Feature debutant Rezwan Shahriar Sumit’s “The Salt in Our Waters,” bows Nov. 29 at the Singapore International Film Festival’s Asian Visions strand after successful festival screenings at London, Busan and Torino.
The project was supported by the Spike Lee Fellowship, which offered the film’s preliminary writing grants, France’s Cnc aide aux cinemas du monde, the Torino Film Lab’s audience design fund, and Bangladesh’s national film grant.
The film follows a city-raised sculptor who visits a remote fishing island on the Bangladeshi Delta, and finds himself centerstage in a primal, elemental conflict between land and sea, man and nature, past and future.
Shot on location on Bangladesh’s Patuakhali shore, 11 hours by road from the capital, Dhaka, the film stems from Sumit’s memories of visiting the region in 2008 during the devastating Cyclone Sidr.
“Those memories stayed with me for a long time,” Sumit told Variety.
The project was supported by the Spike Lee Fellowship, which offered the film’s preliminary writing grants, France’s Cnc aide aux cinemas du monde, the Torino Film Lab’s audience design fund, and Bangladesh’s national film grant.
The film follows a city-raised sculptor who visits a remote fishing island on the Bangladeshi Delta, and finds himself centerstage in a primal, elemental conflict between land and sea, man and nature, past and future.
Shot on location on Bangladesh’s Patuakhali shore, 11 hours by road from the capital, Dhaka, the film stems from Sumit’s memories of visiting the region in 2008 during the devastating Cyclone Sidr.
“Those memories stayed with me for a long time,” Sumit told Variety.
- 11/28/2020
- by Naman Ramachandran
- Variety Film + TV
Nordic exhibitors can offer examples to others looking to bounce back from the pandemic.
With Sweden’s anti-lockdown approach and other Nordic territories set to re-open venues earlier than other parts of the world, the international film industry can look to the Nordics for examples of how to bounce back from the Covid-19 pandemic.
Peter Fornstam, founder and managing director of Sweden’s second-largest cinema chain, Svenska Bio, kept all of his 35 cinemas open until Easter. After the public holiday, Svenska Bio’s two Stockholm sites – the Grand and Victoria (with a total of 12 screens) – remained open and showing recent...
With Sweden’s anti-lockdown approach and other Nordic territories set to re-open venues earlier than other parts of the world, the international film industry can look to the Nordics for examples of how to bounce back from the Covid-19 pandemic.
Peter Fornstam, founder and managing director of Sweden’s second-largest cinema chain, Svenska Bio, kept all of his 35 cinemas open until Easter. After the public holiday, Svenska Bio’s two Stockholm sites – the Grand and Victoria (with a total of 12 screens) – remained open and showing recent...
- 5/6/2020
- by 1100142¦Wendy Mitchell¦0¦
- ScreenDaily
More than 5,000 people watched Curzon’s first in a new series of live-streamed Q&As.
Curzon has revealed that Portrait Of A Lady On Fire is now it’s most successful title to date on its streaming platform as UK audiences flock online in the wake of cinema closures.
Celine Sciamma’s romantic drama had been performing strongly in theatres for Curzon, grossing £557,000 at the UK box office, before theatres closed their doors amid the coronavirus crisis.
It has now become the most purchased title on Curzon Home Cinema (Chc), which overall recorded a 27% increase on premium VOD week-on-week from...
Curzon has revealed that Portrait Of A Lady On Fire is now it’s most successful title to date on its streaming platform as UK audiences flock online in the wake of cinema closures.
Celine Sciamma’s romantic drama had been performing strongly in theatres for Curzon, grossing £557,000 at the UK box office, before theatres closed their doors amid the coronavirus crisis.
It has now become the most purchased title on Curzon Home Cinema (Chc), which overall recorded a 27% increase on premium VOD week-on-week from...
- 3/30/2020
- by 1100453¦Michael Rosser¦9¦
- ScreenDaily
Merce Cunningham wasn’t concerned with labels or conventions, the kind of guy who would shrug off not just claims that he was one of best choreographers of all time, but even the claims that he was a choreographer (“I’m a dancer,” he’d tell people). The modern dance pioneer helped not only bring the art form to American eyes, but also managed to shape it in his own image. Over the course of a career that spanned seven decades, he crafted his own style, built a successful dance company, and worked with other artists from every corner of the creative world. In short, he’s the perfect candidate for a deep dive documentary about both the personality and his process.
Alla Kovgan’s “Cunningham,” though appropriately stunning to the eyes and often in tune with Cunningham’s unique wavelength, is not that documentary. While Kovgan, a Russian filmmaker...
Alla Kovgan’s “Cunningham,” though appropriately stunning to the eyes and often in tune with Cunningham’s unique wavelength, is not that documentary. While Kovgan, a Russian filmmaker...
- 3/25/2020
- by Kate Erbland
- Indiewire
‘The Truth’ was the most-viewed title on Curzon Home Cinema from March 20-22.
Hirokazu Kore-Eda’s English and French-language drama The Truth was the most-streamed title on Curzon Home Cinema (Chc) last weekend (March 20-22) according to a top 10 of the most-viewed titles revealed by by the UK platform.
The Truth was set for theatrical release on March 20 via Curzon’s distribution arm but pivoted to an early digital release in the wake of cinema closures. Its release beat the previous best three-day figure on the platform by 66%. No further details of the numbers involved were given.
Celine Sciamma’s...
Hirokazu Kore-Eda’s English and French-language drama The Truth was the most-streamed title on Curzon Home Cinema (Chc) last weekend (March 20-22) according to a top 10 of the most-viewed titles revealed by by the UK platform.
The Truth was set for theatrical release on March 20 via Curzon’s distribution arm but pivoted to an early digital release in the wake of cinema closures. Its release beat the previous best three-day figure on the platform by 66%. No further details of the numbers involved were given.
Celine Sciamma’s...
- 3/24/2020
- by 1100453¦Michael Rosser¦9¦
- ScreenDaily
‘I Am Woman’.
This year’s Gold Coast Film Festival will be bookended by two Aussie features, opening with Unjoo Moon’s Helen Reddy biopic I Am Woman, and closing with the locally shot comedic thriller Bloody Hell, directed by Alister Grierson.
The April festival dropped its full program today, announcing more than 100 films, including four world premieres: Kriv Stenders’ documentary on Silm Dusty’s wife Joy McKean, Slim & I; Hayley MacFarlane’s Swimming for Gold; Josh Hale’s House of Inequity and Serhat Caradee’s A Lion Returns.
Other local films to screen include Never Too Late, Smoke Between Trees, Disclosure, Hearts and Bones, Iron Fists and Kung Fu Kicks, Tommy Emmanuel: The Endless Road, Dark Whispers Vol 1, The Show Must Go On, Ellie and Abbie (and Ellie’s Dead Aunt), Morgana, and Love Opera.
Ahead of its premiere on the ABC April 19, the festival will also screen...
This year’s Gold Coast Film Festival will be bookended by two Aussie features, opening with Unjoo Moon’s Helen Reddy biopic I Am Woman, and closing with the locally shot comedic thriller Bloody Hell, directed by Alister Grierson.
The April festival dropped its full program today, announcing more than 100 films, including four world premieres: Kriv Stenders’ documentary on Silm Dusty’s wife Joy McKean, Slim & I; Hayley MacFarlane’s Swimming for Gold; Josh Hale’s House of Inequity and Serhat Caradee’s A Lion Returns.
Other local films to screen include Never Too Late, Smoke Between Trees, Disclosure, Hearts and Bones, Iron Fists and Kung Fu Kicks, Tommy Emmanuel: The Endless Road, Dark Whispers Vol 1, The Show Must Go On, Ellie and Abbie (and Ellie’s Dead Aunt), Morgana, and Love Opera.
Ahead of its premiere on the ABC April 19, the festival will also screen...
- 3/10/2020
- by jkeast
- IF.com.au
The festival’s co-production and co-financing market runs 24-27 November.
60 projects are pitching at this year’s International Documentary Film Festival Amsterdam (Idfa) Forum, the festival’s co-production and co-financing market which runs 24-27 November.
Among the titles which theatrical buyers, streamers and commissioning editors are already circling are Erik Gandini’s After Work, produced through Fasad Films, which explores if conventional jobs might disappear within decades. Gandini’s previous films Gitmo, Videocracy and The Swedish Theory Of Love all sold around the world and played at multiple festivals. After Work is in development but already has Cinetic aboard for...
60 projects are pitching at this year’s International Documentary Film Festival Amsterdam (Idfa) Forum, the festival’s co-production and co-financing market which runs 24-27 November.
Among the titles which theatrical buyers, streamers and commissioning editors are already circling are Erik Gandini’s After Work, produced through Fasad Films, which explores if conventional jobs might disappear within decades. Gandini’s previous films Gitmo, Videocracy and The Swedish Theory Of Love all sold around the world and played at multiple festivals. After Work is in development but already has Cinetic aboard for...
- 11/26/2019
- by 57¦Geoffrey Macnab¦41¦
- ScreenDaily
Legendary modern dance choreographer Pina Bausch presaged her American contemporary Merce Cunningham in a few non-dance-related areas: the lauded German artist passed away mere weeks before Cunningham did in 2009, and her work inspired a jaw-dropping 3D film eight years before Cunningham’s received the same sort of cinematic treatment. It’s hard to imagine a more fitting double feature than Wim Wenders’ “Pina” and Alla Kovgan’s upcoming “Cunningham,” a pair of 3D documentary features that bring to vivid life the work and artistry of two icons of modern dance through contemporary means.
Much like “Pina,” Kovgan’s film attempts to translate the magic of Cunningham’s live work to the big screen through 3D technology and an array of key archival material. Also like Bausch and the many devoted students she left behind, “Cunningham” grapples with the question of a choreographer’s legacy and what can actually remain of...
Much like “Pina,” Kovgan’s film attempts to translate the magic of Cunningham’s live work to the big screen through 3D technology and an array of key archival material. Also like Bausch and the many devoted students she left behind, “Cunningham” grapples with the question of a choreographer’s legacy and what can actually remain of...
- 9/19/2019
- by Kate Erbland
- Indiewire
Good nonfiction storytelling requires artistry beyond talking heads and archives, though creative vision sometimes feels purposely concealed or standardized in documentaries to prioritize substance over style. But here’s a dance documentary that splendidly flaunts its artistic point of view, and fittingly so. This is a good time to remember that nonfiction films can be theatrical experiences that demand to be seen on the largest screen possible.
Shot in glorious 3D that makes the technical mode feel indispensable, Kovgan’s ode to choreography master Merce Cunningham is sensational in every sense of the word. Renewing one’s appreciation of the many wonders of the human body and the space in which it fills and drifts, “Cunningham” celebrates all the things our joints and flexed muscles are capable of, as seen through the mind and poetic dances of an iconic creator.
The artist Kovgan celebrates throughout the vivid frames and staging...
Shot in glorious 3D that makes the technical mode feel indispensable, Kovgan’s ode to choreography master Merce Cunningham is sensational in every sense of the word. Renewing one’s appreciation of the many wonders of the human body and the space in which it fills and drifts, “Cunningham” celebrates all the things our joints and flexed muscles are capable of, as seen through the mind and poetic dances of an iconic creator.
The artist Kovgan celebrates throughout the vivid frames and staging...
- 9/8/2019
- by Tomris Laffly
- Variety Film + TV
Gala screenings include ‘The Lighthouse’ and ‘The King’.
Robert Eggers’ The Lighthouse, Pablo Larrain’s Ema, Tom Harper’s The Aeronauts and David Michod’s The King will all be showcased as gala screenings at this year’s BFI London Film Festival (October 2-13).
The full programme has been announced today. Scroll down for the list.
Lff artistic director Tricia Tuttle talks new festival hub, ticket prices and venue challenges
Further galas include Noah Baumbach’s Marriage Story, Mirrah Foulkes’ Judy And Punch, Kleber Mendonça Filho and Juliano Dornelles’ Bacurau, and Marielle Heller’s A Beautiful Day In The Neighborhood,...
Robert Eggers’ The Lighthouse, Pablo Larrain’s Ema, Tom Harper’s The Aeronauts and David Michod’s The King will all be showcased as gala screenings at this year’s BFI London Film Festival (October 2-13).
The full programme has been announced today. Scroll down for the list.
Lff artistic director Tricia Tuttle talks new festival hub, ticket prices and venue challenges
Further galas include Noah Baumbach’s Marriage Story, Mirrah Foulkes’ Judy And Punch, Kleber Mendonça Filho and Juliano Dornelles’ Bacurau, and Marielle Heller’s A Beautiful Day In The Neighborhood,...
- 8/29/2019
- by Geoffrey Macnab
- ScreenDaily
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.