Digital Spy presents a list of winners and nominees at the BAFTA TV Craft Awards 2013, hosted by Stephen Mangan from The Brewery in London on Sunday, April 28, 2013:
Breakthrough Talent
Mike Bartlett - The Town
Julie Gearey - Prisoners' Wives
Rhys Thomas - Freddie Mercury: The Great Pretender (Director's Cut)
Tim Whitnall - Best Possible Taste: The Kenny Everett Story - Winner
Costume Design
Amy Roberts - Mrs Biggs
Sheena Napier - Parade's End - Winner
Odile Dicks-Mireaux - Richard II (The Hollow Crown)
Lorna Marie Mugan - Ripper Street
Digital Creativity
Steve Boulton, James Rutherford - Channel 4 Paralympics - Winner
Production Team - Embarrassing Bodies: Live from the Clinic
Production Team - Foxes Live: Wild in the City
Production Team - The Great British Property Scandal
Director (Factual)
Katharine English - Our War
Ben Chanan - The Plot to Bring Down Britain's Planes - Winner
John Dower...
Breakthrough Talent
Mike Bartlett - The Town
Julie Gearey - Prisoners' Wives
Rhys Thomas - Freddie Mercury: The Great Pretender (Director's Cut)
Tim Whitnall - Best Possible Taste: The Kenny Everett Story - Winner
Costume Design
Amy Roberts - Mrs Biggs
Sheena Napier - Parade's End - Winner
Odile Dicks-Mireaux - Richard II (The Hollow Crown)
Lorna Marie Mugan - Ripper Street
Digital Creativity
Steve Boulton, James Rutherford - Channel 4 Paralympics - Winner
Production Team - Embarrassing Bodies: Live from the Clinic
Production Team - Foxes Live: Wild in the City
Production Team - The Great British Property Scandal
Director (Factual)
Katharine English - Our War
Ben Chanan - The Plot to Bring Down Britain's Planes - Winner
John Dower...
- 4/28/2013
- Digital Spy
Digital Spy presents a list of nominees for the BAFTA TV Craft Awards 2013, to be hosted by Stephen Mangan from The Brewery in London on Sunday, April 28, 2012:
Breakthrough Talent
Mike Bartlett - The Town
Julie Gearey - Prisoners' Wives
Rhys Thomas - Freddie Mercury: The Great Pretender (Director's Cut)
Tim Whitnall - Best Possible Taste: The Kenny Everett Story
Costume Design
Amy Roberts - Mrs Biggs
Sheena Napier - Parade's End
Odile Dicks-Mireaux - Richard II (The Hollow Crown)
Lorna Marie Mugan - Ripper Street
Digital Creativity
Steve Boulton, James Rutherford - Channel 4 Paralympics
Production Team - Embarrassing Bodies: Live from the Clinic
Production Team - Foxes Live: Wild in the City
Production Team - The Great British Property Scandal
Director (Factual)
Katharine English - Our War
Ben Chanan - The Plot to Bring Down Britain's Planes
John Dower - Bradley Wiggins: A Year in Yellow
Ben Anthony...
Breakthrough Talent
Mike Bartlett - The Town
Julie Gearey - Prisoners' Wives
Rhys Thomas - Freddie Mercury: The Great Pretender (Director's Cut)
Tim Whitnall - Best Possible Taste: The Kenny Everett Story
Costume Design
Amy Roberts - Mrs Biggs
Sheena Napier - Parade's End
Odile Dicks-Mireaux - Richard II (The Hollow Crown)
Lorna Marie Mugan - Ripper Street
Digital Creativity
Steve Boulton, James Rutherford - Channel 4 Paralympics
Production Team - Embarrassing Bodies: Live from the Clinic
Production Team - Foxes Live: Wild in the City
Production Team - The Great British Property Scandal
Director (Factual)
Katharine English - Our War
Ben Chanan - The Plot to Bring Down Britain's Planes
John Dower - Bradley Wiggins: A Year in Yellow
Ben Anthony...
- 3/25/2013
- Digital Spy
Adrian Mole topically comments “everyone is swept along on a tide of patriotic fervour”, in keeping with the current Jubilee frenzy, making it the perfect time to finally release Peter Sasdy’s TV adaptation of Sue Townsend’s legendary books.
The Complete Adrian Mole begins with The Secret Diary and Adrian tragically discovering a spot on his chin on the first day of the New Year. Each episode starts with shots of Adrian writing his diary, moaning and asking a rhetorical question. From his first wet dream to him having his tonsils out, his voice breaking and a holiday in Skegness, those who fondly remember the original books will be pleased to be reunited with old character favourites. Pandora is introduced in episode one as the new girl who sits next to him in Geography who is “alright”. Adrian matter-of-factly reflects he “might fall in love with her” as “it...
The Complete Adrian Mole begins with The Secret Diary and Adrian tragically discovering a spot on his chin on the first day of the New Year. Each episode starts with shots of Adrian writing his diary, moaning and asking a rhetorical question. From his first wet dream to him having his tonsils out, his voice breaking and a holiday in Skegness, those who fondly remember the original books will be pleased to be reunited with old character favourites. Pandora is introduced in episode one as the new girl who sits next to him in Geography who is “alright”. Adrian matter-of-factly reflects he “might fall in love with her” as “it...
- 7/12/2012
- Shadowlocked
"Babel" and "The Departed" were both named best edited feature film, drama, at the 57th Annual ACE Eddie Awards, held Sunday night at the Beverly Hilton Hotel. It was only the second tie in the history of the awards, presented by the American Cinema Editors.
The previous tie occurred in 1989 when "Rain Man" tied with "Mississippi Burning".
"Babel" was edited by Stephen Mirrione and Douglas Crise, while "The Departed" was edited by Thelma Schoonmaker.
The best edited feature film, comedy or musical, winner was Virginia Katz for "Dreamgirls".
"An Inconvenient Truth", edited by Jay Cassidy and Dan Sweitlik, took best edited documentary honors.
Television winners included Dean Holland and David Rogers for "The Office"; Kate Sanford for "The Wire"; Conrad Gonzalez, Keith Henderson and Stephen Michael for "Friday Night Lights"; Trevor Waite for "Prime Suspect 7: The Final Act, Part 1" and Geoffrey Rowland, Eric Sears, Bryan Horne, David Handman, and Mitchell Danton for "The Path to 9/11: Part 2."
The Student Editing Competition winner was Alex Lamb of Chapman University.
Director Quentin Tarantino received the ACE Golden Eddie Filmmaker of the Year honor presented to him by Daryl Hannah.
The previous tie occurred in 1989 when "Rain Man" tied with "Mississippi Burning".
"Babel" was edited by Stephen Mirrione and Douglas Crise, while "The Departed" was edited by Thelma Schoonmaker.
The best edited feature film, comedy or musical, winner was Virginia Katz for "Dreamgirls".
"An Inconvenient Truth", edited by Jay Cassidy and Dan Sweitlik, took best edited documentary honors.
Television winners included Dean Holland and David Rogers for "The Office"; Kate Sanford for "The Wire"; Conrad Gonzalez, Keith Henderson and Stephen Michael for "Friday Night Lights"; Trevor Waite for "Prime Suspect 7: The Final Act, Part 1" and Geoffrey Rowland, Eric Sears, Bryan Horne, David Handman, and Mitchell Danton for "The Path to 9/11: Part 2."
The Student Editing Competition winner was Alex Lamb of Chapman University.
Director Quentin Tarantino received the ACE Golden Eddie Filmmaker of the Year honor presented to him by Daryl Hannah.
- 2/19/2007
- The Hollywood Reporter - Movie News
Members of the American Cinema Editors have cut together an assembly of 10 nominees in two film categories for next month's 2007 Eddie Awards recognizing outstanding editing.
Making the dramatic feature film cut are Stephen Mirrione and Douglas Crise for Babel, Stuart Baird for Casino Royale, Thelma Schoonmaker for The Departed, Lucia Zucchetti for The Queen and the triumvirate of Clare Douglas, Christopher Rouse and Richard Pearson for United 93.
In the comedy feature heat, the nominees are Mark Livolsi for The Devil Wears Prada, Virginia Katz for Dreamgirls, Pamela Martin for Little Miss Sunshine, Craig Wood and Stephen Rivkin for "Pirates of the Caribbean: Dead Man's Chest," and Dana Glauberman for Thank You for Smoking.
In the documentary competition, the nominees are Jay Cassidy and Dan Swietlik for An Inconvenient Truth, Patrick McMahon and Carrie Goldman for Baghdad ER and Samuel D. Pollard for Part 1 of Spike Lee's "When the Levees Broke: A Requiem in Four Acts."
The nominees for miniseries or motion picture for noncommercial television are Beverley Mills for HBO's Elizabeth I, Part 1, Curtiss Clayton and Lee Percy for HBO's Mrs. Harris, and Trevor Waite for A&E's "Prime Suspect 7: The Final Act, Part 1."
Best-edited miniseries or motion picture for commercial television earned nominations for Sue Blainey, Sarah Boyd and Stephen Semel for ABC's Lost: Live Together, Die Alone, Geoffrey Rowland, Eric Sears, Bryan Horne, David Handman and Mitchell Danton for ABC's "The Path to 9/11, Part Two," and Heather Persons for TNT's The Ron Clark Story.
In the half-hour series for television race, the contenders are Jon Corn for HBO's Entourage: Sorry Ari, Lance Luckey for NBC's My Name Is Earl: Number One, and Dean Holland and David Rogers for NBC's The Office: Casino Nights.
The one-hour series nominees for commercial television are Leon Ortiz-Gil for Fox's 24: 7:00 PM to 8:00 PM, Conrad Gonzalez, Keith Henderson and Steve Michael for NBC's Friday Night Lights: Pilot, and Edward Ornelas for ABC's "Grey's Anatomy: It's the End of the World."
All eight film, television and documentary category winners will be disclosed during the editors' 57th annual awards ceremony Feb.
Making the dramatic feature film cut are Stephen Mirrione and Douglas Crise for Babel, Stuart Baird for Casino Royale, Thelma Schoonmaker for The Departed, Lucia Zucchetti for The Queen and the triumvirate of Clare Douglas, Christopher Rouse and Richard Pearson for United 93.
In the comedy feature heat, the nominees are Mark Livolsi for The Devil Wears Prada, Virginia Katz for Dreamgirls, Pamela Martin for Little Miss Sunshine, Craig Wood and Stephen Rivkin for "Pirates of the Caribbean: Dead Man's Chest," and Dana Glauberman for Thank You for Smoking.
In the documentary competition, the nominees are Jay Cassidy and Dan Swietlik for An Inconvenient Truth, Patrick McMahon and Carrie Goldman for Baghdad ER and Samuel D. Pollard for Part 1 of Spike Lee's "When the Levees Broke: A Requiem in Four Acts."
The nominees for miniseries or motion picture for noncommercial television are Beverley Mills for HBO's Elizabeth I, Part 1, Curtiss Clayton and Lee Percy for HBO's Mrs. Harris, and Trevor Waite for A&E's "Prime Suspect 7: The Final Act, Part 1."
Best-edited miniseries or motion picture for commercial television earned nominations for Sue Blainey, Sarah Boyd and Stephen Semel for ABC's Lost: Live Together, Die Alone, Geoffrey Rowland, Eric Sears, Bryan Horne, David Handman and Mitchell Danton for ABC's "The Path to 9/11, Part Two," and Heather Persons for TNT's The Ron Clark Story.
In the half-hour series for television race, the contenders are Jon Corn for HBO's Entourage: Sorry Ari, Lance Luckey for NBC's My Name Is Earl: Number One, and Dean Holland and David Rogers for NBC's The Office: Casino Nights.
The one-hour series nominees for commercial television are Leon Ortiz-Gil for Fox's 24: 7:00 PM to 8:00 PM, Conrad Gonzalez, Keith Henderson and Steve Michael for NBC's Friday Night Lights: Pilot, and Edward Ornelas for ABC's "Grey's Anatomy: It's the End of the World."
All eight film, television and documentary category winners will be disclosed during the editors' 57th annual awards ceremony Feb.
- 1/16/2007
- The Hollywood Reporter - Movie News
Members of the American Cinema Editors have cut together an assembly of 10 nominees in two film categories for next month's 2007 Eddie Awards recognizing outstanding editing.
Making the dramatic feature film cut are Stephen Mirrione and Douglas Crise for Babel, Stuart Baird for Casino Royale, Thelma Schoonmaker for The Departed, Lucia Zucchetti for The Queen and the triumvirate of Clare Douglas, Christopher Rouse and Richard Pearson for United 93.
In the comedy feature heat, the nominees are Mark Livolsi for The Devil Wears Prada, Virginia Katz for Dreamgirls, Pamela Martin for Little Miss Sunshine, Craig Wood and Stephen Rivkin for "Pirates of the Caribbean: Dead Man's Chest," and Dana Glauberman for Thank You for Smoking.
In the documentary competition, the nominees are Jay Cassidy and Dan Swietlik for An Inconvenient Truth, Patrick McMahon and Carrie Goldman for Baghdad ER and Samuel D. Pollard for Part 1 of Spike Lee's "When the Levees Broke: A Requiem in Four Acts."
The nominees for miniseries or motion picture for noncommercial television are Beverley Mills for HBO's Elizabeth I, Part 1, Curtiss Clayton and Lee Percy for HBO's Mrs. Harris, and Trevor Waite for A&E's "Prime Suspect 7: The Final Act, Part 1."
Best-edited miniseries or motion picture for commercial television earned nominations for Sue Blainey, Sarah Boyd and Stephen Semel for ABC's Lost: Live Together, Die Alone, Geoffrey Rowland, Eric Sears, Bryan Horne, David Handman and Mitchell Danton for ABC's "The Path to 9/11, Part Two," and Heather Persons for TNT's The Ron Clark Story.
In the half-hour series for television race, the contenders are Jon Corn for HBO's Entourage: Sorry Ari, Lance Luckey for NBC's My Name Is Earl: Number One, and Dean Holland and David Rogers for NBC's The Office: Casino Nights.
The one-hour series nominees for commercial television are Leon Ortiz-Gil for Fox's 24: 7:00 PM to 8:00 PM, Conrad Gonzalez, Keith Henderson and Steve Michael for NBC's Friday Night Lights: Pilot, and Edward Ornelas for ABC's "Grey's Anatomy: It's the End of the World."
All eight film, television and documentary category winners will be disclosed during the editors' 57th annual awards ceremony Feb.
Making the dramatic feature film cut are Stephen Mirrione and Douglas Crise for Babel, Stuart Baird for Casino Royale, Thelma Schoonmaker for The Departed, Lucia Zucchetti for The Queen and the triumvirate of Clare Douglas, Christopher Rouse and Richard Pearson for United 93.
In the comedy feature heat, the nominees are Mark Livolsi for The Devil Wears Prada, Virginia Katz for Dreamgirls, Pamela Martin for Little Miss Sunshine, Craig Wood and Stephen Rivkin for "Pirates of the Caribbean: Dead Man's Chest," and Dana Glauberman for Thank You for Smoking.
In the documentary competition, the nominees are Jay Cassidy and Dan Swietlik for An Inconvenient Truth, Patrick McMahon and Carrie Goldman for Baghdad ER and Samuel D. Pollard for Part 1 of Spike Lee's "When the Levees Broke: A Requiem in Four Acts."
The nominees for miniseries or motion picture for noncommercial television are Beverley Mills for HBO's Elizabeth I, Part 1, Curtiss Clayton and Lee Percy for HBO's Mrs. Harris, and Trevor Waite for A&E's "Prime Suspect 7: The Final Act, Part 1."
Best-edited miniseries or motion picture for commercial television earned nominations for Sue Blainey, Sarah Boyd and Stephen Semel for ABC's Lost: Live Together, Die Alone, Geoffrey Rowland, Eric Sears, Bryan Horne, David Handman and Mitchell Danton for ABC's "The Path to 9/11, Part Two," and Heather Persons for TNT's The Ron Clark Story.
In the half-hour series for television race, the contenders are Jon Corn for HBO's Entourage: Sorry Ari, Lance Luckey for NBC's My Name Is Earl: Number One, and Dean Holland and David Rogers for NBC's The Office: Casino Nights.
The one-hour series nominees for commercial television are Leon Ortiz-Gil for Fox's 24: 7:00 PM to 8:00 PM, Conrad Gonzalez, Keith Henderson and Steve Michael for NBC's Friday Night Lights: Pilot, and Edward Ornelas for ABC's "Grey's Anatomy: It's the End of the World."
All eight film, television and documentary category winners will be disclosed during the editors' 57th annual awards ceremony Feb.
- 1/12/2007
- The Hollywood Reporter - Movie News
There are a lot of beautiful shots in Michael Winterbottom's new film "I Want You", which screened at the Berlin Film Festival, but they are the picture's only redeemable feature.
This visually interesting film filled with attractive, hip, young actors should attract a young niche audience at first, but word-of-mouth will eventually hinge on one risky question: Will Winterbottom's target audience be so self-absorbed as to identify with these good-looking characters tormented by life, or will moviegoers be intelligent enough to recognize it all as a fake?
Martin (Alessandro Nivola) is a young stranger with a dark past who returns to the English seaside town of Haven, where he begins haunting his long-lost love Helen (Rachel Weisz) despite conditions of his parole that order him to stay away from her.
Yes, he is obsessed with her, and why shouldn't he be? She is very cute, after all.
But Martin is not the only one obsessed with Helen: Honda (Luka Petrusic), a young boy who refuses to speak -- yes, he too has been traumatized -- stalks her, secretly recording her lovemaking with long-distance mikes. Honda's big sister Smokey (Labina Mitevska), is a rock singer who sleeps around. We don't know whether she has been traumatized or not, but it's a safe guess she has been.
There are a couple real, even haunting, surprises at the end, but long before that, the film grows tedious and the characters be-come too obviously fake.
Winterbottom ("Welcome to Sarajevo") shoots the entire film as if it was one big montage sequence. He spends a lot of time on close-ups, comings and goings and running over fields of pebbles or through fields of grain -- for no apparent reason.
The audience soon realizes that this pseudo-artsy aesthetic is only a smoke screen for a deeper failure: Winterbottom (or screenwriter Eoin McNamee) doesn't know his characters. He has only pasted them together from a list of trendy trauma scenarios.
The characters to him, and to us, are like nameless faces in a TV commercial.
When the film begins to suggest that behind all these psychological traumata is some kind of corrupt, off-kilter modern world, Winterbottom doesn't come off as an angry young man, only as an angry young director of commercials.
Having said that, all performances and technical credits -- especially the gorgeous, always-engaging camerawork of Slawo-mir Idziak, aided tremendously by editor Trevor Waite and lavish production design by Mark Tildesley -- are polished to perfection.
Also appealing is the cast: Weisz is beautiful and sexy, Nivola looks good in a three-day beard, and young Petrusic is a scrawny, vulnerable young charmer. The hit of the film is Mitevska.
Winterbottom tries hard to paint a picture of fascinating young characters damaged by a corrupt society and burdened with a mysterious past. But he never succeeds in making contact with those characters, and in the end, the entire effort seems empty and precious.
I WANT YOU
PolyGram
Revolution Films
Director: Michael Winterbottom
Producer: Andrew Eaton
Executive producer: Stewart Till
Associate producer: Gina Carter
Screenplay: Eoin McNamee
Director of photography: Slawomir Idziak
Production designer: Mark Tildesley
Editor: Trevor Waite
Music: Adrian Johnston
Costume designer: Rachael Fleming
Color/stereo
Cast:
Helen: Rachel Weisz
Martin: Alessandro Nivola
Honda: Luka Petrusic
Smokey: Labina Mitevska
Amber: Carmen Ejogo
Bob: Ben Daniels
Old Man: Graham Crowden
Running time -- 87 minutes
No MPAA rating...
This visually interesting film filled with attractive, hip, young actors should attract a young niche audience at first, but word-of-mouth will eventually hinge on one risky question: Will Winterbottom's target audience be so self-absorbed as to identify with these good-looking characters tormented by life, or will moviegoers be intelligent enough to recognize it all as a fake?
Martin (Alessandro Nivola) is a young stranger with a dark past who returns to the English seaside town of Haven, where he begins haunting his long-lost love Helen (Rachel Weisz) despite conditions of his parole that order him to stay away from her.
Yes, he is obsessed with her, and why shouldn't he be? She is very cute, after all.
But Martin is not the only one obsessed with Helen: Honda (Luka Petrusic), a young boy who refuses to speak -- yes, he too has been traumatized -- stalks her, secretly recording her lovemaking with long-distance mikes. Honda's big sister Smokey (Labina Mitevska), is a rock singer who sleeps around. We don't know whether she has been traumatized or not, but it's a safe guess she has been.
There are a couple real, even haunting, surprises at the end, but long before that, the film grows tedious and the characters be-come too obviously fake.
Winterbottom ("Welcome to Sarajevo") shoots the entire film as if it was one big montage sequence. He spends a lot of time on close-ups, comings and goings and running over fields of pebbles or through fields of grain -- for no apparent reason.
The audience soon realizes that this pseudo-artsy aesthetic is only a smoke screen for a deeper failure: Winterbottom (or screenwriter Eoin McNamee) doesn't know his characters. He has only pasted them together from a list of trendy trauma scenarios.
The characters to him, and to us, are like nameless faces in a TV commercial.
When the film begins to suggest that behind all these psychological traumata is some kind of corrupt, off-kilter modern world, Winterbottom doesn't come off as an angry young man, only as an angry young director of commercials.
Having said that, all performances and technical credits -- especially the gorgeous, always-engaging camerawork of Slawo-mir Idziak, aided tremendously by editor Trevor Waite and lavish production design by Mark Tildesley -- are polished to perfection.
Also appealing is the cast: Weisz is beautiful and sexy, Nivola looks good in a three-day beard, and young Petrusic is a scrawny, vulnerable young charmer. The hit of the film is Mitevska.
Winterbottom tries hard to paint a picture of fascinating young characters damaged by a corrupt society and burdened with a mysterious past. But he never succeeds in making contact with those characters, and in the end, the entire effort seems empty and precious.
I WANT YOU
PolyGram
Revolution Films
Director: Michael Winterbottom
Producer: Andrew Eaton
Executive producer: Stewart Till
Associate producer: Gina Carter
Screenplay: Eoin McNamee
Director of photography: Slawomir Idziak
Production designer: Mark Tildesley
Editor: Trevor Waite
Music: Adrian Johnston
Costume designer: Rachael Fleming
Color/stereo
Cast:
Helen: Rachel Weisz
Martin: Alessandro Nivola
Honda: Luka Petrusic
Smokey: Labina Mitevska
Amber: Carmen Ejogo
Bob: Ben Daniels
Old Man: Graham Crowden
Running time -- 87 minutes
No MPAA rating...
- 2/20/1998
- The Hollywood Reporter - Movie News
A mother on her way to her daughter's wedding is gunned down in the street by a sniper in the opening scene of this heartbreaking drama about the agonies of the Bosnian war. Set during the murderous ravages of 1992, this competition entry is a powerful and lucid depiction of mankind's callousness and brutality, as well as a gripping example of survival under the most hellish conditions. While the film is most eloquent and powerful in its docu-style segments, and indeed somewhat overreaches in attempting to put the slaughter into movie-style narrative, this presentation will win admirers on the select-site circuit. It should win festival approval here as well and be a serious contender for festival prize recognition.
"Welcome to Sarajevo" centers around a "M*A*S*H" unit-type pack of foreign correspondents whose dark humor masks their ravaged emotions. Scurrying daily to new sites of slaughter, the broadcast journalists self-deprecatingly refer to themselves as "vultures" for professionally feeding on such human suffering. But their hearts are anything but opportunistic, especially that of British foreign correspondent Michael Henderson (Stephen Dillane), who is so overcome by the war's ravages that he decides to adopt an orphan and bring the child back to England, far away from the shelling.
Even those viewers who have followed the Bosnian war closely will be horrified by the footage director Michael Winterbottom has assembled here: mass graves, bloodied bodies, heinous sadism and, not least, the gaunt faces and protruding rib cages of Muslims incarcerated in concentration camps.
While these images jar our senses and sicken our sensibilities, the film is less sure and compelling when it ventures into standard movie-plot terrain. Indeed, Winterbottom uses some devices that have almost become movie cliches when dealing with such devastating subject matter. The baleful violins, the snappy Rolling Stones music and the buddy bonding all tend, at times, to diminish the power of the document and the suffering. Still, despite its aesthetic artifices, "Welcome to Sarajevo" is a haunting, impressive piece of filmmaking, with Frank Cottrell Boyce's sobering scenario pulling us into a world we can't imagine.
Highest praise to the players, especially Dillane and Woody Harrelson as the bantering, Hawkeye and B.J.-style pair of TV correspondents. Dillane's portrayal of a man whose cynicism is undercoated with a sweet integrity is perfectly modulated, while Harrelson invigorates his role with a similar mix of sweet-and-sass.
Technical credits are vividly realized. Cinematographer Daf Hobson has etched in our memories images of intense horror, while editor Trevor Waite has clipped them to a most chilling and sad dimension.
WELCOME TO SARAJEVO
In competition
Channel Four Films
and Miramax Films
A Dragon Pictures Production
Producers Graham Broadbent, Damian Jones
Director Michael Winterbottom
Screenwriter Frank Cottrell Boyce
Director of photography Daf Hobson
Production designer Mark Geraghty
Music Adrian Johnston
Editor Trevor Waite
Costume designer Janty Yates
Cast:
Michael Henderson Stephen Dillane
Flynn Woody Harrelson
Nina Marisa Tomei
Emira Emira Nusevic
Risto Goran Visnjic
Jane Carson Kerry Fox
Running time -- 100 minutes
No MPAA rating...
"Welcome to Sarajevo" centers around a "M*A*S*H" unit-type pack of foreign correspondents whose dark humor masks their ravaged emotions. Scurrying daily to new sites of slaughter, the broadcast journalists self-deprecatingly refer to themselves as "vultures" for professionally feeding on such human suffering. But their hearts are anything but opportunistic, especially that of British foreign correspondent Michael Henderson (Stephen Dillane), who is so overcome by the war's ravages that he decides to adopt an orphan and bring the child back to England, far away from the shelling.
Even those viewers who have followed the Bosnian war closely will be horrified by the footage director Michael Winterbottom has assembled here: mass graves, bloodied bodies, heinous sadism and, not least, the gaunt faces and protruding rib cages of Muslims incarcerated in concentration camps.
While these images jar our senses and sicken our sensibilities, the film is less sure and compelling when it ventures into standard movie-plot terrain. Indeed, Winterbottom uses some devices that have almost become movie cliches when dealing with such devastating subject matter. The baleful violins, the snappy Rolling Stones music and the buddy bonding all tend, at times, to diminish the power of the document and the suffering. Still, despite its aesthetic artifices, "Welcome to Sarajevo" is a haunting, impressive piece of filmmaking, with Frank Cottrell Boyce's sobering scenario pulling us into a world we can't imagine.
Highest praise to the players, especially Dillane and Woody Harrelson as the bantering, Hawkeye and B.J.-style pair of TV correspondents. Dillane's portrayal of a man whose cynicism is undercoated with a sweet integrity is perfectly modulated, while Harrelson invigorates his role with a similar mix of sweet-and-sass.
Technical credits are vividly realized. Cinematographer Daf Hobson has etched in our memories images of intense horror, while editor Trevor Waite has clipped them to a most chilling and sad dimension.
WELCOME TO SARAJEVO
In competition
Channel Four Films
and Miramax Films
A Dragon Pictures Production
Producers Graham Broadbent, Damian Jones
Director Michael Winterbottom
Screenwriter Frank Cottrell Boyce
Director of photography Daf Hobson
Production designer Mark Geraghty
Music Adrian Johnston
Editor Trevor Waite
Costume designer Janty Yates
Cast:
Michael Henderson Stephen Dillane
Flynn Woody Harrelson
Nina Marisa Tomei
Emira Emira Nusevic
Risto Goran Visnjic
Jane Carson Kerry Fox
Running time -- 100 minutes
No MPAA rating...
- 5/12/1997
- The Hollywood Reporter - Movie News
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