Actress/supermodel Anja Rubik poses for the "Zara" Spring 2023 campaign, wearing cargo tops, heeled mules and a whole lot more:
"...since 2010, Rubik has made several appearances on 'Top Model', the Polish edition of 'America's Next Top Model'. In 2014, she became the host and a judge of the Polish version of the reality show 'Project Runway Poland'.
" In 2010, Rubik appeared as a judge in 'The Fashion Show', alongside Isaac Mizrahi, Iman and Laura Brown.
"In 2014, Rubik starred in a music video for the song 'Chleb' by Mister D., a music project of the Polish author Dorota Masłowska and film director Krzysztof Skonieczny.
"In 2014 Rubik appeared in the 'Black Atlass' music video to the 'Jewels' track, directed by Yoann Lemoine. In 2016, she starred in 'Lost Me', Mary Komasa's music video directed by Jan Komasa.
"In 2019, Rubik directed the music video to Mary Komasa's track 'Be a Boy'.
"...since 2010, Rubik has made several appearances on 'Top Model', the Polish edition of 'America's Next Top Model'. In 2014, she became the host and a judge of the Polish version of the reality show 'Project Runway Poland'.
" In 2010, Rubik appeared as a judge in 'The Fashion Show', alongside Isaac Mizrahi, Iman and Laura Brown.
"In 2014, Rubik starred in a music video for the song 'Chleb' by Mister D., a music project of the Polish author Dorota Masłowska and film director Krzysztof Skonieczny.
"In 2014 Rubik appeared in the 'Black Atlass' music video to the 'Jewels' track, directed by Yoann Lemoine. In 2016, she starred in 'Lost Me', Mary Komasa's music video directed by Jan Komasa.
"In 2019, Rubik directed the music video to Mary Komasa's track 'Be a Boy'.
- 1/23/2023
- by Unknown
- SneakPeek
The animated film awards race this year once again features stellar family film offerings from the big studios as well as boutique powerhouses such as Cartoon Saloon and distributor GKids, but there are a handful of films found freedom in animation to tell adult-skewing, even personal stories, and even push the form to the limit.
Mariusz Wilczynski’s “Kill It and Leave This Town” explores despair and other dark parts of the human heart with animation that equals the edgy, gritty story, with cold blues, grays, muted reds — enhancing the black-ink-like animated characters and cityscapes that are confrontational and even ugly.
On the other style end of the spectrum is Yonfan’s “No. 7 Cherry Lane,” his memories of Hong Kong in 1967 during protests. It’s romantic, and beautiful.
“We did thousands of those realistic drawings of Hong Kong in pencil and charcoal on rice paper, but I would not call it photorealism,...
Mariusz Wilczynski’s “Kill It and Leave This Town” explores despair and other dark parts of the human heart with animation that equals the edgy, gritty story, with cold blues, grays, muted reds — enhancing the black-ink-like animated characters and cityscapes that are confrontational and even ugly.
On the other style end of the spectrum is Yonfan’s “No. 7 Cherry Lane,” his memories of Hong Kong in 1967 during protests. It’s romantic, and beautiful.
“We did thousands of those realistic drawings of Hong Kong in pencil and charcoal on rice paper, but I would not call it photorealism,...
- 3/3/2021
- by Carole Horst
- Variety Film + TV
The Academy of Motion Picture Arts and Sciences on Thursday revealed the 366 feature films that are eligible for consideration at the 93rd Oscars, which are set to air April 25 live on ABC.
The total number of films is up from last year’s 344 films in contention.
This year’s list was compiled based on tweaked eligibility rules implemented because of the coronavirus pandemic, which has pushed the ceremony to its latest date ever. For this year, feature films had to open by February 28 in a commercial motion picture theater for a seven-day qualifying run in at least one of six metro areas: Los Angeles County, New York City, the Bay Area, Chicago, Miami and Atlanta. Drive-in theaters open nightly were included as qualifying venues, as were films intended for theatrical release but because of the lockdown made available first via streaming, VOD service or other broadcast.
Today’s news comes...
The total number of films is up from last year’s 344 films in contention.
This year’s list was compiled based on tweaked eligibility rules implemented because of the coronavirus pandemic, which has pushed the ceremony to its latest date ever. For this year, feature films had to open by February 28 in a commercial motion picture theater for a seven-day qualifying run in at least one of six metro areas: Los Angeles County, New York City, the Bay Area, Chicago, Miami and Atlanta. Drive-in theaters open nightly were included as qualifying venues, as were films intended for theatrical release but because of the lockdown made available first via streaming, VOD service or other broadcast.
Today’s news comes...
- 2/25/2021
- by Patrick Hipes
- Deadline Film + TV
Exclusive: The Oscar Animated Feature race just got reduced by one.
Paramount and Nickelodeon’s The SpongeBob Movie: Sponge on the Run has withdrawn from the competition, so now instead of 27 entries — as the Academy announced on January 28 — there are 26 remaining, providing all of them meet eligibility requirements and complete qualification runs, whether in a theater, drive-in, steaming service or on VOD.
The Academy today notified those members who have signed up to participate in the category.
“Dear Animated Feature Voting Committee Member,
We hope you have been enjoying the submitted Animated Feature films. We wanted you to be aware of some submission updates:
The film titled Nos Ili Zagovor Ne Takikh has been updated to its English-language title The Nose or the Conspiracy of Mavericks. The SpongeBob Movie: Sponge on the Run has elected to withdraw from consideration and will no longer be available to view on Academy Screening Room.
Paramount and Nickelodeon’s The SpongeBob Movie: Sponge on the Run has withdrawn from the competition, so now instead of 27 entries — as the Academy announced on January 28 — there are 26 remaining, providing all of them meet eligibility requirements and complete qualification runs, whether in a theater, drive-in, steaming service or on VOD.
The Academy today notified those members who have signed up to participate in the category.
“Dear Animated Feature Voting Committee Member,
We hope you have been enjoying the submitted Animated Feature films. We wanted you to be aware of some submission updates:
The film titled Nos Ili Zagovor Ne Takikh has been updated to its English-language title The Nose or the Conspiracy of Mavericks. The SpongeBob Movie: Sponge on the Run has elected to withdraw from consideration and will no longer be available to view on Academy Screening Room.
- 2/12/2021
- by Pete Hammond
- Deadline Film + TV
Shortlists to be announced on February 9.
The Academy on Thursday (January 28) published a list of 93 films eligible for international feature film Oscar category.
Algeria’s Heliopolis, about the brutal suppression by French colonial authorities of an uprising in 1945, is omitted from the list. Screen understands the national selection committee withdrew the submission.
There were also a record number of documentary submissions – 238 compared to the previous high of 170 – in light of amended eligibility rules this season due to the pandemic, and a reduced field of 27 animation contenders.
The shortlists will be announced on February 9. The 93rd annual Academy Awards are scheduled...
The Academy on Thursday (January 28) published a list of 93 films eligible for international feature film Oscar category.
Algeria’s Heliopolis, about the brutal suppression by French colonial authorities of an uprising in 1945, is omitted from the list. Screen understands the national selection committee withdrew the submission.
There were also a record number of documentary submissions – 238 compared to the previous high of 170 – in light of amended eligibility rules this season due to the pandemic, and a reduced field of 27 animation contenders.
The shortlists will be announced on February 9. The 93rd annual Academy Awards are scheduled...
- 1/28/2021
- ScreenDaily
A week ago, the race for the Best Animated Feature Oscar seemed as if it could have the smallest field of entries in years. Only 13 films were in the online screening room devoted to the category, although some significant contenders were clearly going to be added, Pixar’s “Soul,” Cartoon Saloon’s “Wolfwalkers” and Gkids’ “Earwig and the Witch” among them.
But on Friday, Jan. 15, voters in the category awoke to find that the size of the race had essentially doubled. Instead of 13 films in the screening room, there were 27, with the newcomers including not just “Soul” and “Wolfwalkers” and “Earwig and the Witch,” but also films from Denmark (“Dreambuilders”), Poland (“Kill It and Leave This Town”), Latvia (“My Favorite War”), South Korea (“Red Shoes and the Seven Dwarfs”) and India (“Bombay Rose”), as well as a Croatian movie with the intriguing and confounding title “Accidental Luxuriance of the Translucent Water Rebus.
But on Friday, Jan. 15, voters in the category awoke to find that the size of the race had essentially doubled. Instead of 13 films in the screening room, there were 27, with the newcomers including not just “Soul” and “Wolfwalkers” and “Earwig and the Witch,” but also films from Denmark (“Dreambuilders”), Poland (“Kill It and Leave This Town”), Latvia (“My Favorite War”), South Korea (“Red Shoes and the Seven Dwarfs”) and India (“Bombay Rose”), as well as a Croatian movie with the intriguing and confounding title “Accidental Luxuriance of the Translucent Water Rebus.
- 1/18/2021
- by Steve Pond
- The Wrap
KilI It And Leave This Town is a deeply personal, unconventional and moving hand-drawn animation from artist-turned-animator Mariusz Wilczynski, who explores subjects including grief and childhood in his feature debut.
“I wouldn’t say it was biographical; it’s a tale based on emotions I had to deal with and things that happened in my life. It came from a deep feeling of sadness I was going through when my parents passed away,” Wilczynski says during the film’s panel at Contenders International. “I realized there was no tomorrow. I was left with a lot of remorse, unfinished conversations, and mistakes I wanted to make up for. This is what the film does.”
As we hear, the project began as a short film and, as it grew in the director’s head, underwent a remarkable 12-year journey to become a feature. “At some point the film outsmarted me,” says Wilczynski.
“I wouldn’t say it was biographical; it’s a tale based on emotions I had to deal with and things that happened in my life. It came from a deep feeling of sadness I was going through when my parents passed away,” Wilczynski says during the film’s panel at Contenders International. “I realized there was no tomorrow. I was left with a lot of remorse, unfinished conversations, and mistakes I wanted to make up for. This is what the film does.”
As we hear, the project began as a short film and, as it grew in the director’s head, underwent a remarkable 12-year journey to become a feature. “At some point the film outsmarted me,” says Wilczynski.
- 1/9/2021
- by Tom Grater
- Deadline Film + TV
Deadline kicks off the New Year and movie awards season with our first edition of Contenders International, which gets underway this morning at 8 a.m. Pt. The event showcases 22 titles from 15 studios, streamers and distributors with presentations including clips and filmmaker/talent Q&As. In all, 19 of the films are official submissions to the Best International Film category at the 93rd Academy Awards.
Due to the pandemic Contenders International will be presented virtually, so click here to register and join the livestream. You can additionally follow along for the day on Twitter, Facebook and Instagram via @Deadline and #DeadlineContenders. See the full schedule of panels below.
While international markets have been a profit center for the studios for many years, local films have begun to take on greater importance outside festivals and indeed their home countries. That was particularly the case in 2019 with South Korea’s Parasite, which went on...
Due to the pandemic Contenders International will be presented virtually, so click here to register and join the livestream. You can additionally follow along for the day on Twitter, Facebook and Instagram via @Deadline and #DeadlineContenders. See the full schedule of panels below.
While international markets have been a profit center for the studios for many years, local films have begun to take on greater importance outside festivals and indeed their home countries. That was particularly the case in 2019 with South Korea’s Parasite, which went on...
- 1/9/2021
- by Nancy Tartaglione
- Deadline Film + TV
Wealthy, curtain-twitching suburbanites have formed the basis for many a TV show, but the Polish feature Never Gonna Snow Again proves the setting can be profoundly cinematic and esoteric, as well as darkly funny. Co-directing and writing with director of photography Michal Englert, Malgorzata Szumowska revels in blending genres in this acutely observed festival hit that is Poland’s submission for the 2021 International Oscar race.
Most of the action takes place in a gated community made up of identikit white mansions. We enter along with Zenia (Alec Utgoff), a quiet but charismatic Ukrainian masseur. Arriving in Warsaw with his massage bed slung over his shoulder, he hypnotizes an official into a slumber before rubber-stamping his own permit. As Zenia leaves the man’s office, the camera pans to show the needle of a record player, which magically springs into action.
The music? Shostakovich: the waltz that Stanley Kubrick used memorably in Eyes Wide Shut.
Most of the action takes place in a gated community made up of identikit white mansions. We enter along with Zenia (Alec Utgoff), a quiet but charismatic Ukrainian masseur. Arriving in Warsaw with his massage bed slung over his shoulder, he hypnotizes an official into a slumber before rubber-stamping his own permit. As Zenia leaves the man’s office, the camera pans to show the needle of a record player, which magically springs into action.
The music? Shostakovich: the waltz that Stanley Kubrick used memorably in Eyes Wide Shut.
- 12/6/2020
- by Anna Smith
- Deadline Film + TV
Stuck inside on Black Friday, stuffed with turkey, what are Americans supposed to do to distract themselves? All year, it’s been a battle of the streamers to fill the void left by cinemas, and this week finds nearly all the big brands are stepping up with big titles to serve the stay-at-home set.
Netflix debuts Oscar contender “Ma Rainey’s Black Bottom” in theaters this week — featuring a terrific final performance from Chadwick Boseman. The film won’t be available to subscribers until mid-December, though Netflix will serve up Kurt-and-Goldie holiday special “The Christmas Chronicles 2” — as well as “Dolly Parton’s Christmas on the Square.” Plus, “Hillbilly Elegy” hits the service this week, too, following a limited theatrical run.
For family audiences, Disney Plus launches a “Black Beauty” remake. (Those feeling courageous enough to visit theaters can give rival DreamWorks Animation a shot with a sequel to caveman cartoon “The Croods.
Netflix debuts Oscar contender “Ma Rainey’s Black Bottom” in theaters this week — featuring a terrific final performance from Chadwick Boseman. The film won’t be available to subscribers until mid-December, though Netflix will serve up Kurt-and-Goldie holiday special “The Christmas Chronicles 2” — as well as “Dolly Parton’s Christmas on the Square.” Plus, “Hillbilly Elegy” hits the service this week, too, following a limited theatrical run.
For family audiences, Disney Plus launches a “Black Beauty” remake. (Those feeling courageous enough to visit theaters can give rival DreamWorks Animation a shot with a sequel to caveman cartoon “The Croods.
- 11/28/2020
- by Peter Debruge
- Variety Film + TV
Mariusz Wilczyski’s Polish animation film and the documentary by Ukraine’s Iryna Tsilyk were declared joint winners of the Jaguar Al Este for best film. Undaunted by the havoc caused by Covid-19, the eleventh edition of the Al Este Central and Eastern European Film Festival, held in Peru, bowed out last Saturday for another year. The awards ceremony marked the end of an unusual festival experience, filled with special moments from start to finish. The award for best film (the recently unveiled Jaguar Al Este) was shared by the Polish animated film Kill It and Leave This Town, directed by Mariusz Wilczynski, and the Ukrainian documentary The Earth Is Blue as an Orange, by Iryna Tsilyk. Both films were given rave reviews by the Press Jury, which ultimately decided in Tsilyk’s favour for its best entry in the competition, with Wilczynski’s film receiving a special mention alongside the Hungarian drama Those.
- 10/13/2020
- Cineuropa - The Best of European Cinema
Industry registration closes on September 2.
Toronto International Film Festival (TIFF) organisers on Tuesday (September 1) announced a selection of 30 global acquisition titles outside the Official Selection.
TIFF Industry Selects titles hail from 29 countries and have been hand-picked by TIFF’s industry and festival programming teams and will screen to accredited users on the festival’s dedicated press and industry platform, TIFF Digital Cinema Pro. Industry registration closes on September 2.
2020 TIFF Industry Selects Titles:
A Good Man (France) Marie-Castille Mention-Schaar
After Love (UK) Aleem Khan
And Tomorrow The Entire World (Germany/France) Julia Von Heinz
Apples (Greece) Christos Nikou
Baby Done (New...
Toronto International Film Festival (TIFF) organisers on Tuesday (September 1) announced a selection of 30 global acquisition titles outside the Official Selection.
TIFF Industry Selects titles hail from 29 countries and have been hand-picked by TIFF’s industry and festival programming teams and will screen to accredited users on the festival’s dedicated press and industry platform, TIFF Digital Cinema Pro. Industry registration closes on September 2.
2020 TIFF Industry Selects Titles:
A Good Man (France) Marie-Castille Mention-Schaar
After Love (UK) Aleem Khan
And Tomorrow The Entire World (Germany/France) Julia Von Heinz
Apples (Greece) Christos Nikou
Baby Done (New...
- 9/1/2020
- by Jeremy Kay
- ScreenDaily
Awards: Golden Bear for Mohammad Rasoulof's There Is No EvilTOP Picksdaniel KASMAN1. The Salt of Tears (Philippe Garrel)2. Days (Tsai Ming-liang)3. Corporate Accountability (Jonathan Perel)4. Voices in the Wind (Nobuhiro Suwa)5. Undine (Christian Petzold)6. Generations (Lynne Siefert)7. Blue Eyes and Colorful My Dress (Polina Gumiela)8. Siberia (Abel Ferrara)9. The Woman Who Ran (Hong Sang-soo)10. Chronicle of Space (Akshay Indikar)Ela BITTENCOURT1. First Cow (Kelly Reichardt)2. Letter to a Friend (Emily Jacir)3. Days (Tsai Ming-liang)4. Malmkrog (Cristi Puiu)5. Dau6. The Trouble with Being Born (Sandra Wollner)7. Kill It and Leave This Town (Mateusz Wilczyński)8. Orphea9. The Works and Days (of Tayoko Shiojiri in the Shiotani Basin)10. Tango of the Widower and Its Distorning MirrorCoveragedaniel KASMANFirst Encounters of the 70th YearPhilippe Garrel's Portrait of the Cad as a Young ManChristian Petzold's Fairy Tale BerlinHong Sang-soo's Options for WomanhoodPolitical LandscapesChild's PlayELA BITTENCOURTHighlights from Forum and Forum ExpandedDreaming the Impossible CinemaDau and the...
- 3/22/2020
- MUBI
An utterly bizarre, frequently grotesque, occasionally obscene singularity, Polish artist Mariusz Wilczynski’s abrasive animation “Kill It and Leave This Town” exists so far outside the realm of the expected, the acceptable and the neatly comprehensible that it acts as a striking reminder of just how narrow that realm can be. Occupying a conceptual space several universes away from “reality,” the scratchy, hand-drawn interior epic is alarmingly niche in appeal, but if you can slip into that tiny schism, it certainly rewards with one of the most nightmarishly original dystopian visions you are likely to encounter this year.
Willfully lo-fi, rendered in often crude black and white lines and smudges occasionally accented with tiny spots of color — a pilot light, a row of cigarette packs, a fizzing neon sign in the shape of a ram — the film is noted animator Wilczyński’s first feature, but has been in the works for 11 years,...
Willfully lo-fi, rendered in often crude black and white lines and smudges occasionally accented with tiny spots of color — a pilot light, a row of cigarette packs, a fizzing neon sign in the shape of a ram — the film is noted animator Wilczyński’s first feature, but has been in the works for 11 years,...
- 3/10/2020
- by Jessica Kiang
- Variety Film + TV
A man grieving the loss of his loved ones retreats into the safety of memory, a place where time stands still and the departed walk among him. Over the years an imaginary city grows, populated by literary idols, comic book heroes, family members and friends. But even that mysterious place is eventually threatened by the passage of time, and the protagonist must make the difficult decision to return to the real world.
“Kill It and Leave This Town” is the debut feature by acclaimed Polish animator Mariusz Wilczyński, who spent 11 years crafting a dreamlike journey into the subconscious and the past. Produced by Agnieszka Ścibior for Bombonierka and Academy Award winner Ewa Puszczyńska for Extreme Emotions, it features the voices of Krystyna Janda, Andrzej Chyra, Maja Ostaszewska, Małgorzata Kożuchowska, and Barbara Krafftówna. Pic world premiered in Encounters, the new competitive strand of the Berlin Film Festival.
A self-taught artist who...
“Kill It and Leave This Town” is the debut feature by acclaimed Polish animator Mariusz Wilczyński, who spent 11 years crafting a dreamlike journey into the subconscious and the past. Produced by Agnieszka Ścibior for Bombonierka and Academy Award winner Ewa Puszczyńska for Extreme Emotions, it features the voices of Krystyna Janda, Andrzej Chyra, Maja Ostaszewska, Małgorzata Kożuchowska, and Barbara Krafftówna. Pic world premiered in Encounters, the new competitive strand of the Berlin Film Festival.
A self-taught artist who...
- 3/7/2020
- by Christopher Vourlias
- Variety Film + TV
Woody Harrelson, Agnieszka Holland and Hirokazu Kore-eda are among the industry figures headlining the 27th edition of the Prague International Film Festival, which is set to go ahead despite fears around the coronavirus.
Harrelson will appear alongside Oren Moverman, who is receiving a Kristián award for his contributions to global cinema, to present the L.A. cop drama “Rampart” in Prague. The duo were both nominated for Academy Awards for Moverman’s Iraqi war pic “The Messenger.”
Kore-eda, Slovak actor Milan Lasica and Czech actress Iva Janžurová will also be receiving lifetime achievement awards.
The festival unspools March 19-27 in the Czech capital, against a backdrop of growing uncertainty as the coronavirus continues to spread across the globe.
Earlier this week, Saudi Arabia’s Red Sea International Film Festival and Greece’s Thessaloniki Documentary Festival announced they were postponing this year’s editions, while the Doha Film Institute’s Qumra event in Qatar was canceled.
Harrelson will appear alongside Oren Moverman, who is receiving a Kristián award for his contributions to global cinema, to present the L.A. cop drama “Rampart” in Prague. The duo were both nominated for Academy Awards for Moverman’s Iraqi war pic “The Messenger.”
Kore-eda, Slovak actor Milan Lasica and Czech actress Iva Janžurová will also be receiving lifetime achievement awards.
The festival unspools March 19-27 in the Czech capital, against a backdrop of growing uncertainty as the coronavirus continues to spread across the globe.
Earlier this week, Saudi Arabia’s Red Sea International Film Festival and Greece’s Thessaloniki Documentary Festival announced they were postponing this year’s editions, while the Doha Film Institute’s Qumra event in Qatar was canceled.
- 3/4/2020
- by Christopher Vourlias
- Variety Film + TV
The dehumanization of life under Communism reaches into the most intimate spheres of the relationship between husband and wife and parents and child in Polish animator Mariusz Wilczynski’s terrifying first animated feature, Kill It and Leave This Town (Zabij to i wyjedz z tego miasta). A relentlessly sad tone poem of dissonant notes and off-key chords, its black and white images with an occasional touch of color depict a world of monstrous inhumanity and devastating interpersonal cruelty — hell, in short.
Drawing on his memories of growing up in the industrial town of Lodz in the 1960’s and ...
Drawing on his memories of growing up in the industrial town of Lodz in the 1960’s and ...
- 2/24/2020
- The Hollywood Reporter - Film + TV
The dehumanization of life under Communism reaches into the most intimate spheres of the relationship between husband and wife and parents and child in Polish animator Mariusz Wilczynski’s terrifying first animated feature, Kill It and Leave This Town (Zabij to i wyjedz z tego miasta). A relentlessly sad tone poem of dissonant notes and off-key chords, its black and white images with an occasional touch of color depict a world of monstrous inhumanity and devastating interpersonal cruelty — hell, in short.
Drawing on his memories of growing up in the industrial town of Lodz in the 1960’s and ...
Drawing on his memories of growing up in the industrial town of Lodz in the 1960’s and ...
- 2/24/2020
- The Hollywood Reporter - Movie News
“Charlatan”
Director: Agnieszka Holland
The true story of Czech healer Jan Mikolášek, who enjoyed protection under the Nazis and the Communists, but then fell from favor.
Sales: Films Boutique
Berlinale Special Gala
“The Earth Is Blue as an Orange”
Director: Iryna Tsilyk
Budding cinematographer Myroslava lives in the middle of the Ukraine war zone. She sets out to make a film with her family, one that can offer them new perspectives, in
this documentary.
Sales: Cat&Docs
Generation 14plus
“The Exit of the Trains”
Directors: Radu Jude,
Adrian Cioflanca
This documentary follows an atrocity against Jews in 1941 in which the majority of the perpetrators were Romanian.
Sales: MicroFilm
Forum
“Frem”
Director: Viera Cakanyova
This doc is an unsettling poetic reflection on our view of the natural world, and the limits of anthropocentric thinking.
Sales: Hypermarket Film
Forum
“Kill It and Leave This Town”
Director: Mariusz Wilczynski
A visually powerful labyrinth of memories and feelings,...
Director: Agnieszka Holland
The true story of Czech healer Jan Mikolášek, who enjoyed protection under the Nazis and the Communists, but then fell from favor.
Sales: Films Boutique
Berlinale Special Gala
“The Earth Is Blue as an Orange”
Director: Iryna Tsilyk
Budding cinematographer Myroslava lives in the middle of the Ukraine war zone. She sets out to make a film with her family, one that can offer them new perspectives, in
this documentary.
Sales: Cat&Docs
Generation 14plus
“The Exit of the Trains”
Directors: Radu Jude,
Adrian Cioflanca
This documentary follows an atrocity against Jews in 1941 in which the majority of the perpetrators were Romanian.
Sales: MicroFilm
Forum
“Frem”
Director: Viera Cakanyova
This doc is an unsettling poetic reflection on our view of the natural world, and the limits of anthropocentric thinking.
Sales: Hypermarket Film
Forum
“Kill It and Leave This Town”
Director: Mariusz Wilczynski
A visually powerful labyrinth of memories and feelings,...
- 2/23/2020
- by Variety Staff
- Variety Film + TV
If you got higher than you’ve ever been in your whole life and then tried to draw all of your childhood memories on a series of Post-It Notes, the results might look a little something like Mariusz Wilczyński’s “Kill It and Leave This Town,” So lo-fi that it makes Don Hertzfeldt look like Walt Disney, Wilczyński’s hallucinatory opus appears as if sketched out in about 15 minutes, but its autodidactic writer/director actually worked on the film for more than 15 years; the process took so long that several of Wilczyński’s collaborators died along the way, including composer Tadeusz Nalepa and the great Polish director Andrzej Wajda (who recorded a brief voice performance).
In that light, perhaps the best and most important thing that can be said about this crude slipstream of a movie is that it gradually convinces you that it couldn’t have been made any...
In that light, perhaps the best and most important thing that can be said about this crude slipstream of a movie is that it gradually convinces you that it couldn’t have been made any...
- 2/22/2020
- by David Ehrlich
- Indiewire
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