The India programme explores the socio-political development of the country over the past 30 years.
US producer Christine Vachon and Filipino filmmaker Lav Diaz are among the competition jury members for the 52nd edition of the International Film Festival Rotterdam.
Joining Vachon and Diaz is the director of Udine Far East Film Festival Sabrina Baracetti, Neptune Frost director Anisia Uzeyman and Mexican film critic Alonso Díaz de la Vega.
The jury are responsible for choosing the winner of the Tiger Award worth €40,000 as well as the Special Jury Awards worth €10,000. The competition line-up will be announced later this month.
India in...
US producer Christine Vachon and Filipino filmmaker Lav Diaz are among the competition jury members for the 52nd edition of the International Film Festival Rotterdam.
Joining Vachon and Diaz is the director of Udine Far East Film Festival Sabrina Baracetti, Neptune Frost director Anisia Uzeyman and Mexican film critic Alonso Díaz de la Vega.
The jury are responsible for choosing the winner of the Tiger Award worth €40,000 as well as the Special Jury Awards worth €10,000. The competition line-up will be announced later this month.
India in...
- 12/8/2022
- by Ellie Calnan
- ScreenDaily
The International Film Festival Rotterdam has unveiled its competition juries for its 52nd edition. U.S. producer Christine Vachon, whose credits include “Boys Don’t Cry,” “Far From Heaven” and “Carol,” and Filipino filmmaker Lav Diaz, who won Venice’s Golden Lion for “The Woman Who Left,” are among the Tiger Competition jurors. The first titles in the Short and Mid-Length strand have been revealed as well as a program that looks at the socio-political development of India over the past 30 years.
Festival director Vanja Kaludjercic said the announcements are “testament of the broadening and deepening of our program, from the delights of the Short and Mid-Length program, to a vital delve into contemporary India – surprising our audiences with great films that underline relevant and pressing issues.”
In the non-competitive short and mid-length work lineup is “Goodbye Words,” in which Finnish filmmaker Laura Rantanen reflects on the end of life through...
Festival director Vanja Kaludjercic said the announcements are “testament of the broadening and deepening of our program, from the delights of the Short and Mid-Length program, to a vital delve into contemporary India – surprising our audiences with great films that underline relevant and pressing issues.”
In the non-competitive short and mid-length work lineup is “Goodbye Words,” in which Finnish filmmaker Laura Rantanen reflects on the end of life through...
- 12/8/2022
- by Leo Barraclough
- Variety Film + TV
Valdimar Jóhannsson’s Icelandic-Swedish-Polish drama “Lamb,” starring Noomi Rapace was awarded best film and actress for Rapace at the 54th edition of Sitges’ International Fantastic Film Festival of Catalonia, which wrapped Sunday.
The prizes add to an Originality Prize which the film received when competing at July’s Cannes Un Certain Regard.
“Lamb,” a horror-comedy combo, follows protagonist Maria, played by Rapace, a woman living with her husband in the total loneliness of the Icelandic countryside. According to a Variety review, “creepy-funny-weird-sad ‘Lamb’ proves just how far disbelief can be suspended if you’re in the hands of a director — and a cast, and a SFX/puppetry department — who really commit to the bit.” Lamb is produced by Go to Sheep, Black Spark Film & TV and Madants with New Europe Film Sales and A24 attached.
Rapace shared best actress honors with Susanne Jensen in Peter Brunner’s “Luzifer.” Justin Kurzel...
The prizes add to an Originality Prize which the film received when competing at July’s Cannes Un Certain Regard.
“Lamb,” a horror-comedy combo, follows protagonist Maria, played by Rapace, a woman living with her husband in the total loneliness of the Icelandic countryside. According to a Variety review, “creepy-funny-weird-sad ‘Lamb’ proves just how far disbelief can be suspended if you’re in the hands of a director — and a cast, and a SFX/puppetry department — who really commit to the bit.” Lamb is produced by Go to Sheep, Black Spark Film & TV and Madants with New Europe Film Sales and A24 attached.
Rapace shared best actress honors with Susanne Jensen in Peter Brunner’s “Luzifer.” Justin Kurzel...
- 10/18/2021
- by Emilio Mayorga
- Variety Film + TV
It’s lucky 13 — as in 13th annual edition — for Switzerland’s Lausanne Underground Film Festival, an epic celebration of cinematic weirdness, violence, filth and everything else that makes life worth living. The wild debauchery runs October 15-19.
The fest opens on Oct. 15 with the feature film debut by Leah Meyerhoff, I Believe in Unicorns, which tells the story of a troubled teenage girl who runs away with an aggressive older boy.
Other new films include the misanthropic comedy Buzzard by Joel Potrykus; the deep woods psychological thriller Mother Nature by Johan Liedgren; the complex Japanese drama Kept by Maki Mizui; and more.
Luff this year is really stuffed with great retrospectives beginning with a tribute to Beth B, who has been churning out controversial, thought-provoking flicks since the New York No Wave era to know. There will be screenings of her classic films, such as The Offenders and Salvation!, and her latest documentary,...
The fest opens on Oct. 15 with the feature film debut by Leah Meyerhoff, I Believe in Unicorns, which tells the story of a troubled teenage girl who runs away with an aggressive older boy.
Other new films include the misanthropic comedy Buzzard by Joel Potrykus; the deep woods psychological thriller Mother Nature by Johan Liedgren; the complex Japanese drama Kept by Maki Mizui; and more.
Luff this year is really stuffed with great retrospectives beginning with a tribute to Beth B, who has been churning out controversial, thought-provoking flicks since the New York No Wave era to know. There will be screenings of her classic films, such as The Offenders and Salvation!, and her latest documentary,...
- 10/10/2014
- by Mike Everleth
- Underground Film Journal
The Bradford International Film Festival is typically an underground-friendly fest. This year appears to be no exception with two very special experimental film retrospectives, as well as a few modern underground-type flicks.
The 19th annual Biff will roll on April 11-21 at several locations around Bradford and Leeds in England, including the National Media Museum, Hebden Bridge Picture House, Hyde Park Picture House and other venues.
Biff is hosting a tribute to Stan Brakhage this year by screening the prolific filmmaker’s magnum opus, Dog Star Man, as well as a selection of his short films, from 1963′s legendary Mothlight to 1994′s Black Ice. There’s also going to be an epic-sized tribute/retrospective of experimental films from Austria, a country with a proud avant-garde filmmaking tradition that’s typically overlooked.
From Austria, Biff is, of course, screening two works from one of the experimental film world’s biggest masters,...
The 19th annual Biff will roll on April 11-21 at several locations around Bradford and Leeds in England, including the National Media Museum, Hebden Bridge Picture House, Hyde Park Picture House and other venues.
Biff is hosting a tribute to Stan Brakhage this year by screening the prolific filmmaker’s magnum opus, Dog Star Man, as well as a selection of his short films, from 1963′s legendary Mothlight to 1994′s Black Ice. There’s also going to be an epic-sized tribute/retrospective of experimental films from Austria, a country with a proud avant-garde filmmaking tradition that’s typically overlooked.
From Austria, Biff is, of course, screening two works from one of the experimental film world’s biggest masters,...
- 3/11/2013
- by Mike Everleth
- Underground Film Journal
Many—maybe too many, looking at this bunch of bone-tired warriors of Av-virtue—were the travels the Ferroni Brigade embarked on all through 2011: oftentimes for festivals all over Europe, sometimes for visits to this archive or that as part of our programming arbeit (to be read with a Japanese drawl). During those months in the dark, we saw a lot—some of which chimed and rhymed with new works we encountered in this multiplex back home or that gallery abroad, on this collector's Steenbeck or in that producer's private projection room (they still exist).
On one of those trips, we were joined by our main Mubi-man, His Kasness a.k.a. the Kasest with whom we plunged one evening into a brainstorming on what The Festival would look and feel like (truth be told: it was more like a communal delirium—but what do you expect from folks sitting...
On one of those trips, we were joined by our main Mubi-man, His Kasness a.k.a. the Kasest with whom we plunged one evening into a brainstorming on what The Festival would look and feel like (truth be told: it was more like a communal delirium—but what do you expect from folks sitting...
- 1/5/2012
- MUBI
Roughly assembled; order within tiers based chronologically on viewing date.
01:
Cut (Amir Naderi, Japan), Anna (Alberto Grifi, Massimo Sarchielli, Italy), Faust (Aleksandr Sokurov, Russia), Louyre - This Our Still Life (Andrew Kotting, UK), Century of Birthing (Lav Diaz, Philippines)
02:
Vieni, dolce morte (dell’ego) (Paolo Brunatto, Italy), A Dangerous Method (David Cronenberg, Canada), Whores’ Glory (Michael Glawogger, Austria), A Simple Life (Ann Hui, Hk), Il potere (Augusto Tretti, Italy), Himizu (Sono Sion, Japan), Conference (Norbert Pfaffenbichler, Austria), 4:44 Last Day on Earth (Abel Ferrara, USA), Die Herde des Herrn (Romuald Karmakar, Germany), Life without Principles (Johnnie To, Hk), Late and Deep (Devin Horan, USA), Iz Tokio (Aleksej German Jr., Russia)
03:
Il canto d’amore di Alfred Prufrock (Nico D’Alessandria, Italy), Carnage (Roman Polanski, France/Germany/Poland ), Black Mirror at the National Gallery (Mark Lewis, UK), Meteor (Chrisoph Giraret, Matthias Müller, Germany), Il villaggio di cartone (Ermanno Olmi,...
01:
Cut (Amir Naderi, Japan), Anna (Alberto Grifi, Massimo Sarchielli, Italy), Faust (Aleksandr Sokurov, Russia), Louyre - This Our Still Life (Andrew Kotting, UK), Century of Birthing (Lav Diaz, Philippines)
02:
Vieni, dolce morte (dell’ego) (Paolo Brunatto, Italy), A Dangerous Method (David Cronenberg, Canada), Whores’ Glory (Michael Glawogger, Austria), A Simple Life (Ann Hui, Hk), Il potere (Augusto Tretti, Italy), Himizu (Sono Sion, Japan), Conference (Norbert Pfaffenbichler, Austria), 4:44 Last Day on Earth (Abel Ferrara, USA), Die Herde des Herrn (Romuald Karmakar, Germany), Life without Principles (Johnnie To, Hk), Late and Deep (Devin Horan, USA), Iz Tokio (Aleksej German Jr., Russia)
03:
Il canto d’amore di Alfred Prufrock (Nico D’Alessandria, Italy), Carnage (Roman Polanski, France/Germany/Poland ), Black Mirror at the National Gallery (Mark Lewis, UK), Meteor (Chrisoph Giraret, Matthias Müller, Germany), Il villaggio di cartone (Ermanno Olmi,...
- 9/11/2011
- MUBI
Film pairings at festivals often appear more happenstance and convenient than inspired, but thankfully Venice has delivered a really stimulating pair with Norbert Pfaffenbichler’s Hitler montage short, Conference, and Romuald Karmaker’s documentary feature on public responses to the death of Pope John Paul II and the choosing of Ratzinger in Die Herde des Herrn (The Flock of the Lord).
Conference, after starting with its credits running backwards, reveals a two-part film made up of 8mm black and white footage of video clips of actors who've played Hitler in the cinema—over 60 of them. Clarity of mise-en-scène in individual clips avoided in favor of a uniform aesthetic across the short, suppressing the ability, and desire, to identify which clip comes from what movie, thus creating what seems a single film of a multitudinous mass of Hitlers. It begins (that is, "ends"), at first, with a series of Hitlers walking...
Conference, after starting with its credits running backwards, reveals a two-part film made up of 8mm black and white footage of video clips of actors who've played Hitler in the cinema—over 60 of them. Clarity of mise-en-scène in individual clips avoided in favor of a uniform aesthetic across the short, suppressing the ability, and desire, to identify which clip comes from what movie, thus creating what seems a single film of a multitudinous mass of Hitlers. It begins (that is, "ends"), at first, with a series of Hitlers walking...
- 9/11/2011
- MUBI
Above: Norbert Pfaffenbichler's Die Verhütung des Unheilbaren (2009).
Notes taken in the dark of the cinema tend to fade into each other. They rarely conform to the vivid moments one recalls, later, as constituting the days and nights of a festival.
For example: an interview with Barbara Pichler, artistic director of the Diagonale, the annual festival of Austrian Film taking place in Graz, since 2009 (and recently confirmed for a further four years). Pichler, I assumed, has seen more Austrian productions than most – indeed, perhaps more than one strictly should. ‘What Is Austrian cinema?’ I asked her. By this I meant: what does Austrian film stand for, in an increasingly globalised market? What does it represent? Is it a national identity, or purely an economic condition, a technicality of funding and resources?
Pichler, who had clearly been asked the question a thousand times, answered without hesitation: There is no such thing as Austrian film.
Notes taken in the dark of the cinema tend to fade into each other. They rarely conform to the vivid moments one recalls, later, as constituting the days and nights of a festival.
For example: an interview with Barbara Pichler, artistic director of the Diagonale, the annual festival of Austrian Film taking place in Graz, since 2009 (and recently confirmed for a further four years). Pichler, I assumed, has seen more Austrian productions than most – indeed, perhaps more than one strictly should. ‘What Is Austrian cinema?’ I asked her. By this I meant: what does Austrian film stand for, in an increasingly globalised market? What does it represent? Is it a national identity, or purely an economic condition, a technicality of funding and resources?
Pichler, who had clearly been asked the question a thousand times, answered without hesitation: There is no such thing as Austrian film.
- 8/21/2010
- MUBI
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