián Borensztein, director;
Armenia, “Lengthy Night,” Edgar Baghdasaryan, director;
Australia, “Buoyancy,” Rodd Rathjen, director;
Austria, “Joy,...
Ghana, Nigeria, and Uzbekistan are first-time entrants, but Uganda did not qualify. China (Yu Yang’s “Ne Zha”) and Senegal (Mati Diop’s “Atlantics”) submitted their films under the wire on the deadline of October 1.
Earlier this year, the Academy’s Board of Governors voted not only to rename the Foreign Language Film category, but to expand the shortlist from nine films to 10.
The 2019 submissions, listed in alphabetical order by country, are:
Albania, “The Delegation,” Bujar Alimani, director;
Algeria, “Papicha,” Mounia Meddour, director;
Argentina, “Heroic Losers,” Sebastián Borensztein, director;
Armenia, “Lengthy Night,” Edgar Baghdasaryan, director;
Australia, “Buoyancy,” Rodd Rathjen, director;
Austria, “Joy,...
- 10/7/2019
- by Anne Thompson
- Thompson on Hollywood
The 2020 foreign-language Oscar nominees will come from submissions from 93 countries, up from last year’s 87, and breaking the record 92 from 2017. A contender for the renamed Best International Feature must be a feature-length motion picture (more than 40 minutes) produced outside the United States with a predominantly non-English dialogue track.
Ghana, Nigeria, and Uzbekistan are first-time entrants, but Uganda did not qualify. China (Yu Yang’s “Ne Zha”) and Senegal (Mati Diop’s “Atlantics”) submitted their films under the wire on the deadline of October 1.
Earlier this year, the Academy’s Board of Governors voted not only to rename the Foreign Language Film category, but to expand the shortlist from nine films to 10.
The 2019 submissions, listed in alphabetical order by country, are:
Albania, “The Delegation,” Bujar Alimani, director;
Algeria, “Papicha,” Mounia Meddour, director;
Argentina, “Heroic Losers,” Sebastián Borensztein, director;
Armenia, “Lengthy Night,” Edgar Baghdasaryan, director;
Australia, “Buoyancy,” Rodd Rathjen, director;
Austria, “Joy,...
Ghana, Nigeria, and Uzbekistan are first-time entrants, but Uganda did not qualify. China (Yu Yang’s “Ne Zha”) and Senegal (Mati Diop’s “Atlantics”) submitted their films under the wire on the deadline of October 1.
Earlier this year, the Academy’s Board of Governors voted not only to rename the Foreign Language Film category, but to expand the shortlist from nine films to 10.
The 2019 submissions, listed in alphabetical order by country, are:
Albania, “The Delegation,” Bujar Alimani, director;
Algeria, “Papicha,” Mounia Meddour, director;
Argentina, “Heroic Losers,” Sebastián Borensztein, director;
Armenia, “Lengthy Night,” Edgar Baghdasaryan, director;
Australia, “Buoyancy,” Rodd Rathjen, director;
Austria, “Joy,...
- 10/7/2019
- by Anne Thompson
- Indiewire
The Academy of Motion Picture Arts and Sciences has released the full list of countries that have submitted a pic for consideration for the new International Feature Film Oscar category.
Here are the 93 nations and their hopefuls, in alphabetical order:
Albania, The Delegation, Bujar Alimani, director;
Algeria, Papicha, Mounia Meddour, director;
Argentina, Heroic Losers, Sebastián Borensztein, director;
Armenia, Lengthy Night, Edgar Baghdasaryan, director;
Australia, Buoyancy, Rodd Rathjen, director;
Austria, Joy, Sudabeh Mortezai, director;
Bangladesh, Alpha, Nasiruddin Yousuff, director;
Belarus, Debut, Anastasiya Miroshnichenko, director;
Belgium, Our Mothers, César Díaz, director;
Bolivia, I Miss You, Rodrigo Bellott, director;
Bosnia and Herzegovina, The Son, Ines Tanovic, director;
Brazil, Invisible Life, Karim Aïnouz, director;
Bulgaria, Ága, Milko Lazarov, director;
Cambodia, In the Life of Music, Caylee So, Sok Visal, directors;
Canada, Antigone, Sophie Deraspe, director;
Chile, Spider, Andrés Wood, director;
China, Ne Zha, Yu Yang, director;
Colombia, Monos, Alejandro Landes, director;
Costa Rica, The Awakening of the Ants,...
Here are the 93 nations and their hopefuls, in alphabetical order:
Albania, The Delegation, Bujar Alimani, director;
Algeria, Papicha, Mounia Meddour, director;
Argentina, Heroic Losers, Sebastián Borensztein, director;
Armenia, Lengthy Night, Edgar Baghdasaryan, director;
Australia, Buoyancy, Rodd Rathjen, director;
Austria, Joy, Sudabeh Mortezai, director;
Bangladesh, Alpha, Nasiruddin Yousuff, director;
Belarus, Debut, Anastasiya Miroshnichenko, director;
Belgium, Our Mothers, César Díaz, director;
Bolivia, I Miss You, Rodrigo Bellott, director;
Bosnia and Herzegovina, The Son, Ines Tanovic, director;
Brazil, Invisible Life, Karim Aïnouz, director;
Bulgaria, Ága, Milko Lazarov, director;
Cambodia, In the Life of Music, Caylee So, Sok Visal, directors;
Canada, Antigone, Sophie Deraspe, director;
Chile, Spider, Andrés Wood, director;
China, Ne Zha, Yu Yang, director;
Colombia, Monos, Alejandro Landes, director;
Costa Rica, The Awakening of the Ants,...
- 10/7/2019
- by Erik Pedersen
- Deadline Film + TV
‘The Nightingale.’
While Jennifer Kent’s The Nightingale has achieved an 86 per cent fresh rating on Rotten Tomatoes since the world premiere at the Venice International Film Festival, many critics have described the tale of rape, murder and revenge as harrowing and bleak.
So in that context the film’s opening in Australia last weekend via Transmission Films was quite respectable – and some exhibitors expect it will have a leggy run.
Meanwhile Madman Entertainment’s The Australian Dream had a buoyant second weekend, helped by word-of-mouth and the two-for-one ticket offer to Afl members.
Rachel Ward’s Palm Beach advanced to $3.8 million after nabbing $305,000 in its fourth weekend, easing by 31 per cent for Universal Pictures. Kriv Stenders’ Danger Close: The Battle of Long Tan dipped by just 16 per cent to $250,000 in its fourth, delivering $2.5 million for Transmission Films.
The Nightingale grossed $98,000 on 32 screens, bringing the total including festival screenings to...
While Jennifer Kent’s The Nightingale has achieved an 86 per cent fresh rating on Rotten Tomatoes since the world premiere at the Venice International Film Festival, many critics have described the tale of rape, murder and revenge as harrowing and bleak.
So in that context the film’s opening in Australia last weekend via Transmission Films was quite respectable – and some exhibitors expect it will have a leggy run.
Meanwhile Madman Entertainment’s The Australian Dream had a buoyant second weekend, helped by word-of-mouth and the two-for-one ticket offer to Afl members.
Rachel Ward’s Palm Beach advanced to $3.8 million after nabbing $305,000 in its fourth weekend, easing by 31 per cent for Universal Pictures. Kriv Stenders’ Danger Close: The Battle of Long Tan dipped by just 16 per cent to $250,000 in its fourth, delivering $2.5 million for Transmission Films.
The Nightingale grossed $98,000 on 32 screens, bringing the total including festival screenings to...
- 9/2/2019
- by The IF Team
- IF.com.au
‘The Australian Dream.’
The racist slurs which ended the football career of Sydney Swans star Adam Goodes dominated the national conversation for weeks in the lead-up to the premieres of Ian Darling’s The Final Quarter and Daniel Gordon’s The Australian Dream.
So how to explain the fact that Gordon’s acclaimed film ranked at No. 12 in Australian cinemas last weekend after winning the Miff Audience Award for Best Documentary Feature and earning a nomination for an Aacta Award?
Some 640,000 people watched The Final Quarter on Network 10 after its Sydney Film Festival premiere in June. That plus the copious publicity for both docs and the issues of race, identity and belonging may well have prompted some people to think: “I know the story, so I don’t need to see The Australian Dream.”
To be fair, the film written by Stan Grant and produced by Good Thing Productions’ Nick Batzias,...
The racist slurs which ended the football career of Sydney Swans star Adam Goodes dominated the national conversation for weeks in the lead-up to the premieres of Ian Darling’s The Final Quarter and Daniel Gordon’s The Australian Dream.
So how to explain the fact that Gordon’s acclaimed film ranked at No. 12 in Australian cinemas last weekend after winning the Miff Audience Award for Best Documentary Feature and earning a nomination for an Aacta Award?
Some 640,000 people watched The Final Quarter on Network 10 after its Sydney Film Festival premiere in June. That plus the copious publicity for both docs and the issues of race, identity and belonging may well have prompted some people to think: “I know the story, so I don’t need to see The Australian Dream.”
To be fair, the film written by Stan Grant and produced by Good Thing Productions’ Nick Batzias,...
- 8/26/2019
- by The IF Team
- IF.com.au
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