Jonathan Glazer’s “The Zone of Interest” has scored a Fipresci award in Cannes.
The jury of the International Federation of Film Critics praised the film “for its formal radicality, the complexity of the sound and score, and its contrast between the invisible atrocities behind the wall and a supposed paradise,” Fipresci stated on Saturday.
“By presenting the horror as something usual, and using everyday-like dialogues, it’s a reflection on ignorance as a disease that connects the past with the present.”
Glazer’s take on a Nazi family living next door to Auschwitz and enjoying it – loosely based on the novel by Martin Amis, who tragically passed away on May 19, just before the premiere – has been getting rave reviews at the French festival, becoming one of the frontrunners for this year’s Palme d’Or.
Christian Friedel stars as real-life SS officer Rudolf Höss, joined by Sandra Hüller playing his wife,...
The jury of the International Federation of Film Critics praised the film “for its formal radicality, the complexity of the sound and score, and its contrast between the invisible atrocities behind the wall and a supposed paradise,” Fipresci stated on Saturday.
“By presenting the horror as something usual, and using everyday-like dialogues, it’s a reflection on ignorance as a disease that connects the past with the present.”
Glazer’s take on a Nazi family living next door to Auschwitz and enjoying it – loosely based on the novel by Martin Amis, who tragically passed away on May 19, just before the premiere – has been getting rave reviews at the French festival, becoming one of the frontrunners for this year’s Palme d’Or.
Christian Friedel stars as real-life SS officer Rudolf Höss, joined by Sandra Hüller playing his wife,...
- 5/27/2023
- by Marta Balaga
- Variety Film + TV
Ophelia Lovibond, Dominic Buchanan among names announced for best film jury.
Turkish-German director Fatih Akin will talk at an ‘In Conversation’ event as part of the 17th East End Film Festival (Eeff), held in London from April 11-29.
Akin’s appearance will be his first in the UK since his latest film In The Fade won the Golden Globe for best foreign -language film. It was the German entry for best foreign- language film at the 2018 Oscars, and screens as part of Eeff.
Also appearing for an ‘In Conversation’ event will be Us director Sara Driver (Sleepwalk), whose documentary Boom...
Turkish-German director Fatih Akin will talk at an ‘In Conversation’ event as part of the 17th East End Film Festival (Eeff), held in London from April 11-29.
Akin’s appearance will be his first in the UK since his latest film In The Fade won the Golden Globe for best foreign -language film. It was the German entry for best foreign- language film at the 2018 Oscars, and screens as part of Eeff.
Also appearing for an ‘In Conversation’ event will be Us director Sara Driver (Sleepwalk), whose documentary Boom...
- 4/5/2018
- by Ben Dalton
- ScreenDaily
If you were anywhere near a computer late Sunday night, or indeed for the rest of the week, there’s a selfie going around which, once posted, quickly became the most retweeted picture ever. Technology is becoming an ever more important part of how we watch and enjoy films, it is ever more integrated with our everyday lives. This new silicon revolution is ostensibly of great benefit to us, and for film fans it has opened up a whole new way of watching and enjoying films. It is now far easier to discover new films, share the new found love and discuss, argue and find cinematic enlightenment online.
The world of film moves extraordinarily quickly, and it has become customary for each new trailer or casting announcement to be met with an instant reaction on the social networks. Twitter comes into its own here as 140=character witticisms dripping with snark...
The world of film moves extraordinarily quickly, and it has become customary for each new trailer or casting announcement to be met with an instant reaction on the social networks. Twitter comes into its own here as 140=character witticisms dripping with snark...
- 3/8/2014
- by Michael Walsh
- HeyUGuys.co.uk
Birds Eye View its launching its new training programme Filmonomics at this year’s Loco London Comedy Film Festival on Jan 26.
The series will focus on topics such as finance, teams, marketing, exhibition and distribution.
Speakers at the initial sessions will include writers Rachel Hirons and Tess Morris, Film London’s Deborah Sathe, former Paramount executive Deborah Sheppard, iFeatures executive producer Christopher Granier-Deferre, journalists Karen Krizanovich and Charles Gant.
Selected participants, almost 90% of whom are female filmmakers, will participate in a bespoke programme. Filmonomics will also include three public sessions at BFI Southbank. Two of those sessions will be held during the 10th Birds Eye View Film Festival (April 8-13).
Creative Skillset supports Filmonomics, which is created in assocation with former Screen editor Colin Brown, author of the Filmonomics blog at Slated.com.
Birds Eye View Creative Director Kate Gerova said: “We created Filmonomics because with digital cameras and low-budget filmmaking schemes everyone has access to making...
The series will focus on topics such as finance, teams, marketing, exhibition and distribution.
Speakers at the initial sessions will include writers Rachel Hirons and Tess Morris, Film London’s Deborah Sathe, former Paramount executive Deborah Sheppard, iFeatures executive producer Christopher Granier-Deferre, journalists Karen Krizanovich and Charles Gant.
Selected participants, almost 90% of whom are female filmmakers, will participate in a bespoke programme. Filmonomics will also include three public sessions at BFI Southbank. Two of those sessions will be held during the 10th Birds Eye View Film Festival (April 8-13).
Creative Skillset supports Filmonomics, which is created in assocation with former Screen editor Colin Brown, author of the Filmonomics blog at Slated.com.
Birds Eye View Creative Director Kate Gerova said: “We created Filmonomics because with digital cameras and low-budget filmmaking schemes everyone has access to making...
- 1/24/2014
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Birds Eye View its launching its new training programme Filmonomics at this year’s Loco London Comedy Film Festival on Jan 26.
The series will focus on topics such as finance, teams, marketing, exhibition and distribution.
Speakers at the initial sessions will include writers Rachel Hirons and Tess Morris, Film London’s Deborah Sathe, former Paramount executive Deborah Sheppard, iFeatures executive producer Christopher Granier-Deferre, journalists Karen Krizanovich and Charles Gant.
Selected participants, almost 90% of whom are female filmmakers, will participate in a bespoke programme. Filmonomics will also include three public sessions at BFI Southbank. Two of those sessions will be held during the 10th Birds Eye View Film Festival (April 8-13).
Creative Skillset supports Filmonomics, which is created in assocation with former Screen editor Colin Brown, author of the Filmonomics blog at Slated.com.
Birds Eye View Creative Director Kate Gerova said: “We created Filmonomics because with digital cameras and low-budget filmmaking schemes everyone has access to making...
The series will focus on topics such as finance, teams, marketing, exhibition and distribution.
Speakers at the initial sessions will include writers Rachel Hirons and Tess Morris, Film London’s Deborah Sathe, former Paramount executive Deborah Sheppard, iFeatures executive producer Christopher Granier-Deferre, journalists Karen Krizanovich and Charles Gant.
Selected participants, almost 90% of whom are female filmmakers, will participate in a bespoke programme. Filmonomics will also include three public sessions at BFI Southbank. Two of those sessions will be held during the 10th Birds Eye View Film Festival (April 8-13).
Creative Skillset supports Filmonomics, which is created in assocation with former Screen editor Colin Brown, author of the Filmonomics blog at Slated.com.
Birds Eye View Creative Director Kate Gerova said: “We created Filmonomics because with digital cameras and low-budget filmmaking schemes everyone has access to making...
- 1/24/2014
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
I’m stealing today’s Qotd from an exchange between my friends and colleagues Matthew Turner, critic at ViewLondon.co.uk, and Karen Krizanovich, who this morning tweeted: .@krizanovich I'd add Argo to that list. I genuinely think there should be an Oscar for Best Casting Director.— Matthew Turner (@FilmFan1971) October 24, 2012 (I haven’t seen Silver Linings Playbook yet, but I agree regarding Robot and Frank. And Argo is indeed brilliantly cast.) I think it’s a great idea. Casting is an essential part of what makes a film work -- or not -- and yet it has been all but invisible, perhaps even mysterious, to those looking in from the outside. An Oscar for the work could remedy that.
- 10/24/2012
- by MaryAnn Johanson
- www.flickfilosopher.com
Being a member of the Alliance of Women Film Journalists, I’m pleased to announce that at the 2012 St. Louis International Film Festival, five documentaries are in competition for our Eda Award for Best Documentary Directed by a Women.
The Eda Award will be presented at the St Louis International Film Festival’s closing ceremonies on November 18, 2012, along with the Eda Award for Best Narrative Feature Directed by A Woman. The Alliance of Women Film Journalists members on the documentary award jury are Monika Bartyzel (Movies.com), Jeanne Wolf (Parade Magazine), Karen Krizanovich (Radio Times), Jette Kernion (Slackerwood.com) and myself. For more on the awards: http://cinemastlouis.org/2012-sliff-awards
The films are:
Her Master’s Voice - Directed by Nina Conti, UK – All about truth in ventriloquism! The Perfect Victim - Directed by Elizabeth Rohrbaugh (Us) – A film about women who were convicted of murdering their husbands, without being...
The Eda Award will be presented at the St Louis International Film Festival’s closing ceremonies on November 18, 2012, along with the Eda Award for Best Narrative Feature Directed by A Woman. The Alliance of Women Film Journalists members on the documentary award jury are Monika Bartyzel (Movies.com), Jeanne Wolf (Parade Magazine), Karen Krizanovich (Radio Times), Jette Kernion (Slackerwood.com) and myself. For more on the awards: http://cinemastlouis.org/2012-sliff-awards
The films are:
Her Master’s Voice - Directed by Nina Conti, UK – All about truth in ventriloquism! The Perfect Victim - Directed by Elizabeth Rohrbaugh (Us) – A film about women who were convicted of murdering their husbands, without being...
- 10/22/2012
- by Michelle McCue
- WeAreMovieGeeks.com
Just sharing some news of stuff I was involved in at Sheffield Doc/Fest... The Awfj Eda Award for Best Female-Directed Film went to Going Up The Stairs, directed by Rokhsareh Gaeme Maghami. According to the Awfj Jury (comprised of Awfj members Linda Barnard, Nikki Baughan, MaryAnn Johanson, Karen Krizanovich and Jennifer Merin), the film is about a “most unlikely artist, a 50 year old illiterate Iranian woman who is consumed by her need to create, but has also embraced her role in a traditional marriage to an older man who controls her destiny. Her creativity bursts forth, as though it has a will of its own. and she simply can’t stop painting. Akram’s riotous, colourful, primative canvasses - and her endearing personality - reach out to the viewer and grab hold. We present this year’s Eda Award to Going Up The Stairs. Bravo to director Rokhsareh Ghaem...
- 6/28/2012
- by MaryAnn Johanson
- www.flickfilosopher.com
So, I found yesterday’s question -- about the New York Times’ summer-movies cover contest -- via my colleague Karen Krizanovich, whose tweet about the contest read, in part: Can't quite illustrate a digital projector yet - and who still uses a clapper board? The entries in the Times’ contest use an array of would-be iconic images: popcorn, digital and film projectors (or other items meant to suggest them), film reels, strips of celluoid, clapper boards, directors’ chairs, tickets, 3D glasses. Some of these are outdated -- 3D glasses are no longer blue-red; movies are increasingly unlikely to come on reels anymore -- and some are so iconic that they’re clichéd, like the clapper.
- 3/21/2012
- by MaryAnn Johanson
- www.flickfilosopher.com
Wow: this is amazing. This is what English sounds like if you don’t understand it. Fantastic performances by the actors, Karl Eccleston and Fiona Pepper. Eccleston cowrote this with director Brian Fairbairn, but how do you write something like this? Was it translated from English? How much rehearsal does something like this require? Genius. Via Karen Krizanovich on Google+ via Gawker.
- 10/18/2011
- by MaryAnn Johanson
- www.flickfilosopher.com
Forget the glass ceiling, Hollywood has more casement creativity than you could shake a squeegee at. Take a peek for yourself ...
From the one through which Rapunzel unfurled her hair to those framing Edward Hopper's Nighthawks, windows have long played a potent role in our culture. They're everywhere in daily life and our films are full of them, too. On a literal level, there are plenty of films about windows (IMDb lists 243 films with "window" in the title), and in many ways the cinema screen itself can also be seen as a metaphorical window, opening on to other times, places and realities.
Movies, like windows, can be the voyeur's best friend – we watch, with impunity, from the seeming safety of the dark. But canny film-makers exploit the unstable nature of this dynamic, subverting it by reaching through to shatter our complacency and mess with our minds. When Nietzsche warned the...
From the one through which Rapunzel unfurled her hair to those framing Edward Hopper's Nighthawks, windows have long played a potent role in our culture. They're everywhere in daily life and our films are full of them, too. On a literal level, there are plenty of films about windows (IMDb lists 243 films with "window" in the title), and in many ways the cinema screen itself can also be seen as a metaphorical window, opening on to other times, places and realities.
Movies, like windows, can be the voyeur's best friend – we watch, with impunity, from the seeming safety of the dark. But canny film-makers exploit the unstable nature of this dynamic, subverting it by reaching through to shatter our complacency and mess with our minds. When Nietzsche warned the...
- 12/8/2010
- The Guardian - Film News
Prosthetic snouts have poked their beaks into numerous films. And the winners by a nose (or even a nasal hair) are ...
The nose knows. Slap bang in the middle of our faces sits something with which we can be identified with uncanny ease. So, when proboscises get altered, we're thrown off the scent. A shock conk confounds our perceptions and forces us to see a different person. That's why both Lawrence Olivier and Orson Welles liked fake beaks. The falsie Alec Guinness wore as Fagin in Oliver Twist (1948) copied Cruikshank's illustrations from the novel's first edition, but it also caused the film to be delayed, banned and edited. The temporary cinematic rhinoplasty packs powerful juju – and this is why nasal prostheses have poked on to the silver screen in over 50 roles in five basic categories.
1) Foremost, the phoney schnoz is thespian camouflage. Think Richard Attenborough in Seance on a Wet Afternoon,...
The nose knows. Slap bang in the middle of our faces sits something with which we can be identified with uncanny ease. So, when proboscises get altered, we're thrown off the scent. A shock conk confounds our perceptions and forces us to see a different person. That's why both Lawrence Olivier and Orson Welles liked fake beaks. The falsie Alec Guinness wore as Fagin in Oliver Twist (1948) copied Cruikshank's illustrations from the novel's first edition, but it also caused the film to be delayed, banned and edited. The temporary cinematic rhinoplasty packs powerful juju – and this is why nasal prostheses have poked on to the silver screen in over 50 roles in five basic categories.
1) Foremost, the phoney schnoz is thespian camouflage. Think Richard Attenborough in Seance on a Wet Afternoon,...
- 12/1/2010
- by Karen Krizanovich
- The Guardian - Film News
Needles at the ready, back-sized portrait of Robert Pattinson in hand, Josh Du Sautoy fills us in on the best tatts on screen
• Now updated with last week's choices!
"Show me a man with a tattoo and I'll show you a man with an interesting past." So said Jack London, though he probably didn't foresee the day when over a fifth of British adults would have one – that's a whole heap of interesting pasts.
Most of us will know someone with a tattoo, even if they're not willing to show it. Inking has definitely become a part of the mainstream, but in cinema it remains something of a novelty. A lot of film characters have become like politicians; make them as bland as possible so as not to offend anyone. Where are the tattooed romantic leads? Perhaps it has something to do with marketing, to paraphrase London: show me a...
• Now updated with last week's choices!
"Show me a man with a tattoo and I'll show you a man with an interesting past." So said Jack London, though he probably didn't foresee the day when over a fifth of British adults would have one – that's a whole heap of interesting pasts.
Most of us will know someone with a tattoo, even if they're not willing to show it. Inking has definitely become a part of the mainstream, but in cinema it remains something of a novelty. A lot of film characters have become like politicians; make them as bland as possible so as not to offend anyone. Where are the tattooed romantic leads? Perhaps it has something to do with marketing, to paraphrase London: show me a...
- 8/25/2010
- The Guardian - Film News
Hankies at the ready, surging euphoria to follow. This week on Clip joint, Karen Krizanovich rubbernecks on the best botched nuptials on screen
Whether you're the person being jilted or the one doing the jilting, an aborted wedding ceremony is that rarest of genres: the fantasy-horror. Everyone you know has gathered, in their best clothes, to witness not a fairytale ending but a car crash of love, money and humiliation.
But, sometimes, it just has to be done. There can be few things more upsetting than seeing the person you love – the only person for you – about to marry some idiot because of her dimwit parents, or because, like Patrick Dempsey in Made of Honor, you've forgotten to tell her how you feel , or, like Bing Crosby in Road to Rio, it just seems like the right thing to do.
So, how should you proceed if the object of your...
Whether you're the person being jilted or the one doing the jilting, an aborted wedding ceremony is that rarest of genres: the fantasy-horror. Everyone you know has gathered, in their best clothes, to witness not a fairytale ending but a car crash of love, money and humiliation.
But, sometimes, it just has to be done. There can be few things more upsetting than seeing the person you love – the only person for you – about to marry some idiot because of her dimwit parents, or because, like Patrick Dempsey in Made of Honor, you've forgotten to tell her how you feel , or, like Bing Crosby in Road to Rio, it just seems like the right thing to do.
So, how should you proceed if the object of your...
- 8/18/2010
- The Guardian - Film News
Prick up your ears and harden your hearts as AJBee plays you his choice of the most spine-chilling clips of aural horror at the cinema
When it comes to cinema, sound is often sight's neglected sister. Yet all things aural feed our mood, while an absence of sound leaves scenes cold. This is why sound is a key tool of the filmmaker with a desire to genuinely affect their audience. Fingernails screeching down a blackboard signalled an ominous presence in Jaws, while the industrial grind of Eraserhead pummels the viewer into a paranoid wreck.
The darker side of cinema is often home to the most creative use of audio. For those who can't afford CGI, the experienced sound engineer proves invaluable. Who would have thought that The Exorcist's head-turning scene was made especially dread-drenched by the creak of a leather wallet? These skilfully added acoustics may be a backdrop for the movie,...
When it comes to cinema, sound is often sight's neglected sister. Yet all things aural feed our mood, while an absence of sound leaves scenes cold. This is why sound is a key tool of the filmmaker with a desire to genuinely affect their audience. Fingernails screeching down a blackboard signalled an ominous presence in Jaws, while the industrial grind of Eraserhead pummels the viewer into a paranoid wreck.
The darker side of cinema is often home to the most creative use of audio. For those who can't afford CGI, the experienced sound engineer proves invaluable. Who would have thought that The Exorcist's head-turning scene was made especially dread-drenched by the creak of a leather wallet? These skilfully added acoustics may be a backdrop for the movie,...
- 7/7/2010
- The Guardian - Film News
Slap on your blinkers as Karen Krizanovich gallops through the best equine clips on film
They're not just for little girls: horses in films symbolise life (The Red Pony), death (Gone With the Wind), bravery (Hidalgo) and comedy (The Mask of Zorro). Even the use of horses' heads – think The Godfather, The Tin Drum – make for indelible cinematic moments.
Equines bring emotional power to the big screen and a connection to magic and nature that few other animals seem to possess: Shadowfax in The Lord of the Rings, Black Beauty, and those four chariot horses named after stars in Ben-Hur. Their profound (and upsetting) use in Russian cinema (October by Eisenstein, Andre Rublev by Tarkovsky) is countered by Oliver Hardy's comic reincarnation as a horse at the end of The Flying Deuces and by Us TV's popular talking horse, Mr Ed (here rubbing noses with Clint Eastwood).
With Spielberg...
They're not just for little girls: horses in films symbolise life (The Red Pony), death (Gone With the Wind), bravery (Hidalgo) and comedy (The Mask of Zorro). Even the use of horses' heads – think The Godfather, The Tin Drum – make for indelible cinematic moments.
Equines bring emotional power to the big screen and a connection to magic and nature that few other animals seem to possess: Shadowfax in The Lord of the Rings, Black Beauty, and those four chariot horses named after stars in Ben-Hur. Their profound (and upsetting) use in Russian cinema (October by Eisenstein, Andre Rublev by Tarkovsky) is countered by Oliver Hardy's comic reincarnation as a horse at the end of The Flying Deuces and by Us TV's popular talking horse, Mr Ed (here rubbing noses with Clint Eastwood).
With Spielberg...
- 7/1/2010
- The Guardian - Film News
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