Above: From Tomorrow on, I WillThe finely scaled body of a green serpent coiled against a white background adorned the posters across the capital city of this year’s Vienna International Film Festival. More than mere ornamentation, it is an image meant to symbolize the renewal process of the festival shedding off old skin, while maintaining a continuity to its past under the still relatively new artistic direction of Eva Sangiorgi, who took charge of the festival early last year. It suggests the Viennale wanting to definitively emerge out of the shadow of Hans Hurch, who ran the festival for twenty-one years until his unexpected death in June 2017. No doubt, the reputation of the Viennale as a sensitively and concisely curated bastion of a particular cinema, one that is at once political, formally explorative, and fiercely resistant to the self-satisfied middlebrow, is much the doing of Hurch’s work and temperament as artistic director.
- 11/22/2019
- MUBI
This interview conducted by the late Hans Hurch, former artistic director of the Viennale, was originally published in the book, “Vom Widerschein des Kinos. Hans Hurch Texte aus dem Falter von 1978 – 1991.” Falter Verlag, Vienna 2017. By Claus Philip, Christian Reder, Armin Thurnher (Hg.) Straub-Huillet's Class Relations (1984) is showing on Mubi from August 20 – September 18, 2019 as part of a Mubi retrospective devoted to the filmmakers.Danièle Huillet and Jean Marie-Straub’s film Class Relations (1984) is based on the novel “Amerika” by Franz Kafka. Class Relations is a film in black and white, shot in the Federal Republic of Germany and the United States, with the participation of 31 actresses and actors, among them: Christian Heinish, Mario Adorf, Alfred Edel, Libgart Schwarz, Klaus Traube, and Laura Betti. The following text is an excerpt from a conversation conducted by Hans Hurch with Danièle Huillet and Jean Marie-Straub on 12 February 1984, after the film’s premiere at the Metropolis theater in Hamburg.
- 8/1/2019
- MUBI
Introduzione all’Oscuro lovers who can't make it to Rotterdam this year, can sample a selection of films from the comfort of their couch.
Festival Scope has teamed up with International Film Festival Rotterdam to screen 15 films online between now and February 24.
Films in the line-up includes the world premiere of Your Bones And Your Eyes by Caetano Gotardo - who also stars - and collaborative work The Seven Last Words, inspired by Franz Joseph Haydn's The Last Seven Years Of Our Saviour On The Cross, by multidisciplinary directors Kaveh Nabatian, Ariane Lorrain, Sophie Goyette, Juan Andrés Arango, Sophie Deraspe, Karl Lemieux, Caroline Monnet.
The line-up also includes films that have featured at other festivals, including Hans Hurch tribute Introduzione all'Oscuro and Sri Lankan drama House Of My Fathers, which tracks a man and woman's attempts to break an infertility curse that has struck their feuding villages.
Films cost 4€ each or 2€ if.
Festival Scope has teamed up with International Film Festival Rotterdam to screen 15 films online between now and February 24.
Films in the line-up includes the world premiere of Your Bones And Your Eyes by Caetano Gotardo - who also stars - and collaborative work The Seven Last Words, inspired by Franz Joseph Haydn's The Last Seven Years Of Our Saviour On The Cross, by multidisciplinary directors Kaveh Nabatian, Ariane Lorrain, Sophie Goyette, Juan Andrés Arango, Sophie Deraspe, Karl Lemieux, Caroline Monnet.
The line-up also includes films that have featured at other festivals, including Hans Hurch tribute Introduzione all'Oscuro and Sri Lankan drama House Of My Fathers, which tracks a man and woman's attempts to break an infertility curse that has struck their feuding villages.
Films cost 4€ each or 2€ if.
- 1/24/2019
- by Amber Wilkinson
- eyeforfilm.co.uk
Introduzione all'oscuroVienna during the final week of October and early November: the days get noticeably shorter (it’s dark already!), the inner city is all aflutter with autumn winds, wilting leaves and that sinking feeling slowly sets in that yet another year is somehow already nearing its end. And while this may induce in some a tendency towards a perfectly reasonable cynicism about how all things inevitably expire, it can also prompt in others an equally sensible optimism about all the new things to come. For me at this year’s Viennale—one of those film festivals where to attend truly feels like a gift rather than a chore—the sense was definitely that of the latter. If the 2017 edition was overshadowed, if not haunted, by the unexpected death of its beloved festival director Hans Hurch, who was at the helm of the festival for two decades, this year, under...
- 12/4/2018
- MUBI
Gaston Solnicki’s previous film Kekszakallu, which placed him on the festival circuit radar, resembles a documentary. A film about a group of teenage women born into wealth, Solnicki takes a landscape approach, representing their anxieties regarding a premature coming of age with loaded imagery that exposes the oppressiveness of setting. Rather than focus on significant events or major actions as films tend to do, Solnicki characterizes his ensemble by reflecting on their routine, arguing for the value inherent in mundane circumstances.
Solnicki’s new film is a documentary. Titled after a subversive Salvatore Sciarrino composition, Introduzione all’Oscuro represents a sense of absence with soft but jarring sounds that in turn resemble physiological noises. Breath and heartbeat are conveyed with violins and cellos, softly presenting the “imperceptible” through a “blind, enigmatic movement of accelerating and decelerating periodic pulsation,” as Sciarrino himself describes. It is a fitting influence for a tribute documentary about Hans Hurch,...
Solnicki’s new film is a documentary. Titled after a subversive Salvatore Sciarrino composition, Introduzione all’Oscuro represents a sense of absence with soft but jarring sounds that in turn resemble physiological noises. Breath and heartbeat are conveyed with violins and cellos, softly presenting the “imperceptible” through a “blind, enigmatic movement of accelerating and decelerating periodic pulsation,” as Sciarrino himself describes. It is a fitting influence for a tribute documentary about Hans Hurch,...
- 9/10/2018
- by Jason Ooi
- The Film Stage
With an eye for indelible visuals like few other directors working today, Argentinian helmer Gastón Solnicki is returning to the Venice International Film Festival two years after his remarkable breakthrough feature Kékszakállú. With Introduzione all’oscuro, which premieres at the festival tomorrow before heading to Nyff, he pays tribute to the late Hans Hurch, director of the Vienna International Film Festival (and former assistant to Jean-Marie Straub and Danièle Huillet). Hurch passed away last summer, resulting in Solnicki to mourn in what promises to be a fascinating, tender, and abstract cinematic love letter.
Solnicki has said in a director’s statement, “This is a film in which I wish to honor my dear friend Hans Hurch, who passed away recently in Rome. A film inspired by the tenderness and the humor that made our bond so special. A very spontaneous fiction, inspired by a large variety of sources. We conceived...
Solnicki has said in a director’s statement, “This is a film in which I wish to honor my dear friend Hans Hurch, who passed away recently in Rome. A film inspired by the tenderness and the humor that made our bond so special. A very spontaneous fiction, inspired by a large variety of sources. We conceived...
- 9/4/2018
- by Jordan Raup
- The Film Stage
Margarethe von Trotta's Searching for Ingmar Bergman screens in the 56th New York Film Festival Photo: Anne-Katrin Titze
The Film Society of Lincoln Center has announced that Margarethe von Trotta's Searching For Ingmar Bergman, co-directed by Bettina Böhler and Felix Moeller (producer of Volker Schlöndorffs Diplomacy and director of Forbidden Films) with interviews with Liv Ullmann, Stig Björkman, Jean-Claude Carrière, Mia Hansen-Løve, Ruben Östlund, Olivier Assayas, Carlos Saura, and Daniel Bergman will screen in the Retrospective section. Gastón Solnicki's tribute to Jean-Marie Straub and Danièle Huillet's assistant Hans Hurch, Introduzione all’Oscuro, and Pamela B Green's Be Natural: The Untold Story Of Alice Guy-Blaché, narrated by Jodie Foster, round out the documentaries on cinema program of the 56th New York Film Festival.
Alice Guy-Blaché became head of production at Gaumont in 1896 at the age of 23. Guy-Blaché's...
The Film Society of Lincoln Center has announced that Margarethe von Trotta's Searching For Ingmar Bergman, co-directed by Bettina Böhler and Felix Moeller (producer of Volker Schlöndorffs Diplomacy and director of Forbidden Films) with interviews with Liv Ullmann, Stig Björkman, Jean-Claude Carrière, Mia Hansen-Løve, Ruben Östlund, Olivier Assayas, Carlos Saura, and Daniel Bergman will screen in the Retrospective section. Gastón Solnicki's tribute to Jean-Marie Straub and Danièle Huillet's assistant Hans Hurch, Introduzione all’Oscuro, and Pamela B Green's Be Natural: The Untold Story Of Alice Guy-Blaché, narrated by Jodie Foster, round out the documentaries on cinema program of the 56th New York Film Festival.
Alice Guy-Blaché became head of production at Gaumont in 1896 at the age of 23. Guy-Blaché's...
- 8/26/2018
- by Anne-Katrin Titze
- eyeforfilm.co.uk
She succeeds the late Hans Hurch.
Italian-born Eva Sangiorgi has been named as the director of the Vienna International Film Festival.
She succeeds former Viennale head Hans Hurch, who suddenly passed away last July.
Source: Viennale
Eva Sangiorgi
39-year-old Sangiorgi has been in Mexico City since 2003 as the director of Ficunam, the International Film Festival of the National University of Mexico, which she founded in 2011.
In addition, she has worked as a programmer and curator over the past decade for such festivals as Mexico City’s Ficco, Iberoamericana in Italy, Werkleiz in Germany and Los Cabos in Mexico.
Sangiorgi has also collaborated with visual artists including Rirkrit Tiravanija and Abraham Cruzvillegas on the development of film projects. She also produced Policia Y Una Cabellera Desconocida, the second feature of Mexican filmmaker Daniela Schneider, which won the Alta Definicion Argentina Award at Mar del Plata International Film Festival’s Lobolab last year.
The Viennale said that...
Italian-born Eva Sangiorgi has been named as the director of the Vienna International Film Festival.
She succeeds former Viennale head Hans Hurch, who suddenly passed away last July.
Source: Viennale
Eva Sangiorgi
39-year-old Sangiorgi has been in Mexico City since 2003 as the director of Ficunam, the International Film Festival of the National University of Mexico, which she founded in 2011.
In addition, she has worked as a programmer and curator over the past decade for such festivals as Mexico City’s Ficco, Iberoamericana in Italy, Werkleiz in Germany and Los Cabos in Mexico.
Sangiorgi has also collaborated with visual artists including Rirkrit Tiravanija and Abraham Cruzvillegas on the development of film projects. She also produced Policia Y Una Cabellera Desconocida, the second feature of Mexican filmmaker Daniela Schneider, which won the Alta Definicion Argentina Award at Mar del Plata International Film Festival’s Lobolab last year.
The Viennale said that...
- 1/11/2018
- by Martin Blaney
- ScreenDaily
The Night I SwamThe Vienna International Film Festival—or the Viennale, for short—has for many years been a kind of respite, perhaps even a bit of a beautiful secret outside of European cinephilia, for those looking to be invigorated by the ever-renewing promise of cinema. First under the direction of Alexander Horwath, who left the festival in 1997 and in 2002 took the lead of the illustrious Austrian Film Museum, and for the last 21 years under the guidance of Hans Hurch, the Viennale has cultivated that rare thing: A cultural institution that has a distinct and idiosyncratic sensibility of taste. It is a yearly event in which you can find the rare gems of the mainstream vividly mixed with expansive retrospectives, the latest films from major auteurs and exciting debutantes alike, with no fear of short or medium length works, a strong love for the avant-garde and an even more fierce...
- 11/8/2017
- MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.Recommended VIEWINGIn remembrance of Hans Hurch, Abel Ferrara has produced a touching trailer for the upcoming Viennale.Louis C.K. discusses his new film I Love You, Daddy at Tiff. Read our review of the film.Recommended READINGFrancis Ford Coppola's maligned masterpiece The Cotton Club has been renewed in the form of The Cotton Club Encore, and it's "one of the best movies ever made by anybody, anywhere, anytime" for Jim Hemphill of Talkhouse."Netflix’s selection of classic cinema is abominable—and it seems to shrink more every year or so. As of this month, the streaming platform offers just 43 movies made before 1970, and fewer than 25 from the pre-1950 era (several of which are World War II documentaries). It’s the sort of classics selection you’d expect to find in a decrepit video...
- 9/21/2017
- MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSViennale director Hans HurchWe are heartbroken to learn the the director of the Vienna International Film Festival, Hans Hurch, has died unexpectedly in Rome over the weekend. The Viennale—which we have covered for many years—has long been a beacon of aesthetically bold, politically engaged and defiantly personal programming. Hurch and his work will be greatly missed. In his honor, we're revisiting a fabulous interview with the festival director published by Sight & Sound in 2012:i would be happy if it’s a festival that’s not doing harm to the people. It sounds very defensive, but it isn’t. There are so many things in the world that are doing so much harm, and I believe in an old leftist idea – everything you experience does something to you. So if you drink something that is not good,...
- 7/26/2017
- MUBI
Festival head oversaw 20 editions of the Viennale.
Hans Hurch, director of the Vienna International Film Festival (Viennale), has died at the age of 64, the festival confirmed on Monday (July 24).
He suffered heart failure in Rome, where he had been meeting with filmmaker Abel Ferrara. The festival was informed on Sunday evening (July 23).
Hurch took over the position of head of the Viennale in 1997, he was formerly a film critic working in Vienna. He was born in Schärding, northern Austria, in 1952.
Two years ago – while overseeing his 20th festival - he confirmed that the 2018 edition of the event would be his last in the role.
The 2017 festival, the 55th edition of the event, is scheduled to run October 19 – November 2.
A statement from the Viennale press team read:
It is with deep sadness that we announce the death of our beloved director Hans Hurch, who suddenly and unexpectedly passed away on Sunday, July 23, 2017, due...
Hans Hurch, director of the Vienna International Film Festival (Viennale), has died at the age of 64, the festival confirmed on Monday (July 24).
He suffered heart failure in Rome, where he had been meeting with filmmaker Abel Ferrara. The festival was informed on Sunday evening (July 23).
Hurch took over the position of head of the Viennale in 1997, he was formerly a film critic working in Vienna. He was born in Schärding, northern Austria, in 1952.
Two years ago – while overseeing his 20th festival - he confirmed that the 2018 edition of the event would be his last in the role.
The 2017 festival, the 55th edition of the event, is scheduled to run October 19 – November 2.
A statement from the Viennale press team read:
It is with deep sadness that we announce the death of our beloved director Hans Hurch, who suddenly and unexpectedly passed away on Sunday, July 23, 2017, due...
- 7/24/2017
- by tom.grater@screendaily.com (Tom Grater)
- ScreenDaily
World premieres of new features from the Us, South America and Asia; titles include A Woman, A Part starring Mad Men’s Maggie Siff; jury named.
International Film Festival Rotterdam (Iffr) has revealed the eight titles that will compete in the revamped Hivos Tiger Awards Competition at this year’s 45th edition (Jan 27-Feb 7).
The titles are:
History’s Future - Fiona Tan (Neth)The Land Of The Enlightened - Pieter-Jan De Pue (Bel-Neth-Ire-Ger)Motel Mist - Prabda Yoon (Thai)Oscuro Animal - Felipe Guerrero (Col-Arg-Neth-Ger-Gre)Radio Dreams - Babak Jalali (Us)La Ultima Tierra - Pablo Lamar (Par-Neth-Chi-Qat)Where I Grow Old - Marília Rocha (Bra-Por)A Woman, A Part - Elisabeth Subrin (Us)
All are world premieres, except The Land Of The Enlightened, which will receive its European premiere at Iffr after screening at Sundance in the world cinema documentary competition.
Other notable titles include Us drama A Woman, A Part, which...
International Film Festival Rotterdam (Iffr) has revealed the eight titles that will compete in the revamped Hivos Tiger Awards Competition at this year’s 45th edition (Jan 27-Feb 7).
The titles are:
History’s Future - Fiona Tan (Neth)The Land Of The Enlightened - Pieter-Jan De Pue (Bel-Neth-Ire-Ger)Motel Mist - Prabda Yoon (Thai)Oscuro Animal - Felipe Guerrero (Col-Arg-Neth-Ger-Gre)Radio Dreams - Babak Jalali (Us)La Ultima Tierra - Pablo Lamar (Par-Neth-Chi-Qat)Where I Grow Old - Marília Rocha (Bra-Por)A Woman, A Part - Elisabeth Subrin (Us)
All are world premieres, except The Land Of The Enlightened, which will receive its European premiere at Iffr after screening at Sundance in the world cinema documentary competition.
Other notable titles include Us drama A Woman, A Part, which...
- 1/5/2016
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
In other news: Doc Alliance winner revealed; Viennale boss signs to 2018; update to reports of Tunisian filmmakers pulling titles.
UK sales company Film Republic has picked up international sales for Brazilian director José Pedro Goulart’s feature debut Point Zero (Ponto Zero) - one of the films presented in Locarno’s Carte Blanche showcase dedicated to Brazil last year.
The co-production between Porto Alegre-based Minima and Okna Producoes centres on one fateful night when a young boy, faced with many challenges at home and in school, has to learn to grow up very quickly after stealing his violent father’s car to find a call girl whose number he found of the windscreen.
Film Republic’s managing director Xavier Henry-Rashid is in Locarno this week for the international premire at the independent Critics’ Week of Karolina Bielawska’s award-winning Polish documentary Call Me Marianna.
He is also handling two Swiss titles:
Claudia Lorenz’s first feature What’s...
UK sales company Film Republic has picked up international sales for Brazilian director José Pedro Goulart’s feature debut Point Zero (Ponto Zero) - one of the films presented in Locarno’s Carte Blanche showcase dedicated to Brazil last year.
The co-production between Porto Alegre-based Minima and Okna Producoes centres on one fateful night when a young boy, faced with many challenges at home and in school, has to learn to grow up very quickly after stealing his violent father’s car to find a call girl whose number he found of the windscreen.
Film Republic’s managing director Xavier Henry-Rashid is in Locarno this week for the international premire at the independent Critics’ Week of Karolina Bielawska’s award-winning Polish documentary Call Me Marianna.
He is also handling two Swiss titles:
Claudia Lorenz’s first feature What’s...
- 8/10/2015
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
This year's poster for the Vienna International Film Festival is of a flame, and while around the world in other cinema-loving cities and at other cinema-loving festivals one might that that as a cue for a celluloid immolation and a move forever to digital, here in Austria cinema and film as film aren't burning up but rather are burning brightly.
The tributes and special programs in artistic director Hans Hurch's 2014 edition make this position clear: John Ford, Harun Farocki and 16mm, with new films by Tariq Teguia, Jean-Luc Godard, and Jean-Marie Straub accompanying older ones by the same directors. These aren't just retrospectives, they are revitalizing redoubts, inexhaustible fountains of flame, of sensitivity, of consciousness, and of intervention. With such a profound retrospective program, I hope you'll forgive me telling you very little of anything new at the festival; unless, that is, you like me count cinema revived as something always new.
The tributes and special programs in artistic director Hans Hurch's 2014 edition make this position clear: John Ford, Harun Farocki and 16mm, with new films by Tariq Teguia, Jean-Luc Godard, and Jean-Marie Straub accompanying older ones by the same directors. These aren't just retrospectives, they are revitalizing redoubts, inexhaustible fountains of flame, of sensitivity, of consciousness, and of intervention. With such a profound retrospective program, I hope you'll forgive me telling you very little of anything new at the festival; unless, that is, you like me count cinema revived as something always new.
- 11/12/2014
- by Daniel Kasman
- MUBI
Oh well, the highlight of world-wide cinephilia is about to begin: The Viennale 2014, running from October 23 to November 6. It is - as every inhabitant of Austria's capital and surely many film enthusiasts around the globe will tell you - one of the best film festivals in the world. At least in terms of respect for film as a medium, for film as a form of art and for film as a comment on contemporary social and political issues. And as the poster subject for this year's edition is a flame with which the festival states that they are "the keeper of the flame", it shows how seriously they take their position. Festival director Hans Hurch published an official statement: "Our intention is...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 10/22/2014
- Screen Anarchy
Edited by Adam Cook
Film festival programmers from around the world are joining in signing a Statement of Support for the Beijing Independent Film Festival:
"As independent film festivals and supporters of independent cinema, we have learned with deep concern that the Chinese government and police authorities have prevented the 11th Beijing Independent Film Festival based in Songzhuang, Beijing, from opening last weekend, August 23rd, and detained its organizers Wang Hongwei, Fan Rong, and Li Xianting for several hours. We are also deeply concerned that Biff’s sponsoring organization, the Li Xianting Film Fund, has been raided, and the entirety of its invaluable archives of independent Chinese cinema have reportedly been confiscated.
We call upon the relevant Chinese authorities to permit the Beijing Independent Film Festival to pursue its mission to nurture and exhibit a full range of alternative cinematic voices in China, to allow the festival to operate without interference,...
Film festival programmers from around the world are joining in signing a Statement of Support for the Beijing Independent Film Festival:
"As independent film festivals and supporters of independent cinema, we have learned with deep concern that the Chinese government and police authorities have prevented the 11th Beijing Independent Film Festival based in Songzhuang, Beijing, from opening last weekend, August 23rd, and detained its organizers Wang Hongwei, Fan Rong, and Li Xianting for several hours. We are also deeply concerned that Biff’s sponsoring organization, the Li Xianting Film Fund, has been raided, and the entirety of its invaluable archives of independent Chinese cinema have reportedly been confiscated.
We call upon the relevant Chinese authorities to permit the Beijing Independent Film Festival to pursue its mission to nurture and exhibit a full range of alternative cinematic voices in China, to allow the festival to operate without interference,...
- 8/27/2014
- by Notebook
- MUBI
The Viennese have tended to view film as secondary to the elite arts of opera, theater and music. The autonomy that comes from that snub has its benefits. "It may not be the most important film festival in the world, but you have the feeling that if a film is here, it is in good hands," said Hans Hurch, the director of the Viennale, which concluded its latest edition earlier this month. An international festival in a town whose film culture can always benefit from foreign infusions, the Viennale was not overburdened with recycling the obvious "international" hits of the art house circuit, although it introduced its audience to some of them. Celebrities, while in attendance, were not in oversupply. "Fading Gigolo" made a quiet European debut at the Viennale without director John Turturro, or Woody Allen or any stars from its dream team cast -- or any mention that this was its European premiere.
- 11/19/2013
- by David D'Arcy
- Indiewire
Main Competition
Golden Marc.Aurelio for Best Film: "Marfa Girl" by Larry Clark
Best Director Award: Paolo Franchi, "And They Call It Summer" ("E la Chiamano Estate")
Special Jury Prize: "Ali Has Blue Eyes" ("Alì ha gli occhi azzurri") by Claudio Giovannesi
Best Actor Award: Jérémie Elkaïm, "Hand in Hand" ("Main dans la main")
Best Actress Award: Isabella Ferrari, "And They Call It Summer" ("E la Chiamano Estate")
Best Emerging Actor Award: Marilyne Fontaine, "A Child With You" ("Un enfant de toi")
Best Technical Contribution: Arnau Valls Colomer, for the cinematography of "Never Die" ("Mai morire")
Best Screenplay Award: Noah Harpster and Micah Fitzerman-Blue for "The Motel Life"
Cinemaxxi Competition
The International Jury, chaired by Douglas Gordon and composed of Hans Hurch, Ed Lachman, Andrea Lissoni and Emily Jacir, awarded:
CinemaXXI Award (for feature-length films): "Avanti Popolo" by Michael Wahrmann
Special Jury Prize . CinemaXXI (for feature-length films): "Picas...
Golden Marc.Aurelio for Best Film: "Marfa Girl" by Larry Clark
Best Director Award: Paolo Franchi, "And They Call It Summer" ("E la Chiamano Estate")
Special Jury Prize: "Ali Has Blue Eyes" ("Alì ha gli occhi azzurri") by Claudio Giovannesi
Best Actor Award: Jérémie Elkaïm, "Hand in Hand" ("Main dans la main")
Best Actress Award: Isabella Ferrari, "And They Call It Summer" ("E la Chiamano Estate")
Best Emerging Actor Award: Marilyne Fontaine, "A Child With You" ("Un enfant de toi")
Best Technical Contribution: Arnau Valls Colomer, for the cinematography of "Never Die" ("Mai morire")
Best Screenplay Award: Noah Harpster and Micah Fitzerman-Blue for "The Motel Life"
Cinemaxxi Competition
The International Jury, chaired by Douglas Gordon and composed of Hans Hurch, Ed Lachman, Andrea Lissoni and Emily Jacir, awarded:
CinemaXXI Award (for feature-length films): "Avanti Popolo" by Michael Wahrmann
Special Jury Prize . CinemaXXI (for feature-length films): "Picas...
- 11/19/2012
- by Manny
- Manny the Movie Guy
The Rome Film Festival (November 9-17) unveils its complete lineup, including the world premiere of Cinema Xxi opening night selection "Centro Historico," an anthology by international auteurs Aki Kaurismaki, Pedro Costa, Victor Erice and Manuel de Oliveira. Ex-Venice Fest director Marco Muller presides for the first time as the fest's artistic director, while an international jury of Scottish visual artist and filmmaker Douglas Gordon (Chair), Hans Hurch, Ed Lachman, Andrea Lissoni and Emily Jacir will give out the following awards: CinemaXXI Award (reserved for feature-length films) Special Jury Prize – CinemaXXI (reserved for feature-length films) CinemaXXI Award for short films and medium-length films Complete lineup: Out Of Competition Feature Films: (World Premiere) O Batuque Dos Astros Julio Bressane, Brazil, 2012, 74’ (World Premiere) Centro HISTÓRICO / Historic Centre Aki...
- 10/23/2012
- by Beth Hanna
- Thompson on Hollywood
Tasher Desh, the latest film by Gandu fame Kaushik Mukherjee (Q) will compete in the Cinema Xxi section of the 7th edition of the Rome Film Festival. The festival will run from 9th – 17th November, 2012.
Tasher Desh is based on Rabindranath Tagore’s dance drama with the same name. The film is co-produced by Anurag Kashyap. In an interview with DearCinema, Q described the film as “Tagore on an acid trip”, a psychedelic and intense rendition of the work of Tagore. The film stars Anubrata Basu, Rituparna Sen and Soumyak Kanti De Biswas.
The Rome Film Festival has four sections, Competition, Out of Competition, CinemaXXI and Prospettive Italia. The jury of the CinemaXXI section is led by Douglas Gordon with Hans Hurch, Ed Lachman, Andrea Lissoni and Emily Jacir. The film in the section will compete for the CinemaXXI Award.
Q came into international prominence with Gandu that had its...
Tasher Desh is based on Rabindranath Tagore’s dance drama with the same name. The film is co-produced by Anurag Kashyap. In an interview with DearCinema, Q described the film as “Tagore on an acid trip”, a psychedelic and intense rendition of the work of Tagore. The film stars Anubrata Basu, Rituparna Sen and Soumyak Kanti De Biswas.
The Rome Film Festival has four sections, Competition, Out of Competition, CinemaXXI and Prospettive Italia. The jury of the CinemaXXI section is led by Douglas Gordon with Hans Hurch, Ed Lachman, Andrea Lissoni and Emily Jacir. The film in the section will compete for the CinemaXXI Award.
Q came into international prominence with Gandu that had its...
- 10/13/2012
- by NewsDesk
- DearCinema.com
Terrence Malick's The Tree of Life tops Film Comment's list of the "Best Released Films of 2011," an annual year-end survey of film critics, editors, and past and present contributors — over 120 of them this year — so the magazine has put Kent Jones's beautiful essay from the July/August issue online (even if you don't admire the film as much as he does, you'll know that this is a must-read), and the Film Society of Lincoln Center is screening The Tree of Life through Tuesday.
The "Released" list goes as far as 50; the "Best Unreleased Movies of 2011" list runs to 52. At #1 is Jafar Panahi's This Is Not a Film; #2: Béla Tarr's The Turin Horse. There's been some grumbling among the tweeting set, by the way, that this list is too crowded with films that have scored distribution deals and will indeed be seeing a theatrical run sooner or later.
The "Released" list goes as far as 50; the "Best Unreleased Movies of 2011" list runs to 52. At #1 is Jafar Panahi's This Is Not a Film; #2: Béla Tarr's The Turin Horse. There's been some grumbling among the tweeting set, by the way, that this list is too crowded with films that have scored distribution deals and will indeed be seeing a theatrical run sooner or later.
- 12/17/2011
- MUBI
When the digitally cleaned up .India, Matri Bhumi. was screened at the ongoing Viennale, Austria.s international film festival, it revived memories of the sincere way that films were made in Europe soon after the tragedy of the last World War..India, Matri Bhumi. is a 90-minute documentary shot in 1956 by Italian film maker Roberto Rossellini, father of neo-realism. In contrast to escapist fictional films, Rossellini.s cinema is celebrated for its honesty and for his focus on activities of concern to ordinary citizens. Therefore, admirers of the film have cleaned off the dust it was collecting on the shelf to fine tune the soundtrack, sharpen the images and to restore the print for audiences of the day.Hans Hurch, director of the Viennale, discovered .India, Matri Bhumi. a few months ago at the Venice film festival and felt that he had to screen it in Vienna..This is perhaps the best film of Rossellini.
- 10/26/2011
- Filmicafe
Above: Ricardo Iscar's Dance to the Spirits.
"When I become death, death is the seed from which I grow."
—William S Burroughs, Ah Pook Is Here.
Not to be morbid or anything, but the shadow of mortality has been a dominant theme of nearly all the best stuff I've seen so far at the 48th Vienna International Film Festival (Viennale for short), most inescapably in Apichatpong Weerasethakul's Palme d'Or winner Uncle Boonmee Who Can Recall His Past Lives (Loong Boonmee raleuk chat), which clicked with me more than most "Joe" efforts, I suspect, mainly because of its surprisingly prominent horror-movie touches.
Certain spooky scenes involving ape-like jungle "beings" with bright red eyes recall "lowbrow" antecedents like John Carpenter's The Fog (1980), Amando de Ossorio's Blind Dead quartet (1971-5) and Eugenio Martín's Horror Express (1972), not to mention the more nightmarish alternate-realities of David Lynch - though Apichatpong has...
"When I become death, death is the seed from which I grow."
—William S Burroughs, Ah Pook Is Here.
Not to be morbid or anything, but the shadow of mortality has been a dominant theme of nearly all the best stuff I've seen so far at the 48th Vienna International Film Festival (Viennale for short), most inescapably in Apichatpong Weerasethakul's Palme d'Or winner Uncle Boonmee Who Can Recall His Past Lives (Loong Boonmee raleuk chat), which clicked with me more than most "Joe" efforts, I suspect, mainly because of its surprisingly prominent horror-movie touches.
Certain spooky scenes involving ape-like jungle "beings" with bright red eyes recall "lowbrow" antecedents like John Carpenter's The Fog (1980), Amando de Ossorio's Blind Dead quartet (1971-5) and Eugenio Martín's Horror Express (1972), not to mention the more nightmarish alternate-realities of David Lynch - though Apichatpong has...
- 10/28/2010
- MUBI
I. Festivals And Ideology
"I cannot tell a lie," writes Jonathan Rosenbaum in the catalogue introduction to the retrospective on American film comedy he curated for this year's Viennale (in collaboration with the Austrian Filmmuseum), "the initial concept and impulse for this series weren’t my own." A paragraph later, he goes on to explain, "[...] both the selection of the films and the preparation of this catalogue [...] came only after I overcame a certain amount of resistance." And as if he weren't transparent enough, Rosenbaum adds, "I was tempted by [the Viennale and Filmmuseum directors' joint proposal], but various roadblocks stood in the way, most of them either logistical or ideological." One of these roadblocks, "a reluctance to restrict [himself] to 'American cinema' after living through eight years of American separatism and exceptionalism as propounded and promulgated by the administration of George W. Bush," is not much of an ideological leap for those familiar with Rosenbaum.
"I cannot tell a lie," writes Jonathan Rosenbaum in the catalogue introduction to the retrospective on American film comedy he curated for this year's Viennale (in collaboration with the Austrian Filmmuseum), "the initial concept and impulse for this series weren’t my own." A paragraph later, he goes on to explain, "[...] both the selection of the films and the preparation of this catalogue [...] came only after I overcame a certain amount of resistance." And as if he weren't transparent enough, Rosenbaum adds, "I was tempted by [the Viennale and Filmmuseum directors' joint proposal], but various roadblocks stood in the way, most of them either logistical or ideological." One of these roadblocks, "a reluctance to restrict [himself] to 'American cinema' after living through eight years of American separatism and exceptionalism as propounded and promulgated by the administration of George W. Bush," is not much of an ideological leap for those familiar with Rosenbaum.
- 11/13/2009
- MUBI
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