In The Corridors of Power, filmmaker Dror Moreh takes a bracing look at the factors that kept America — the sole remaining superpower in the immediate post-Cold War era — from intervening in global instances involving genocide, war crimes and other large-scale atrocities.
“The idea of the movie started, basically, when I saw the horrible picture that came out from Syria, especially after the chemical attack [in 2013], especially after the Syrian regime has crossed Obama’s red line,” Moreh revealed during Deadline’s Contenders Film: Documentary awards-season panel, noting that President Barack Obama had indicated that the U.S. would commit to opposing the Assad regime. “So I asked myself: What goes on in those decision-making rooms when they decide to intervene in one place, but not the other, or they don’t decide?”
Related: The Contenders Documentary – Deadline’s Full Coverage
“After the Second World War, the world had watched what had happened and said,...
“The idea of the movie started, basically, when I saw the horrible picture that came out from Syria, especially after the chemical attack [in 2013], especially after the Syrian regime has crossed Obama’s red line,” Moreh revealed during Deadline’s Contenders Film: Documentary awards-season panel, noting that President Barack Obama had indicated that the U.S. would commit to opposing the Assad regime. “So I asked myself: What goes on in those decision-making rooms when they decide to intervene in one place, but not the other, or they don’t decide?”
Related: The Contenders Documentary – Deadline’s Full Coverage
“After the Second World War, the world had watched what had happened and said,...
- 12/4/2022
- by Scott Huver
- Deadline Film + TV
Deadline’s Contenders Film: Documentary awards-season event kicks off Sunday at 8 a.m. Pt and promises to open up distant lands and even a distant planet—no passport required.
Click her to register for and watch today’s Contenders livestream.
The terrain covered by the cast and creatives from our 20 participating films astonishes with its variety and range: an enclave of Delhi, India in All That Breathes, a remote section of Paraguay in Eami, and possibly an even more remote outpost of the Brazilian rainforest in Wildcat. Moscow is the ultimate destination of Navalny, the documentary about Russia’s imprisoned and poisoned opposition leader, and Descendant takes us to a neighborhood of Mobile, Alabama settled by survivors of the last slave ship known to have navigated U.S. waters.
About 5,600 miles separate Moscow from Mobile, mere inches apart compared to the far-flung rendezvous point of Good Night Oppy, about NASA...
Click her to register for and watch today’s Contenders livestream.
The terrain covered by the cast and creatives from our 20 participating films astonishes with its variety and range: an enclave of Delhi, India in All That Breathes, a remote section of Paraguay in Eami, and possibly an even more remote outpost of the Brazilian rainforest in Wildcat. Moscow is the ultimate destination of Navalny, the documentary about Russia’s imprisoned and poisoned opposition leader, and Descendant takes us to a neighborhood of Mobile, Alabama settled by survivors of the last slave ship known to have navigated U.S. waters.
About 5,600 miles separate Moscow from Mobile, mere inches apart compared to the far-flung rendezvous point of Good Night Oppy, about NASA...
- 12/4/2022
- by Matthew Carey
- Deadline Film + TV
Andres Veiel on contacting Eva Beuys: "I had Eugen Blume, the head of Hamburger Bahnhof, who curated the show of Joseph Beuys. He's a friend who really helped me a lot." Photo: Anne-Katrin Titze
In the final installment of my conversation with Andres Veiel at Kino Lorber in midtown Manhattan, the director of Beuys gave me a fairy tale reference to explain what it took to make a film on Joseph Beuys - with or without the inclusion of his artworks. Beuys includes interviews with Caroline Tisdall, Rhea Thönges-Stringaris, Klaus Staeck, Johannes Stüttgen, and Franz Joseph van der Grinten, shot by Jörg Jeshel and was smartly edited with Stephan Krumbiegel and Olaf Voigtländer. The documentary includes archival footage of a playful Andy Warhol and begins and ends beautifully with clips from Lutz Mommartz' Soziale Plastik.
On the filming of Joseph Beuys by Lutz Mommartz in Soziale Plastik: "The camera is the spectator,...
In the final installment of my conversation with Andres Veiel at Kino Lorber in midtown Manhattan, the director of Beuys gave me a fairy tale reference to explain what it took to make a film on Joseph Beuys - with or without the inclusion of his artworks. Beuys includes interviews with Caroline Tisdall, Rhea Thönges-Stringaris, Klaus Staeck, Johannes Stüttgen, and Franz Joseph van der Grinten, shot by Jörg Jeshel and was smartly edited with Stephan Krumbiegel and Olaf Voigtländer. The documentary includes archival footage of a playful Andy Warhol and begins and ends beautifully with clips from Lutz Mommartz' Soziale Plastik.
On the filming of Joseph Beuys by Lutz Mommartz in Soziale Plastik: "The camera is the spectator,...
- 2/13/2018
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Andres Veiel on contacting Eva Beuys: "I had Eugen Blume, the head of Hamburger Bahnhof, who curated the show of Joseph Beuys. He's a friend who really helped me a lot." Photo: Anne-Katrin Titze
In the final installment of my conversation with Andres Veiel at Kino Lorber in midtown Manhattan, the director of Beuys gave me a fairy tale reference to explain what it took to make a film on Joseph Beuys - with or without the inclusion of his artworks. Beuys includes interviews with Caroline Tisdall, Rhea Thönges-Stringaris, Klaus Staeck, Johannes Stüttgen, and Franz Joseph van der Grinten, shot by Jörg Jeshel and was smartly edited with Stephan Krumbiegel and Olaf Voigtländer. The documentary includes archival footage of a playful Andy Warhol and begins and ends beautifully with clips from Lutz Mommartz' Soziale Plastik.
On the filming of Joseph Beuys by Lutz Mommartz in Soziale Plastik: "The camera is the spectator,...
In the final installment of my conversation with Andres Veiel at Kino Lorber in midtown Manhattan, the director of Beuys gave me a fairy tale reference to explain what it took to make a film on Joseph Beuys - with or without the inclusion of his artworks. Beuys includes interviews with Caroline Tisdall, Rhea Thönges-Stringaris, Klaus Staeck, Johannes Stüttgen, and Franz Joseph van der Grinten, shot by Jörg Jeshel and was smartly edited with Stephan Krumbiegel and Olaf Voigtländer. The documentary includes archival footage of a playful Andy Warhol and begins and ends beautifully with clips from Lutz Mommartz' Soziale Plastik.
On the filming of Joseph Beuys by Lutz Mommartz in Soziale Plastik: "The camera is the spectator,...
- 2/13/2018
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Some pretty exciting news here on Bd as Silke Olthoff took top honors at this years Schnitt Awards for her editing of Marvin Krens Berlin zombie movie Rammbock: Berlin Undead, the Bloody Disgusting Selects flick that's now available on DVD and VOD. The jury, which included last years Schnitt winner Monika Willi (The White Ribbon), praised Olthoffs successful splicing of the horror and romance genres. The zombie invasion is terrifyingly believable while the love story truly touching, the jury said in a statement. Both strands hold and build tension until the (films) finale. The Schnitt Prize for best documentary went to Stephan Krumbiegel and Volker Sattel for their editing of Sattels atomic energy doc Under Control while the up-and-coming honor went to Rolf Hellat for his edit of Corina Schingrubers short film I ovo je Beograd.
- 11/29/2011
- bloody-disgusting.com
Cologne, Germany -- Monika Willi, the editor of Michael Haneke's Oscar-nominated "The White Ribbon," Stefan Essl, editor of action comedy "Jerry Cotton;" and Hansjorg Weissbrich, who cut Hans-Christian Schmid's war-crimes drama "Storm" are among the nominees for this year's Schnitt Prize, Germany's premiere film editing award.
Also nominated in the feature film category are Mona Brauer and Heike Gnida for their work on Matthias Glasner's disturbing pedophilia drama "This is Love" and Wolfgang Weigl, nominated for "The Two Lives of Daniel Shore," the feature debut of director Michael Dreher.
In the documentary category, nominated editors include Thomas Riedelsheimer, who directed and cut his latest, "Soul Birds;" Gisela Castronari-Jaensch and Vadim Jendreyko for "The Woman with the 5 Elephants;" Marc Haenecke for "Jagdzeit;" Thomas Grube and Barbara Toennieshen for "To Fight For" and Stephan Krumbiegel for "Wiegenlieder."
The 12th Schnitt Film Prize will be awarded Nov. 29 in Cologne.
Also nominated in the feature film category are Mona Brauer and Heike Gnida for their work on Matthias Glasner's disturbing pedophilia drama "This is Love" and Wolfgang Weigl, nominated for "The Two Lives of Daniel Shore," the feature debut of director Michael Dreher.
In the documentary category, nominated editors include Thomas Riedelsheimer, who directed and cut his latest, "Soul Birds;" Gisela Castronari-Jaensch and Vadim Jendreyko for "The Woman with the 5 Elephants;" Marc Haenecke for "Jagdzeit;" Thomas Grube and Barbara Toennieshen for "To Fight For" and Stephan Krumbiegel for "Wiegenlieder."
The 12th Schnitt Film Prize will be awarded Nov. 29 in Cologne.
- 9/22/2010
- by By Scott Roxborough
- The Hollywood Reporter - Movie News
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