Other winners included ‘Return To Seoul’, ‘Farha’ and ‘All That Breathes’
Kamila Andini’s Before, Now And Then (Nana) won the best film award at the Asia Pacific Screen Awards (Apsa) which took place on the Gold Coast, Australia today (November 11).
It is the first film directed by a woman to win the award and the first Indonesian film to do so.
Set against Indonesia’s turbulent post-independence years in the 1960s, Happy Salma stars as a woman still reeling from the past as she tries to move on with her life. The film premiered in competition at the Berlinale...
Kamila Andini’s Before, Now And Then (Nana) won the best film award at the Asia Pacific Screen Awards (Apsa) which took place on the Gold Coast, Australia today (November 11).
It is the first film directed by a woman to win the award and the first Indonesian film to do so.
Set against Indonesia’s turbulent post-independence years in the 1960s, Happy Salma stars as a woman still reeling from the past as she tries to move on with her life. The film premiered in competition at the Berlinale...
- 11/11/2022
- by Ellie Calnan
- ScreenDaily
Indonesian director Kamila Andini’s “Before Now and Then” was named best film at the Asia Pacific Screen Awards. The film’s lead actor Happy Salma was on hand to receive the award at a ceremony in Gold Coast, Australia, on Friday.
The film recounts the story of a young woman who escapes an anti-Communist purge and leads a quiet life as the second wife of a wealthy man. But her past traumas resurface in her dreams.
Although the win is the first time that an Indonesian title has been named Apsa’s best film, and the first time that a woman has claimed the prize, it is the third time that Andini has won a feature film Apsa. Previously, she won the best children’s film prize with “The Mirror Never Lies” in 2012 and collected the youth feature film prize with “The Seen and Unseen” in 2017.
Other key prizes...
The film recounts the story of a young woman who escapes an anti-Communist purge and leads a quiet life as the second wife of a wealthy man. But her past traumas resurface in her dreams.
Although the win is the first time that an Indonesian title has been named Apsa’s best film, and the first time that a woman has claimed the prize, it is the third time that Andini has won a feature film Apsa. Previously, she won the best children’s film prize with “The Mirror Never Lies” in 2012 and collected the youth feature film prize with “The Seen and Unseen” in 2017.
Other key prizes...
- 11/11/2022
- by Patrick Frater
- Variety Film + TV
Gloom, deployed as a storytelling tactic, can exert a strange, unsettling pull when it’s as capably and beautifully conveyed as in Syrian director Ameer Fakher Eldin’s “The Stranger,” recently announced as Palestine’s international Oscar entry. A granular depiction of oppression as a kind of inescapable inheritance handed down from father to son, with mothers and daughters its peripheral, persevering survivors, .
But it is also attuned to the bleak grandeur of the landscapes in this cinematically little-seen region, and its rich, painterly images, appropriately hemmed into boxy Academy ratio, should make “The Stranger” as much a calling card for its cinematographer, Niklas Lindschau, as for Eldin. If not more so: Whenever Eldin’s screenplay gets too ponderous, when the pacing lags or the storytelling withholds too much, there is always a surprising composition to pin our attention. An elderly woman folding linen is briefly a Vermeer. A far-off mountainside in fall,...
But it is also attuned to the bleak grandeur of the landscapes in this cinematically little-seen region, and its rich, painterly images, appropriately hemmed into boxy Academy ratio, should make “The Stranger” as much a calling card for its cinematographer, Niklas Lindschau, as for Eldin. If not more so: Whenever Eldin’s screenplay gets too ponderous, when the pacing lags or the storytelling withholds too much, there is always a surprising composition to pin our attention. An elderly woman folding linen is briefly a Vermeer. A far-off mountainside in fall,...
- 11/30/2021
- by Jessica Kiang
- Variety Film + TV
It’s not often that films shoot in the Occupied Golan Heights, Israel’s contested border territory with Syria and Lebanon.
Characterized by sloping mountains and the ruins of more than 100 Syrian villages, destroyed (by Israel) after the Six Day War in 1967, it makes for an atmospheric filming location. This can be seen in “The Stranger” (Al Garib), a drama making its world premiere in the Venice Critics’ Week section on Monday.
The Arab and German crew shot in rough conditions, including dense fog that hugged the mountain villages that are now reduced to rubble. Slush washed over the empty roads leading to the Syrian border, and heavy snow falls cut off Majdal Shams, the biggest town in the area, from the rest of the world, to create a shadowy darkness in this post-Christmas shoot in 2019 by first-time feature director Ameer Fakher Eldin.
Eldin directed from his own script. He...
Characterized by sloping mountains and the ruins of more than 100 Syrian villages, destroyed (by Israel) after the Six Day War in 1967, it makes for an atmospheric filming location. This can be seen in “The Stranger” (Al Garib), a drama making its world premiere in the Venice Critics’ Week section on Monday.
The Arab and German crew shot in rough conditions, including dense fog that hugged the mountain villages that are now reduced to rubble. Slush washed over the empty roads leading to the Syrian border, and heavy snow falls cut off Majdal Shams, the biggest town in the area, from the rest of the world, to create a shadowy darkness in this post-Christmas shoot in 2019 by first-time feature director Ameer Fakher Eldin.
Eldin directed from his own script. He...
- 9/6/2021
- by Liza Foreman
- Variety Film + TV
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