Industry speakers at festival include ‘Quo Vadis, Aida?’ director Jasmila Zbanic, former Marvel exec Karim Zreik.
Saudi Arabia’s Red Sea International Film Festival (Rsiff) has selected 26 feature film projects for its Red Sea Souk Project Market; plus a Work-in-Progress showcase, and speakers for its 360° industry events programme.
The 26 Souk projects hail from Africa and the Arab region. Titles include Djeliya, Memory Of Manding, a documentary from Burkinabe filmmaker Boubacar Sangare, whose third film A Golden Life played at the Berlinale earlier this year.
Scroll down for the full list of projects
Also included is Scandar Copti’s animated documentary A Childhood,...
Saudi Arabia’s Red Sea International Film Festival (Rsiff) has selected 26 feature film projects for its Red Sea Souk Project Market; plus a Work-in-Progress showcase, and speakers for its 360° industry events programme.
The 26 Souk projects hail from Africa and the Arab region. Titles include Djeliya, Memory Of Manding, a documentary from Burkinabe filmmaker Boubacar Sangare, whose third film A Golden Life played at the Berlinale earlier this year.
Scroll down for the full list of projects
Also included is Scandar Copti’s animated documentary A Childhood,...
- 11/7/2023
- by Ben Dalton
- ScreenDaily
Saudi Arabia’s Red Sea Film Festival has revealed details of the Red Sea Souk, the fest’s industry market that will offer meeting and networking opportunities revolving around new Arab and African product.
The Souk will take place Dec. 2-5 alongside the Nov. 30-Dec. 9 fest in Jeddah, on the Red Sea’s eastern shore. The fest’s industry side will also comprise the Red Sea Talent Days on Dec. 6-7, which will give regional talents and young filmmakers a chance to connect with industry experts.
The Red Sea Souk Project Market will showcase 26 feature-length projects from across the Arab and African region. Of these, 12 are Red Sea Lodge projects that were developed in-house during the year through workshops and labs in partnership with Italy’s Torino Film Lab.
Four of these projects will be awarded the annual Red Sea Lodge production prizes of $50,000 each.
All 26 selected projects in the...
The Souk will take place Dec. 2-5 alongside the Nov. 30-Dec. 9 fest in Jeddah, on the Red Sea’s eastern shore. The fest’s industry side will also comprise the Red Sea Talent Days on Dec. 6-7, which will give regional talents and young filmmakers a chance to connect with industry experts.
The Red Sea Souk Project Market will showcase 26 feature-length projects from across the Arab and African region. Of these, 12 are Red Sea Lodge projects that were developed in-house during the year through workshops and labs in partnership with Italy’s Torino Film Lab.
Four of these projects will be awarded the annual Red Sea Lodge production prizes of $50,000 each.
All 26 selected projects in the...
- 11/7/2023
- by Nick Vivarelli
- Variety Film + TV
The Red Sea International Film Festival (Rsiff) in Jeddah, Saudi Arabia has revealed the 26 projects selected as part of this year’s Red Sea Souk Market, which will run Dec. 2-5.
“The Red Sea Souk Project Market will present 26 feature-length projects from across the Arab and African region, offering a first opportunity for the industry audience to connect and build future opportunities with these projects,” organizers said on Tuesday.
Part of the selection are 12 “Red Sea Lodge” projects which were developed during the year through workshops and in partnership with the Torino Film Lab. Four of them will be awarded the annual Red Sea Lodge production prizes of $50,000 each.
All 26 projects in the market will compete for cash prizes offered by the Red Sea Fund, to be awarded by an international jury of producers. They are worth $35,000 for development, $25,000 for the jury special mention award and $100,000 for production.
Meanwhile, the...
“The Red Sea Souk Project Market will present 26 feature-length projects from across the Arab and African region, offering a first opportunity for the industry audience to connect and build future opportunities with these projects,” organizers said on Tuesday.
Part of the selection are 12 “Red Sea Lodge” projects which were developed during the year through workshops and in partnership with the Torino Film Lab. Four of them will be awarded the annual Red Sea Lodge production prizes of $50,000 each.
All 26 projects in the market will compete for cash prizes offered by the Red Sea Fund, to be awarded by an international jury of producers. They are worth $35,000 for development, $25,000 for the jury special mention award and $100,000 for production.
Meanwhile, the...
- 11/7/2023
- by Georg Szalai
- The Hollywood Reporter - Movie News
The Red Sea International Film Festival, has unveiled the 26 projects selected as part of its industry-focused Red Sea Souk Market, running from December 2 to 5.
Projects in development include Palestinian director Scandar Copti’s A Childhood, Lebanese-French filmmaker Danielle Arbid’s Love Conquers All and Madness And Honey Days by Iraq’s Ahmed Yassin Al-Daradji.
Within the Market selection are twelve Red Sea Lodge projects which were developed during the year through intensive workshops and in partnership with the Torino Film Lab. Four of these projects will be awarded the annual Red Sea Lodge production prizes of $50,000 each.
All 26 selected projects will compete for cash prizes offered by the Red Sea Fund, to be awarded by an international jury of producers: $35,000 for development, $25,000 for the Jury Special Mention Award and $100,000 for production
Another six projects will be showcased in Works-In-Progress section including Men In The Sun by Palestinian director Mahdi Fleifel,...
Projects in development include Palestinian director Scandar Copti’s A Childhood, Lebanese-French filmmaker Danielle Arbid’s Love Conquers All and Madness And Honey Days by Iraq’s Ahmed Yassin Al-Daradji.
Within the Market selection are twelve Red Sea Lodge projects which were developed during the year through intensive workshops and in partnership with the Torino Film Lab. Four of these projects will be awarded the annual Red Sea Lodge production prizes of $50,000 each.
All 26 selected projects will compete for cash prizes offered by the Red Sea Fund, to be awarded by an international jury of producers: $35,000 for development, $25,000 for the Jury Special Mention Award and $100,000 for production
Another six projects will be showcased in Works-In-Progress section including Men In The Sun by Palestinian director Mahdi Fleifel,...
- 11/7/2023
- by Melanie Goodfellow
- Deadline Film + TV
Marrakech — Filmmaker teams from as far afield as Burkina Faso, Qatar and Palestine headed to Morocco this weekend for the Production and Post Production section of industry and talent mentoring program the Atlas Workshops, which runs Nov. 14-17 at the Marrakech Film Festival.
“There has been a big interest in Arab cinema for a few years now,” said Thibaut Bracq, head of Atlas Workshops. “The support came at the right moment. Big festivals now have an interest in attending our event because they know there are interesting projects in this and other sections.”
Hot titles include “Disco Africa,” the first feature from Madagascar to take part in the program. With connections to the city, Luck Razanajaona, the filmmaker, studied in Marrakech at the École Supérieure d’Audiovisuel.
Meanwhile, “Inshallah a Boy,” which is in early post production, is the first feature to take part from Jordan. People familiar with the...
“There has been a big interest in Arab cinema for a few years now,” said Thibaut Bracq, head of Atlas Workshops. “The support came at the right moment. Big festivals now have an interest in attending our event because they know there are interesting projects in this and other sections.”
Hot titles include “Disco Africa,” the first feature from Madagascar to take part in the program. With connections to the city, Luck Razanajaona, the filmmaker, studied in Marrakech at the École Supérieure d’Audiovisuel.
Meanwhile, “Inshallah a Boy,” which is in early post production, is the first feature to take part from Jordan. People familiar with the...
- 11/14/2022
- by Liza Foreman
- Variety Film + TV
The festival runs November 11-19
The Marrakech International Film Festival (November 11-19) has mapped out its 2022 Atlas Workshops programme with 23 projects and films selected for its 5th edition.
The Moroccan festival’s industry platform will feature 16 projects in development and six films in post-production from 11 countries. The project incubator and industry platform was launched in 2018 and was held online in 2020 and 2021. This will be its return to an in-person event set for Nov 14-17. The program aims to support the next generation of Moroccan, Arab and African filmmakers by giving their projects exposure on the international stage during the global,...
The Marrakech International Film Festival (November 11-19) has mapped out its 2022 Atlas Workshops programme with 23 projects and films selected for its 5th edition.
The Moroccan festival’s industry platform will feature 16 projects in development and six films in post-production from 11 countries. The project incubator and industry platform was launched in 2018 and was held online in 2020 and 2021. This will be its return to an in-person event set for Nov 14-17. The program aims to support the next generation of Moroccan, Arab and African filmmakers by giving their projects exposure on the international stage during the global,...
- 10/19/2022
- by Rebecca Leffler
- ScreenDaily
Dubai/Exclusive: Acclaimed French actress Isabelle Huppert is in line to make her starring debut in an Arab film, playing a Morocco-born French woman in Abdellah Taïa’s The Treasure.
The $1.6m feature is one of several high-profile projects that are seeking completion funding as part of the Dubai Film Connection co-production forum. Representing the film here is Roman Paul, co-head of Razor Films, the Berlin production company involved in both Paradise Now and Wadjda.
Taïa, the Moroccan writer and filmmaker, said Huppert will play the role of the newly destitute Janine who goes in search of hidden treasure in Morocco’s Atlas Mountains, accompanied by her building’s superintendent.
“It’s a confrontation between two worlds, the Orient and the West, in a French postcolonial Morocco,” explained Taïa. This will be his second narrative feature after his adaptation of his own largely autobiographical novel Salvation Army that told the story of a gay man negotiating his way...
The $1.6m feature is one of several high-profile projects that are seeking completion funding as part of the Dubai Film Connection co-production forum. Representing the film here is Roman Paul, co-head of Razor Films, the Berlin production company involved in both Paradise Now and Wadjda.
Taïa, the Moroccan writer and filmmaker, said Huppert will play the role of the newly destitute Janine who goes in search of hidden treasure in Morocco’s Atlas Mountains, accompanied by her building’s superintendent.
“It’s a confrontation between two worlds, the Orient and the West, in a French postcolonial Morocco,” explained Taïa. This will be his second narrative feature after his adaptation of his own largely autobiographical novel Salvation Army that told the story of a gay man negotiating his way...
- 12/10/2016
- ScreenDaily
Co-production market running Dec 9-11 during the Dubai International Film Festival unveils line-up.
Lebanese actress Hiam Abbass [pictured] and Palestinian director Najwa Najjar will be among the film-makers presenting their upcoming feature film projects at the Dubai Film Connection (Dfc) this year.
The annual co-production event, focused on Arab cinema and taking place during the Dubai International Film Festival (Dec 7-14), unveiled its upcoming line-up on Monday (Nov 7).
Projects
A total of 13 projects – hailing from Lebanon, Algeria, Jordan, Iraq, Egypt, Syria, Palestine and Morocco – have been selected.
Abbass will present her second feature-length film A Girl Made Of Dust, an adaptation of Nathalie Abi-Ezzi’s acclaimed novel about the experiences of a family living in a village near Beirut during the 1980s Lebanese civil war, told from the perspective of its youngest member, the eight-year-old daughter Ruba.
Najjar – who won the top prize at the Dfc in 2011 for her last film Eyes Of A Thief – returns with The...
Lebanese actress Hiam Abbass [pictured] and Palestinian director Najwa Najjar will be among the film-makers presenting their upcoming feature film projects at the Dubai Film Connection (Dfc) this year.
The annual co-production event, focused on Arab cinema and taking place during the Dubai International Film Festival (Dec 7-14), unveiled its upcoming line-up on Monday (Nov 7).
Projects
A total of 13 projects – hailing from Lebanon, Algeria, Jordan, Iraq, Egypt, Syria, Palestine and Morocco – have been selected.
Abbass will present her second feature-length film A Girl Made Of Dust, an adaptation of Nathalie Abi-Ezzi’s acclaimed novel about the experiences of a family living in a village near Beirut during the 1980s Lebanese civil war, told from the perspective of its youngest member, the eight-year-old daughter Ruba.
Najjar – who won the top prize at the Dfc in 2011 for her last film Eyes Of A Thief – returns with The...
- 11/7/2016
- ScreenDaily
Nate Parker’s directorial debut claimed the Us Grand Jury Prize: Dramatic and corresponding audience award at the Sundance Film Festival on Saturday, capping off a barnstorming week for the slave revolt drama.
Last week The Birth Of A Nation sparked a bidding frenzy that resulted in the biggest on-site deal in the festival’s history as Fox Searchlight paid $17.5m for worldwide rights.
Sonita, Rokhsareh Ghaem Maghami’s film about a rapping Afghan teenager opposed to arranged marriage, earned similar double honours as it won the World Cinema Grand Jury Prize: Documentary and audience awards.
The Us Grand Jury Prize: Documentary award went to Josh Kriegman and Elyse Steinberg’s Weiner, while the audience voted for Brian Oakes’ Jim: The James Foley Story.
The World Cinema Grand Jury Prize: Dramatic went to Elite Zexer’s Sand Story and the audience choice was Carlos del Castillo’s Between Land And Sea.
In other winners:...
Last week The Birth Of A Nation sparked a bidding frenzy that resulted in the biggest on-site deal in the festival’s history as Fox Searchlight paid $17.5m for worldwide rights.
Sonita, Rokhsareh Ghaem Maghami’s film about a rapping Afghan teenager opposed to arranged marriage, earned similar double honours as it won the World Cinema Grand Jury Prize: Documentary and audience awards.
The Us Grand Jury Prize: Documentary award went to Josh Kriegman and Elyse Steinberg’s Weiner, while the audience voted for Brian Oakes’ Jim: The James Foley Story.
The World Cinema Grand Jury Prize: Dramatic went to Elite Zexer’s Sand Story and the audience choice was Carlos del Castillo’s Between Land And Sea.
In other winners:...
- 1/30/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
It opens this Friday, January 23, for a one week exclusive theatrical run at Film Society, Lincoln Center... It's hard to pinpoint exactly where director Abdellah Taia's "Salvation Army" goes wrong, mostly because it had so much going for it to begin with. Based on Taia's own successful autobiographical novel of the same name, the film attempts to tell a story not often seen on screen, that of a young gay man growing up in Morocco, trying to reconcile his own desires with his obligations to his family. Actor Said Mrini plays the young Abdellah, a boy of 15 who lives in a small house where he seems to fade into the background in a household dominated by several...
- 1/21/2015
- by Zeba Blay
- ShadowAndAct
The distributor has struck a worldwide rights deal for Participant Media and Omidyar Network’s documentary that ScreenDaily understands will premiere in Telluride before a screening in Toronto.
Robert Kenner of Food, Inc fame directed Merchants Of Doubt, inspired by the book of the same name by Naomi Oreskes and Erik Conway about professional skeptics.
Kenner produced with Melissa Robledo. Participant Media founder Jeff Skoll served as executive producer with Participant evp of documentary films Diane Weyermann and Pierre Omidyar of Omidyar Network.
Spc plans to release the film by the end of the year.
Strand Releasing has acquired all Us rights to Abdellah Taia’s Salvation Army, which just won the Artistic Achievement Award at Outfest 2014 in Los Angeles. The feature directorial debut film is based on Taia’s autobiographical novel about growing up gay in Morocco. Strand brokered the deal with Les Films de Pierre.
Robert Kenner of Food, Inc fame directed Merchants Of Doubt, inspired by the book of the same name by Naomi Oreskes and Erik Conway about professional skeptics.
Kenner produced with Melissa Robledo. Participant Media founder Jeff Skoll served as executive producer with Participant evp of documentary films Diane Weyermann and Pierre Omidyar of Omidyar Network.
Spc plans to release the film by the end of the year.
Strand Releasing has acquired all Us rights to Abdellah Taia’s Salvation Army, which just won the Artistic Achievement Award at Outfest 2014 in Los Angeles. The feature directorial debut film is based on Taia’s autobiographical novel about growing up gay in Morocco. Strand brokered the deal with Les Films de Pierre.
- 8/7/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
The distributor has struck a worldwide rights deal for Participant Media and Omidyar Network’s documentary that ScreenDaily understands will premiere in Telluride before a screening in Toronto.
Robert Kenner of Food, Inc fame directed Merchants Of Doubt, inspired by the book of the same name by Naomi Oreskes and Erik Conway about professional skeptics.
Kenner produced with Melissa Robledo. Participant Media founder Jeff Skoll served as executive producer with Participant evp of documentary films Diane Weyermann and Pierre Omidyar of Omidyar Network.
Spc plans to release the film by the end of the year.
Strand Releasing has acquired all Us rights to Abdellah Taia’s Salvation Army, which just won the Artistic Achievement Award at Outfest 2014 in Los Angeles.
The feature directorial debut film is based on Taia’s autobiographical novel about growing up gay in Morocco.
Strand brokered the deal with Les Films de Pierre.
Robert Kenner of Food, Inc fame directed Merchants Of Doubt, inspired by the book of the same name by Naomi Oreskes and Erik Conway about professional skeptics.
Kenner produced with Melissa Robledo. Participant Media founder Jeff Skoll served as executive producer with Participant evp of documentary films Diane Weyermann and Pierre Omidyar of Omidyar Network.
Spc plans to release the film by the end of the year.
Strand Releasing has acquired all Us rights to Abdellah Taia’s Salvation Army, which just won the Artistic Achievement Award at Outfest 2014 in Los Angeles.
The feature directorial debut film is based on Taia’s autobiographical novel about growing up gay in Morocco.
Strand brokered the deal with Les Films de Pierre.
- 8/7/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
It's hard to pinpoint exactly where director Abdellah Taia's Salvation Army goes wrong, mostly because it had so much going for it to begin with. Based on Taia's own successful autobiographical novel of the same name, the film attempts to tell a story not often seen on screen, that of a young gay man growing up in Morocco, trying to reconcile his own desires with his obligations to his family.Actor Said Mrini plays the young Abdellah, a boy of 15 who lives in a small house where he seems to fade into the background in a household dominated by several sisters and the constant tensions between his overbearing mother and surly father. There's also his older brother Slimane (Amine...
- 3/28/2014
- by Zeba Blay
- ShadowAndAct
Top brass at the 57th San Francisco International Film Festival (Sfiff) have announced the films in competition for the New Directors Prize and the Golden Gate Award contenders in the documentary category.
The festival will award close to $40,000 in total cash prizes this year.
The New Directors Prize of $10,000 will go to a narrative first feature that exhibits “a unique artistic sensibility and deserves to be seen by as wide an audience as possible.”
The Gga documentary winner will receive $10,000 and the Gga Bay Area documentary feature winner will receive $5,000.
The Sfiff is scheduled to run from April 24-May 8.
The 2014 New Directors Prize (Narrative Feature) Competition entries are:
The Amazing Catfish (pictured, Mexico), dir Claudia Sainte-Luce
The Blue Wave (Turkey-Germany-Netherlands-Greece), dir Zeynep Dadak and Merve Kayan
Difret (Ethiopia), dir Zeresenay Berhane Mehari
The Dune (France-Israel), dir Yossi Aviram
History Of Fear (Argentina-France-Germany-Uruguay-Qatar), dir Benjamin Naishtat
Manos Sucias (Us-Colombia), dir Josef Wladyka
Of Horses And Men (Iceland-Germany), dir Benedikt Erlingsson...
The festival will award close to $40,000 in total cash prizes this year.
The New Directors Prize of $10,000 will go to a narrative first feature that exhibits “a unique artistic sensibility and deserves to be seen by as wide an audience as possible.”
The Gga documentary winner will receive $10,000 and the Gga Bay Area documentary feature winner will receive $5,000.
The Sfiff is scheduled to run from April 24-May 8.
The 2014 New Directors Prize (Narrative Feature) Competition entries are:
The Amazing Catfish (pictured, Mexico), dir Claudia Sainte-Luce
The Blue Wave (Turkey-Germany-Netherlands-Greece), dir Zeynep Dadak and Merve Kayan
Difret (Ethiopia), dir Zeresenay Berhane Mehari
The Dune (France-Israel), dir Yossi Aviram
History Of Fear (Argentina-France-Germany-Uruguay-Qatar), dir Benjamin Naishtat
Manos Sucias (Us-Colombia), dir Josef Wladyka
Of Horses And Men (Iceland-Germany), dir Benedikt Erlingsson...
- 3/6/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Lgbt sales company with Rotterdam/Gothenburg film and further four titles
French Lgbt distributor Outplay’s fledgling sales arm Outplay Films is making its first appearance at this year’s Efm with a line-up including Ester Martin Bergsmark’s Something Must Break straight from playing in competition in Rotterdam - where it won a Tiger - and Gothenburg.
The new outfit’s head of international acquisitions and sales Philippe Tasca also has lined up Moroccan writer-director Abdellah Taia’s Salvation Army; Argentinian film-maker Rodrigo Guerrero’s third feature The Third One; Yannick Delhaye’s documentary Hands Untied - Looking For Gay Cinema; and Mark Thiedeman’s debut Last Summer, which won the award for Best Director at last year’s Little Rock Film Festival.
Before coming onboard Outplay Films, Tasca had headed up his own sales company Rendez-vous Pictures for the last eight years.
Rendez-vous will no longer be acquiring new titles, although sales and...
French Lgbt distributor Outplay’s fledgling sales arm Outplay Films is making its first appearance at this year’s Efm with a line-up including Ester Martin Bergsmark’s Something Must Break straight from playing in competition in Rotterdam - where it won a Tiger - and Gothenburg.
The new outfit’s head of international acquisitions and sales Philippe Tasca also has lined up Moroccan writer-director Abdellah Taia’s Salvation Army; Argentinian film-maker Rodrigo Guerrero’s third feature The Third One; Yannick Delhaye’s documentary Hands Untied - Looking For Gay Cinema; and Mark Thiedeman’s debut Last Summer, which won the award for Best Director at last year’s Little Rock Film Festival.
Before coming onboard Outplay Films, Tasca had headed up his own sales company Rendez-vous Pictures for the last eight years.
Rendez-vous will no longer be acquiring new titles, although sales and...
- 2/9/2014
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
The Film Society of Lincoln Center and the Museum of Modern Art have unveiled the seven official selections for their 2014 New Directors/New Films Festival, running March 19–30. The 2014 edition marks the 43rd year of the fest.Included in the lineup are Richard Ayoade's "The Double," starring Jesse Eisenberg and Mia Wasikowska, also heading to Sundance following its premiere on the fall fest circuit; Icelandic comedy and the country's official Oscar entry "Of Horses and Men"; and debut features from China (Vivien Qu's "Trap Street") and France (Abdellah Taia's "Salvation Army").Film Society and MoMA Members may purchase tickets starting at Noon on Sunday, March 2. Tickets will be available for purchase by the General Public on Monday, March 10.Representing eleven countries from around the world, these initial seven selections are:The Double (2013) 93 minDirector: Richard Ayoade Country: UK Richard Ayoade has built a loyal following with his hilariously off characters,...
- 1/15/2014
- by Beth Hanna
- Thompson on Hollywood
Late as usual. People are attending Mipcom in Cannes and in November Afm in Santa Monica, and I’m only now getting around to writing about my own private Toronto. I chose films I would not be able to see soon in a theater near me and I chose films because my schedule permitted me to see them. Occasionally I chose films my friends were going to and that happened when my time was not demanding other things be done.
I wish I could have seen 100 other films too but for some reason or another I could not fit them in.
I moderated a wonderful panel (and we did blog on that!) on international film financing with Sffs’ Ted Hope, UTA’s Rena Ronson, Revolution’s Andrew Eaton, and Hollywood-based Cross Creek’s Brian Oliver, and Paul Miller, Head of Film Financing, from the Doha Film Institute, Qatar's first international organization dedicated to film financing, production, education and two film festivals.
I also spoke with Toronto Talent Lab filmmakers and then I filled my days with films – I did get an interview with Gloria’s director Sebastian Lelio and Berlin Best Actress winner Paulina Garcia and with Marcela Said, director of The Summer of Flying Fish but mostly I watched film after film after film – up to five a day, just like in the old days when I had to do it for my acquisitions jobs. This was pure pleasure. Friends would meet before the film, we would watch and disperse. And we would meet again at the cocktail hour or the dinner hour and then disperse again.
My partner Peter had lots of meetings with the Talent of Toronto from the Not Short on Shorts and the Talent Lab Mentoring Programs.
Parties like the Rotterdam-Screen International party gave us the chance to catch up with our Dutch friends whom we have not seen for the last two years. Ontario Media Development Corporation’s presenting the International Financing Forum luncheon gave us the chance to talk to lots of upcoming filmmakers and old friends again who were mentoring them. The panel Forty Years On: Women’s Film Festivals Today, moderated by Kay Armatage, former Tiff programmer, Professor Emeritus University of Toronto, and featuring Debra Zimmerman, Executive Director of Women Make Movies, NYC, Melissa Silverstein, Do-Fojnder an dArtistic Director of the Athena Film Festival in NYC and blogger of Women in Hollywood, So-In Hong, Director of Programming of the International Women’s Film Festival in Seoul had a rapport and didn’t hesitate to challenge each other. It felt like a party even though the subject was quite serious. The SXSW party was crowded as always, filled with everyone we could possibly know. It is always a great party we all want to attend.
One of the great dinners was that of The Creative Coalition Spotlight Awards Dinner honoring Alfre Woodard (12 Years a Slave), Hill Harper (1982, CSI: NY), Sharon Leal (1982), Matt Letscher (Scandal, The Carrie Diaries), Brenton Thwaites (Oculus, Maleficient), Tommy Oliver (1982, Kinyarwanda – I am a great fan of Tommy’s!), Tom Ortenberg (CEO, Open Road Films which has a coventure with Regal Theaters and AMC Theaters recently acquired by the richest man in China), and David Arquette (The Scream series). Our hostess, Robin Bronk is so welcoming and so dedicated to furthering the cause of universal education as a human right, education in the arts as a must. I admire her presence and her good work.
Here is a list of the great (and not so great, but never bad) films I got to see. I also list those I continue to hear about even now. I do not list all the films which were picked up during the festival and later. For that, you can go to SydneysBuzz.com and buy the Fall Rights Roundup 2013 and see all films whose rights were acquired (and announced) and by whom with links to all companies and Cinando for further research. For buyers it will, by deduction, show what is still available for Afm and for programmers, it will show who is in charge of the film for specific territories. The second edition will be issued two weeks after Afm.
One of the first films I saw and still retaining its place as one of my favorites was the documentary Finding Vivian Maier which begins with the discovery of photographs by an unknown woman named Vivian Maier by filmmaker John Maloof. As the mystery of this woman is uncovered, the audience is treated to her stunning work and the story of who she was.
One of my favorite films was by one of my favorite directors, Lucas Moodyson. We Are The Best (Isa: Trust Nordisk) was a great surprise, the story of three teeny-bopper punk-influenced girls who loved getting into unusual situations. It was loving and fun, darling and funny. I would take my children to see it and would delight in seeing it again. It was the biggest surprise for me. I can see why Magnolia snapped it up for the U.S. I thank programmer Steve Gravenstock for giving me the ticket for this film which I would have missed otherwise.
I had missed Jodorowsky’s Dune in Cannes. I am a great fan of El Topo and was eager to see this film. I was surprised at the elegance and skill of Jodorowsky in explaining his vision. Afterward, Gary Springer, our favorite publicist, arranged a wonderful reception at a classic comic book store where we loaded up on some fascinating graphic novels and Gary showed us his depiction on an old issue of Mad Magazine discussing the making of Jaws which he was in. picture here.
A totally unique and unexpected film about the African Diaspora, Belle, written and directed by Amma Asante was not talked about much to my surprise, perhaps because Fox Searchlight acquired all rights worldwide from Bankside before the festival. It is a stunningly beautiful British period piece of the 18th century about a mixed race aristocratic beauty.
My favorite film, on a par with The Patience Stone last year was Bobo (Isa: Wide) by Ines Oliveira starring Paula Garcia Aissato Indjai, produced by my friend Fernando Vendrell who gave me a ticket when I could not get one myself. This story of a woman who does nothing except go to work is forced to accept a claning woman and her young sister from Guinea-Bissau. Together they face down their demons. I love the cross-cultural understanding which results in their shared situations. I recently saw Mother of George and found the same warm connection across great cultural divides, though this one was of generations.
I wish I could have seen Pays Barbare/ Barbaric Land, the Italian/ French doc in Wavelengths about Mussolini’s attempted subjugation of Ethiopia (the only country in Africa never colonized). It sounds like great political poetry.
1982 which had previously won the prize of the jury I served on for Us Works in Progress held in July at the Champs Elysees Film Festival in Paris. It was deeply moving and disturbing film which depicts the shattering and the healing of a family. It also helps feed the pipeline begun with Lee Daniels producing Monster’s Ball who went on to direct to such films as Precious and The Butler. If the African American experience can continue to be expressed so eloquently by such filmmakers as Tommy Oliver, Rashaad Ernesto Green (Sundance 2012’s Gun Hill Road), Ava DuVernay (Middle of Nowhere), then a film literate audience will foster greater growth of even more talent in the coming generation. While I didn’t see All Is By My Side by U.K.’s John Ridley which is about Jimi Hendrix nor (yet!) the most highly acclaimed film of the festival, 12 Years a Slave by U.K.’s Steve McQueen, but I would include them in this discussion of the African American Experience.
On the subject of Africa, where last Sundance God Loves Uganda shocked and upset me, this year Mission Congo (Cinephil) revealed much of the same cultural divide only these two films show the negative impact of the Christian right upon already besieged Africans. What is done in the name of a righteous G-d is cause for dialogue and oversight.
Israel and the Middle East
No major turmoil or denunciations this year (Thank G-d, Allah, or whoever She may be). Katriel Schory, head of the Israeli Film Fund told me that if I could only see one film, then it should be Bethlehem which is the country’s submission for Academy Award Consideration for the Nomination for Best Foreign Language Film. It was a sad and clear eyed microcosmic view of the issues of trust and betrayals played out among every level of the society. People compared it to Omar by Hany Abu-Assad,the filmmaker of a favorite of mine, Paradise Now, but I did not see Omar.
Rags and Tatters at first seemed like a documentary, and does have doc footage, but it is a circular story that ends where it began but with much more understanding of the chaotic events in Cairo. Really worth watching.
Latino
Of the Latino films two Chilean films, Gloria (Chile) and The Summer of Flying Fish (Review), were accompanied by interviews which you can read on my previous blogs here and here. El Mudo from Peru by the Vega brothers was in the odd vien of their previous film, October. Not sure at the end just what the film was saying…
Toronto Film Fest Programmer Diana Sanchez’s official count of Latino films in the festival is 16. Of these, 5 are by women; 30% is a strong number. Venezuela and Chile are strong with year with two films each. Two other films might have been chosen except they went to San Sebastian for their world premieres. Especially hot this year was Mexico. 4 films are here but she might have chosen 10 if she could have. Costa Rica is making a showing with All About the Feathers and Central America is making more movies. There is lots of industry buzz coming from the good pictures from Brazil like A Wolf at the Door from Sao Paolo production
She is not counting Gravity by Alfonso Cuaron as as Latino film but as a U.S. film.
And Our White Society
The Dinner (Isa: Media Luna) by Menno Meyjes ♀ (Isa: Media Luna), a Dutch film deals with the personal and political as two families disintegrate when the affluent sons kill a homeless woman. Deeply disturbing social issues on the other side of the spectrum from those of 1982 and yet very much the same. How a society can foster such dissonance in class structure today which results in the disintegration of family and even a nation’s political life is, as I said, deeply disturbing. Based on the N.Y. Times best selling book which sold over 650,000 in The Netherlands, and is published in 22 countries, it stars four of Holland’s most renowned actors, Jacob Derwig, Thekla Reuten, Daan Schuurmans, and Kim van Kooten. This is a story that could be remade in America and still maintain its strength. The writer-director Menno Meyjes wrote the Academy Award nominee The Color Purple and collaborated with director Steven Speilberg on Indiana Jones and the Last Crusade. In 2008 he directed Manolete with Penelope Cruz and Adrien Brody.
The Last of Robin Hood was a romp which thrilled us because Peter Belsito, my own dear husband, had a moment on screen (as the director of Errol Flynn’s last film Cuban Rebel Girls). He got the part because he had had an equally small role in the original Cuban Rebel Girls when it filmed in Cuba in 1959, four months after the Revolution. He happened to be there on vacation with his family including his 18 year old sister and his crazy aunt because Puerto Rico was full that year and Cuba had plenty of room. Directors Richard Glatzer and Wash Westmoreland invited him to play in their film. The film actually had more meaning than merely a romp as it revealed what lays below the June-September love affair between Errol Flynn and 15 year old Beverly Aadland, the nature of fame (“a religion in this godless country” to quote Flynn himself) and ambition. Kevin Kline, Susan Sarandan and Dakota Fanning were all great in the repertoire piece.
Can a Song Save Your Life? garnered great praise as the film that followed the simple pure Once. I found it a bit flat though it kept my interest enough that I was not contemplating leaving. But it lacked the simplicity of Once.
Fading Gigolo proves that a Woody Allen Film is a Genre. John Turturro makes a Woody Allen middle-aged man fantasy of a wished for love affair with a Hasidic woman. Turturro is always lovable on screen, but his directing has something inauthentic about it…the only authentic thing was the twice-stated thought that somewhere in his heritage he was really Jewish. When I saw his previous film Passione, about Italians and passion, the opening song, being one of the first Cuban songs I ever heard, turned me off because again, it was inauthentic. It was Cuban, not Italian. I think he is not comfortable in his Italian guise.
Other films at Tiff I have seen previously:
Only Lovers Left Alive by Jim Jarmusch (Isa: HanWay, U.S. Spc). If you can see it as a dream of night, then the vampires dreaminess might appeal to you. I personally was ready to fall into my own stupor after watching this 123 minute movie of Vampires who have seen it all. Zzzzzz.
Don Jon is sexy and sweet. Scarlett Johansson is a superb comedienne, equal to Claudette Colbert in this film about two totally media mesmerized young lovers. ___ and his father are also great straight men. I loved this film, so funny and sweet and all about sex. Loved it!
Borgman Darkest humor, or is it humor? Creepy and definitely engrossing. Dutch filmmaker Alex van Warmerdam at his best. This is the Netherlands' Official Academy Awards Submission.
What I hear was good:
Aside from the ones that got snapped up for lots of money and are covered in all the trades already, there are films which I keep hearing about even now and will see:
Supermensch: The Legend of Shep Gordon
12 Years a Slave (Isa: Summit, U.S. Fox Searchlight)
The Lunchbox (Isa: The Match Factory)
Prisoners (Isa: Summit/ Lionsgate, U.S.: Warner Bros)
Dallas Buyers Clubs (Isa: Voltage, U.S. Focus Features)
Life of Crime (Isa: Hyde Park, U.S.: )
A Touch of Sin (Isa: MK2, U.S. Kino Lorber)
Gravity (Isa: Warner Bros. U.S. Warner Bros.)
Enough Said (Isa: Fox Searchlight, U.S. Fox Searchlight)
La Grande Bellezza (The Great Beauty) (Isa: Pathe, U.S. Criterion) Italy’s submission for Academy Award Nomination for Best Foreign Language Film
Violette (Isa: Doc & Film, U.S.: ?)
Omar (Isa: The Match Factory, U.S.: ?)
Le Passe (The Past) (Isa: Memento, U.S. Spc) Iran’s submission for Academy Award Nomination for Best Foreign Language Film.
To the Wolf (Isa: Pascale Ramonda)
The Selfish Giant (Isa: Protagonist, U.S. IFC)
At Berkeley by Frederick Wiseman (Isa: Doc & Film, U.S. Zipporah)
The Unknown Known (Isa: Entertainment One, U.S. Radius-twc)
Ain’t Misbehavin (Un Voyager) by Marcel Ophuls (Isa: Wide House)
Faith Connections by Pan Nalin (Isa: Cite Films). This Indian French film, produced by Raphael Berduo among others is written about here.
Civil Rights (?)
Mandela: Long Walk to Freedom
12 Years a Slave (Isa: Summit, U.S. Fox Searchlight)
Belle (Isa: Bankside, all rights sold to Fox Searchlight)
Lgbt
Kill Your Darlings: The youthful finding of himself by Alan Ginsburg as he enters Colombia University and meets Lucien Carr, Jack Kerouac and Alan Bourroughs revolves around a murder which actually happened. The period veracity and Daniel Radcliffe’s acting carry the film into a fascinating character study. (U.S. Spc)
Dallas Buyers Club (Isa: Voltage, U.S. Focus Features)
Tom a la ferme / Tom at the Farm by Xavier Dolan Isa: MK2, U.S.:)
L’Armee du salut/ Salvation Army by Abdellah Taia (Isa: - U.S.:-)
Eastern Boys (Isa: Films Distribution)
Pelo Malo/ Bad Hair (FiGa Films)
The Dog (Producer Rep: Submarine)
Ignasi M. (Isa: Latido)
Gerontophilia (Isa: MK2, U.S. Producer Rep: Filmoption)...
I wish I could have seen 100 other films too but for some reason or another I could not fit them in.
I moderated a wonderful panel (and we did blog on that!) on international film financing with Sffs’ Ted Hope, UTA’s Rena Ronson, Revolution’s Andrew Eaton, and Hollywood-based Cross Creek’s Brian Oliver, and Paul Miller, Head of Film Financing, from the Doha Film Institute, Qatar's first international organization dedicated to film financing, production, education and two film festivals.
I also spoke with Toronto Talent Lab filmmakers and then I filled my days with films – I did get an interview with Gloria’s director Sebastian Lelio and Berlin Best Actress winner Paulina Garcia and with Marcela Said, director of The Summer of Flying Fish but mostly I watched film after film after film – up to five a day, just like in the old days when I had to do it for my acquisitions jobs. This was pure pleasure. Friends would meet before the film, we would watch and disperse. And we would meet again at the cocktail hour or the dinner hour and then disperse again.
My partner Peter had lots of meetings with the Talent of Toronto from the Not Short on Shorts and the Talent Lab Mentoring Programs.
Parties like the Rotterdam-Screen International party gave us the chance to catch up with our Dutch friends whom we have not seen for the last two years. Ontario Media Development Corporation’s presenting the International Financing Forum luncheon gave us the chance to talk to lots of upcoming filmmakers and old friends again who were mentoring them. The panel Forty Years On: Women’s Film Festivals Today, moderated by Kay Armatage, former Tiff programmer, Professor Emeritus University of Toronto, and featuring Debra Zimmerman, Executive Director of Women Make Movies, NYC, Melissa Silverstein, Do-Fojnder an dArtistic Director of the Athena Film Festival in NYC and blogger of Women in Hollywood, So-In Hong, Director of Programming of the International Women’s Film Festival in Seoul had a rapport and didn’t hesitate to challenge each other. It felt like a party even though the subject was quite serious. The SXSW party was crowded as always, filled with everyone we could possibly know. It is always a great party we all want to attend.
One of the great dinners was that of The Creative Coalition Spotlight Awards Dinner honoring Alfre Woodard (12 Years a Slave), Hill Harper (1982, CSI: NY), Sharon Leal (1982), Matt Letscher (Scandal, The Carrie Diaries), Brenton Thwaites (Oculus, Maleficient), Tommy Oliver (1982, Kinyarwanda – I am a great fan of Tommy’s!), Tom Ortenberg (CEO, Open Road Films which has a coventure with Regal Theaters and AMC Theaters recently acquired by the richest man in China), and David Arquette (The Scream series). Our hostess, Robin Bronk is so welcoming and so dedicated to furthering the cause of universal education as a human right, education in the arts as a must. I admire her presence and her good work.
Here is a list of the great (and not so great, but never bad) films I got to see. I also list those I continue to hear about even now. I do not list all the films which were picked up during the festival and later. For that, you can go to SydneysBuzz.com and buy the Fall Rights Roundup 2013 and see all films whose rights were acquired (and announced) and by whom with links to all companies and Cinando for further research. For buyers it will, by deduction, show what is still available for Afm and for programmers, it will show who is in charge of the film for specific territories. The second edition will be issued two weeks after Afm.
One of the first films I saw and still retaining its place as one of my favorites was the documentary Finding Vivian Maier which begins with the discovery of photographs by an unknown woman named Vivian Maier by filmmaker John Maloof. As the mystery of this woman is uncovered, the audience is treated to her stunning work and the story of who she was.
One of my favorite films was by one of my favorite directors, Lucas Moodyson. We Are The Best (Isa: Trust Nordisk) was a great surprise, the story of three teeny-bopper punk-influenced girls who loved getting into unusual situations. It was loving and fun, darling and funny. I would take my children to see it and would delight in seeing it again. It was the biggest surprise for me. I can see why Magnolia snapped it up for the U.S. I thank programmer Steve Gravenstock for giving me the ticket for this film which I would have missed otherwise.
I had missed Jodorowsky’s Dune in Cannes. I am a great fan of El Topo and was eager to see this film. I was surprised at the elegance and skill of Jodorowsky in explaining his vision. Afterward, Gary Springer, our favorite publicist, arranged a wonderful reception at a classic comic book store where we loaded up on some fascinating graphic novels and Gary showed us his depiction on an old issue of Mad Magazine discussing the making of Jaws which he was in. picture here.
A totally unique and unexpected film about the African Diaspora, Belle, written and directed by Amma Asante was not talked about much to my surprise, perhaps because Fox Searchlight acquired all rights worldwide from Bankside before the festival. It is a stunningly beautiful British period piece of the 18th century about a mixed race aristocratic beauty.
My favorite film, on a par with The Patience Stone last year was Bobo (Isa: Wide) by Ines Oliveira starring Paula Garcia Aissato Indjai, produced by my friend Fernando Vendrell who gave me a ticket when I could not get one myself. This story of a woman who does nothing except go to work is forced to accept a claning woman and her young sister from Guinea-Bissau. Together they face down their demons. I love the cross-cultural understanding which results in their shared situations. I recently saw Mother of George and found the same warm connection across great cultural divides, though this one was of generations.
I wish I could have seen Pays Barbare/ Barbaric Land, the Italian/ French doc in Wavelengths about Mussolini’s attempted subjugation of Ethiopia (the only country in Africa never colonized). It sounds like great political poetry.
1982 which had previously won the prize of the jury I served on for Us Works in Progress held in July at the Champs Elysees Film Festival in Paris. It was deeply moving and disturbing film which depicts the shattering and the healing of a family. It also helps feed the pipeline begun with Lee Daniels producing Monster’s Ball who went on to direct to such films as Precious and The Butler. If the African American experience can continue to be expressed so eloquently by such filmmakers as Tommy Oliver, Rashaad Ernesto Green (Sundance 2012’s Gun Hill Road), Ava DuVernay (Middle of Nowhere), then a film literate audience will foster greater growth of even more talent in the coming generation. While I didn’t see All Is By My Side by U.K.’s John Ridley which is about Jimi Hendrix nor (yet!) the most highly acclaimed film of the festival, 12 Years a Slave by U.K.’s Steve McQueen, but I would include them in this discussion of the African American Experience.
On the subject of Africa, where last Sundance God Loves Uganda shocked and upset me, this year Mission Congo (Cinephil) revealed much of the same cultural divide only these two films show the negative impact of the Christian right upon already besieged Africans. What is done in the name of a righteous G-d is cause for dialogue and oversight.
Israel and the Middle East
No major turmoil or denunciations this year (Thank G-d, Allah, or whoever She may be). Katriel Schory, head of the Israeli Film Fund told me that if I could only see one film, then it should be Bethlehem which is the country’s submission for Academy Award Consideration for the Nomination for Best Foreign Language Film. It was a sad and clear eyed microcosmic view of the issues of trust and betrayals played out among every level of the society. People compared it to Omar by Hany Abu-Assad,the filmmaker of a favorite of mine, Paradise Now, but I did not see Omar.
Rags and Tatters at first seemed like a documentary, and does have doc footage, but it is a circular story that ends where it began but with much more understanding of the chaotic events in Cairo. Really worth watching.
Latino
Of the Latino films two Chilean films, Gloria (Chile) and The Summer of Flying Fish (Review), were accompanied by interviews which you can read on my previous blogs here and here. El Mudo from Peru by the Vega brothers was in the odd vien of their previous film, October. Not sure at the end just what the film was saying…
Toronto Film Fest Programmer Diana Sanchez’s official count of Latino films in the festival is 16. Of these, 5 are by women; 30% is a strong number. Venezuela and Chile are strong with year with two films each. Two other films might have been chosen except they went to San Sebastian for their world premieres. Especially hot this year was Mexico. 4 films are here but she might have chosen 10 if she could have. Costa Rica is making a showing with All About the Feathers and Central America is making more movies. There is lots of industry buzz coming from the good pictures from Brazil like A Wolf at the Door from Sao Paolo production
She is not counting Gravity by Alfonso Cuaron as as Latino film but as a U.S. film.
And Our White Society
The Dinner (Isa: Media Luna) by Menno Meyjes ♀ (Isa: Media Luna), a Dutch film deals with the personal and political as two families disintegrate when the affluent sons kill a homeless woman. Deeply disturbing social issues on the other side of the spectrum from those of 1982 and yet very much the same. How a society can foster such dissonance in class structure today which results in the disintegration of family and even a nation’s political life is, as I said, deeply disturbing. Based on the N.Y. Times best selling book which sold over 650,000 in The Netherlands, and is published in 22 countries, it stars four of Holland’s most renowned actors, Jacob Derwig, Thekla Reuten, Daan Schuurmans, and Kim van Kooten. This is a story that could be remade in America and still maintain its strength. The writer-director Menno Meyjes wrote the Academy Award nominee The Color Purple and collaborated with director Steven Speilberg on Indiana Jones and the Last Crusade. In 2008 he directed Manolete with Penelope Cruz and Adrien Brody.
The Last of Robin Hood was a romp which thrilled us because Peter Belsito, my own dear husband, had a moment on screen (as the director of Errol Flynn’s last film Cuban Rebel Girls). He got the part because he had had an equally small role in the original Cuban Rebel Girls when it filmed in Cuba in 1959, four months after the Revolution. He happened to be there on vacation with his family including his 18 year old sister and his crazy aunt because Puerto Rico was full that year and Cuba had plenty of room. Directors Richard Glatzer and Wash Westmoreland invited him to play in their film. The film actually had more meaning than merely a romp as it revealed what lays below the June-September love affair between Errol Flynn and 15 year old Beverly Aadland, the nature of fame (“a religion in this godless country” to quote Flynn himself) and ambition. Kevin Kline, Susan Sarandan and Dakota Fanning were all great in the repertoire piece.
Can a Song Save Your Life? garnered great praise as the film that followed the simple pure Once. I found it a bit flat though it kept my interest enough that I was not contemplating leaving. But it lacked the simplicity of Once.
Fading Gigolo proves that a Woody Allen Film is a Genre. John Turturro makes a Woody Allen middle-aged man fantasy of a wished for love affair with a Hasidic woman. Turturro is always lovable on screen, but his directing has something inauthentic about it…the only authentic thing was the twice-stated thought that somewhere in his heritage he was really Jewish. When I saw his previous film Passione, about Italians and passion, the opening song, being one of the first Cuban songs I ever heard, turned me off because again, it was inauthentic. It was Cuban, not Italian. I think he is not comfortable in his Italian guise.
Other films at Tiff I have seen previously:
Only Lovers Left Alive by Jim Jarmusch (Isa: HanWay, U.S. Spc). If you can see it as a dream of night, then the vampires dreaminess might appeal to you. I personally was ready to fall into my own stupor after watching this 123 minute movie of Vampires who have seen it all. Zzzzzz.
Don Jon is sexy and sweet. Scarlett Johansson is a superb comedienne, equal to Claudette Colbert in this film about two totally media mesmerized young lovers. ___ and his father are also great straight men. I loved this film, so funny and sweet and all about sex. Loved it!
Borgman Darkest humor, or is it humor? Creepy and definitely engrossing. Dutch filmmaker Alex van Warmerdam at his best. This is the Netherlands' Official Academy Awards Submission.
What I hear was good:
Aside from the ones that got snapped up for lots of money and are covered in all the trades already, there are films which I keep hearing about even now and will see:
Supermensch: The Legend of Shep Gordon
12 Years a Slave (Isa: Summit, U.S. Fox Searchlight)
The Lunchbox (Isa: The Match Factory)
Prisoners (Isa: Summit/ Lionsgate, U.S.: Warner Bros)
Dallas Buyers Clubs (Isa: Voltage, U.S. Focus Features)
Life of Crime (Isa: Hyde Park, U.S.: )
A Touch of Sin (Isa: MK2, U.S. Kino Lorber)
Gravity (Isa: Warner Bros. U.S. Warner Bros.)
Enough Said (Isa: Fox Searchlight, U.S. Fox Searchlight)
La Grande Bellezza (The Great Beauty) (Isa: Pathe, U.S. Criterion) Italy’s submission for Academy Award Nomination for Best Foreign Language Film
Violette (Isa: Doc & Film, U.S.: ?)
Omar (Isa: The Match Factory, U.S.: ?)
Le Passe (The Past) (Isa: Memento, U.S. Spc) Iran’s submission for Academy Award Nomination for Best Foreign Language Film.
To the Wolf (Isa: Pascale Ramonda)
The Selfish Giant (Isa: Protagonist, U.S. IFC)
At Berkeley by Frederick Wiseman (Isa: Doc & Film, U.S. Zipporah)
The Unknown Known (Isa: Entertainment One, U.S. Radius-twc)
Ain’t Misbehavin (Un Voyager) by Marcel Ophuls (Isa: Wide House)
Faith Connections by Pan Nalin (Isa: Cite Films). This Indian French film, produced by Raphael Berduo among others is written about here.
Civil Rights (?)
Mandela: Long Walk to Freedom
12 Years a Slave (Isa: Summit, U.S. Fox Searchlight)
Belle (Isa: Bankside, all rights sold to Fox Searchlight)
Lgbt
Kill Your Darlings: The youthful finding of himself by Alan Ginsburg as he enters Colombia University and meets Lucien Carr, Jack Kerouac and Alan Bourroughs revolves around a murder which actually happened. The period veracity and Daniel Radcliffe’s acting carry the film into a fascinating character study. (U.S. Spc)
Dallas Buyers Club (Isa: Voltage, U.S. Focus Features)
Tom a la ferme / Tom at the Farm by Xavier Dolan Isa: MK2, U.S.:)
L’Armee du salut/ Salvation Army by Abdellah Taia (Isa: - U.S.:-)
Eastern Boys (Isa: Films Distribution)
Pelo Malo/ Bad Hair (FiGa Films)
The Dog (Producer Rep: Submarine)
Ignasi M. (Isa: Latido)
Gerontophilia (Isa: MK2, U.S. Producer Rep: Filmoption)...
- 10/8/2013
- by Sydney Levine
- Sydney's Buzz
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