Cinephiles will have plenty to celebrate this April with the next slate of additions to the Criterion Channel. The boutique distributor, which recently announced its June 2024 Blu-ray releases, has unveiled its new streaming lineup highlighted by an eclectic mix of classic films and modern arthouse hits.
Students of Hollywood history will be treated to the “Peak Noir: 1950” collection, which features 17 noir films from the landmark film year from directors including Billy Wilder, Alfred Hitchcock, and John Huston.
New Hollywood maverick William Friedkin will also be celebrated when five of his most beloved movies, including “Sorcerer” and “The Exorcist,” come to the channel in April.
Criterion will offer the streaming premiere of Wim Wenders’ 3D art documentary “Anselm,” which will be accompanied by the “Wim Wenders’ Adventures in Moviegoing” collection, which sees the director curating a selection of films from around the world that have influenced his careers.
Contemporary cinema is also well represented,...
Students of Hollywood history will be treated to the “Peak Noir: 1950” collection, which features 17 noir films from the landmark film year from directors including Billy Wilder, Alfred Hitchcock, and John Huston.
New Hollywood maverick William Friedkin will also be celebrated when five of his most beloved movies, including “Sorcerer” and “The Exorcist,” come to the channel in April.
Criterion will offer the streaming premiere of Wim Wenders’ 3D art documentary “Anselm,” which will be accompanied by the “Wim Wenders’ Adventures in Moviegoing” collection, which sees the director curating a selection of films from around the world that have influenced his careers.
Contemporary cinema is also well represented,...
- 3/18/2024
- by Christian Zilko
- Indiewire
Japan has dominated this year’s Asia Pacific Screen Awards (Apsa), with German filmmaker Wim Wenders’ latest Tokyo-set pic and Ryusuke Hamaguchi’s Drive My Car follow-up taking the top prizes.
Wenders’ Cannes competition title Perfect Days won Apsa’s Best Film award, while Hamaguchi’s enigmatic Venice title Evil Does Not Exist nabbed the Jury Grand Prize this evening at the Australian ceremony.
“It is with great pleasure and pride that my Japanese producers Takuma Takasaki and Koji Yanai and myself received the news that our film Perfect Days was awarded Best Picture at the Asia Pacific Screen Awards,” Wenders said, accepting the award via video message.
He added: “Wow, what an honor. Especially for a German director. The film was, in many ways, a dream come true for all of us, especially the fact that nobody less than the great Koji Yakusho played the leading role, the humble public servant,...
Wenders’ Cannes competition title Perfect Days won Apsa’s Best Film award, while Hamaguchi’s enigmatic Venice title Evil Does Not Exist nabbed the Jury Grand Prize this evening at the Australian ceremony.
“It is with great pleasure and pride that my Japanese producers Takuma Takasaki and Koji Yanai and myself received the news that our film Perfect Days was awarded Best Picture at the Asia Pacific Screen Awards,” Wenders said, accepting the award via video message.
He added: “Wow, what an honor. Especially for a German director. The film was, in many ways, a dream come true for all of us, especially the fact that nobody less than the great Koji Yakusho played the leading role, the humble public servant,...
- 11/3/2023
- by Zac Ntim
- Deadline Film + TV
Japan heads the nominations, followed by China.
Ryusuke Hamaguchi’s Evil Does Not Exist heads the nominations for the Asia Pacific Screen Awards, with nods in four categories including best film, best director, best screenplay and best cinematography.
The Japanese feature premiered at Venice where it picked up both the jury and Fipresci prize, and centres on a father and daughter in a rural village, whose peaceful lives are disrupted by proposals to build a camping site in their area.
Hamaguchi’s latest film, following Oscar-winner Drive My Car, was just ahead of China’s Snow Leopard by the late Tibetan director Pema Tseden,...
Ryusuke Hamaguchi’s Evil Does Not Exist heads the nominations for the Asia Pacific Screen Awards, with nods in four categories including best film, best director, best screenplay and best cinematography.
The Japanese feature premiered at Venice where it picked up both the jury and Fipresci prize, and centres on a father and daughter in a rural village, whose peaceful lives are disrupted by proposals to build a camping site in their area.
Hamaguchi’s latest film, following Oscar-winner Drive My Car, was just ahead of China’s Snow Leopard by the late Tibetan director Pema Tseden,...
- 10/3/2023
- by Michael Rosser
- ScreenDaily
Ceremony will take place on November 3 on Australia’s Gold Coast.
Hong Kong filmmaker Clara Law will head the international jury for the 2023 Asia Pacific Screen Awards (Apsa).
Law, who is based in Australia, will preside over a five-person jury, alongside Malaysian actress Yeo Yann Yann, German producer Anna Katchko, Japanese cinematographer Hideho Urata, and Saudi executive Faisal Baltyuor.
The full list of nominations for the 16th Apsa will be announced on October 4; alongside the programme for the fifth Asia Pacific Screen Forum, which will run from November 1-4.
Both the Forum and the ceremony on November 3 will take place...
Hong Kong filmmaker Clara Law will head the international jury for the 2023 Asia Pacific Screen Awards (Apsa).
Law, who is based in Australia, will preside over a five-person jury, alongside Malaysian actress Yeo Yann Yann, German producer Anna Katchko, Japanese cinematographer Hideho Urata, and Saudi executive Faisal Baltyuor.
The full list of nominations for the 16th Apsa will be announced on October 4; alongside the programme for the fifth Asia Pacific Screen Forum, which will run from November 1-4.
Both the Forum and the ceremony on November 3 will take place...
- 9/21/2023
- by Ben Dalton
- ScreenDaily
Rule Of Law
Director Clara Law (“The Goddess of 1967”) has been set as president of the jury which will discern this year’s Asia Pacific Screen Awards. She will be joined by Malaysia’s Yeo Yann Yann, German producer Anna Katchko, and Faisal Baltyuor, producer and CEO of Muvi Studios in Saudi Arabia.
A separate jury for documentaries and animation will be headed by Taiwan-based Myanmar director Midi Z, India’s Rima Das and Japanese documentary maker Toda Hikaru.
The APSAs will be presented at a ceremony in Gold Coast, Queensland on Nov. 4 and be preceded by three days of seminars and screenings. The awards and forum are presented by the Asia Pacific Screen Academy, the City of Gold Coast, Screen Queensland, the Motion Picture Association and Griffith Film School, Griffith University. Nominations will be announced on Oct. 4.
Law, who has previously been based in Hong Kong and Macau,...
Director Clara Law (“The Goddess of 1967”) has been set as president of the jury which will discern this year’s Asia Pacific Screen Awards. She will be joined by Malaysia’s Yeo Yann Yann, German producer Anna Katchko, and Faisal Baltyuor, producer and CEO of Muvi Studios in Saudi Arabia.
A separate jury for documentaries and animation will be headed by Taiwan-based Myanmar director Midi Z, India’s Rima Das and Japanese documentary maker Toda Hikaru.
The APSAs will be presented at a ceremony in Gold Coast, Queensland on Nov. 4 and be preceded by three days of seminars and screenings. The awards and forum are presented by the Asia Pacific Screen Academy, the City of Gold Coast, Screen Queensland, the Motion Picture Association and Griffith Film School, Griffith University. Nominations will be announced on Oct. 4.
Law, who has previously been based in Hong Kong and Macau,...
- 9/21/2023
- by Patrick Frater
- Variety Film + TV
Chinese actress Zhou Dongyu, who is in Cannes with Anthony Chen’s Un Certain Regard title The Breaking Ice, has had a fairytale career trajectory.
Although she had no desire to act, she was plucked from obscurity by Zhang Yimou when still a high school student in 2010, and became one of China’s most respected young actresses, with a string of award-winning films.
She agreed to star in The Breaking Ice as soon as Chen called her and before he’d even written the script. She’d worked with him before on short film The Break Away, part of Neon-produced anthology The Year Of The Everlasting Storm, which Chen had directed remotely during the pandemic.
“He called and said he wanted to shoot a film in China, quite quickly over the winter, because he had a month free when another project was postponed,” Zhou tells Deadline. “I agreed immediately...
Although she had no desire to act, she was plucked from obscurity by Zhang Yimou when still a high school student in 2010, and became one of China’s most respected young actresses, with a string of award-winning films.
She agreed to star in The Breaking Ice as soon as Chen called her and before he’d even written the script. She’d worked with him before on short film The Break Away, part of Neon-produced anthology The Year Of The Everlasting Storm, which Chen had directed remotely during the pandemic.
“He called and said he wanted to shoot a film in China, quite quickly over the winter, because he had a month free when another project was postponed,” Zhou tells Deadline. “I agreed immediately...
- 5/26/2023
- by Liz Shackleton
- Deadline Film + TV
In the era of “content” and streaming, Clara Law feels it’s harder than ever for cinema to be considered firstly as an art form, or a form of cultural preservation. Instead, she sees projects marked by creative compromise. “There’s a lot of disappointment watching films nowadays, because there’s a lot of compromises out there, even […]
The post ‘Why do something someone has done before?’: Clara Law eschews compromise appeared first on If Magazine.
The post ‘Why do something someone has done before?’: Clara Law eschews compromise appeared first on If Magazine.
- 2/16/2023
- by Jackie Keast
- IF.com.au
Laha Mebow became the first woman from Taiwan to win the best director prize for ‘Gaga’.
Taiwanese family drama Coo-Coo 043 won best film and Hong Kong crime drama Limbo picked up the most prizes at the Golden Horse Awards in Taiwan on Saturday night (November 19) as Hong Kong cinema made a grand return winning nine awards.
The prizes were quite evenly distributed this year, with no single film sweeping the 59th edition of the annual ceremony, which was held at the Sun Yat-sen Memorial Hall in Taipei.
Scroll down for list of winners
Chan Ching-lin’s feature debut Coo-Coo 043, set...
Taiwanese family drama Coo-Coo 043 won best film and Hong Kong crime drama Limbo picked up the most prizes at the Golden Horse Awards in Taiwan on Saturday night (November 19) as Hong Kong cinema made a grand return winning nine awards.
The prizes were quite evenly distributed this year, with no single film sweeping the 59th edition of the annual ceremony, which was held at the Sun Yat-sen Memorial Hall in Taipei.
Scroll down for list of winners
Chan Ching-lin’s feature debut Coo-Coo 043, set...
- 11/20/2022
- by Silvia Wong
- ScreenDaily
Further film and series winners included filmmakers from Taiwan, Hong Kong and Japan.
Malaysian director Chong Keat-aun’s Amah’s Miseries has claimed the grand prize at the Golden Horse Film Project Promotion (Fpp) financing market in Taiwan, winning a 32,000 (NT1m) prize.
Further film and series winners at the market, which takes place during the Taipei Golden Horse Film Festival, included filmmakers from Taiwan, Hong Kong and Japan.
Scroll down for full list of winners
Amah’s Miseries is produced by Wong Kew-soon from Malaysia, Gene Yao from Taiwan and Chow Wai-thong from Singapore, the same team behind Chong...
Malaysian director Chong Keat-aun’s Amah’s Miseries has claimed the grand prize at the Golden Horse Film Project Promotion (Fpp) financing market in Taiwan, winning a 32,000 (NT1m) prize.
Further film and series winners at the market, which takes place during the Taipei Golden Horse Film Festival, included filmmakers from Taiwan, Hong Kong and Japan.
Scroll down for full list of winners
Amah’s Miseries is produced by Wong Kew-soon from Malaysia, Gene Yao from Taiwan and Chow Wai-thong from Singapore, the same team behind Chong...
- 11/18/2022
- by Silvia Wong
- ScreenDaily
Answering the SunInternational Film Festival Rotterdam have announced the full lineup for their "scaled-down" 51st edition, which will take place online between January 26 — February 6. As part of a full, nationwide lockdown, cinemas will remain closed in the Netherlands until at least 14 January. Tiger COMPETITIONAchrome (Maria Ignatenko)The Cloud Messenger (Rahat Mahajan)The Child (Marguerite de Hillerin/Félix Dutilloy-Liégeois)Eami (Paz Encina)Excess Will Save Us (Morgane Dziurla-Petit)Kafka for Kids (Roee Rosen)Malintzin 17 (Mara Polgovsky/Eugenio Polgovsky)Met mes (Sam de Jong)The Plains (David Easteal)Proyecto Fantasma (Roberto Doveris)Le rêve et la radio (Renaud Després-Larose/Ana Tapia Rousiouk)Silver Bird and Rainbow Fish (Lei Lei)To Love Again (Gao Linyang)Yamabuki (Juichiro Yamasaki)Big Screen COMPETITIONAssault (Adilkhan Yerzhanov)Broadway (Christos Massalas)Third Grade (Jacques Doillon)Daryn’s Gym (Brett Michael Innes)Drifting Petals (Clara Law)The Harbour (Rajeev Ravi)The Island (Anca Damian)Kung Fu Zohra (Mabrouk El Mechri...
- 1/7/2022
- MUBI
This year’s International Film Festival Rotterdam (IFFR) has unveiled the 14 films selected for its flagship Tiger Competition. Scroll down for the full list.
The selection is typically globe-trotting, with features ranging from Chile to China, Sweden to Israel, and Mexico to India. A jury will grant three prizes: the Tiger Award, plus two special jury awards. On the jury are: Zsuzsi Bánkuti, Gust Van den Berghe, Tatiana Leite, Thekla Reuten and Farid Tabarki.
Last year’s winner of IFFR’s Tiger competition was Indian filmmaker Vinothraj P.S.’s Pebbles, which was the country’s contender for this year’s International Oscar race, though didn’t make the shortlist.
Today, the festival also confirmed the line-ups for its Big Screen Competition, which aims to bridge the gap between popular and arthouse cinema. Titles selected range from Romania to France and South Africa. The Tiger Short Competition was also unveiled.
The selection is typically globe-trotting, with features ranging from Chile to China, Sweden to Israel, and Mexico to India. A jury will grant three prizes: the Tiger Award, plus two special jury awards. On the jury are: Zsuzsi Bánkuti, Gust Van den Berghe, Tatiana Leite, Thekla Reuten and Farid Tabarki.
Last year’s winner of IFFR’s Tiger competition was Indian filmmaker Vinothraj P.S.’s Pebbles, which was the country’s contender for this year’s International Oscar race, though didn’t make the shortlist.
Today, the festival also confirmed the line-ups for its Big Screen Competition, which aims to bridge the gap between popular and arthouse cinema. Titles selected range from Romania to France and South Africa. The Tiger Short Competition was also unveiled.
- 1/7/2022
- by Tom Grater
- Deadline Film + TV
Adilkhan Yerzhanov’s “Assault” and “Kung Fu Zohra” from Mabrouk El Mechri are among the lineup at International Film Festival Rotterdam’s (IFFR) 51st edition.
The films were among 10 features selected for the Big Screen competition, which aims to bridge the gap between popular, classic and arthouse cinema.
IFFR also boasts the Tiger Competition for emerging talent and Ammodo Tiger Short competition for shorts.
Among the 14 titles selected for the Tiger Competition, Roberto Doveris will present “Proyecto Fantasma,” Morgane Dziurla-Petit will deliver “Excess Will Save Us” and David Easteal will show “The Plains.”
The festival, whose full lineup was announced on Friday, will run as a virtual festival on IFFR.com from Jan 26-Feb. 6 for the second year in a row due to the Covid-19 pandemic. Festival director Vanja Kaludjercic revealed that the lockdown in the Netherlands had enforced some changes in previously announced elements of the program. For example,...
The films were among 10 features selected for the Big Screen competition, which aims to bridge the gap between popular, classic and arthouse cinema.
IFFR also boasts the Tiger Competition for emerging talent and Ammodo Tiger Short competition for shorts.
Among the 14 titles selected for the Tiger Competition, Roberto Doveris will present “Proyecto Fantasma,” Morgane Dziurla-Petit will deliver “Excess Will Save Us” and David Easteal will show “The Plains.”
The festival, whose full lineup was announced on Friday, will run as a virtual festival on IFFR.com from Jan 26-Feb. 6 for the second year in a row due to the Covid-19 pandemic. Festival director Vanja Kaludjercic revealed that the lockdown in the Netherlands had enforced some changes in previously announced elements of the program. For example,...
- 1/7/2022
- by K.J. Yossman and Marta Balaga
- Variety Film + TV
American Girl took five prizes including best new director and best new performer.
Chung Mong-hong’s The Falls won best narrative feature and three other prizes at Taiwan’s Golden Horse Awards on Saturday night (November 27), while Kiwi Chow’s Revolution Of Our Times took best documentary feature.
Selected as Taiwan’s submission for best international feature at the Oscars, The Falls also won awards for best leading actress (Alyssa Chia), best original screenplay (Chung and Chang Yaosheng) and best original score (Lu Luming). The film received its world premiere at this year’s Venice film festival.
Revolution Of Our Times,...
Chung Mong-hong’s The Falls won best narrative feature and three other prizes at Taiwan’s Golden Horse Awards on Saturday night (November 27), while Kiwi Chow’s Revolution Of Our Times took best documentary feature.
Selected as Taiwan’s submission for best international feature at the Oscars, The Falls also won awards for best leading actress (Alyssa Chia), best original screenplay (Chung and Chang Yaosheng) and best original score (Lu Luming). The film received its world premiere at this year’s Venice film festival.
Revolution Of Our Times,...
- 11/29/2021
- by Liz Shackleton
- ScreenDaily
“The Falls,” Taiwan’s Oscar contender and a timely drama about the trauma of home quarantine, emerged as the unsurprising winner at the Golden Horse Film Awards in Taipei on Saturday.
And, in a bold decision that has the potential to enrage Mainland Chinese authorities, the prize for best documentary feature was awarded to “Revolution of Our Times.” The film chronicles the brutality of the political crackdown on the streets of Hong Kong in 2019 and 2020.
“The Falls,” which debuted at the Venice Film Festival in September, tells the tale of a mother and daughter cooped up in an apartment during a quarantine. It is directed by Chung Mong-hong, who previously directed “Parking” and “A Sun.”
At the award ceremony “The Falls” earned four prizes, including best narrative feature, best original screenplay, best actress and best original score.
The Golden Horse Film Awards are in their 58th edition and for many...
And, in a bold decision that has the potential to enrage Mainland Chinese authorities, the prize for best documentary feature was awarded to “Revolution of Our Times.” The film chronicles the brutality of the political crackdown on the streets of Hong Kong in 2019 and 2020.
“The Falls,” which debuted at the Venice Film Festival in September, tells the tale of a mother and daughter cooped up in an apartment during a quarantine. It is directed by Chung Mong-hong, who previously directed “Parking” and “A Sun.”
At the award ceremony “The Falls” earned four prizes, including best narrative feature, best original screenplay, best actress and best original score.
The Golden Horse Film Awards are in their 58th edition and for many...
- 11/28/2021
- by Patrick Frater
- Variety Film + TV
The Hong Kong-raised Melbourne film-maker, who has two movies screening at Sydney film festival, reflects on the ‘farcical’ immigrant experience and being a pioneer of Asian Australian cinema
When Clara Law’s film Floating Life opened in Australian cinemas in 1996, the Hong Kong-raised, Melbourne-based writer-director did not expect it to pack such a strong cultural punch.
Along with being one of few local films to deal with the Asian migrant experience, Floating Life made history as Australia’s first-ever submission in the best foreign language film category at the Academy Awards, and ignited a new generation of Asian Australian film-makers.
When Clara Law’s film Floating Life opened in Australian cinemas in 1996, the Hong Kong-raised, Melbourne-based writer-director did not expect it to pack such a strong cultural punch.
Along with being one of few local films to deal with the Asian migrant experience, Floating Life made history as Australia’s first-ever submission in the best foreign language film category at the Academy Awards, and ignited a new generation of Asian Australian film-makers.
- 11/3/2021
- by Debbie Zhou
- The Guardian - Film News
Hong Kong drama “Drifting” leads Taiwan’s Golden Horse Film Awards race with 12 nominations including best narrative feature and best adapted screenplay, organizers announced on Tuesday.
The film that revolves around the tragedy of homeless people in Hong Kong also earned a nomination for Jun Li in the best director category. Veteran actor Francis Ng, who plays a homeless drug addict battling for justice, was also nominated for best leading actor.
Since 2019, Beijing has operated a mainland Chinese boycott of the awards that for many years were seen as the highest accoladed for Chinese-language filmmaking. And in 2019 and 2020 most Hong Kong films and filmmakers also stayed away. This year’s list sees an uptick in the Hong Kong participation, but only in the cases of films that are unlikely ever to receive a release in mainland China.
The domination of “Drifting” in the race, however, is closely challenged by “The Falls,...
The film that revolves around the tragedy of homeless people in Hong Kong also earned a nomination for Jun Li in the best director category. Veteran actor Francis Ng, who plays a homeless drug addict battling for justice, was also nominated for best leading actor.
Since 2019, Beijing has operated a mainland Chinese boycott of the awards that for many years were seen as the highest accoladed for Chinese-language filmmaking. And in 2019 and 2020 most Hong Kong films and filmmakers also stayed away. This year’s list sees an uptick in the Hong Kong participation, but only in the cases of films that are unlikely ever to receive a release in mainland China.
The domination of “Drifting” in the race, however, is closely challenged by “The Falls,...
- 10/6/2021
- by Vivienne Chow
- Variety Film + TV
The 45th Hong Kong International Film Festival (HKIFF45) will present ten restored Chinese-language classics to celebrate the filmmakers’ creativity that remains influential to this day.
Spanning from the silent era to Hong Kong’s New Wave, this selection represents a cross-section of some of the most iconic work by generations of forward-thinking Chinese filmmakers who were never afraid to challenge the conventions.
Demonstrating cinematic artistry in startling modernity, Wu Yonggang’s “The Goddess” (1934) is a silent masterpiece that immortalised Chinese cinema’s goddess, Ruan Lingyu, who embodied the dichotomy of women’s roles in her exquisitely crafted performance. Funded by the KT Wong Foundation, this newly-restored version also features a sweeping orchestral score with Shanghainese folk music. Celebrated filmmaker Sang Hu heralded China’s first colour feature with “New Year’s Sacrifice” (1956), transforming literary giant Lu Xun’s sardonic tale into a cinematic triumph of socialist realism. Shanghai International Film...
Spanning from the silent era to Hong Kong’s New Wave, this selection represents a cross-section of some of the most iconic work by generations of forward-thinking Chinese filmmakers who were never afraid to challenge the conventions.
Demonstrating cinematic artistry in startling modernity, Wu Yonggang’s “The Goddess” (1934) is a silent masterpiece that immortalised Chinese cinema’s goddess, Ruan Lingyu, who embodied the dichotomy of women’s roles in her exquisitely crafted performance. Funded by the KT Wong Foundation, this newly-restored version also features a sweeping orchestral score with Shanghainese folk music. Celebrated filmmaker Sang Hu heralded China’s first colour feature with “New Year’s Sacrifice” (1956), transforming literary giant Lu Xun’s sardonic tale into a cinematic triumph of socialist realism. Shanghai International Film...
- 2/12/2021
- by Grace Han
- AsianMoviePulse
Google and GoDaddy did not violate the Daily Stormer’s constitutional right of free speech by kicking the white supremacist website off their internet hosting services, experts say. The First Amendment “limits only the government, not private parties such as Google and GoDaddy,” Harvard law professor and free speech expert Floyd Abrams told TheWrap. Because “neither GoDaddy or Google have any First Amendment obligations to any customer,” the Daily Stormer would not win a First Amendment lawsuit against those private companies, Santa Clara law professor and internet expert Eric Goldman told TheWrap. Also Read: Neo-Nazi Site Daily Stormer Booted by Google Just Hours.
- 8/15/2017
- by Susan Seager
- The Wrap
World’s second longest-serving film festival director died last week while attending Graz film festival.
Filmmakers in Germany and beyond are mourning the passing of Heinz Badewitz, the founder of the Hof Film Days, who died unexpectedly last week at the age of 74 whilst attending last week’s Diagonale - Festival of Austrian Film in Graz.
Badewitz was the world’s second longest-serving film festival director after Chicago’s Michael Kutza (who launched his festival in 1964) and was planning Hof’s 50th anniversary in October.
Hailing from Hof in Northern Franconia, Badewitz had moved to Munich in the early 1960s to train as a cameraman and soon became part of the Munich film scene, later working as location manager on such films as Wim Wenders’ Kings Of The Road and The American Friend, and assistant director for Bob Fosse’s Cabaret and Norman Jewison’s Rollerball.
In addition, he was involved in the selection of German films for...
Filmmakers in Germany and beyond are mourning the passing of Heinz Badewitz, the founder of the Hof Film Days, who died unexpectedly last week at the age of 74 whilst attending last week’s Diagonale - Festival of Austrian Film in Graz.
Badewitz was the world’s second longest-serving film festival director after Chicago’s Michael Kutza (who launched his festival in 1964) and was planning Hof’s 50th anniversary in October.
Hailing from Hof in Northern Franconia, Badewitz had moved to Munich in the early 1960s to train as a cameraman and soon became part of the Munich film scene, later working as location manager on such films as Wim Wenders’ Kings Of The Road and The American Friend, and assistant director for Bob Fosse’s Cabaret and Norman Jewison’s Rollerball.
In addition, he was involved in the selection of German films for...
- 3/14/2016
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Writer-director Sue Brooks' Looking for Grace will be the first film by a female Australian director to screen in competition at the Venice Film Festival since Clara Law's The Goddess Of 1967 in 2000.
Australia will have an unprecedented profile at the festival with Michael Rowe.s Early Winter and Simon Stone.s The Daughter selected for the Venice Days sidebar and Bentley Dean and Martin Butler.s Tanna screening in Venice Critics. Week.
This is the first time Australian films will be represented in all three Venice categories. That adds to the prestige of The Daughter having its North American premiere in the Special Presentations section of the 40th Toronto International Film Festival, where Jocelyn Moorhouse.s The Dressmaker will have its world premiere in the Gala Presentations section.
Wayne Blair's Us thriler Septembers Of Shiraz, which stars Salma Hayek, Adrien Brody and Shohreh Aghdashloo, will also screen in Gala Presentations.
Australia will have an unprecedented profile at the festival with Michael Rowe.s Early Winter and Simon Stone.s The Daughter selected for the Venice Days sidebar and Bentley Dean and Martin Butler.s Tanna screening in Venice Critics. Week.
This is the first time Australian films will be represented in all three Venice categories. That adds to the prestige of The Daughter having its North American premiere in the Special Presentations section of the 40th Toronto International Film Festival, where Jocelyn Moorhouse.s The Dressmaker will have its world premiere in the Gala Presentations section.
Wayne Blair's Us thriler Septembers Of Shiraz, which stars Salma Hayek, Adrien Brody and Shohreh Aghdashloo, will also screen in Gala Presentations.
- 7/29/2015
- by Don Groves
- IF.com.au
Oscar-winner, who worked with Peter Jackson on the Lord of the Rings and Hobbit trilogies, most recently collaborated with Russell Crowe on The Water Diviner.
The unexpected death of Australian cinematographer Andrew Lesnie has sparked an outpouring of touching sentiment about his skills behind the camera, his huge contribution to his own and New Zealand cinema and also, from those who knew him, his decency and goodwill.
“After 17 years and eight movies together, the loss of Andrew is very hard to bear,” said Peter Jackson in a Facebook post this evening. He described him as “one of the great cinematographers of our time” and “an irreplaceable part of my family” who “always had my back”.
Jackson sought him out for the fantasy/adventure The Lord of the Rings: The Fellowship of the Ring because of the quality of his work on the Australian fairytale Babe. The New Zealand-based collaboration earned Lesnie the 2002 Academy Award for his cinematography...
The unexpected death of Australian cinematographer Andrew Lesnie has sparked an outpouring of touching sentiment about his skills behind the camera, his huge contribution to his own and New Zealand cinema and also, from those who knew him, his decency and goodwill.
“After 17 years and eight movies together, the loss of Andrew is very hard to bear,” said Peter Jackson in a Facebook post this evening. He described him as “one of the great cinematographers of our time” and “an irreplaceable part of my family” who “always had my back”.
Jackson sought him out for the fantasy/adventure The Lord of the Rings: The Fellowship of the Ring because of the quality of his work on the Australian fairytale Babe. The New Zealand-based collaboration earned Lesnie the 2002 Academy Award for his cinematography...
- 4/28/2015
- by Sandy.George@me.com (Sandy George)
- ScreenDaily
The Hive Lab has announced its film-makers to collaborate with artists, theatre actors, choreographers, animators and writers over 11-14 October. The list of film-makers include Sophie Raymond, co-director of Mrs Carey’s Concert and Natasha Pincus, director of music video Somebody That I Used to Know by Gotye with artists such as Eddie Perfect and Bill Henson.The announcement:
A roll call of some of Australia’s most extraordinary artists, filmmakers, theatre practitioners, choreographers, animators and writers have signed up for the Hive Lab, taking place during the Melbourne Festival from 11-14 October. The four-day Hive Lab brings seventeen filmmakers and artists together in a creative clash of cultures, nurturing new ideas that cut across artistic boundaries.
The second Hive Lab was originally conceived by Adelaide Film Festival and is co-presented with Australia Council, ABC TV, Screen Australia and the South Australian Film Corporation.
The 2012 Hive Lab participants are arts and performance practitioners Bill Henson,...
A roll call of some of Australia’s most extraordinary artists, filmmakers, theatre practitioners, choreographers, animators and writers have signed up for the Hive Lab, taking place during the Melbourne Festival from 11-14 October. The four-day Hive Lab brings seventeen filmmakers and artists together in a creative clash of cultures, nurturing new ideas that cut across artistic boundaries.
The second Hive Lab was originally conceived by Adelaide Film Festival and is co-presented with Australia Council, ABC TV, Screen Australia and the South Australian Film Corporation.
The 2012 Hive Lab participants are arts and performance practitioners Bill Henson,...
- 9/13/2012
- by Colin Delaney
- Encore Magazine
Toronto International Film Festival. Glenn is in Australia but he's seen Monday's premiere "Lore".
Australia isn’t a regular player in the Academy’s annual game of Best Foreign Language Film. We’ve only submitted five films prior to 2012: Clara Law’s Floating Life (1996), which I have never seen; Steve Jacobs’ La Spagnola (2001), which is fun, if slight, immigrant comedy; Rolf de Heer’s Ten Canoes (2006) a fabulous film that was the first ever filmed in native Aboriginal dialects; Tony Ayres’ The Home Song Stories (2007), which features an incredible performance by Joan Chen; and Samson & Delilah (2009), Warwick Thornton’s groundbreaking indigenous drama about two teens escaping their remote lives only to stumble upon tragedy at every turn. Thornton’s film was the closest Australia has ever come to snagging a nomination, having managed to find a spot on the nine-wide shortlist. As great as that film was, however, its...
Australia isn’t a regular player in the Academy’s annual game of Best Foreign Language Film. We’ve only submitted five films prior to 2012: Clara Law’s Floating Life (1996), which I have never seen; Steve Jacobs’ La Spagnola (2001), which is fun, if slight, immigrant comedy; Rolf de Heer’s Ten Canoes (2006) a fabulous film that was the first ever filmed in native Aboriginal dialects; Tony Ayres’ The Home Song Stories (2007), which features an incredible performance by Joan Chen; and Samson & Delilah (2009), Warwick Thornton’s groundbreaking indigenous drama about two teens escaping their remote lives only to stumble upon tragedy at every turn. Thornton’s film was the closest Australia has ever come to snagging a nomination, having managed to find a spot on the nine-wide shortlist. As great as that film was, however, its...
- 9/8/2012
- by Glenn Dunks
- FilmExperience
It's Monday night: do you know where your acting guild's pension money is? Stephen Diamond, the Santa Clara law professor and Hollywood labor analyst and one-time candidate for SAG executive director, asks a very pertinent question about new documents disclosed in this class action lawsuit filed in U.S. District Court for the Southern District in New York: "What was a union pension fund doing investing in the complicated offshore deal in the first place?" The disclosures come as SAG and AFTRA leaders are trying to become one union. AFTRA's Retirement Fund Board Of Trustees is now one of the pension funds suing giant Jp Morgan Chase because of an investment vehicle made for the AFTRA membership. The allegations are that the bank protected its own interests in a multibillion dollar Cayman Islands offshore fund called Sigma while the clients lost their money. (Like, duh. That seems to be the...
- 4/12/2011
- by NIKKI FINKE
- Deadline Hollywood
Three Hong Kong films were selected for this year's Venice Film Festival. Teh 67th edition will welcome The Child's Eye, Red Earth and the most buzzed film which is also bound for Tiff in Legend of the Fist: the Return of Chen Zhen. Red Earth, a short film directed by Clara Law (an Australian co-production), was previously selected for this year's Hong Kong International Film Festival as one of four films for "Quattro Hong Kong," a section of films produced by the festival society as a sort of tribute to the city of Hong Kong. Red Earth is about a management consultant played by Daniel Wu who goes to Hong Kong to meet a girl briefly encountered before, he checks in a hotel to wait for her to show him an unforgettable view of sunset that she promised him. But he can no longer remember her face and strange things...
- 8/17/2010
- IONCINEMA.com
I'm adding the make-up of the Venice Film Festival Horizons sidebar selections a little late to the site, I'm mostly curious to see the low ratio of films that'll be picked up from this section for the upcoming Tiff announcements. Deemed as re-branding of the section, a more eclectic melange of titles mixing short, medium length pics, documentaries film and feature length items, of the items that will generate the most interest are the opening and closing titles which were revealed the week before, but we should see media coverage mentions on Paul Morrissey's News From Nowhere, Jose Luis Guerin's docu Guest (I've yet to see 2007/2008's In the City of Sylvia) and Sion Sono's Cold Fish and short film offerings from Guillermo Arriaga, Isaac Julien and Clara Law. Horizons: Feature-length Works "Sleeping Beauty," Catherine Breillat (France, opener) "Oki's Movie," Hong Sang-soo (South Korea, closer) "The Nine Muses,...
- 8/2/2010
- IONCINEMA.com
- ‘Second Wave’ Hong Kong filmmaker Clara Law (Floating Life) is finally returning to the director’s chair after a four year sabbatical with her first Chinese film since 1994’s King of Western Chu (her last film before bolting to Australia prior to Hong Kong’s handover to China in 1997). Like a Dream, which Law announced at the Shanghai Film Festival, is a romancer that spans the cities of Shanghai, Taipei, and New York. She told Variety ‘The idea for the film sprang from a conversation I had with a friend who remarked how much Shanghai resembles New York these days.’ The film stars Hk mega-idol Daniel Wu (The Banquet) as a native Chinese-American who gets wrapped up in a bit of international romantic intrigue. Bubbly Quan Yuan (For the Children) plays Wu’s love interest. Law’s films often examine the themes of migration and cultural identity so the
- 6/18/2008
- IONCINEMA.com
HONG KONG -- Five films won awards valued at $97,000 Thursday at the closing ceremony of the Hong Kong-Asia Film Financing Forum, where one local winner found additional funding on his own.
Chosen from 25 projects, the five winning films were led by director Clara Law's "The Messenger", which won both the $13,000 HAF Award for a Hong Kong project and the Technicolor Thailand Post-production Service Award.
Law, an Australian Chinese known for her films "Goddess of 1967" and "Floating Life", said that the awards would not quite complete the financing she and producer Sue Maslin need to finish the $6 million mystery love story about a psychic helping a policeman on a missing persons case.
"Oh, no, this won't finish the film, but the award is good encouragement and hopefully will arouse greater interest," Law said, noting that Maslin's next stop is Cannes in May.
The HAF Award of $13,000 for a project from outside Hong Kong went to Japanese director Hirokazu Kore-eda for his "Night-fragrant Flower", based on the true story of 1930s Chinese actress Li Xiangian, who was sentenced to death for treason.
The Rome Film Festival Award for $15,000 went to South Korean director Kim Jee-Woon's "The Good, the Bad and the Weird," an Asian twist on the spaghetti Westerns popularized by Italian cinema icon Sergio Leone.
Chosen from 25 projects, the five winning films were led by director Clara Law's "The Messenger", which won both the $13,000 HAF Award for a Hong Kong project and the Technicolor Thailand Post-production Service Award.
Law, an Australian Chinese known for her films "Goddess of 1967" and "Floating Life", said that the awards would not quite complete the financing she and producer Sue Maslin need to finish the $6 million mystery love story about a psychic helping a policeman on a missing persons case.
"Oh, no, this won't finish the film, but the award is good encouragement and hopefully will arouse greater interest," Law said, noting that Maslin's next stop is Cannes in May.
The HAF Award of $13,000 for a project from outside Hong Kong went to Japanese director Hirokazu Kore-eda for his "Night-fragrant Flower", based on the true story of 1930s Chinese actress Li Xiangian, who was sentenced to death for treason.
The Rome Film Festival Award for $15,000 went to South Korean director Kim Jee-Woon's "The Good, the Bad and the Weird," an Asian twist on the spaghetti Westerns popularized by Italian cinema icon Sergio Leone.
- 3/23/2007
- The Hollywood Reporter - Movie News
"La Spagnola" is one of the first films to emerge from the Australian Film Commission and public broadcaster SBS Independent's Million Dollar Movies initiative, which plans to release a number of quality film projects at a cut-rate price. With its richly textured imagery and vibrant, colorful cinematography, "Spagnola" is the perfect film to lead the charge. It has the tone and feel of a film made on a much higher budget than the small outlay of a million Australian dollars.
A boxoffice success in Australia, "Spagnola" also is a true rarity in terms of the local industry: Set within the Spanish and Italian communities, it's one of the few Australian films (along with Clara Law's "Floating Life") whose principal language is not English. In fact, the film has been entered for consideration in the foreign language film category of the Academy Awards.
These aren't the only things, however, that make "Spagnola" such a rare beast. Despite a highly visual palette, this is a film with a scathing, almost misanthropic worldview that seems to hold a feverish hatred for all of its characters. A film doesn't necessarily have to be upbeat to be successful (particularly in art house territory), but "La Spagnola" steams and froths with the kind of negativity that could prove a major turnoff.
Giving no quarter to filmgoers, writer Anna Maria Monticelli and director Steve Jacobs uncover the miserable qualities in all of their characters and provide no point of empathy or anything to hang on to.
Lola (a sexy, fiery turn from Lola Marceli), a Spanish woman living in Australia, hits a downward spiral when her husband (Simon Palomares) dumps her for a local girl and leaves her saddled with their teenage daughter (a headstrong performance from Alice Ansara).
Lola has to struggle to make ends meet, and ends up feuding with her daughter and getting into bed with the aggressive, sexually predatory Stefano (firebrand Alex Dimitriades, doing his best with an awkward and underwritten role), who doesn't just have eyes for her.
Though shot with a hot, sexy swagger and filled with ribald humor, "Spagnola" ultimately becomes a prisoner of its own unpleasantness. Though films that represent real life are to be celebrated and admired, the kind of real life represented in this film is one that's just too ugly and off-putting to be involving.
LA SPAGNOLA
New Vision Films presents
a Wild Strawberries production in association with the Australian Film Commission
and SBS Independent
Credits:
Producer: Anna Maria Monticelli
Director: Steve Jacobs
Screenwriter: Anna Maria Monticelli
Director of photography: Steve Arnold
Production designer: Dee Molineaux
Music: Cezary Skubiszewski
Co-producer: Philip Hearnshaw
Costume designer: Margot Wilson
Editor: Alexandre De Franceschi
Cast:
Lola: Lola Marceli
Stefano: Alex Dimitriades
Lucia: Alice Ansara
Ricardo: Simon Palomares
Doctor: Tony Barry
No MPAA rating
Color/stereo
Running time -- 87 minutes...
A boxoffice success in Australia, "Spagnola" also is a true rarity in terms of the local industry: Set within the Spanish and Italian communities, it's one of the few Australian films (along with Clara Law's "Floating Life") whose principal language is not English. In fact, the film has been entered for consideration in the foreign language film category of the Academy Awards.
These aren't the only things, however, that make "Spagnola" such a rare beast. Despite a highly visual palette, this is a film with a scathing, almost misanthropic worldview that seems to hold a feverish hatred for all of its characters. A film doesn't necessarily have to be upbeat to be successful (particularly in art house territory), but "La Spagnola" steams and froths with the kind of negativity that could prove a major turnoff.
Giving no quarter to filmgoers, writer Anna Maria Monticelli and director Steve Jacobs uncover the miserable qualities in all of their characters and provide no point of empathy or anything to hang on to.
Lola (a sexy, fiery turn from Lola Marceli), a Spanish woman living in Australia, hits a downward spiral when her husband (Simon Palomares) dumps her for a local girl and leaves her saddled with their teenage daughter (a headstrong performance from Alice Ansara).
Lola has to struggle to make ends meet, and ends up feuding with her daughter and getting into bed with the aggressive, sexually predatory Stefano (firebrand Alex Dimitriades, doing his best with an awkward and underwritten role), who doesn't just have eyes for her.
Though shot with a hot, sexy swagger and filled with ribald humor, "Spagnola" ultimately becomes a prisoner of its own unpleasantness. Though films that represent real life are to be celebrated and admired, the kind of real life represented in this film is one that's just too ugly and off-putting to be involving.
LA SPAGNOLA
New Vision Films presents
a Wild Strawberries production in association with the Australian Film Commission
and SBS Independent
Credits:
Producer: Anna Maria Monticelli
Director: Steve Jacobs
Screenwriter: Anna Maria Monticelli
Director of photography: Steve Arnold
Production designer: Dee Molineaux
Music: Cezary Skubiszewski
Co-producer: Philip Hearnshaw
Costume designer: Margot Wilson
Editor: Alexandre De Franceschi
Cast:
Lola: Lola Marceli
Stefano: Alex Dimitriades
Lucia: Alice Ansara
Ricardo: Simon Palomares
Doctor: Tony Barry
No MPAA rating
Color/stereo
Running time -- 87 minutes...
"La Spagnola" is one of the first films to emerge from the Australian Film Commission and public broadcaster SBS Independent's Million Dollar Movies initiative, which plans to release a number of quality film projects at a cut-rate price. With its richly textured imagery and vibrant, colorful cinematography, "Spagnola" is the perfect film to lead the charge. It has the tone and feel of a film made on a much higher budget than the small outlay of a million Australian dollars.
A boxoffice success in Australia, "Spagnola" also is a true rarity in terms of the local industry: Set within the Spanish and Italian communities, it's one of the few Australian films (along with Clara Law's "Floating Life") whose principal language is not English. In fact, the film has been entered for consideration in the foreign language film category of the Academy Awards.
These aren't the only things, however, that make "Spagnola" such a rare beast. Despite a highly visual palette, this is a film with a scathing, almost misanthropic worldview that seems to hold a feverish hatred for all of its characters. A film doesn't necessarily have to be upbeat to be successful (particularly in art house territory), but "La Spagnola" steams and froths with the kind of negativity that could prove a major turnoff.
Giving no quarter to filmgoers, writer Anna Maria Monticelli and director Steve Jacobs uncover the miserable qualities in all of their characters and provide no point of empathy or anything to hang on to.
Lola (a sexy, fiery turn from Lola Marceli), a Spanish woman living in Australia, hits a downward spiral when her husband (Simon Palomares) dumps her for a local girl and leaves her saddled with their teenage daughter (a headstrong performance from Alice Ansara).
Lola has to struggle to make ends meet, and ends up feuding with her daughter and getting into bed with the aggressive, sexually predatory Stefano (firebrand Alex Dimitriades, doing his best with an awkward and underwritten role), who doesn't just have eyes for her.
Though shot with a hot, sexy swagger and filled with ribald humor, "Spagnola" ultimately becomes a prisoner of its own unpleasantness. Though films that represent real life are to be celebrated and admired, the kind of real life represented in this film is one that's just too ugly and off-putting to be involving.
LA SPAGNOLA
New Vision Films presents
a Wild Strawberries production in association with the Australian Film Commission
and SBS Independent
Credits:
Producer: Anna Maria Monticelli
Director: Steve Jacobs
Screenwriter: Anna Maria Monticelli
Director of photography: Steve Arnold
Production designer: Dee Molineaux
Music: Cezary Skubiszewski
Co-producer: Philip Hearnshaw
Costume designer: Margot Wilson
Editor: Alexandre De Franceschi
Cast:
Lola: Lola Marceli
Stefano: Alex Dimitriades
Lucia: Alice Ansara
Ricardo: Simon Palomares
Doctor: Tony Barry
No MPAA rating
Color/stereo
Running time -- 87 minutes...
A boxoffice success in Australia, "Spagnola" also is a true rarity in terms of the local industry: Set within the Spanish and Italian communities, it's one of the few Australian films (along with Clara Law's "Floating Life") whose principal language is not English. In fact, the film has been entered for consideration in the foreign language film category of the Academy Awards.
These aren't the only things, however, that make "Spagnola" such a rare beast. Despite a highly visual palette, this is a film with a scathing, almost misanthropic worldview that seems to hold a feverish hatred for all of its characters. A film doesn't necessarily have to be upbeat to be successful (particularly in art house territory), but "La Spagnola" steams and froths with the kind of negativity that could prove a major turnoff.
Giving no quarter to filmgoers, writer Anna Maria Monticelli and director Steve Jacobs uncover the miserable qualities in all of their characters and provide no point of empathy or anything to hang on to.
Lola (a sexy, fiery turn from Lola Marceli), a Spanish woman living in Australia, hits a downward spiral when her husband (Simon Palomares) dumps her for a local girl and leaves her saddled with their teenage daughter (a headstrong performance from Alice Ansara).
Lola has to struggle to make ends meet, and ends up feuding with her daughter and getting into bed with the aggressive, sexually predatory Stefano (firebrand Alex Dimitriades, doing his best with an awkward and underwritten role), who doesn't just have eyes for her.
Though shot with a hot, sexy swagger and filled with ribald humor, "Spagnola" ultimately becomes a prisoner of its own unpleasantness. Though films that represent real life are to be celebrated and admired, the kind of real life represented in this film is one that's just too ugly and off-putting to be involving.
LA SPAGNOLA
New Vision Films presents
a Wild Strawberries production in association with the Australian Film Commission
and SBS Independent
Credits:
Producer: Anna Maria Monticelli
Director: Steve Jacobs
Screenwriter: Anna Maria Monticelli
Director of photography: Steve Arnold
Production designer: Dee Molineaux
Music: Cezary Skubiszewski
Co-producer: Philip Hearnshaw
Costume designer: Margot Wilson
Editor: Alexandre De Franceschi
Cast:
Lola: Lola Marceli
Stefano: Alex Dimitriades
Lucia: Alice Ansara
Ricardo: Simon Palomares
Doctor: Tony Barry
No MPAA rating
Color/stereo
Running time -- 87 minutes...
- 11/27/2001
- The Hollywood Reporter - Movie News
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