The project stars American actress/model Devon Ross.
The production of director Dominik Sedlar’s Second World War feature Vindicta is underway in Croatia.
The film stars Devon Ross (HBO’s Irma Vep), Jack Bandeira, Sam Hazeldine (Peaky Blinders), Pip Torrens, Suzanne Bertish and Anna Madeley.
Austrian producer Veit Heiduschka, who has produced several of Michael Haneke’s films including Happy End, Amour, The White Ribbon and Hidden, is producing alongside Croatia Film’s creative director Zeljko Zima, Stephen Ollendorff, Alan Green, Wendy Benge and Sedlar.
It is Croatian-born US filmmaker Sedlar’s third successive feature with a Second World...
The production of director Dominik Sedlar’s Second World War feature Vindicta is underway in Croatia.
The film stars Devon Ross (HBO’s Irma Vep), Jack Bandeira, Sam Hazeldine (Peaky Blinders), Pip Torrens, Suzanne Bertish and Anna Madeley.
Austrian producer Veit Heiduschka, who has produced several of Michael Haneke’s films including Happy End, Amour, The White Ribbon and Hidden, is producing alongside Croatia Film’s creative director Zeljko Zima, Stephen Ollendorff, Alan Green, Wendy Benge and Sedlar.
It is Croatian-born US filmmaker Sedlar’s third successive feature with a Second World...
- 10/16/2023
- by Priyanca Rajput
- ScreenDaily
Colonials, Love In Kilnerry, World Ends At Camp Z entice buyers.
US-based OneTwoThree Media has reported a raft of deals on completed films on its Cannes genre roster of sci-fi, thriller and horror.
Colonials, Joe Bland and Andrew Bale’s film about a space colonist from Mars who crash-lands on Earth and joins the resistance, has sold to Movement Pictures in South Korea, Nikkatsu Corporation in Japan and Multivisionnaire in Taiwan.
Second World War sports drama The Match starring Franco Nero and Armand Assante has gone to Star Entertainment in India and centres on a scratch team of former footballers...
US-based OneTwoThree Media has reported a raft of deals on completed films on its Cannes genre roster of sci-fi, thriller and horror.
Colonials, Joe Bland and Andrew Bale’s film about a space colonist from Mars who crash-lands on Earth and joins the resistance, has sold to Movement Pictures in South Korea, Nikkatsu Corporation in Japan and Multivisionnaire in Taiwan.
Second World War sports drama The Match starring Franco Nero and Armand Assante has gone to Star Entertainment in India and centres on a scratch team of former footballers...
- 5/18/2023
- by Jeremy Kay
- ScreenDaily
Here’s an exclusive first-look at Anne Frank: Then And Now, which explores the lives of Anne Frank and the eight Palestinian girls cast to play her in a retelling of Frank’s famous diary. Part drama and part documentary, it was shot in Arabic with English subtitles. The film was shooting in Gaza in July when the Israel-Gaza war broke out, sending cast and crew scrambling for cover from incoming Israeli airstrikes. More than 500 Palestinian children and one Israeli child were killed during the seven-week conflict. The film, which is seeking distribution, was directed by Jakov Sedlar and produced by Auschwitz survivor and two-time Oscar-winning producer Branko Lustig (Schindler’s List, Gladiator). Anne Frank was written and co-directed by Sedlar’s son, Dominik Sedlar.
- 11/24/2014
- by David Robb
- Deadline
AFI Fest
Apparently we are entering a season of Orson Welles discoveries. Two major biographies have hit bookstores, Joseph McBride's "What Ever Happened to Orson Welles?" and Simon Callow's second volume of his three-book work on Welles. At AFI Fest in Los Angeles, Peter Bogdanovich is reprising his Sacred Monsters monologue about his legendary Hollywood friends including Welles. Also at AFI is the world premiere of "Searching for Orson", a documentary by Croatian filmmakers Jakov and Dominik Sedlar.
The Croatian connection is no surprise to Welles scholars and admirers who know that Welles spent his declining years -- despite being married to another woman -- with a beautiful, exotic and much younger Croatian actress-sculptress-writer, Oja Kodar, who helped write many of his scripts and appeared in his films.
Naturally, Kodar gave her fellow countrymen access to her Welles film archives and herself for an interview. The Sedlars return the favor by never mentioning Welles' wife or the battles Kodar has had with one of Welles' surviving daughters over the ownership of his most legendary unfinished film, "The Other Side of the Wind".
"Orson" devotes much of its running time to this love affair, ignoring nearly all of Welles' early life and career. By default then, this is a film about Welles' late life and the saga of "Other Side". In an interview, Bogdanovich insists that "Other Side" is the one film of Welles' many unfinished projects that could be completed without the master and indeed that Welles once asked him to do so after his death. (Bogdanovich plays dual roles in this film as its narrator and an interviewer, which confuses the issue of the film's point of view.)
At the first screening Thursday night, Dominik Sedlar claimed that Showtime is poised to sign documents to fund completion of the film by Bogdanovich but was vague about the ownership of the footage. But hope springs eternal. "Orson" contains much tantalizing footage from "Other Side", originally shot about 36 years ago, but it appears in a disjointed manner, making any critical judgment impossible.
The film's other "revelation" is that Welles had a grandson he never knew existed. Daughter Rebecca Welles Manning, who died in 2004, apparently had an illegitimate son, Marc, she gave up for adoption. This fact actually does appear in McBride's book but isn't given as much weight as it is in this film. Marc appears onscreen, his face unmistakably reminiscent of his grandfather's. Tragically, a car crash has impaired his mental facilities.
Of the talking heads, Steven Spielberg offers the most cogent and articulate assessment of Welles' greatness and his influence on current image-makers. Paul Mazursky and cameraman Gary Graver, among others, supply amusing anecdotes but never fully put their finger on what made him great.
The film mentions things like Welles' belief that he was Jewish despite all evidence to the contrary but never follows up. Nor does it get to the heart of why so many projects were left unrealized. Nevertheless, "Orson" is often fascinating. Nothing about Welles was ordinary, and this film does capture the love and admiration so many people still maintain for this Renaissance man, who was so adept in radio, stage, film, art and the art of living.
SEARCHING FOR ORSON
Dominik Sedlar
Credits:
Directors: Jakov Sedlar, Dominik Sedlar
Screenwriter: Dominik Sedlar
Producer: Jakov Sedlar
Executive producers: Richard Weiner, Stephen Ollendorff
Directors of photography: Gary Graver, Zeljko Gubervic, Igor Sunara
Editor: Zdravko Borko
Running time -- 79 minutes
No MPAA rating...
Apparently we are entering a season of Orson Welles discoveries. Two major biographies have hit bookstores, Joseph McBride's "What Ever Happened to Orson Welles?" and Simon Callow's second volume of his three-book work on Welles. At AFI Fest in Los Angeles, Peter Bogdanovich is reprising his Sacred Monsters monologue about his legendary Hollywood friends including Welles. Also at AFI is the world premiere of "Searching for Orson", a documentary by Croatian filmmakers Jakov and Dominik Sedlar.
The Croatian connection is no surprise to Welles scholars and admirers who know that Welles spent his declining years -- despite being married to another woman -- with a beautiful, exotic and much younger Croatian actress-sculptress-writer, Oja Kodar, who helped write many of his scripts and appeared in his films.
Naturally, Kodar gave her fellow countrymen access to her Welles film archives and herself for an interview. The Sedlars return the favor by never mentioning Welles' wife or the battles Kodar has had with one of Welles' surviving daughters over the ownership of his most legendary unfinished film, "The Other Side of the Wind".
"Orson" devotes much of its running time to this love affair, ignoring nearly all of Welles' early life and career. By default then, this is a film about Welles' late life and the saga of "Other Side". In an interview, Bogdanovich insists that "Other Side" is the one film of Welles' many unfinished projects that could be completed without the master and indeed that Welles once asked him to do so after his death. (Bogdanovich plays dual roles in this film as its narrator and an interviewer, which confuses the issue of the film's point of view.)
At the first screening Thursday night, Dominik Sedlar claimed that Showtime is poised to sign documents to fund completion of the film by Bogdanovich but was vague about the ownership of the footage. But hope springs eternal. "Orson" contains much tantalizing footage from "Other Side", originally shot about 36 years ago, but it appears in a disjointed manner, making any critical judgment impossible.
The film's other "revelation" is that Welles had a grandson he never knew existed. Daughter Rebecca Welles Manning, who died in 2004, apparently had an illegitimate son, Marc, she gave up for adoption. This fact actually does appear in McBride's book but isn't given as much weight as it is in this film. Marc appears onscreen, his face unmistakably reminiscent of his grandfather's. Tragically, a car crash has impaired his mental facilities.
Of the talking heads, Steven Spielberg offers the most cogent and articulate assessment of Welles' greatness and his influence on current image-makers. Paul Mazursky and cameraman Gary Graver, among others, supply amusing anecdotes but never fully put their finger on what made him great.
The film mentions things like Welles' belief that he was Jewish despite all evidence to the contrary but never follows up. Nor does it get to the heart of why so many projects were left unrealized. Nevertheless, "Orson" is often fascinating. Nothing about Welles was ordinary, and this film does capture the love and admiration so many people still maintain for this Renaissance man, who was so adept in radio, stage, film, art and the art of living.
SEARCHING FOR ORSON
Dominik Sedlar
Credits:
Directors: Jakov Sedlar, Dominik Sedlar
Screenwriter: Dominik Sedlar
Producer: Jakov Sedlar
Executive producers: Richard Weiner, Stephen Ollendorff
Directors of photography: Gary Graver, Zeljko Gubervic, Igor Sunara
Editor: Zdravko Borko
Running time -- 79 minutes
No MPAA rating...
- 11/6/2006
- The Hollywood Reporter - Movie News
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