Sami Blood, Borg McEnroe also scoop prizes.
At an awards ceremony held in Swedish capital Stockholm last night (Jan 22), The Nile Hilton Incident was the surprise big winner of the 2018 edition of the Guldbagge Awards, Sweden’s primary film awards ceremony.
Source: Strand Releasing / Curzon
The Nile Hilton Incident / The Square
Kristina Åberg’s crime drama, which premiered at last year’s Sundance Film Festival, triumphed over Ruben Ostlund’s The Square, the 2017 Palme d’Or winner at Cannes.
Ostlund did take home best director from the ceremony, and his film also picked up the best cinematography prize for Fredrik Wenzel.
The Nile Hilton Incident won five prizes overall, scooping best actor for Fares Fares, best costume design for Louize Nissen, best sound design for Fredrik Jonsäter, and best set design for Roger Rosenberg.
Among the other big winners on the night was Amanda Kernell’s 2016 Venice premiere Sami Blood, which took best actress...
At an awards ceremony held in Swedish capital Stockholm last night (Jan 22), The Nile Hilton Incident was the surprise big winner of the 2018 edition of the Guldbagge Awards, Sweden’s primary film awards ceremony.
Source: Strand Releasing / Curzon
The Nile Hilton Incident / The Square
Kristina Åberg’s crime drama, which premiered at last year’s Sundance Film Festival, triumphed over Ruben Ostlund’s The Square, the 2017 Palme d’Or winner at Cannes.
Ostlund did take home best director from the ceremony, and his film also picked up the best cinematography prize for Fredrik Wenzel.
The Nile Hilton Incident won five prizes overall, scooping best actor for Fares Fares, best costume design for Louize Nissen, best sound design for Fredrik Jonsäter, and best set design for Roger Rosenberg.
Among the other big winners on the night was Amanda Kernell’s 2016 Venice premiere Sami Blood, which took best actress...
- 1/23/2018
- by Tom Grater
- ScreenDaily
Argentinian filmmaker also wins best director prize.
Rodrigo Grande’s At The End Of The Tunnel claimed the Golden Space Needle Award for best film as the Seattle International Film Festival (Siff) came to a close on Sunday.
Argentinian filmmaker Grande (pictured) also won best director, while Peter Bratt’s Dolores won best documentary and David Jons (I, Daniel Blake) and Lene Cecilia Sparrok (Sami Blood) claimed the acting prizes.
The Winter (El Invierno) by Emiliano Torres won the Ibero-American competition grand jury prize, while Canada’s Chloé Robichaud won the New Directors Competition for Boundaries (Pays), and Sj Chiro’s Lane 1974 won the New American Cinema Competition.
Interim artistic director Beth Barrett said: “This year at Siff, we celebrated extraordinary cinema from 80 countries over a marathon 25 days bringing to our audiences more than 750 screenings and events and introducing them to over 350 filmmakers and industry guests.
“Executive director Sarah Wilke and I were thrilled to present...
Rodrigo Grande’s At The End Of The Tunnel claimed the Golden Space Needle Award for best film as the Seattle International Film Festival (Siff) came to a close on Sunday.
Argentinian filmmaker Grande (pictured) also won best director, while Peter Bratt’s Dolores won best documentary and David Jons (I, Daniel Blake) and Lene Cecilia Sparrok (Sami Blood) claimed the acting prizes.
The Winter (El Invierno) by Emiliano Torres won the Ibero-American competition grand jury prize, while Canada’s Chloé Robichaud won the New Directors Competition for Boundaries (Pays), and Sj Chiro’s Lane 1974 won the New American Cinema Competition.
Interim artistic director Beth Barrett said: “This year at Siff, we celebrated extraordinary cinema from 80 countries over a marathon 25 days bringing to our audiences more than 750 screenings and events and introducing them to over 350 filmmakers and industry guests.
“Executive director Sarah Wilke and I were thrilled to present...
- 6/11/2017
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
“My dad is dead. My mom has reindeer.” In many respects, 14-year-old Elle-Marja (magnetic newcomer Lene Cecilia Sparrok) is a lot like the typical kid at the heart of any coming-of-age story. Snagged between the smallness of her upbringing and the allure of the outside world, she’s hardly the first teenager who’s been forced to navigate a new identity for herself, to forge an uncertain path between where she’s from and where she’s going.
In other respects, Elle-Marja is quite unlike any other character the genre has ever seen before. Well, in one respect at least: She belongs to the Sami, a nomadic Scandinavian people who have been discriminated against for centuries, and whose fragile culture (and native land) has only become more of a target as it’s grown more vulnerable to erasure.
The remote Sami boarding school that she and her younger sister (Mia Erika Sparrok...
In other respects, Elle-Marja is quite unlike any other character the genre has ever seen before. Well, in one respect at least: She belongs to the Sami, a nomadic Scandinavian people who have been discriminated against for centuries, and whose fragile culture (and native land) has only become more of a target as it’s grown more vulnerable to erasure.
The remote Sami boarding school that she and her younger sister (Mia Erika Sparrok...
- 6/1/2017
- by David Ehrlich
- Indiewire
Writer/Director Amanda Kernell sits down to chat with us here at Cinelinx about her directorial debut, Sami Blood, which has been making waves on the festival circuit.
Sami Blood plaits a rarely evoked time (1930’s), place (Sweden), and story into the screen. Elle-Marja, a young Sámi girl, with a toughness seemingly axiom to her people, desires something new for herself after she’s exposed to the racism (including a racial biology exam) pressed upon her at boarding school. She flees her reindeer herding responsibilities in hopes of assimilating into the Urban Swedish way found in Uppsala. Is there a price to be paid? A betrayal to pay for? Is she liberated, or is she still anchored by her past?
Writer/Director Amanda Kernell was kind enough to lend me her time on these and other questions in regards to her directorial debut Sami Blood, which won her her the...
Sami Blood plaits a rarely evoked time (1930’s), place (Sweden), and story into the screen. Elle-Marja, a young Sámi girl, with a toughness seemingly axiom to her people, desires something new for herself after she’s exposed to the racism (including a racial biology exam) pressed upon her at boarding school. She flees her reindeer herding responsibilities in hopes of assimilating into the Urban Swedish way found in Uppsala. Is there a price to be paid? A betrayal to pay for? Is she liberated, or is she still anchored by her past?
Writer/Director Amanda Kernell was kind enough to lend me her time on these and other questions in regards to her directorial debut Sami Blood, which won her her the...
- 5/31/2017
- by feeds@cinelinx.com (Aaron Hunt)
- Cinelinx
Loosely based on her own grandmother’s life, Amanda Kernall’s feature debut, “Sami Blood,” follows a unique heroine through a compelling coming-of-age tale. The films centers on 14-year-old Elle Marja, a reindeer-herding Sámi girl who feels trapped by her insular society and by an outside world that doesn’t accept her. Once she is exposed to the racism of the 1930s and race biology examinations at her boarding school, she starts dreaming of another life. But to achieve this dream, Elle Marja will have to make a series of heart-breaking sacrifices.
The film is led by a powerful performance from newcomer Lene Cecilia Sparrok — who never acted before this film and is Sami herself — along with her own sister, also a newbie to the world of moviemaking. Based on Kernall’s 2015 short film, “Stoerre Vaerie,” the film flips back and forth between time periods to give life to Elle...
The film is led by a powerful performance from newcomer Lene Cecilia Sparrok — who never acted before this film and is Sami herself — along with her own sister, also a newbie to the world of moviemaking. Based on Kernall’s 2015 short film, “Stoerre Vaerie,” the film flips back and forth between time periods to give life to Elle...
- 5/31/2017
- by Kate Erbland
- Indiewire
Kosovo on track to join Creative Europe; Lgbt road movie scores Us, UK deals.
Polish filmmaker Jan Matuszynski’s The Last Family has continued its successful festival run by being named best film in the New Europe - New Names competition at the Vilnius International Film Festival (23 March - 6 April).
Matuszynski’s feature debut - which is being handled internationally by New Europe Film Sales - had its world premiere at last year’s Locarno Film Festival and received the special jury award at the Sofia International Film Festival as well as four prizes at the national Polish Film Awards last month.
The competition’s international jury of Gothenburg Film Festival’s programmer Freddy Olsson, Russian film critic and programmer Boris Nelep and Fipresci president Alin Tasciyan presented its best director prize to the Bulgarian directorial duo Kristina Grozeva and Petar Valcahnov for their second feature Glory which also picked up the Cicae Art Cinema Award.
Moreover...
Polish filmmaker Jan Matuszynski’s The Last Family has continued its successful festival run by being named best film in the New Europe - New Names competition at the Vilnius International Film Festival (23 March - 6 April).
Matuszynski’s feature debut - which is being handled internationally by New Europe Film Sales - had its world premiere at last year’s Locarno Film Festival and received the special jury award at the Sofia International Film Festival as well as four prizes at the national Polish Film Awards last month.
The competition’s international jury of Gothenburg Film Festival’s programmer Freddy Olsson, Russian film critic and programmer Boris Nelep and Fipresci president Alin Tasciyan presented its best director prize to the Bulgarian directorial duo Kristina Grozeva and Petar Valcahnov for their second feature Glory which also picked up the Cicae Art Cinema Award.
Moreover...
- 4/7/2017
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
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