The 2000 U.S. presidential election was a mess. There were hanging chads, a controversial Supreme Court decision and JibJab rap battles that somehow passed for entertainment back then.
In the end, future war criminal/Ellen Bff George W. Bush took the White House, while his opponent, Al Gore, was forced to concede. But losing the election had one silver lining: It meant that Gore was totally free to host Saturday Night Live in December of 2002.
At the time, the question of whether or not Gore would be seeking the presidency again in 2004 was very much up in the air. And SNL played with the suspense in their promo for the episode.
Gore had an interview with 60 Minutes booked for the Sunday after his hosting debut, and reporter Lesley Stahl just assumed that the SNL appearance was confirmation of his intention to run, because SNL was “one of the ritual stops now on the campaign.
In the end, future war criminal/Ellen Bff George W. Bush took the White House, while his opponent, Al Gore, was forced to concede. But losing the election had one silver lining: It meant that Gore was totally free to host Saturday Night Live in December of 2002.
At the time, the question of whether or not Gore would be seeking the presidency again in 2004 was very much up in the air. And SNL played with the suspense in their promo for the episode.
Gore had an interview with 60 Minutes booked for the Sunday after his hosting debut, and reporter Lesley Stahl just assumed that the SNL appearance was confirmation of his intention to run, because SNL was “one of the ritual stops now on the campaign.
- 10/31/2024
- Cracked
Exclusive: Samuel Goldwyn Films has acquired Northern American rights for Joachim A. Lang’s historical drama Goebbels and The Führer (aka Führer and Seducer) for a fall 2024 theatrical and digital release.
Beta Cinema, which launched sales on the feature at the EFM and brokered the North America deal, has also posted new deals for France (Condor Entertainment), Hungary (Ads), Bulgaria (Beta Film) and Greece (Tfg).
As previously announced, the film has also sold to Spain (A Contracorriente), Scandinavia (Mis Label), Japan (At Entertainment) and Australia & New Zealand (Moving Story Entertainment). Wild Bunch will release the film in German-speaking territories on July 11.
The drama follows the rise and fall of Joseph Goebbels in the final seven years as Adolf Hitler’s Minister of Propaganda.
While Hitler is at the height of his power, Goebbels is the creator of the pictures of the flag-waving crowds and antisemitic films “Jud Süß” and “Der ewige Jude...
Beta Cinema, which launched sales on the feature at the EFM and brokered the North America deal, has also posted new deals for France (Condor Entertainment), Hungary (Ads), Bulgaria (Beta Film) and Greece (Tfg).
As previously announced, the film has also sold to Spain (A Contracorriente), Scandinavia (Mis Label), Japan (At Entertainment) and Australia & New Zealand (Moving Story Entertainment). Wild Bunch will release the film in German-speaking territories on July 11.
The drama follows the rise and fall of Joseph Goebbels in the final seven years as Adolf Hitler’s Minister of Propaganda.
While Hitler is at the height of his power, Goebbels is the creator of the pictures of the flag-waving crowds and antisemitic films “Jud Süß” and “Der ewige Jude...
- 5/15/2024
- by Melanie Goodfellow
- Deadline Film + TV
Exclusive: Beta Cinema has unveiled a raft of key territory pre-sales for Joachim A. Lang’s Joseph Goebbels biopic Führer and Seducer ahead of its market premiere at the EFM this week.
The company has sealed deals to Spain (A Contracorriente), Portugal (Films4You), Scandinavia (Mis Label), Benelux (Dutch Film Works), Czech Republic (Donart Film), former Yugoslavia (Discovery) Japan (At Entertainment) and Australia & New Zealand (Moving Story Entertainment).
Wild Bunch will release the film in German-speaking territories.
Führer and Seducer follows Goebbels in his last seven years at Adolf Hitler’s side, as his Minister of Propaganda.
While Hitler is at the height of his power, Goebbels is the creator of the pictures of the flag-waving crowds and anti-Semitic films “Jud Süß” and “Der ewige Jude”, priming the German people for the mass murder of the Jews.
The drama follows Goebbels as he then attempts to whip up continued support for...
The company has sealed deals to Spain (A Contracorriente), Portugal (Films4You), Scandinavia (Mis Label), Benelux (Dutch Film Works), Czech Republic (Donart Film), former Yugoslavia (Discovery) Japan (At Entertainment) and Australia & New Zealand (Moving Story Entertainment).
Wild Bunch will release the film in German-speaking territories.
Führer and Seducer follows Goebbels in his last seven years at Adolf Hitler’s side, as his Minister of Propaganda.
While Hitler is at the height of his power, Goebbels is the creator of the pictures of the flag-waving crowds and anti-Semitic films “Jud Süß” and “Der ewige Jude”, priming the German people for the mass murder of the Jews.
The drama follows Goebbels as he then attempts to whip up continued support for...
- 2/12/2024
- by Melanie Goodfellow
- Deadline Film + TV
Multiple Maniacs. Photographs by Lawrence Irvine courtesy and copyright Dreamland Studios.John Waters still shocks. While the Pope of Trash may now be something of a respectable elder to queer cinema, appearing on talk shows and making annual movie recommendations for Artforum, his films have retained their ability to surprise and challenge the status quo. Works like Mondo Trasho (1969) and Multiple Maniacs (1970) have kept audiences squirming in their seats (and reaching for the barf bags), but they’ve also gained their long-denied critical understanding. They’re now taken seriously, viewed as earnestly as any kind of “respectable” film that doesn’t feature singing anuses, mother-son incest, or rape via giant lobster. Pink Flamingos (1972) is almost certainly the only film in Sight and Sound’s Top 250 greatest films of all-time list that features its lead eating dog feces from the sidewalk.Yet not every aspect of the Waters canon has been given its rightful due.
- 9/8/2023
- MUBI
When Martin Scorsese was just 11 years old, he storyboarded a cinematic epic named “The Eternal City,” which he described as “a fictitious story of Royalty in Ancient Rome.” It was envisioned to film in 75mm CinemaScope and star Marlon Brando, Richard Burton, Virginia Mayo, and Alec Guinness. This remains a fascinating, ambitious artifact that’s been shared far and wide online. But perhaps just as interesting are the storyboards critic Richard Blake describes in his book After Image: The Indelible Catholic Imagination of Six American Filmmakers. According to Blake, Scorsese, aged 10, drew even earlier the Stations of the Cross: images of Jesus Christ’s final days and moments before death.
Many years later, Scorsese would at last film his version of those events in The Last Temptation of Christ, and the result was one of the most controversial films of all time.
Christianity has a deep and enduring impact on Scorsese’s work.
Many years later, Scorsese would at last film his version of those events in The Last Temptation of Christ, and the result was one of the most controversial films of all time.
Christianity has a deep and enduring impact on Scorsese’s work.
- 4/7/2023
- by David Crow
- Den of Geek
"If you give the best of yourself, you will help the world become a different place." Magnolia Pictures has revealed an official US trailer for the documentary In Viaggio, which translates in Italian to En Route, the latest from acclaimed Italian filmmaker Gianfranco Rosi (best known for Fire at Sea and Notturno). He follows the travels of Pope Francis all around the world as he meets with everyday people. In the first nine years of his pontificate, Pope Francis made a total of 37 trips to 53 different countries, focusing on his most important issues: poverty, migration, environment, solidarity and war. Intrigued by the fact that two of Francis's trips, the very first to the refugees landing in Lampedusa and another one in 2021 to the Middle East, mirror the itineraries of his most recent films, Rosi follows the Pope's Stations of the Cross, sees what he sees, hears what he says and...
- 2/21/2023
- by Alex Billington
- firstshowing.net
[Editor’s Note: The following interview contains spoilers for “Succession” Season 2.]
In 2019, there was only one “but” that broke the internet and it belonged to Kendall Roy.
The crux of “Succession” Season 2 hinged on a single word, uttered by Jeremy Strong in the finale, during a speech delivered at a press conference which saw Logan Roy (Brian Cox), patriarch of the Roy family and head of the Waystar Royco empire, thrown neatly under the bus by his (second) eldest son.
The scene — in which Kendall is tasked with delivering a pre-written speech acting as a scapegoat for the wrongdoings of an entire corporation, only to flip the script at the last moment — is electrifying and among the best moments the series has produced so far. And in it, Strong shines, essentially monologuing to a room full of reporters and yet, as is so often the case for Kendall, utterly alone.
In a recent interview with IndieWire, Strong walked us through his process,...
In 2019, there was only one “but” that broke the internet and it belonged to Kendall Roy.
The crux of “Succession” Season 2 hinged on a single word, uttered by Jeremy Strong in the finale, during a speech delivered at a press conference which saw Logan Roy (Brian Cox), patriarch of the Roy family and head of the Waystar Royco empire, thrown neatly under the bus by his (second) eldest son.
The scene — in which Kendall is tasked with delivering a pre-written speech acting as a scapegoat for the wrongdoings of an entire corporation, only to flip the script at the last moment — is electrifying and among the best moments the series has produced so far. And in it, Strong shines, essentially monologuing to a room full of reporters and yet, as is so often the case for Kendall, utterly alone.
In a recent interview with IndieWire, Strong walked us through his process,...
- 8/25/2020
- by Libby Hill
- Indiewire
Director James Wan, known for Aquaman, Saw, and the Conjuring and Insidious films, is now set to take on another comic story. This time he is headed for the TV in a series based on the comic Gideon Falls, by writer Jeff Lemire, and artist Andrea Sorrentino. Here’s a rundown of the comic and what the series will entail:
The lives of a reclusive young man obsessed with a conspiracy in the city’s trash, and a washed-up Catholic priest arriving in a small town full of dark secrets, become intertwined around the mysterious legend of The Black Barn, an otherworldly building that is alleged to have appeared in both the city and the small town, throughout history, bringing death and madness in its wake. Rural mystery and urban horror collide in this character-driven meditation on obsession, mental illness, and faith.
While the creators will be involved in the series,...
The lives of a reclusive young man obsessed with a conspiracy in the city’s trash, and a washed-up Catholic priest arriving in a small town full of dark secrets, become intertwined around the mysterious legend of The Black Barn, an otherworldly building that is alleged to have appeared in both the city and the small town, throughout history, bringing death and madness in its wake. Rural mystery and urban horror collide in this character-driven meditation on obsession, mental illness, and faith.
While the creators will be involved in the series,...
- 10/4/2019
- by Jessica Fisher
- GeekTyrant
Nö
German director Dietrich Brüggemann has commenced shooting his sixth feature Nö, produced by Martin Heisler and Gabriele Simon for Flare Film. Starring the director’s sister, Anna Brüggemann (who also co-wrote) as the lead, the film also features Alexander Khuon, Isolde Barth, Hanns Zischler, Rudiger Vogler (of Wim Wenders’ Road Trilogy) and Petra Schmidt-Schaller. Brüggemann’s usual Dp Alexander Sass is lensing the feature. Brüggemann’s breakout was his 2014 feature Stations of the Cross (review), which competed in Berlin and took home the Silver Bear for Best Script as well as the Prize of the Ecumenical Jury. His last feature, 2015’s Heil, competed in Karlovy Vary.…...
German director Dietrich Brüggemann has commenced shooting his sixth feature Nö, produced by Martin Heisler and Gabriele Simon for Flare Film. Starring the director’s sister, Anna Brüggemann (who also co-wrote) as the lead, the film also features Alexander Khuon, Isolde Barth, Hanns Zischler, Rudiger Vogler (of Wim Wenders’ Road Trilogy) and Petra Schmidt-Schaller. Brüggemann’s usual Dp Alexander Sass is lensing the feature. Brüggemann’s breakout was his 2014 feature Stations of the Cross (review), which competed in Berlin and took home the Silver Bear for Best Script as well as the Prize of the Ecumenical Jury. His last feature, 2015’s Heil, competed in Karlovy Vary.…...
- 1/2/2019
- by Nicholas Bell
- IONCINEMA.com
Jury includes Golden Leopard-winning director Angelina Maccarone, actress jenny Schily and producer Jochen Laube.
The Berlin Film Festival has unveiled the jury that will award the fourth “Made in Germany – Perspektive Fellowship” to a young director prior to the Berlinale.
Part of the Berlinale’s Perspektive Deutsches Kino section, the fellowship supports young German filmmakers in developing a project, material and screenplay. The €15,000 fellowship is funded by watch manufacturer Glashütte Original.
Eligible to participate were all directors who had a film in the Perspektive programme in 2014.
Press screenings of the Perspektive 2015 will kick off on Jan 19 with the presentation of this fellowship to a young talent from the 2014 edition.
The new jury members, all of whom will attend the award ceremony, are director Angelina Maccarone, actress Jenny Schily and producer Jochen Laube. Film journalist Knut Elstermann will host the occasion and invite the press in the name of the Berlinale to talk with the new fellowship holder...
The Berlin Film Festival has unveiled the jury that will award the fourth “Made in Germany – Perspektive Fellowship” to a young director prior to the Berlinale.
Part of the Berlinale’s Perspektive Deutsches Kino section, the fellowship supports young German filmmakers in developing a project, material and screenplay. The €15,000 fellowship is funded by watch manufacturer Glashütte Original.
Eligible to participate were all directors who had a film in the Perspektive programme in 2014.
Press screenings of the Perspektive 2015 will kick off on Jan 19 with the presentation of this fellowship to a young talent from the 2014 edition.
The new jury members, all of whom will attend the award ceremony, are director Angelina Maccarone, actress Jenny Schily and producer Jochen Laube. Film journalist Knut Elstermann will host the occasion and invite the press in the name of the Berlinale to talk with the new fellowship holder...
- 11/26/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
The Festival of German Films in China is showing cinema from Germany this year for the second time. 16 internationally successful and award-winning films will be presented to the public and industry in the four Chinese cities of Peking, Chengdu , Shenzhen and Hangzhou in this important film market. Director Doris Dörrie is the event's patron, actor Florian Stetter and director Georg Maas will also be guests. German Films is organising the Festival of German Films in China together with the Goethe-Institut.
The festival will be opened on 14 November 2014 in Peking with a gala and the screening of "Stations of the Cross" (Ufa Fiction, cine plus Filmproduktion) in the presence of the lead actor Florian Stetter and the patron Doris Dörrie at the Broadway Cinema. The film by Dietrich Brüggemann will also open the festival in Hangzhou . "Suck Me Shakespeer" by Bora Dagtekin (Ratpack Filmproduktion, Constantin Film Produktion) will be the opening film in Chengdu and Shenzhen.
Doris Dörrie will be honored in Peking with a retrospective which will open on 15 November 2014 with "Bliss." The film-maker will then travel to Shenzhen to participate in a workshop discussion with the Chinese documentary film-makers Andrew Lone and Zhao Dayo.
Director Georg Maas will be presenting his film "Two Lives" (De/No, Zinnober Film, B&T Film), last year's German Oscar® candidate, in Chengdu , Shenzhen and Hangzhou as well as Peking .
Apart from new German productions, the Peking program will also include a newly restored version of the silent film classic
"The Cabinet of Dr. Caligari" by Robert Wiene with musical accompaniment by the Aljoscha Zimmermann ensemble. An accompanying program at the film archive in Peking aims to promote an exchange of views and experiences between Chinese and German film-makers.Christiane von Wahlert, the managing director of Spio, will speak here with Chinese industry representatives about the age rating for feature films, and Stefan Drößler, the director of Munich 's Film Museum , will talk about the digital restoration of films.
All of the films in the program of the Festival of German Films in China :
Peking (14 – 20 November 2014 ) Broadway Cinema:
"Stations of the Cross" (Kreuzweg) by Dietrich Brüggemann (Ufa Fiction, cine plus Filmproduktion) (opening film)
"Home from Home" (Die Andere Heimat) by Edgar Reitz (De/Fr, Edgar Reitz Filmproduktion)
"Suck Me Shakespeer" (Fack Ju Gohte) von Bora Dagtekin (Rat Pack Filmproduktion, Constantin Film Produktion)
"The Woman Who Dares" (Die Frau Die Sich Traut) by Marc Rensing (Zum Goldenen Lamm Filmproduktion)
"Hanna's Journey" (Hannas Reise) by Julia von Heinz (2 Pilots Filmproduction, Kings&Queens Filmproduktion)
"Master of the Universe" by Marc Bauder (De/At, bauderfilm)
"Broken Glass Park" (Scherbenpark) by Bettina Blümner (Eyeworks Film Gemini)
"Two Lives" (Zwei Leben) by Georg Maas (De/No, Zinnober Film, B&T Film)
"Inbetween Worlds" (Zwischen Welten) by Feo Aladag (Independent Artists Filmproduktion, Geißendorfer Film- und Fernsehproduktion)
German School - Peking : Doris Dörrie retrospective:
"The Whole Shebang" (Alles Inklusive) by Doris Dörrie (Olga Film)
"The Hairdresser" (Die Friseuse) by Doris Dörrie (Collina Filmproduktion)
"Bliss" (Gluck) by Doris Dörrie (Constantin Film Produktion, Rainer Curdt Filmproduktion)
"Cherry Blossoms" (Kirschbluten- Hanami) by Doris Dörrie (Olga Film)
German Embassy:
"Beloved Sisters" (Die Geliebten Schwestern) by Dominik Graf (De/At, Bavariafilmverleih- und Produktion, Senator Film, Kiddinx Filmproduktion)
"West" (Westen) by Christian Schwochow (zero one film, Terz Film, öFilm, Senator Film)
Peking Film Archive:
"The Cabinet of Dr. Caligari" ( Das Cabinet Des Dr. Caligari) by Robert Wiene (Decla-Film)
-Chengdu (November 16 – 23, 2014) / Shenzhen (November 18 – 25, 2014):
"Suck Me Shakespeer" (Fack Ju Gohte, opening film) von Bora Dagtekin (Rat Pack Filmproduktion, Constantin Film Produktion)
"Home from Home" (Die Andere Heimat) by Edgar Reitz (De/Fr, Edgar Reitz Filmproduktion)
"The Woman Who Dares" (Die Frau Die Sich Traut) by Marc Rensing (Zum Goldenen Lamm Filmproduktion)
"Hanna's Journey" (Hannas Reise) by Julia von Heinz (2 Pilots Filmproduction, Kings&Queens Filmproduktion)
"Master of the Universe" by Marc Bauder (De/At, bauderfilm)
"Two Lives" (Zwei Leben) by Georg Maas (De/No, Zinnober Film, B&T Film)
"Inbetween Worlds" (Zwischen Welten)) by Feo Aladag (Independent Artists Filmproduktion, Geißendorfer Film- und Fernsehproduktion)
-Hangzhou (20. – 29. November 2014 ):
"Stations of the Cross" by Dietrich Brüggemann (Ufa Fiction, cine plus Filmproduktion) (opening film)
"Home from Home" (Die Andere Heimat) by Edgar Reitz (De/Fr, Edgar Reitz Filmproduktion)
"Suck Me Shakespeer" (Fack Ju Gohte) by Bora Dagtekin (Rat Pack Filmproduktion, Constantin Film Produktion)
"The Woman Who Dares" (Die Frau Die Sich Traut) by Marc Rensing (Zum Goldenen Lamm Filmproduktion)
"Hanna's Journey" (Hannas Reise) by Julia von Heinz (2 Pilots Filmproduction, Kings&Queens Filmproduktion)
"Master of the Universe" by Marc Bauder (De/At, bauderfilm)
"Two Lives" (Zwei Leben) by Georg Maas (De/No, Zinnober Film, B&T Film)
"Inbetween Worlds" (Zwischen Welten) by Feo Aladag (Independent Artists Filmproduktion, Geißendorfer Film- und Fernsehproduktion)
Further information about the festival can be found at www.festivalofgermancinema.com and in the festival brochure .
The Festival of German Films in China is supported by the German Embassy in Peking .
Sponsors of German Films and the Goethe Institut at the festival are: Audi, Kempinski Hotels, Lufthansa Center and Arri
The festival's partners are: The Art Gallery of Sichuan University, Beijing Film Academy , China Film Archive, Bookworm, the German Embassy School , EU Film Festival, Labor Berlin, Oca, Ucat and the Friedrich Wilhelm Murnau Foundation
Media partners: MTime, Movie and Ent Qq
Cinema partners: Palace, Moma, Broadway and IMAX
China is a promising film market with an enormous potential for growth. German Films has been active in the Middle Kingdom for 11 years and is represented there in all affairs by Anke Redl. Apart from the Focus Germany at the Shanghai International Film Festival, German Films also regularly supports the presence of German films at the Shanghai TV Festival.
Further information about China 's film market in the German Films market study.
On German Films:
German Films Service + Marketing is the national information and advisory center for the international distribution of German films. The aim of German Films' activities is to raise the level of awareness for German cinema abroad via information services, lobbying, PR and marketing measures and to make it visible in the international media arena.
Website: www.german-films.de
Facebook: http://www.facebook.com/pages/German-Films
Twitter: https://twitter.com/German_Films
Instagram: http://instagram.com/germanfilms...
The festival will be opened on 14 November 2014 in Peking with a gala and the screening of "Stations of the Cross" (Ufa Fiction, cine plus Filmproduktion) in the presence of the lead actor Florian Stetter and the patron Doris Dörrie at the Broadway Cinema. The film by Dietrich Brüggemann will also open the festival in Hangzhou . "Suck Me Shakespeer" by Bora Dagtekin (Ratpack Filmproduktion, Constantin Film Produktion) will be the opening film in Chengdu and Shenzhen.
Doris Dörrie will be honored in Peking with a retrospective which will open on 15 November 2014 with "Bliss." The film-maker will then travel to Shenzhen to participate in a workshop discussion with the Chinese documentary film-makers Andrew Lone and Zhao Dayo.
Director Georg Maas will be presenting his film "Two Lives" (De/No, Zinnober Film, B&T Film), last year's German Oscar® candidate, in Chengdu , Shenzhen and Hangzhou as well as Peking .
Apart from new German productions, the Peking program will also include a newly restored version of the silent film classic
"The Cabinet of Dr. Caligari" by Robert Wiene with musical accompaniment by the Aljoscha Zimmermann ensemble. An accompanying program at the film archive in Peking aims to promote an exchange of views and experiences between Chinese and German film-makers.Christiane von Wahlert, the managing director of Spio, will speak here with Chinese industry representatives about the age rating for feature films, and Stefan Drößler, the director of Munich 's Film Museum , will talk about the digital restoration of films.
All of the films in the program of the Festival of German Films in China :
Peking (14 – 20 November 2014 ) Broadway Cinema:
"Stations of the Cross" (Kreuzweg) by Dietrich Brüggemann (Ufa Fiction, cine plus Filmproduktion) (opening film)
"Home from Home" (Die Andere Heimat) by Edgar Reitz (De/Fr, Edgar Reitz Filmproduktion)
"Suck Me Shakespeer" (Fack Ju Gohte) von Bora Dagtekin (Rat Pack Filmproduktion, Constantin Film Produktion)
"The Woman Who Dares" (Die Frau Die Sich Traut) by Marc Rensing (Zum Goldenen Lamm Filmproduktion)
"Hanna's Journey" (Hannas Reise) by Julia von Heinz (2 Pilots Filmproduction, Kings&Queens Filmproduktion)
"Master of the Universe" by Marc Bauder (De/At, bauderfilm)
"Broken Glass Park" (Scherbenpark) by Bettina Blümner (Eyeworks Film Gemini)
"Two Lives" (Zwei Leben) by Georg Maas (De/No, Zinnober Film, B&T Film)
"Inbetween Worlds" (Zwischen Welten) by Feo Aladag (Independent Artists Filmproduktion, Geißendorfer Film- und Fernsehproduktion)
German School - Peking : Doris Dörrie retrospective:
"The Whole Shebang" (Alles Inklusive) by Doris Dörrie (Olga Film)
"The Hairdresser" (Die Friseuse) by Doris Dörrie (Collina Filmproduktion)
"Bliss" (Gluck) by Doris Dörrie (Constantin Film Produktion, Rainer Curdt Filmproduktion)
"Cherry Blossoms" (Kirschbluten- Hanami) by Doris Dörrie (Olga Film)
German Embassy:
"Beloved Sisters" (Die Geliebten Schwestern) by Dominik Graf (De/At, Bavariafilmverleih- und Produktion, Senator Film, Kiddinx Filmproduktion)
"West" (Westen) by Christian Schwochow (zero one film, Terz Film, öFilm, Senator Film)
Peking Film Archive:
"The Cabinet of Dr. Caligari" ( Das Cabinet Des Dr. Caligari) by Robert Wiene (Decla-Film)
-Chengdu (November 16 – 23, 2014) / Shenzhen (November 18 – 25, 2014):
"Suck Me Shakespeer" (Fack Ju Gohte, opening film) von Bora Dagtekin (Rat Pack Filmproduktion, Constantin Film Produktion)
"Home from Home" (Die Andere Heimat) by Edgar Reitz (De/Fr, Edgar Reitz Filmproduktion)
"The Woman Who Dares" (Die Frau Die Sich Traut) by Marc Rensing (Zum Goldenen Lamm Filmproduktion)
"Hanna's Journey" (Hannas Reise) by Julia von Heinz (2 Pilots Filmproduction, Kings&Queens Filmproduktion)
"Master of the Universe" by Marc Bauder (De/At, bauderfilm)
"Two Lives" (Zwei Leben) by Georg Maas (De/No, Zinnober Film, B&T Film)
"Inbetween Worlds" (Zwischen Welten)) by Feo Aladag (Independent Artists Filmproduktion, Geißendorfer Film- und Fernsehproduktion)
-Hangzhou (20. – 29. November 2014 ):
"Stations of the Cross" by Dietrich Brüggemann (Ufa Fiction, cine plus Filmproduktion) (opening film)
"Home from Home" (Die Andere Heimat) by Edgar Reitz (De/Fr, Edgar Reitz Filmproduktion)
"Suck Me Shakespeer" (Fack Ju Gohte) by Bora Dagtekin (Rat Pack Filmproduktion, Constantin Film Produktion)
"The Woman Who Dares" (Die Frau Die Sich Traut) by Marc Rensing (Zum Goldenen Lamm Filmproduktion)
"Hanna's Journey" (Hannas Reise) by Julia von Heinz (2 Pilots Filmproduction, Kings&Queens Filmproduktion)
"Master of the Universe" by Marc Bauder (De/At, bauderfilm)
"Two Lives" (Zwei Leben) by Georg Maas (De/No, Zinnober Film, B&T Film)
"Inbetween Worlds" (Zwischen Welten) by Feo Aladag (Independent Artists Filmproduktion, Geißendorfer Film- und Fernsehproduktion)
Further information about the festival can be found at www.festivalofgermancinema.com and in the festival brochure .
The Festival of German Films in China is supported by the German Embassy in Peking .
Sponsors of German Films and the Goethe Institut at the festival are: Audi, Kempinski Hotels, Lufthansa Center and Arri
The festival's partners are: The Art Gallery of Sichuan University, Beijing Film Academy , China Film Archive, Bookworm, the German Embassy School , EU Film Festival, Labor Berlin, Oca, Ucat and the Friedrich Wilhelm Murnau Foundation
Media partners: MTime, Movie and Ent Qq
Cinema partners: Palace, Moma, Broadway and IMAX
China is a promising film market with an enormous potential for growth. German Films has been active in the Middle Kingdom for 11 years and is represented there in all affairs by Anke Redl. Apart from the Focus Germany at the Shanghai International Film Festival, German Films also regularly supports the presence of German films at the Shanghai TV Festival.
Further information about China 's film market in the German Films market study.
On German Films:
German Films Service + Marketing is the national information and advisory center for the international distribution of German films. The aim of German Films' activities is to raise the level of awareness for German cinema abroad via information services, lobbying, PR and marketing measures and to make it visible in the international media arena.
Website: www.german-films.de
Facebook: http://www.facebook.com/pages/German-Films
Twitter: https://twitter.com/German_Films
Instagram: http://instagram.com/germanfilms...
- 11/16/2014
- by Sydney Levine
- Sydney's Buzz
The 16th edition of the Mumbai Film Festival announced its line-up in a press conference today.
Here is the complete list of films which will be screened at the festival:-
International Competition
Difret
Dir.: Zeresenay Berhane Mehari (Ethiopia / 2014 / Col / 99)
History of Fear (Historia del miedo)
Dir.: Benjamin Naishtat (Argentina-France-Germany-Qatar-Uruguay / 2014 / Col / 79)
With Others (Ba Digaran)
Dir.: Nasser Zamiri (Iran / 2014 / Col / 85)
The Tree (Drevo)
Dir.: Sonja Prosenc (Slovenia / 2014 / Col / 90)
Next to Her (At li layla)
Dir.: Asaf Korman (Israel / 2014 / Col / 90)
Schimbare
Dir.: Alex Sampayo (Spain / 2014 / Col / 87)
Fever
Dir.: Raphaël Neal (France / 2014 / Col / 81)
Court
Dir.: Chaitanya Tamhane (India (Marathi-Gujarati-English-Hindi) / 2014 / Col / 116)
Macondo
Dir.: Sudabeh Mortezai (Austria / 2014 / Col / 98)
India Gold Competition 2014
The Fort (Killa)
Dir.: Avinash Arun (India (Marathi) / 2014 / Col / 107)
Unto the Dusk
Dir.: Sajin Baabu (India (Malayalam) / 2014 / Col / 118)
Names Unknown (Perariyathavar)
Dir.: Dr. Biju (India (Malayalam) / 2014 / Col / 110)
Buddha In a Traffic Jam
Dir.
Here is the complete list of films which will be screened at the festival:-
International Competition
Difret
Dir.: Zeresenay Berhane Mehari (Ethiopia / 2014 / Col / 99)
History of Fear (Historia del miedo)
Dir.: Benjamin Naishtat (Argentina-France-Germany-Qatar-Uruguay / 2014 / Col / 79)
With Others (Ba Digaran)
Dir.: Nasser Zamiri (Iran / 2014 / Col / 85)
The Tree (Drevo)
Dir.: Sonja Prosenc (Slovenia / 2014 / Col / 90)
Next to Her (At li layla)
Dir.: Asaf Korman (Israel / 2014 / Col / 90)
Schimbare
Dir.: Alex Sampayo (Spain / 2014 / Col / 87)
Fever
Dir.: Raphaël Neal (France / 2014 / Col / 81)
Court
Dir.: Chaitanya Tamhane (India (Marathi-Gujarati-English-Hindi) / 2014 / Col / 116)
Macondo
Dir.: Sudabeh Mortezai (Austria / 2014 / Col / 98)
India Gold Competition 2014
The Fort (Killa)
Dir.: Avinash Arun (India (Marathi) / 2014 / Col / 107)
Unto the Dusk
Dir.: Sajin Baabu (India (Malayalam) / 2014 / Col / 118)
Names Unknown (Perariyathavar)
Dir.: Dr. Biju (India (Malayalam) / 2014 / Col / 110)
Buddha In a Traffic Jam
Dir.
- 9/17/2014
- by NewsDesk
- DearCinema.com
With past winners being The Broken Circle Breakdown and Lorna’s Silence and past finalists being 4 Months, 3 Weeks and 2 Days, Attenberg and The Selfish Giant, the annual Lux prize (an annual spotlight on films that go to the heart of the European public debate) acts as a barometer for the latest in solid European fare. Announced yesterday at the Karlovy Vary Film Fest, this year’s batch of noms include several Cannes winners in Alice Rohrwacher’s sophomore, Main Comp selected, Grand Prix winning family drama, Kornél Mundruczó’s Un Certain Regard winning film with a little bit, and Ruben Östlund darkly comical slope-side gem. If I were a betting man, my two euros is on Pawel Pawlikowski’s Ida. Here are the ten, with attached trailers:
Beautiful Youth (Hermosa Juventud) – (Jaime Rosales) – Spain, France
Class Enemy (Razredni Sovraznik) – (Rok Biček) – Slovenia
Force Majeure (Turist) – (Ruben Östlund) – Sweden, Denmark, France,...
Beautiful Youth (Hermosa Juventud) – (Jaime Rosales) – Spain, France
Class Enemy (Razredni Sovraznik) – (Rok Biček) – Slovenia
Force Majeure (Turist) – (Ruben Östlund) – Sweden, Denmark, France,...
- 7/9/2014
- by Eric Lavallee
- IONCINEMA.com
Girlhood, White God and The Wonders among the finalists announced in Karlovy Vary; 2013 audience winner revealed.
The official selection of films competing for the European Parliament’s 2014 Lux Prize has been unveiled at the Karlovy Vary International Film Festival (Kviff).
At a packed event on the terrace of Kv’s Hotel Thermal on Sunday night, the 10 films were unveiled by Lux Prize co-ordinator Doris Pack, European Parliament member Olga Sehnalova and Kviff artistic director Karel Och, who is also a member of the Lux Prize selection panel.
The 10 films are:
Girlhood (Bande De Filles)
Céline Sciamma – France
White God (Feher Isten)
Kornél Mundruczó – Hungary, Germany, Sweden
Beautiful Youth (Hermosa Juventud)
Jaime Rosales – Spain, France
Ida
Pawel Pawlikowski – Poland, Denmark
Stations Of The Cross (Kreuzweg)
Dietrich Brüggemann – Germany, France
The Wonders (Le Meraviglie)
Alice Rohrwacher – Italy, Switzerland, Germany
Macondo
Sudabeh Mortezai – Austria
Class Enemy (Razredni Sovraznik)
Rok Biček – Slovenia
Force Majeure (Turist)
Ruben Östlund – Sweden, Denmark, France...
The official selection of films competing for the European Parliament’s 2014 Lux Prize has been unveiled at the Karlovy Vary International Film Festival (Kviff).
At a packed event on the terrace of Kv’s Hotel Thermal on Sunday night, the 10 films were unveiled by Lux Prize co-ordinator Doris Pack, European Parliament member Olga Sehnalova and Kviff artistic director Karel Och, who is also a member of the Lux Prize selection panel.
The 10 films are:
Girlhood (Bande De Filles)
Céline Sciamma – France
White God (Feher Isten)
Kornél Mundruczó – Hungary, Germany, Sweden
Beautiful Youth (Hermosa Juventud)
Jaime Rosales – Spain, France
Ida
Pawel Pawlikowski – Poland, Denmark
Stations Of The Cross (Kreuzweg)
Dietrich Brüggemann – Germany, France
The Wonders (Le Meraviglie)
Alice Rohrwacher – Italy, Switzerland, Germany
Macondo
Sudabeh Mortezai – Austria
Class Enemy (Razredni Sovraznik)
Rok Biček – Slovenia
Force Majeure (Turist)
Ruben Östlund – Sweden, Denmark, France...
- 7/7/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
★★★★☆Winner of the Student Critics Jury Award at this year's Edinburgh Film Festival, German director Dietrich Brüggemann's Stations of the Cross (Kreuzweg, 2014) takes on as its burden the wry dissection of hardline Catholicism in fourteen supremely crafted long takes. Dividing each of his film's chapters according to the traditionally depicted stages of Christ's condemnation to death, his Crucifixion and his subsequent burial in anticipation of the Resurrection, Brüggemann offers up a darkly comic, contemporary reworking of Catholic doctrine that never shirks away from illuminating both the ridiculous and the sublime (although the former outnumbers the latter).
- 6/27/2014
- by CineVue UK
- CineVue
You hear it all the time: Quality a bit soft. Not a lot of Big Titles. Not a lot of Big News. But Americans were buying all the same, and to quote Screen International: “The current market is focused on smart money and smart deals, not volume of product”. Business at Afm was also solid though unspectacular. Moreover, the pre-buying of projects may be below the radar of this $3 billion business of international film buying and selling. TrustNordisk’s CEO Rikke Ennis says that 70% of their films are pre-sold. As you look at the upcoming Winter Rights Roundup due out in two weeks from SydneysBuzz.com/Reports, you will notice many of the films have been pre-buys this market and many films screening were already pre-sold during Afm in November.
And for all the complaints about Berlin, many sales agents set up private screenings before the market kicked off. What is that about?
Beki Probst, who has run the Efm since 1988, responded to the many media reports of a quieter market in an interview with ScreenDaily which sounds almost the same as the one she gave in 2009.
Quoting her current statement which I take the liberty of quoting here as it appears in Screen:
“I think that there was a good movement of business this year,” she said. In the opinion of Probst, there had been a muddying of the distinction between the Efm and the more general term of the ‘market’.
“Daphné Kapfer of Europa International representing 35 sales agents said that it was a very good Berlin, and Glen Basner of FilmNation commented that it was ‘the best Berlin’.
“Even Harvey Weinstein came just for 24 hours to sign a $7m check, and Aloft was bought by Sony Pictures Classics.
“It’s the players, and not the market, that is important. The players come here if they have the right line-up. All we can do is provide the best infrastructure, but what happens after that is up to them.”
"Sales agents were not sitting idle at their stands if one takes the example of one company in the Martin Gropius Bau: the CEO met with 90 buyers and the members of staff responsible for marketing had no less than 180 meetings in addition to ad-hoc discussions at events in the evenings."
Coproductions are the engine driving the business these days.
This year’s Berlinale Co-Production Market ended after two-and-a-half days with awards handed out to projects from Kazakhstan and Belgium.
The €6,000 Arte International Prize went to Kazakh film-maker Emir Baigazin’s planned second feature The Wounded Angel, the second part of a trilogy after his Silver Bear-winning Harmony Lessons. The €1.2m Almaty-based Kazakhfilm Jsc production has already attracted France’s Capricci Production as a co-producer and has backing in place from the Doha Film Institute and the Hubert Bals Fund.
The €10,000 Vff Talent Highlight Pitch Award was presented to Belgian director Bavo Defurne for his romantic dramedy Souvenir. The €2m co-production by Oostende-based Indeed Films with Belgium’s Frakas Productions and Germany’s Karibufilm already has backing from Flanders Audiovisual Fund, Cinefinance and public broadcaster Vrt/ Een.
India-Norway’s $55 million film to be directed by Hans Petter Moland (In Order of Disappearance)’s The Indian Bride is an exciting example of an unusual pairing of countries.
Bavaria and Senator’s joint venture Bavaria Pictures’ The Postcard Killers to be directed by Mexican director Everardo Gout shows the international expansion of talent.
The Hungary-Austria-Germany co-production of Stefan Zweig’s Beware of Pity, or U.K.-Lithuania action comedy Redirected being sold by Content brings unusual European partners together.
U.S. born Damian John Harper’s coproduction with the German producers, brothers Jakob and Jonas Weydemann, on Los Angeles will be followed by In the Middle of the River now being developed with Zdf’s Das Kleine Fernsehspiel unit.
Shoreline’s The Infinite Man produced with Australia’s Hedone Productions in association with Bonsai Films with investment from South Australia Film Corporation through its Filmlab funding initiative, development assistance from Screen Australia is also a new sort of pairing.
Film and Music Entertainment (F&Me), Bac Films, 20 Steps Productions and Bruemmer & Herzog’s The President is shooting in Tbilisi, Georgia and is being directed by Mohsen Makhmalbaf.
Italian-Canadian producer Andrea Iervolino and Monika Bacardi’s Sights of Death starring Danny Glover, Daryl Hannah, Rutger Hauer, Stephen Baldwin and Michael Madsen is directed by Allessandro Capone in Rome.
The Spain-u.K. co-production Second Origin is based on the best selling Catalan novel Mecanoscrit Del Segon Orgen.
The Golden Bear Winner Black Coal, Thin Ice is a Boneyard Entertainment (New York & Hong Kong) co-production with Boneyard Entertainment China (Bec), Omnijoi Media (Jiangsu, China), China Film co-production.
A sign of the times is the Swedish Film in Berlin advertisement which lists all Swedish co-productions:
In Competition: In Order of DisappearanceOut of Competition: NymphomaniacBerlinale Special: Someone You Love Generation Kplus: A Christmoose StoryPerspektive Deutsches Kino: Lamento
All are with European co-producers as is Antboy a Danish-German co-production.
One of my favorites is Gallows Hill, being sold by Im Global and already picked up by IFC for U.S. Starring Twilight actor Peter Facinelli, U.K. actress Sophia Myles, Nathalia Ramos and Colombian model and actress Carolina Guerra, it was entirely financed from within Colombia by television network Rcn’s affiliate Five 7 Media which produced with Peter Block's A Bigger Boat, David Higgins and Angelique Higgins' Launchpad Productions and Andrea Chung. The screenplay was written by Rich D’Ovidio ( The Call, Thir13en Ghosts) about a widower who takes his children on a trip to their mother’s Colombian hometown.
Another interesting combo is the Australian-Singapore co-production Canopy being sold by Odin’s Eye which was acquired by Kaleidoscope for U.K., by Kinosmith for Canada and Odin’s Eye itself for Australia. After its Tiff 2013 premiere, Monterrey acquired U.S. rights.
Cathedrals of Culture, was produced by Wim Wenders’ production company: Neue Road Movies in Germany and co-produced by Final Cut For Real (Denmark), Lotus Film (Austria), Mer Film (Norway), Les Films d'Ici 2 (France), Sundance Productions / RadicalMedia (U.S.), Rundfunk Berlin-Brandenburg In collaboration with Arte (Germany and France) and Wowow (Japan).
Grand Budapest Hotel is a co-production of Scott Rudin in U.S. and Studio Babelsburg in Germany.
Wouldn't you say there had to be an awful lot of business going on? If only the media knew where to look for it. Instead, they moan the same old tired tune, "Quality a bit soft. Not a lot of Big Titles. Not a lot of Big News". Oh well...
Efm Coproduction Market
Asian producer Raymond Phathanavirangoon, who was pitching the Hong Kong comedy Grooms by writer-director Arvin Chen at the Berlin Coproduction Market, announced that Germany’s augenschein filmproduktion will be a coproducer on Singaporean director Boo Junfeng’s second feature Apprentice. The film has already received backing from France’s World Cinema Support, the Film- und Medienstiftung Nrw of Germany and Germany's second network, Zdf’s Das kleine fernsehspiel unit. It also has Cinema Defacto as its French co-producer. Junfeng’s first film, Sandcastle, was screened at the Critics’ Week in Cannes in 2010.
Cologne-based augenschein, who produced Maximilian Leo’s My Brother’s Keeper, the opening film of this year’s Perspektive Deutsches Kino and is handled internationally by Media Luna, is currently in post-production on Romanian filmmaker Florin Serban’s Box, his second feature after the 2010 Berlinale Competition film If I Want To Whistle, I Whistle.
Argentinian filmmaker Santiago Mitre whose debut The Student established him as one of the brightest and most courted young directors in Latin America was in the Co-production Market with his untitled second feature which France’s Full House connected to along with Argentina’s Union de los Rio, Argentine broadcast network Telefe, Ignacio Viale and the ubiquitous Lita Stantic.
Full House was also at the Coproduction Market with Peter Webber’s Fresh about a young thief learning the art of pickpocketing in Bogota, Colombia. It will be co-produced with Rcn affiliate Five 7 Media and 4Direcciones in Colombia and by Webber himself.
Raymond van der Kaaij, the producer of Tamar van den Dop’s Panorama title Supernova, is now financing Sundance winner Ernesto Contreras’ next feature I Dream In Another Language. The Spanish-English language project will be produced with Mexico-based Agencia Sha, and it is now casting the American lead according to producer van der Kaaij of Revolver Amsterdam. Developed at the Sundance Screenwriters Lab and the winner of the Sundance-Mahindra Global Filmmaking Award, I Dream has already received support from Imcine in Mexico. Shooting is scheduled in Mexico for the end of 2014.
Revolver is now editing Bodkin Ras, the debut film of Iranian-Dutch director Kaweh Modiri, an English-language documentary-thriller set in North Scotland. The Dutch-Belgian-u.K. coproduction is set for release at the end of 2014.
Finnish film-maker Jukka-Pekka Valkeapaa’s is editing his latest feature They Have Escaped, which Revolver coproduced with Helsinki Film.
Trend of smart art genres
Another continuing trend, which began with Xyz and Celluloid Nightmares and continued with Memento, is the character-driven art genre films with tight budgets, like the Danish coming-of-age-werewolf-romance, When Animals Dream, directed by first timer Jonas Arnby, sold by Gaumont to Radius-twc for No. Americ. The Scandinavians, formerly making a mark with "Nordic Noir" are now making what they call "Nordic Twilight".
Trend of remake rights
Another trend is that of remake rights. Film Sharks reports it makes more from selling remake rights than from licensing distribution rights.
The Intouchables is selling remake rights to more countries than only India as is the sale of Other Angle’s Babysitting remake rights. Negotiations are underway with Russia, Italy and Germany.
Fruit Chan is considering an English language remake of his 2004 cult horror film Dumplings.
The market is bit too calm?…Then let us look at Cannes…
Usually by Afm you can begin the Tipped for Cannes List (which Gilles Jacob detested), but even that is a little on the quiet side. I begin to question whether all media fueled news is accurate: the slow sales being reported, the lack of pre-Cannes buzz… Is the media really investigating deeply?
Of all the trades, while Screen has the most international news and deepest analyses, Variety reports things no other trade is covering. But…still the non-news of a quiet market persists as if it were headline news. We always hear this and we are still in an economic slump, so what we wish for is not apparent, but this is not news.
Tipped for Cannes
Tipped for Cannes are Zhang Yimou’s Coming Home staring Gong Li and to be sold by Wild Bunch, Stealth’s First Law starring Mads Mikkelsen (Cannes 2012 Best Actor Award for The Hunt); Self Made (Boreg) by Shira Geffen and to be sold by Westend, shot in Hebrew and Arabic by the production and sales team behind Oscar nominated 2011 drama Footnote, the second film after Geffen’s 2007 debut Jellyfish which won the Cannes Camera d’Or. MK2’s Clouds of Sils Maria by Olivier Assayas and starring Juliette Binoche, Chloe Grace Moretz and Kristen Stewart, and Naomi Kawase’s Still the Water will be delivered in time for Cannes. Pyramide International is plannng for Leviathan, a modern retelling of the biblical story which deals with some of Russia’s most important social issues to be ready for Cannes. It is directed by Andrey Zvyagintsev and produced by Alexander Rodnyansky (Stalingrad) as their followup to Elena. Gaumont-cj co-production, The Target, the Korean remake of Fred Cavaye’s action thriller Point Blank will be ready in time for Cannes.
Rumors and truths about people changing positions
Rumors about Dieter Kosslick replacing Berlin’s Culture Secretary who resigned after a tax evasion scandal in which he admitted to stashing $575,000 in a Swiss bank account…Charlotte Mickie has left eOne and knowing her, she is bound to find something good elsewhere as she's too good to lose...StudioCanals Harold van Lier now leads eOne’s newly ramped international sales team and Montreal based Anick Poirier leads its subsidiary label, Seville International. Jeff Nuyts is leaving Intramovies. Nigel Sinclair and Guy East seem to be leaving Exclusive Media the company they founded as discussions with partners from Dasym Investment Strategies Bv move forward. Kevin Hoiseth from Voltage Pictures has joined International Film Trust as their director of international sales...and of course, Nadine de Barros has founded her own company, Fortitude, and was holding court at the Ritz Carlton the buzziest spot outside of the Martin Gropius Bau.
What I Saw and What I Thought
For what it's worth, here is my limited list of screenings of films seen only in the last 3 days of the festival when I was no longer "working". I am including some I actually saw at Sundance.
First and foremost -- and to be written about further in a "thought piece" as I term the articles I think long about before writing and to include my interview with the director Goran Hugo Olsson's (The Black Power Mixtapes winner of Sundance 2011 World Cinema Documentary Film Editing Award) -- Concerning Violence (Isa: Films Boutique, U.S.: Cinetic), based on Frantz Fanon's The Wretched of the Earth and seen at Sundance this year next to Stanley Nelson's outstanding Freedom Summer (PBS) and Greg Barker's We Are The Giant (Submarine), is a call to action for new societal models ringing out loud and clear.
Golden Bear Winner, Black Coal, Thin Ice by Diao Yinan, a Chinese noir, lacked the momentum and substance I would have expected in a winning film, though it was a fascinating way to see today's urban China. Had I been on the jury, I would have chosen the Best Director Award winning Boyhood (Isa: IFC) by Richard Linklater. But perhaps because James Schamus, an American who loves Chinese films, was President of the Jury, there might have arisen a question of disinterested objectivity. I would have to hear what jurists Barbara Broccoli, Trine Dyrhom, Chistoph Waltz, Tony Leung, Greta Gerwig, Mitra Farahani and Michel Gondry would have to say about the deliberations.
Speaking of jury prizes, it was a surprise the much acclaimed '71 (Isa: Protagonist, now headed by our dear Mike Goodridge) won nothing, and good Alain Renais' Life of Riley (Isa: Le Pacte) received recognition. I found Christophe Gans' La belle et la bete (Beauty and the Beast) (Isa: Pathe) an overproduced unwieldy special effects-ridden mess, even though it was exec-produced by Jérôme Seydoux who also produced the masterpiece La Grande Belleza (The Great Beauty), and starred his granddaughter Lea Seydoux. I'll stand by Cocteau's versoin. I heard Claudia Llosa (Milk of Sorrow)'s Aloft was also not widely admired.
About the best actress winning film The Little House (Isa: Shochiku could have marketed it more widely), I heard nothing at all, though it sounds really good. Kreuzweg (Stations of the Cross) (Isa: Beta) by brother and sister team Anna and Dietrich Brueggemann (any relation to our own Tom Brueggeman?) had a satisfying denouement and was quite engrossing with moments of humor lightening the heavy weight of the cross carried by 14 year old Maria played by Lea van Acken, a picture face out of a George de la Tour painting (Magdeline with a Smoking Flame or A Piece of Art). Macondo (Isa: Films Boutique - again! ) by Sudabeh Mortezai of Austria was a window on a world never seen before and very engrossing although the coming of age story was one we have seen before.
Not sorry to say I missed The Monuments Men and Nymphomaniac Volume I, but sorry that I missed Beloved Sisters (Isa: Global Screen) of Dominik Graf, The Grand Budapest Hotel (will see it in U.S.), Argentinian Benjamin Naishat's History of Fear (Isa: Visit) -- I'll catch it in Carthegena, Guadalajara or San Sebastian I'm sure, Jack, In Order of Disappearance which sounds like the sleeper hit of the festival, Argentinan (again!) La tercera orilla (The Third Side of the River), Lou Ye's Tui Na (Blind Massage) and Rachid Bouchareb's Two Men in Town (Isa: Pathe - again!), which I heard was rather flat which is not surprising, for when non-Americans try to make an American genre, it usually misses a certain verve, but still is such an interesting subject for him to tackle, Zwischen Welten (Inbetween Worlds) (Isa: The Match Factory) from Germany, another "American" subject, but here about a German soldier in Afghanistan, not an American one.
Among the Berlinale Specials, I wish I had seen Nancy Buirski's Afternoon of a Faun which everyone said was good (Isa: Cactus Three the doc production company of Krysanne Katsoolis and Caroline Stevens) and Volker Schloendorff's 1969 Brecht piece Baal starring Rainer Werner Fassbinder and Margarethe von Trotta. I did see his Diplomacy (Isa: Gaumont) which was a great treat, erudite, intimate and reminiscent of the novels of Sandor Marai (Embers and Casanova in Bolzano). Wish I could have seen Wim Wenders' Cathedrals of Culture (Isa: Cinephil), Diego Luna's Cesar Chavez (Isa: Mundial) and In the Courtyard aka Dans la cours (Isa: Wild Bunch) starring Catherine Deneuve and The Kidnapping of Michel Houllebecq (Isa: Le Pacte - again!!). I will see The Galapagos Affair: Satan Came to Eden (Isa: The Film Sales Company) by Dayna Goldfine and Dan Geller, produced by Jonathan Dana, Dayna Goldfine, Dan Geller and Celeste Schaefer Snyder (Ballets Russes), back home. The Turning (Isa: Level K), an experimental omnibus produced by my favorite Australian producer, Robert Connelly who also directed in part and Maggie Myles, is also a must-see as is Errol Morris' companion piece to The Fog of War, The Unknown Known (Isa: HanWay) and Houssein Amini's Two Faces of January (Isa: StudioCanal) starring my favorites Viggo Mortenson and Kirsten Dunst. We Come as Friends (Isa: Le Pacte), by Hubert Sauper whose earlier film Darwin's Destiny astounded me, was worth watching although so often his films plunge one into a hopeless helplessness. Fresh from Sundance, it was raising controversy and the story of the Sudan is worth knowing. His particular and peculiar Pov is valuable. Watermark (Isa: Entertainment One), another social issue worth knowing about will have to wait for a more propitious time. Personally I'm hoping Israel's current venture into desalination of water will lead the world into peace and that I will rejoice watching the doc about that.
Difret (Isa: Films Boutique - again!), fresh from Sundance where I saw it was really good and it sold well. I got to hang out with the team at the Panorama party. Gueros (Isa: Mundial - again!), was a disappointment -- too like The Year of the Nail (though different) in tone. But what a great company Canana is!
Panorama's Finding Vivian Maier (Isa: HanWay - again!) is brilliantly interesting. It is about to be released in U.S. by IFC. I highly recommend seeing this documentary about an eccentric, unknown photographer. It premiered at Tiff 2013. Fresh from Sundance where it won a Special Jury Prize, Kumiko, The Treasure Hunter (Isa: Submarine) was a treasure; Velvet Terrorists was about the oddest piece I have ever seen. About three former opponents of the Czechoslovakian Soviet Regime, each has continued to enjoy blowing up things. One is still training the next generation in urban guerilla warfare. They are otherwise unremarkable, sweet even, but twisted. What an odd documentary.
A quick look at the Market Films I have seen: of the 400+ premieres: Zero -- no I did see German Academy Award nomination for Best Foreign Language Film, Two Lives (Isa: Beta), and I will soon be home to celebrate its nomination at the famous Villa Aurora, the former home of German expatriate writer Leon Feuchtwanger. So many more films look sooooo attractive! A pity I may never get to see them. I would need all the time in the world, and I have so little. I have so much and yet I want more!
And for all the complaints about Berlin, many sales agents set up private screenings before the market kicked off. What is that about?
Beki Probst, who has run the Efm since 1988, responded to the many media reports of a quieter market in an interview with ScreenDaily which sounds almost the same as the one she gave in 2009.
Quoting her current statement which I take the liberty of quoting here as it appears in Screen:
“I think that there was a good movement of business this year,” she said. In the opinion of Probst, there had been a muddying of the distinction between the Efm and the more general term of the ‘market’.
“Daphné Kapfer of Europa International representing 35 sales agents said that it was a very good Berlin, and Glen Basner of FilmNation commented that it was ‘the best Berlin’.
“Even Harvey Weinstein came just for 24 hours to sign a $7m check, and Aloft was bought by Sony Pictures Classics.
“It’s the players, and not the market, that is important. The players come here if they have the right line-up. All we can do is provide the best infrastructure, but what happens after that is up to them.”
"Sales agents were not sitting idle at their stands if one takes the example of one company in the Martin Gropius Bau: the CEO met with 90 buyers and the members of staff responsible for marketing had no less than 180 meetings in addition to ad-hoc discussions at events in the evenings."
Coproductions are the engine driving the business these days.
This year’s Berlinale Co-Production Market ended after two-and-a-half days with awards handed out to projects from Kazakhstan and Belgium.
The €6,000 Arte International Prize went to Kazakh film-maker Emir Baigazin’s planned second feature The Wounded Angel, the second part of a trilogy after his Silver Bear-winning Harmony Lessons. The €1.2m Almaty-based Kazakhfilm Jsc production has already attracted France’s Capricci Production as a co-producer and has backing in place from the Doha Film Institute and the Hubert Bals Fund.
The €10,000 Vff Talent Highlight Pitch Award was presented to Belgian director Bavo Defurne for his romantic dramedy Souvenir. The €2m co-production by Oostende-based Indeed Films with Belgium’s Frakas Productions and Germany’s Karibufilm already has backing from Flanders Audiovisual Fund, Cinefinance and public broadcaster Vrt/ Een.
India-Norway’s $55 million film to be directed by Hans Petter Moland (In Order of Disappearance)’s The Indian Bride is an exciting example of an unusual pairing of countries.
Bavaria and Senator’s joint venture Bavaria Pictures’ The Postcard Killers to be directed by Mexican director Everardo Gout shows the international expansion of talent.
The Hungary-Austria-Germany co-production of Stefan Zweig’s Beware of Pity, or U.K.-Lithuania action comedy Redirected being sold by Content brings unusual European partners together.
U.S. born Damian John Harper’s coproduction with the German producers, brothers Jakob and Jonas Weydemann, on Los Angeles will be followed by In the Middle of the River now being developed with Zdf’s Das Kleine Fernsehspiel unit.
Shoreline’s The Infinite Man produced with Australia’s Hedone Productions in association with Bonsai Films with investment from South Australia Film Corporation through its Filmlab funding initiative, development assistance from Screen Australia is also a new sort of pairing.
Film and Music Entertainment (F&Me), Bac Films, 20 Steps Productions and Bruemmer & Herzog’s The President is shooting in Tbilisi, Georgia and is being directed by Mohsen Makhmalbaf.
Italian-Canadian producer Andrea Iervolino and Monika Bacardi’s Sights of Death starring Danny Glover, Daryl Hannah, Rutger Hauer, Stephen Baldwin and Michael Madsen is directed by Allessandro Capone in Rome.
The Spain-u.K. co-production Second Origin is based on the best selling Catalan novel Mecanoscrit Del Segon Orgen.
The Golden Bear Winner Black Coal, Thin Ice is a Boneyard Entertainment (New York & Hong Kong) co-production with Boneyard Entertainment China (Bec), Omnijoi Media (Jiangsu, China), China Film co-production.
A sign of the times is the Swedish Film in Berlin advertisement which lists all Swedish co-productions:
In Competition: In Order of DisappearanceOut of Competition: NymphomaniacBerlinale Special: Someone You Love Generation Kplus: A Christmoose StoryPerspektive Deutsches Kino: Lamento
All are with European co-producers as is Antboy a Danish-German co-production.
One of my favorites is Gallows Hill, being sold by Im Global and already picked up by IFC for U.S. Starring Twilight actor Peter Facinelli, U.K. actress Sophia Myles, Nathalia Ramos and Colombian model and actress Carolina Guerra, it was entirely financed from within Colombia by television network Rcn’s affiliate Five 7 Media which produced with Peter Block's A Bigger Boat, David Higgins and Angelique Higgins' Launchpad Productions and Andrea Chung. The screenplay was written by Rich D’Ovidio ( The Call, Thir13en Ghosts) about a widower who takes his children on a trip to their mother’s Colombian hometown.
Another interesting combo is the Australian-Singapore co-production Canopy being sold by Odin’s Eye which was acquired by Kaleidoscope for U.K., by Kinosmith for Canada and Odin’s Eye itself for Australia. After its Tiff 2013 premiere, Monterrey acquired U.S. rights.
Cathedrals of Culture, was produced by Wim Wenders’ production company: Neue Road Movies in Germany and co-produced by Final Cut For Real (Denmark), Lotus Film (Austria), Mer Film (Norway), Les Films d'Ici 2 (France), Sundance Productions / RadicalMedia (U.S.), Rundfunk Berlin-Brandenburg In collaboration with Arte (Germany and France) and Wowow (Japan).
Grand Budapest Hotel is a co-production of Scott Rudin in U.S. and Studio Babelsburg in Germany.
Wouldn't you say there had to be an awful lot of business going on? If only the media knew where to look for it. Instead, they moan the same old tired tune, "Quality a bit soft. Not a lot of Big Titles. Not a lot of Big News". Oh well...
Efm Coproduction Market
Asian producer Raymond Phathanavirangoon, who was pitching the Hong Kong comedy Grooms by writer-director Arvin Chen at the Berlin Coproduction Market, announced that Germany’s augenschein filmproduktion will be a coproducer on Singaporean director Boo Junfeng’s second feature Apprentice. The film has already received backing from France’s World Cinema Support, the Film- und Medienstiftung Nrw of Germany and Germany's second network, Zdf’s Das kleine fernsehspiel unit. It also has Cinema Defacto as its French co-producer. Junfeng’s first film, Sandcastle, was screened at the Critics’ Week in Cannes in 2010.
Cologne-based augenschein, who produced Maximilian Leo’s My Brother’s Keeper, the opening film of this year’s Perspektive Deutsches Kino and is handled internationally by Media Luna, is currently in post-production on Romanian filmmaker Florin Serban’s Box, his second feature after the 2010 Berlinale Competition film If I Want To Whistle, I Whistle.
Argentinian filmmaker Santiago Mitre whose debut The Student established him as one of the brightest and most courted young directors in Latin America was in the Co-production Market with his untitled second feature which France’s Full House connected to along with Argentina’s Union de los Rio, Argentine broadcast network Telefe, Ignacio Viale and the ubiquitous Lita Stantic.
Full House was also at the Coproduction Market with Peter Webber’s Fresh about a young thief learning the art of pickpocketing in Bogota, Colombia. It will be co-produced with Rcn affiliate Five 7 Media and 4Direcciones in Colombia and by Webber himself.
Raymond van der Kaaij, the producer of Tamar van den Dop’s Panorama title Supernova, is now financing Sundance winner Ernesto Contreras’ next feature I Dream In Another Language. The Spanish-English language project will be produced with Mexico-based Agencia Sha, and it is now casting the American lead according to producer van der Kaaij of Revolver Amsterdam. Developed at the Sundance Screenwriters Lab and the winner of the Sundance-Mahindra Global Filmmaking Award, I Dream has already received support from Imcine in Mexico. Shooting is scheduled in Mexico for the end of 2014.
Revolver is now editing Bodkin Ras, the debut film of Iranian-Dutch director Kaweh Modiri, an English-language documentary-thriller set in North Scotland. The Dutch-Belgian-u.K. coproduction is set for release at the end of 2014.
Finnish film-maker Jukka-Pekka Valkeapaa’s is editing his latest feature They Have Escaped, which Revolver coproduced with Helsinki Film.
Trend of smart art genres
Another continuing trend, which began with Xyz and Celluloid Nightmares and continued with Memento, is the character-driven art genre films with tight budgets, like the Danish coming-of-age-werewolf-romance, When Animals Dream, directed by first timer Jonas Arnby, sold by Gaumont to Radius-twc for No. Americ. The Scandinavians, formerly making a mark with "Nordic Noir" are now making what they call "Nordic Twilight".
Trend of remake rights
Another trend is that of remake rights. Film Sharks reports it makes more from selling remake rights than from licensing distribution rights.
The Intouchables is selling remake rights to more countries than only India as is the sale of Other Angle’s Babysitting remake rights. Negotiations are underway with Russia, Italy and Germany.
Fruit Chan is considering an English language remake of his 2004 cult horror film Dumplings.
The market is bit too calm?…Then let us look at Cannes…
Usually by Afm you can begin the Tipped for Cannes List (which Gilles Jacob detested), but even that is a little on the quiet side. I begin to question whether all media fueled news is accurate: the slow sales being reported, the lack of pre-Cannes buzz… Is the media really investigating deeply?
Of all the trades, while Screen has the most international news and deepest analyses, Variety reports things no other trade is covering. But…still the non-news of a quiet market persists as if it were headline news. We always hear this and we are still in an economic slump, so what we wish for is not apparent, but this is not news.
Tipped for Cannes
Tipped for Cannes are Zhang Yimou’s Coming Home staring Gong Li and to be sold by Wild Bunch, Stealth’s First Law starring Mads Mikkelsen (Cannes 2012 Best Actor Award for The Hunt); Self Made (Boreg) by Shira Geffen and to be sold by Westend, shot in Hebrew and Arabic by the production and sales team behind Oscar nominated 2011 drama Footnote, the second film after Geffen’s 2007 debut Jellyfish which won the Cannes Camera d’Or. MK2’s Clouds of Sils Maria by Olivier Assayas and starring Juliette Binoche, Chloe Grace Moretz and Kristen Stewart, and Naomi Kawase’s Still the Water will be delivered in time for Cannes. Pyramide International is plannng for Leviathan, a modern retelling of the biblical story which deals with some of Russia’s most important social issues to be ready for Cannes. It is directed by Andrey Zvyagintsev and produced by Alexander Rodnyansky (Stalingrad) as their followup to Elena. Gaumont-cj co-production, The Target, the Korean remake of Fred Cavaye’s action thriller Point Blank will be ready in time for Cannes.
Rumors and truths about people changing positions
Rumors about Dieter Kosslick replacing Berlin’s Culture Secretary who resigned after a tax evasion scandal in which he admitted to stashing $575,000 in a Swiss bank account…Charlotte Mickie has left eOne and knowing her, she is bound to find something good elsewhere as she's too good to lose...StudioCanals Harold van Lier now leads eOne’s newly ramped international sales team and Montreal based Anick Poirier leads its subsidiary label, Seville International. Jeff Nuyts is leaving Intramovies. Nigel Sinclair and Guy East seem to be leaving Exclusive Media the company they founded as discussions with partners from Dasym Investment Strategies Bv move forward. Kevin Hoiseth from Voltage Pictures has joined International Film Trust as their director of international sales...and of course, Nadine de Barros has founded her own company, Fortitude, and was holding court at the Ritz Carlton the buzziest spot outside of the Martin Gropius Bau.
What I Saw and What I Thought
For what it's worth, here is my limited list of screenings of films seen only in the last 3 days of the festival when I was no longer "working". I am including some I actually saw at Sundance.
First and foremost -- and to be written about further in a "thought piece" as I term the articles I think long about before writing and to include my interview with the director Goran Hugo Olsson's (The Black Power Mixtapes winner of Sundance 2011 World Cinema Documentary Film Editing Award) -- Concerning Violence (Isa: Films Boutique, U.S.: Cinetic), based on Frantz Fanon's The Wretched of the Earth and seen at Sundance this year next to Stanley Nelson's outstanding Freedom Summer (PBS) and Greg Barker's We Are The Giant (Submarine), is a call to action for new societal models ringing out loud and clear.
Golden Bear Winner, Black Coal, Thin Ice by Diao Yinan, a Chinese noir, lacked the momentum and substance I would have expected in a winning film, though it was a fascinating way to see today's urban China. Had I been on the jury, I would have chosen the Best Director Award winning Boyhood (Isa: IFC) by Richard Linklater. But perhaps because James Schamus, an American who loves Chinese films, was President of the Jury, there might have arisen a question of disinterested objectivity. I would have to hear what jurists Barbara Broccoli, Trine Dyrhom, Chistoph Waltz, Tony Leung, Greta Gerwig, Mitra Farahani and Michel Gondry would have to say about the deliberations.
Speaking of jury prizes, it was a surprise the much acclaimed '71 (Isa: Protagonist, now headed by our dear Mike Goodridge) won nothing, and good Alain Renais' Life of Riley (Isa: Le Pacte) received recognition. I found Christophe Gans' La belle et la bete (Beauty and the Beast) (Isa: Pathe) an overproduced unwieldy special effects-ridden mess, even though it was exec-produced by Jérôme Seydoux who also produced the masterpiece La Grande Belleza (The Great Beauty), and starred his granddaughter Lea Seydoux. I'll stand by Cocteau's versoin. I heard Claudia Llosa (Milk of Sorrow)'s Aloft was also not widely admired.
About the best actress winning film The Little House (Isa: Shochiku could have marketed it more widely), I heard nothing at all, though it sounds really good. Kreuzweg (Stations of the Cross) (Isa: Beta) by brother and sister team Anna and Dietrich Brueggemann (any relation to our own Tom Brueggeman?) had a satisfying denouement and was quite engrossing with moments of humor lightening the heavy weight of the cross carried by 14 year old Maria played by Lea van Acken, a picture face out of a George de la Tour painting (Magdeline with a Smoking Flame or A Piece of Art). Macondo (Isa: Films Boutique - again! ) by Sudabeh Mortezai of Austria was a window on a world never seen before and very engrossing although the coming of age story was one we have seen before.
Not sorry to say I missed The Monuments Men and Nymphomaniac Volume I, but sorry that I missed Beloved Sisters (Isa: Global Screen) of Dominik Graf, The Grand Budapest Hotel (will see it in U.S.), Argentinian Benjamin Naishat's History of Fear (Isa: Visit) -- I'll catch it in Carthegena, Guadalajara or San Sebastian I'm sure, Jack, In Order of Disappearance which sounds like the sleeper hit of the festival, Argentinan (again!) La tercera orilla (The Third Side of the River), Lou Ye's Tui Na (Blind Massage) and Rachid Bouchareb's Two Men in Town (Isa: Pathe - again!), which I heard was rather flat which is not surprising, for when non-Americans try to make an American genre, it usually misses a certain verve, but still is such an interesting subject for him to tackle, Zwischen Welten (Inbetween Worlds) (Isa: The Match Factory) from Germany, another "American" subject, but here about a German soldier in Afghanistan, not an American one.
Among the Berlinale Specials, I wish I had seen Nancy Buirski's Afternoon of a Faun which everyone said was good (Isa: Cactus Three the doc production company of Krysanne Katsoolis and Caroline Stevens) and Volker Schloendorff's 1969 Brecht piece Baal starring Rainer Werner Fassbinder and Margarethe von Trotta. I did see his Diplomacy (Isa: Gaumont) which was a great treat, erudite, intimate and reminiscent of the novels of Sandor Marai (Embers and Casanova in Bolzano). Wish I could have seen Wim Wenders' Cathedrals of Culture (Isa: Cinephil), Diego Luna's Cesar Chavez (Isa: Mundial) and In the Courtyard aka Dans la cours (Isa: Wild Bunch) starring Catherine Deneuve and The Kidnapping of Michel Houllebecq (Isa: Le Pacte - again!!). I will see The Galapagos Affair: Satan Came to Eden (Isa: The Film Sales Company) by Dayna Goldfine and Dan Geller, produced by Jonathan Dana, Dayna Goldfine, Dan Geller and Celeste Schaefer Snyder (Ballets Russes), back home. The Turning (Isa: Level K), an experimental omnibus produced by my favorite Australian producer, Robert Connelly who also directed in part and Maggie Myles, is also a must-see as is Errol Morris' companion piece to The Fog of War, The Unknown Known (Isa: HanWay) and Houssein Amini's Two Faces of January (Isa: StudioCanal) starring my favorites Viggo Mortenson and Kirsten Dunst. We Come as Friends (Isa: Le Pacte), by Hubert Sauper whose earlier film Darwin's Destiny astounded me, was worth watching although so often his films plunge one into a hopeless helplessness. Fresh from Sundance, it was raising controversy and the story of the Sudan is worth knowing. His particular and peculiar Pov is valuable. Watermark (Isa: Entertainment One), another social issue worth knowing about will have to wait for a more propitious time. Personally I'm hoping Israel's current venture into desalination of water will lead the world into peace and that I will rejoice watching the doc about that.
Difret (Isa: Films Boutique - again!), fresh from Sundance where I saw it was really good and it sold well. I got to hang out with the team at the Panorama party. Gueros (Isa: Mundial - again!), was a disappointment -- too like The Year of the Nail (though different) in tone. But what a great company Canana is!
Panorama's Finding Vivian Maier (Isa: HanWay - again!) is brilliantly interesting. It is about to be released in U.S. by IFC. I highly recommend seeing this documentary about an eccentric, unknown photographer. It premiered at Tiff 2013. Fresh from Sundance where it won a Special Jury Prize, Kumiko, The Treasure Hunter (Isa: Submarine) was a treasure; Velvet Terrorists was about the oddest piece I have ever seen. About three former opponents of the Czechoslovakian Soviet Regime, each has continued to enjoy blowing up things. One is still training the next generation in urban guerilla warfare. They are otherwise unremarkable, sweet even, but twisted. What an odd documentary.
A quick look at the Market Films I have seen: of the 400+ premieres: Zero -- no I did see German Academy Award nomination for Best Foreign Language Film, Two Lives (Isa: Beta), and I will soon be home to celebrate its nomination at the famous Villa Aurora, the former home of German expatriate writer Leon Feuchtwanger. So many more films look sooooo attractive! A pity I may never get to see them. I would need all the time in the world, and I have so little. I have so much and yet I want more!
- 2/27/2014
- by Sydney Levine
- Sydney's Buzz
Exclusive: Arrow Films has acquired UK/Eire rights to Stations of the Cross (Kreuzweg), which picked up a Silver Bear in Berlin at the weekend.
The distributor plans to release the film, directed by Dietrich Brüggemann, in the UK later this year.
Stations of the Cross won Brüggemann and his sister Anna the Silver Bear for best script at the Berlin Film Festival on Saturday.
Arrow Films’ acquisitions director Tom Stewart described the feature as “an exceptional film experience”.
Arrow picked up rights from Germany’s Beta Cinema.
The story centres on 14-year-old Maria, whose family is part of a fundamentalist Catholic community. She wants to follow in the footsteps of Jesus, become a saint and go to Heaven so “goes through 14 stations”, as Jesus did on his path to Golgatha.
Arrow’s recent releases include Love is All You Need, The Hunt and A Hijacking and upcoming titles include Pioneer and A Touch of Sin.
The distributor plans to release the film, directed by Dietrich Brüggemann, in the UK later this year.
Stations of the Cross won Brüggemann and his sister Anna the Silver Bear for best script at the Berlin Film Festival on Saturday.
Arrow Films’ acquisitions director Tom Stewart described the feature as “an exceptional film experience”.
Arrow picked up rights from Germany’s Beta Cinema.
The story centres on 14-year-old Maria, whose family is part of a fundamentalist Catholic community. She wants to follow in the footsteps of Jesus, become a saint and go to Heaven so “goes through 14 stations”, as Jesus did on his path to Golgatha.
Arrow’s recent releases include Love is All You Need, The Hunt and A Hijacking and upcoming titles include Pioneer and A Touch of Sin.
- 2/18/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
The 2014 Berlin Film Festival awards were announced today. The Chinese production Black Coal, Thin Ice won the Golden Bear for Best Film and star Liao Fan won Best Actor. Wes Anderson's latest, The Grand Budapest Hotel, took home the Silver Bear Grand Jury Prize. The Alfred Bauer Prize that honors "a feature film that opens new perspectives" went to Alain Resnais' Life of Riley. Richard Linklater was awarded Best Director for his decade-long undertaking Boyhood. Check out Steve's video blog from the festival here and see the full list of awards after the break. Golden Bear for Best Film Bai Ri Yan Huo (Black Coal, Thin Ice) by Diao Yinan Silver Bear Grand Jury Prize The Grand Budapest Hotel by Wes Anderson Silver Bear Alfred Bauer Prize Aimer, boire et chanter (Life of Riley) by Alain Resnais Silver Bear for Best Director Richard Linklater for Boyhood Silver Bear...
- 2/16/2014
- by Brendan Bettinger
- Collider.com
The 64th Berlinale was enlivened by the likes of George Clooney, Bill Murray, Tilda Swinton and Nick Cave – and the best pulled pork ever
Some long-established film festivals, such as Cannes and Venice, can legitimately claim to be timeless. Berlin, however, seems to be stuck in the past, and not only because the event somewhat coasts on its bygone reputation as a festival of discovery. It's also because, amid the corporate monumentalist architecture of Potsdamer Platz, the atmosphere seems frozen in the mid-1990s. The Berlinale's synth-heavy trip-hop anthem plays before every film, accompanying the CGI fireworks of the festival trailer, and as you emerge from the Palast, the first thing you see is the billboard for the long-running show by hoary postmodernist novelty act Blue Man Group.
The Berlinale's 64th edition was the most lukewarm in years. You don't usually expect swoons and scandals here, but you do hope...
Some long-established film festivals, such as Cannes and Venice, can legitimately claim to be timeless. Berlin, however, seems to be stuck in the past, and not only because the event somewhat coasts on its bygone reputation as a festival of discovery. It's also because, amid the corporate monumentalist architecture of Potsdamer Platz, the atmosphere seems frozen in the mid-1990s. The Berlinale's synth-heavy trip-hop anthem plays before every film, accompanying the CGI fireworks of the festival trailer, and as you emerge from the Palast, the first thing you see is the billboard for the long-running show by hoary postmodernist novelty act Blue Man Group.
The Berlinale's 64th edition was the most lukewarm in years. You don't usually expect swoons and scandals here, but you do hope...
- 2/16/2014
- by Jonathan Romney
- The Guardian - Film News
This year's Berlinale winners have just been announced at the Closing Night Gala. The members of the 2014 International Jury, James Schamus (President), Barbara Broccoli, Trine Dyrholm, Mitra Farahani, Greta Gerwig, Michel Gondry und Christoph Waltz, awarded the following prizes:
Golden Bear for Best Film
Qu Vivian, Wan Juan for
Bai Ri Yan Huo
(Black Coal, Thin Ice)
by Diao Yinan
Silver Bear Grand Jury Prize
The Grand Budapest Hotel
by Wes Anderson
Silver Bear Alfred Bauer Prize
For a feature film that opens new perspectives
Aimer, boire et chanter
(Life of Riley)
by Alain Resnais
Silver Bear for Best Director
Richard Linklater for
Boyhood
Silver Bear for Best Actress
Haru Kuroki in
Chiisai Ouchi
(The Little House)
by Yoji Yamada
Silver Bear for Best Actor
Liao Fan in
Bai Ri Yan Huo
(Black Coal, Thin Ice)
by Diao Yinan
Silver Bear for Best Script
Dietrich Brüggemann , Anna Brüggemann for
Kreuzweg
(Stations of the Cross)
by Dietrich Brüggemann
Silver Bear for Outstanding Artistic Contribution
Zeng Jian for the camera in
Tui Na
(Blind Massage)
by Lou Ye...
Golden Bear for Best Film
Qu Vivian, Wan Juan for
Bai Ri Yan Huo
(Black Coal, Thin Ice)
by Diao Yinan
Silver Bear Grand Jury Prize
The Grand Budapest Hotel
by Wes Anderson
Silver Bear Alfred Bauer Prize
For a feature film that opens new perspectives
Aimer, boire et chanter
(Life of Riley)
by Alain Resnais
Silver Bear for Best Director
Richard Linklater for
Boyhood
Silver Bear for Best Actress
Haru Kuroki in
Chiisai Ouchi
(The Little House)
by Yoji Yamada
Silver Bear for Best Actor
Liao Fan in
Bai Ri Yan Huo
(Black Coal, Thin Ice)
by Diao Yinan
Silver Bear for Best Script
Dietrich Brüggemann , Anna Brüggemann for
Kreuzweg
(Stations of the Cross)
by Dietrich Brüggemann
Silver Bear for Outstanding Artistic Contribution
Zeng Jian for the camera in
Tui Na
(Blind Massage)
by Lou Ye...
- 2/15/2014
- by Sydney Levine
- Sydney's Buzz
Other winners of the independent jury awards at the Berlin Film Festival include Stations of the Cross, At Home and documentary The Square.
Ahead of this evening’s glitzy Berlinale awards ceremony, when the winners of the coveted Golden and Silver Bears will be announced, the festival has revealed films chosen for additional prizes by the Independent Juries.
Richard Linklater’s Boyhood, which was shot over a 12-year period and topped Screen’s jury grid, picked up two awards: the Prize of the Guild Of German Art House Cinemas and the Berliner Morgenpost Readers’ Jury Award.
The Ecumenical Jury named Dietrich Brüggemann’s Stations of the Cross (Kreuzweg) best Competition film; John Michael McDonagh’s Calvary best film in the Panorama strand; and Athanasios Karanikolas At Home (Sto spiti) best Forum film.
Jehane Noujaim’s documentary The Square (Al midan), about the ongoing uprising in Egypt, added to its growing haul of festival prizes with the Amnesty...
Ahead of this evening’s glitzy Berlinale awards ceremony, when the winners of the coveted Golden and Silver Bears will be announced, the festival has revealed films chosen for additional prizes by the Independent Juries.
Richard Linklater’s Boyhood, which was shot over a 12-year period and topped Screen’s jury grid, picked up two awards: the Prize of the Guild Of German Art House Cinemas and the Berliner Morgenpost Readers’ Jury Award.
The Ecumenical Jury named Dietrich Brüggemann’s Stations of the Cross (Kreuzweg) best Competition film; John Michael McDonagh’s Calvary best film in the Panorama strand; and Athanasios Karanikolas At Home (Sto spiti) best Forum film.
Jehane Noujaim’s documentary The Square (Al midan), about the ongoing uprising in Egypt, added to its growing haul of festival prizes with the Amnesty...
- 2/15/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Joining the titles already announced—including films by Alain Resnais and Dominik Graf—the following films complete the lineup for the 2014 Berlin International Film Festival's Competition section.
Bai Ri Yan Huo (Black Coal, Thin Ice)
People’s Republic of China
By Yinan Diao (Night Train, Uniform)
With Fan Liao, Lun Mei Gwei, Xuebing Wang
World premiere
Boyhood
USA
By Richard Linklater (Before Midnight, Me & Orson Welles)
With Patricia Arquette, Ethan Hawke, Ellar Coltrane, Lorelei Linklater
International premiere
Chiisai Ouchi (The Little House)
Japan
By Yoji Yamada (Tokyo Family, About Her Brother)
With Takako Matsu, Haru Kuroki, Hidetaka Yoshioka, Satoshi Tsumabuki, Chieko Baisho
International premiere
Historia del miedo (History of Fear)
Argentina / Uruguay / Germany / France
By Benjamin Naishtat - feature debut
With Jonathan Da Rosa, Claudia Cantero, Mirella Pascual, Cesar Bordon, Tatiana Gimenez
World premiere
Jack
Germany
By Edward Berger
With Ivo Pietzcker, Georg Arms, Luise Heyer, Vincent Redetzki, Jacob Matschenz,...
Bai Ri Yan Huo (Black Coal, Thin Ice)
People’s Republic of China
By Yinan Diao (Night Train, Uniform)
With Fan Liao, Lun Mei Gwei, Xuebing Wang
World premiere
Boyhood
USA
By Richard Linklater (Before Midnight, Me & Orson Welles)
With Patricia Arquette, Ethan Hawke, Ellar Coltrane, Lorelei Linklater
International premiere
Chiisai Ouchi (The Little House)
Japan
By Yoji Yamada (Tokyo Family, About Her Brother)
With Takako Matsu, Haru Kuroki, Hidetaka Yoshioka, Satoshi Tsumabuki, Chieko Baisho
International premiere
Historia del miedo (History of Fear)
Argentina / Uruguay / Germany / France
By Benjamin Naishtat - feature debut
With Jonathan Da Rosa, Claudia Cantero, Mirella Pascual, Cesar Bordon, Tatiana Gimenez
World premiere
Jack
Germany
By Edward Berger
With Ivo Pietzcker, Georg Arms, Luise Heyer, Vincent Redetzki, Jacob Matschenz,...
- 1/15/2014
- by Notebook
- MUBI
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