The Loads‘ Ognjen Glavonic, Autobiography‘s Makbul Mubarak & Medusa‘s Anita Rocha da Silveira are among the selected filmmakers for TorinoFilmLab’s ScriptLab Participants. Glavonic will be at the lab with In The Shadow Of The Horns – his sophomore fiction feature. Indonesian filmmaker Mubarak comes with Watch It Burn – his sophomore feature while Brazilian filmmaker Anita Rocha da Silveira will be workshopping her third feature in I Can’t Dance. The 20 projects come from 20 writer-directors and eight co-writers, and have been selected from 550 submissions. Here are the ScriptLab 2023 projects and participants:
A Perfect Family – Writer: Adriano Valerio / Co-writer: Aude Py
All The Crows In The World – Writer: Yi Tang
Alma – Writer: Laura Herrero Garvin / Co-writer: Jorge Gil
Amari – Writer: Domien Huyghe, Co-writer: Wendy Huyghe
Blind Spots – Writer: Ely Chevillot
Brilliant Melody – Writer: Carlo Francisco / Co-writer: Jeremie Dubois
Counting Cards With My Father – Writer: Lydia Rui
Detour – Writer: Jakub Piatek / Co-writer:...
A Perfect Family – Writer: Adriano Valerio / Co-writer: Aude Py
All The Crows In The World – Writer: Yi Tang
Alma – Writer: Laura Herrero Garvin / Co-writer: Jorge Gil
Amari – Writer: Domien Huyghe, Co-writer: Wendy Huyghe
Blind Spots – Writer: Ely Chevillot
Brilliant Melody – Writer: Carlo Francisco / Co-writer: Jeremie Dubois
Counting Cards With My Father – Writer: Lydia Rui
Detour – Writer: Jakub Piatek / Co-writer:...
- 3/27/2023
- by Eric Lavallée
- IONCINEMA.com
There is a particular focus on comedies.
TorinoFilmLab (Tfl) has selected 20 projects for its ScriptLab 2023, plus five story editors, in what it describes as the first ‘fully international’ iteration of the annual development scheme.
The 20 projects come from 20 writer-directors and eight co-writers, and have been selected from 550 submissions.
Scroll down for the full list of participants
Those selected will take part in three week-long residential modules in April, June and November; with two online modules in September and October. The participants will be divided into five groups, and tutored by script consultants Philippe Barriere, Severine Cornamusaz, Aleksandra Swierk, Marietta von Hausswolff and Gino Ventriglia.
TorinoFilmLab (Tfl) has selected 20 projects for its ScriptLab 2023, plus five story editors, in what it describes as the first ‘fully international’ iteration of the annual development scheme.
The 20 projects come from 20 writer-directors and eight co-writers, and have been selected from 550 submissions.
Scroll down for the full list of participants
Those selected will take part in three week-long residential modules in April, June and November; with two online modules in September and October. The participants will be divided into five groups, and tutored by script consultants Philippe Barriere, Severine Cornamusaz, Aleksandra Swierk, Marietta von Hausswolff and Gino Ventriglia.
- 3/27/2023
- by Ben Dalton
- ScreenDaily
Industry Days Alliance For Development (Afd) strand to host eight European projects.
Update: Project addition: Ffa – MiBACT: The Guard by Giulio Ricciarelli (Labyrinth Of Lies). Producer: Oliver Schütte, tellfilm Deutschland Ug.
New projects from the co-producers of The Nun and Becoming Zlatan and War writer-director Simon Jaquemet are among eight feature projects selected for Locarno’s Industry Days development and co-production strand Alliance For Development (Afd).
The platform is designed to foster co-developments between France, Germany, Italy and Switzerland by facilitating cooperation between existing co-development funds, including France’s Cnc, Italy’s MiBACT, and Germany’s Ffa.
Among selected projects this year are new films from Belle Epoque Films, the German co-producer of Guillaume Nicloux’s 2013 drama The Nun, and Italian outfit Indyca, which co-produced 2015 documentary Becoming Zlatan.
As Switzerland does not share a similar development bilateral fund, three Swiss projects looking for German, French and Italian co-producers have also been selected to join the initiative as special...
Update: Project addition: Ffa – MiBACT: The Guard by Giulio Ricciarelli (Labyrinth Of Lies). Producer: Oliver Schütte, tellfilm Deutschland Ug.
New projects from the co-producers of The Nun and Becoming Zlatan and War writer-director Simon Jaquemet are among eight feature projects selected for Locarno’s Industry Days development and co-production strand Alliance For Development (Afd).
The platform is designed to foster co-developments between France, Germany, Italy and Switzerland by facilitating cooperation between existing co-development funds, including France’s Cnc, Italy’s MiBACT, and Germany’s Ffa.
Among selected projects this year are new films from Belle Epoque Films, the German co-producer of Guillaume Nicloux’s 2013 drama The Nun, and Italian outfit Indyca, which co-produced 2015 documentary Becoming Zlatan.
As Switzerland does not share a similar development bilateral fund, three Swiss projects looking for German, French and Italian co-producers have also been selected to join the initiative as special...
- 6/9/2016
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Chicago – Tilda Swinton, Oscar winner for “Michael Clayton,” gives the best female performance of the year to date in the riveting, thrilling, excellent “Julia,” now available on DVD and one of the best films of 2009 that you probably haven’t seen. The lack of special features on the Magnolia-produced DVD (and its lack of existence on Blu-Ray) is a bet of a let-down but the film is an underrated gem that should find a loyal audience on the home market.
DVD Rating: 4.0/5.0 Swinton plays the title character, a woman who has turned alcoholism, self-pity, and general confusion into an art form. Julia is the kind of raging drinker who regularly blacks out and wakes up half-dressed in a stranger’s car. She’s one of those women who always blames the world for not giving her a lucky break but doesn’t recognize that her own decisions are tearing her life apart.
DVD Rating: 4.0/5.0 Swinton plays the title character, a woman who has turned alcoholism, self-pity, and general confusion into an art form. Julia is the kind of raging drinker who regularly blacks out and wakes up half-dressed in a stranger’s car. She’s one of those women who always blames the world for not giving her a lucky break but doesn’t recognize that her own decisions are tearing her life apart.
- 8/24/2009
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Julia
Directed by Erick Zonca
2008, 144 Minutes, In English and Spanish
How did The Dreamlife of Angels director Erick Zonca, working from a script he cowrote with Aude Py, think that the typically reserved, sophisticated Tilda Swinton could so convincingly step into the shoes of a despicable, loudmouthed floozy? An unhinged character study that drunkenly stumbles into an accidental thriller, Julia is shouldered as much by Zonca's instinctual filmmaking as it does on Swinton's intense, knock-out performance:
Julia, 40, is an alcoholic. She is a manipulative, unreliable, compulsive liar, all strung out beneath her still flamboyant exterior. Between shots of vodka and one-night stands, Julia gets by on nickel-and-dime jobs. Increasingly lonely, the only consideration she receives comes from her friend Mitch, who tries to help her. But she shrugs him off, as her alcohol-induced confusion daily reinforces her sense that life has dealt her a losing hand and that she is...
Directed by Erick Zonca
2008, 144 Minutes, In English and Spanish
How did The Dreamlife of Angels director Erick Zonca, working from a script he cowrote with Aude Py, think that the typically reserved, sophisticated Tilda Swinton could so convincingly step into the shoes of a despicable, loudmouthed floozy? An unhinged character study that drunkenly stumbles into an accidental thriller, Julia is shouldered as much by Zonca's instinctual filmmaking as it does on Swinton's intense, knock-out performance:
Julia, 40, is an alcoholic. She is a manipulative, unreliable, compulsive liar, all strung out beneath her still flamboyant exterior. Between shots of vodka and one-night stands, Julia gets by on nickel-and-dime jobs. Increasingly lonely, the only consideration she receives comes from her friend Mitch, who tries to help her. But she shrugs him off, as her alcohol-induced confusion daily reinforces her sense that life has dealt her a losing hand and that she is...
- 8/18/2009
- by underdog
- GreenCine
- After watching Eric Zonca’s new film: Julia, you probably won’t feel joy, sorrow, anger, hate or happiness. You certainly won’t feel anything but compassion for the characters and you might actually have to work hard to understand why it’s worth spending two-plus hours in the theatre watching the follies of the despicable, alcoholic Julia. The Dreamlife of Angels, Zonca’s first film, made a huge splash on the international film scene in 1998; ten years later his sophomore effort is serving up quite a different cinematic dish. Julia, portrayed by indie ice-goddess Tilda Swinton, is about a woman whose life is so far-gone from her control that her pattern of self-destructive, self-serving, decisions serves to barely keep her head above water. So why bother going to see this on a spring weekend in May? I think maybe because we all know somebody like Julia (whether we
- 5/8/2009
- IONCINEMA.com
Berlinale Competition
PARIS -- Erick Zonca, the acclaimed director of "The Dreamlife of Angels" and "The Little Thief", spent seven years on this American project, "Julia", an homage to John Cassavetes' "Gloria" as well as a nod to the late director's "The Killing of a Chinese Bookie."
Although directed, written and photographed by French filmmakers, this is an American movie, shot in California and Mexico with American and British actors. The commercial prospects are therefore those of a U.S. indie film. The presence of Tilda Swinton, following her Oscar nomination, could further attract a significant number of viewers. The film opens in France on March 12.
The opening sequences focus on Julia's nightlife: repeated drinking, occasional sex with strangers, quarrels. What starts out as a portrait of an alcoholic suddenly takes a turn with the intrusion of another woman. At an AA meeting, Julia (Swinton) meets Elena (Kate Del Castillo), who seeks her help. She claims she has been separated from her son, who lives with his grandfather. She asks Julia to help kidnap the boy and offers to split the ransom from the grandfather, a millionaire.
"Julia" naturally turns into a thriller, full of suspense, which will bring Julia and the boy to the California desert and all the way to Mexico. Getting involved in a kidnapping and having to face Mexican criminals allow Julia to better understand herself. So in 140 minutes, which move faster than many 90-minute movies, Zonca manages to change genres, change styles and make his character evolve.
Visually, the film evokes the American cinema of the 1970s. The immersion in Julia's drunk life is deliberately filmed in a Cassavetes style: short shots, close focal distance, blurred colors, dialogues that seem improvised. The thriller is first a road movie that uses the immensity of the desert as a narrative resource. Then the sequences in Tijuana pivot around the most vehement cliches Americans have on this border town.
As Julia, Swinton belongs to that league of great cinematic alcoholics such as Jack Lemmon and Lee Remick in "Days of Wine and Roses" and Ray Milland in "The Lost Weekend". As an action character, she naturally evokes Gena Rowlands without ever trying to resemble her. She doesn't hesitate to show her imperfect body -- some cellulite, a little potbelly. The braveness to take on such an unsexy behavior is not common. Opposite her, in some of the film's most compelling sequences, Saul Rubinek shows again that he is the essence of the supporting actor.
JULIA
Les Productions Bagheera, Le Bureau, StudioCanal, the 7th Floor, Saga Film
Credits:
Director: Erick Zonca
Screenwriters: Aude Py, Erick Zonca
Artistic collaborator: Camille Natta
Producers: Francois Marquis, Bertrand Faivre
Co-producers: Allen Bain, Jesse Scolaro, Hubert Toint, Jean-Jacques Neira
Director of photography: Yorick Le Saux
Production designer: Francois-Renaud Labarthe
Costume designer: April Napier
Editor: Philippe Kotlarski
Cast:
Julia: Tilda Swinton
Mitch: Saul Rubinek
Elena: Kate del Castillo
Tom: Aidan Gould
Nick: Jude Cicolella
Diego: Bruno Bichir
Santos: Horacio Garcia Rojas
Miguel: Gaston Peterson
Running time -- 140 minutes
No MPAA rating...
PARIS -- Erick Zonca, the acclaimed director of "The Dreamlife of Angels" and "The Little Thief", spent seven years on this American project, "Julia", an homage to John Cassavetes' "Gloria" as well as a nod to the late director's "The Killing of a Chinese Bookie."
Although directed, written and photographed by French filmmakers, this is an American movie, shot in California and Mexico with American and British actors. The commercial prospects are therefore those of a U.S. indie film. The presence of Tilda Swinton, following her Oscar nomination, could further attract a significant number of viewers. The film opens in France on March 12.
The opening sequences focus on Julia's nightlife: repeated drinking, occasional sex with strangers, quarrels. What starts out as a portrait of an alcoholic suddenly takes a turn with the intrusion of another woman. At an AA meeting, Julia (Swinton) meets Elena (Kate Del Castillo), who seeks her help. She claims she has been separated from her son, who lives with his grandfather. She asks Julia to help kidnap the boy and offers to split the ransom from the grandfather, a millionaire.
"Julia" naturally turns into a thriller, full of suspense, which will bring Julia and the boy to the California desert and all the way to Mexico. Getting involved in a kidnapping and having to face Mexican criminals allow Julia to better understand herself. So in 140 minutes, which move faster than many 90-minute movies, Zonca manages to change genres, change styles and make his character evolve.
Visually, the film evokes the American cinema of the 1970s. The immersion in Julia's drunk life is deliberately filmed in a Cassavetes style: short shots, close focal distance, blurred colors, dialogues that seem improvised. The thriller is first a road movie that uses the immensity of the desert as a narrative resource. Then the sequences in Tijuana pivot around the most vehement cliches Americans have on this border town.
As Julia, Swinton belongs to that league of great cinematic alcoholics such as Jack Lemmon and Lee Remick in "Days of Wine and Roses" and Ray Milland in "The Lost Weekend". As an action character, she naturally evokes Gena Rowlands without ever trying to resemble her. She doesn't hesitate to show her imperfect body -- some cellulite, a little potbelly. The braveness to take on such an unsexy behavior is not common. Opposite her, in some of the film's most compelling sequences, Saul Rubinek shows again that he is the essence of the supporting actor.
JULIA
Les Productions Bagheera, Le Bureau, StudioCanal, the 7th Floor, Saga Film
Credits:
Director: Erick Zonca
Screenwriters: Aude Py, Erick Zonca
Artistic collaborator: Camille Natta
Producers: Francois Marquis, Bertrand Faivre
Co-producers: Allen Bain, Jesse Scolaro, Hubert Toint, Jean-Jacques Neira
Director of photography: Yorick Le Saux
Production designer: Francois-Renaud Labarthe
Costume designer: April Napier
Editor: Philippe Kotlarski
Cast:
Julia: Tilda Swinton
Mitch: Saul Rubinek
Elena: Kate del Castillo
Tom: Aidan Gould
Nick: Jude Cicolella
Diego: Bruno Bichir
Santos: Horacio Garcia Rojas
Miguel: Gaston Peterson
Running time -- 140 minutes
No MPAA rating...
- 2/10/2008
- The Hollywood Reporter - Movie News
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