Spanish director Jonás Trueba’s The Other Way Around (Volveréis) has won the Europa Cinemas Label as Best European film in Cannes Directors’ Fortnight.
The prize is judged by four members of the Europa Cinema network representing independent exhibitors operating 3,121 screens across Europe. Under the prize, the film will receive the support of these cinemas as it goes on release.
This year’s jury omprised Louise Casey Conneally; Maarja Krass; Rémi Labé and Tamara Visković.
“Jonás Trueba’s well-crafted and nuanced film has an unusual premise – it tells the story of a couple who embrace a novel ritual. Prior to their separation, they elect to celebrate their 15-year relationship with a party,” read their statement.
“Humorous and cleverly written, the film’s circular structure manifests generosity of spirit in its inspiring look at human relationships.
The prize is judged by four members of the Europa Cinema network representing independent exhibitors operating 3,121 screens across Europe. Under the prize, the film will receive the support of these cinemas as it goes on release.
This year’s jury omprised Louise Casey Conneally; Maarja Krass; Rémi Labé and Tamara Visković.
“Jonás Trueba’s well-crafted and nuanced film has an unusual premise – it tells the story of a couple who embrace a novel ritual. Prior to their separation, they elect to celebrate their 15-year relationship with a party,” read their statement.
“Humorous and cleverly written, the film’s circular structure manifests generosity of spirit in its inspiring look at human relationships.
- 5/23/2024
- by Melanie Goodfellow
- Deadline Film + TV
A potential trend is emerging: Actors being forced to shut up in movies.
The new trailer for John Woo’s dialogue-free thriller Silent Night (below) teases a protagonist played by Joel Kinnaman who’s unable to speak. (“Nothing speaks louder than revenge,” reads the movie’s tagline.) The trailer follows Hulu’s similarly dialogue-free hit alien invasion thriller No One Will Save You.
Both are coming, ironically enough, during the SAG-AFTRA strike, which has actors dutifully not speaking to the press about their studio projects.
It’s not clear if dialogue-free movies can correctly be called a trend yet (the old media rule of thumb is it takes at least three examples to use the T-word). But it’s interesting that roughly 100 years after the silent movie era that at least a couple of filmmakers are exploring feature-length storytelling without leaning on dialogue at around the same time.
“The whole movie is without dialogue,...
The new trailer for John Woo’s dialogue-free thriller Silent Night (below) teases a protagonist played by Joel Kinnaman who’s unable to speak. (“Nothing speaks louder than revenge,” reads the movie’s tagline.) The trailer follows Hulu’s similarly dialogue-free hit alien invasion thriller No One Will Save You.
Both are coming, ironically enough, during the SAG-AFTRA strike, which has actors dutifully not speaking to the press about their studio projects.
It’s not clear if dialogue-free movies can correctly be called a trend yet (the old media rule of thumb is it takes at least three examples to use the T-word). But it’s interesting that roughly 100 years after the silent movie era that at least a couple of filmmakers are exploring feature-length storytelling without leaning on dialogue at around the same time.
“The whole movie is without dialogue,...
- 10/3/2023
- by James Hibberd
- The Hollywood Reporter - Movie News
Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here.
Babylon (Damien Chazelle)
Those seeking an insightful exploration of cinema history in Hollywood’s Golden Age or a nuanced, affecting character study on the lives within this early era will mostly like be disappointed by Damien Chazelle’s latest. Babylon is a brash, bombastic, unwieldy comic opera conveyed with enough bad taste and directorial panache that it—refreshingly—registers as a refutation of the well-mannered prestige drama to which these kinds of nostalgic odes often conform. And while there’s a touch of wistfulness in regards to the communal power of big-screen cinema, the film is more defined by an acidic unsentimentality, both when it comes to its characters and the precarious world they inhabit. Capturing the mad, violent clash of high...
Babylon (Damien Chazelle)
Those seeking an insightful exploration of cinema history in Hollywood’s Golden Age or a nuanced, affecting character study on the lives within this early era will mostly like be disappointed by Damien Chazelle’s latest. Babylon is a brash, bombastic, unwieldy comic opera conveyed with enough bad taste and directorial panache that it—refreshingly—registers as a refutation of the well-mannered prestige drama to which these kinds of nostalgic odes often conform. And while there’s a touch of wistfulness in regards to the communal power of big-screen cinema, the film is more defined by an acidic unsentimentality, both when it comes to its characters and the precarious world they inhabit. Capturing the mad, violent clash of high...
- 7/21/2023
- by Jordan Raup
- The Film Stage
“Creatura,” the feature debut of Elena Martín, exploring female sexual desire and repression, has won this year’s 20th Europa Cinemas Cannes Label for best European Film at the 2022 Cannes Directors’ Fortnight.
Announced Thursday by Europa Cinemas, ahead of the closing ceremony this afternoon, the prize is one of two at Directors’ Fortnight, and awarded by one of the sidebar’s partners, given the section is non-competitive.
A second partner plaudit, the Sacd Prize, handed out by France’s Writers’ Guild, will be announced simultaneously to the Europa Cinemas Label.
“Creature” hit Cannes will multiple tailwinds. Like last year’s Berlin Golden Bear winner “Alcarràs,” it’s made by an emerging woman director associated by the so-called Catalan New Wave of helmers and producers making films twinning a strong sense of place and universal issues.
The second feature from 2021 Málaga best director Martín (“Júlia ist”) and a “Veneno” writer and “Perfect Life” director,...
Announced Thursday by Europa Cinemas, ahead of the closing ceremony this afternoon, the prize is one of two at Directors’ Fortnight, and awarded by one of the sidebar’s partners, given the section is non-competitive.
A second partner plaudit, the Sacd Prize, handed out by France’s Writers’ Guild, will be announced simultaneously to the Europa Cinemas Label.
“Creature” hit Cannes will multiple tailwinds. Like last year’s Berlin Golden Bear winner “Alcarràs,” it’s made by an emerging woman director associated by the so-called Catalan New Wave of helmers and producers making films twinning a strong sense of place and universal issues.
The second feature from 2021 Málaga best director Martín (“Júlia ist”) and a “Veneno” writer and “Perfect Life” director,...
- 5/25/2023
- by John Hopewell
- Variety Film + TV
Updated with Sacd prize details: Spanish director Elena Martín Gimeno’s Creatura won the Europa Cinemas prize as Best European Film, while Pierre Caton’s Le Prince scooped the Sacd for best French film at Directors’ Fortnight on Thursday.
The prizes were announced ahead of the evening closing ceremony for the non-competitive parallel Directors Fortnight section.
The Europa Cinema label and Sacd prizes are the key collateral prizes awarded to films world premiering in the section.
Under the Europa Cinema prize, the release of Creatura will receive the support of cinemas belonging to the independent exhibitor network representing 3,060 screens in 38 countries. The jury consists of four exhibitor members of the network.
Creatura revolves around a seemingly perfect couple who no longer manage to have sex, prompting one partner to probe her past and her sexual sexual awakening, from adolescence back to early childhood.
French writers guild Sacd’s prize is...
The prizes were announced ahead of the evening closing ceremony for the non-competitive parallel Directors Fortnight section.
The Europa Cinema label and Sacd prizes are the key collateral prizes awarded to films world premiering in the section.
Under the Europa Cinema prize, the release of Creatura will receive the support of cinemas belonging to the independent exhibitor network representing 3,060 screens in 38 countries. The jury consists of four exhibitor members of the network.
Creatura revolves around a seemingly perfect couple who no longer manage to have sex, prompting one partner to probe her past and her sexual sexual awakening, from adolescence back to early childhood.
French writers guild Sacd’s prize is...
- 5/25/2023
- by Melanie Goodfellow
- Deadline Film + TV
Italian indie producer Vivo Film has boarded André Ristum’s action drama “Tecnicamente Dolce” (“Technically Sweet”), based on a screenplay by Italian legend Michelangelo Antonioni, teaming with Gullane Filmes, Brazil’s biggest independent film production house.
The news comes as “Carnival Is Over,” the awaited thriller drama by “Narcos” director Fernando Coimbra, whose “A Wolf at the Door” was one of the standout Brazilian feature debuts of the last decade, has now entered post-production, shaping up as one of the big arthouse titles to hit festivals from Brazil next year.
Featuring Leandra Leal (“A Wolf at the Door”), Pêpê Rapazote (“Narcos”) and Irandhir Santos (“Tropa de Elite 2”), “Carnival” is a Brazilian-Portuguese co-production that teams Gullane with Fado Filmes, Videodrome, Globo Filmes and Telecine, in association with Tc Filmes. France’s Playtime has started to pre-sell the film.
“This movie is our main title for next year. This is the...
The news comes as “Carnival Is Over,” the awaited thriller drama by “Narcos” director Fernando Coimbra, whose “A Wolf at the Door” was one of the standout Brazilian feature debuts of the last decade, has now entered post-production, shaping up as one of the big arthouse titles to hit festivals from Brazil next year.
Featuring Leandra Leal (“A Wolf at the Door”), Pêpê Rapazote (“Narcos”) and Irandhir Santos (“Tropa de Elite 2”), “Carnival” is a Brazilian-Portuguese co-production that teams Gullane with Fado Filmes, Videodrome, Globo Filmes and Telecine, in association with Tc Filmes. France’s Playtime has started to pre-sell the film.
“This movie is our main title for next year. This is the...
- 5/24/2023
- by Emiliano De Pablos and John Hopewell
- Variety Film + TV
Italian producer Luciano Sovena, who was instrumental to bringing early works by several of Italy’s now-prominent auteurs such as Alice Rohrwacher, Luciano Frammartino, and Saverio Costanzo, to the big screen, has died. He was 73.
News of Sovena’s sudden death was announced on Sunday by the Rome and Lazio Film Commission Foundation, of which he was president. The cause of death was not disclosed.
The foundation paid tribute to Sovena as “A great and generous professional; a friend of Italian cinema,” in a statement. It went on to note that he was “Ironic, ‘simpatico’ and open to everyone.”
Prior to heading Rome’s film commission – which runs Italy’s top regional film fund – Sovena was for a long stretch managing director of Italy’s state film entity Istituto Luce.
In both of these roles, “He had become a reference point for the world that he loved: the world of...
News of Sovena’s sudden death was announced on Sunday by the Rome and Lazio Film Commission Foundation, of which he was president. The cause of death was not disclosed.
The foundation paid tribute to Sovena as “A great and generous professional; a friend of Italian cinema,” in a statement. It went on to note that he was “Ironic, ‘simpatico’ and open to everyone.”
Prior to heading Rome’s film commission – which runs Italy’s top regional film fund – Sovena was for a long stretch managing director of Italy’s state film entity Istituto Luce.
In both of these roles, “He had become a reference point for the world that he loved: the world of...
- 5/14/2023
- by Nick Vivarelli
- Variety Film + TV
With no dialogue, Michelangelo Frammartino portrays a daring Calabrian cave dive as a moving meditation on the passage of time
Italian film-maker Michelangelo Frammartino, creator of the subtle and beautiful movie Le Quattro Volte (The Four Seasons), has returned with his first substantial feature in 12 years. It is effectively another silent movie: a mysterious, wordless evocation of Calabria in southern Italy, notionally set in the early 60s but actually unfolding in something like geological time. The dead-slow, dead-calm Il Buco (The Hole) is similar to Le Quattro Volte in style and substance, and incidentally restates a trope from that film: the ageing, unwell shepherd, played by a nonprofessional, whose craggy face is itself a kind of microcosmic landscape on which the camera lingers in closeup.
But where Le Quattro Volte was populated almost entirely by animals, their lives unhurriedly transcribed by Frammartino’s camera, here we get human visitors from the big city,...
Italian film-maker Michelangelo Frammartino, creator of the subtle and beautiful movie Le Quattro Volte (The Four Seasons), has returned with his first substantial feature in 12 years. It is effectively another silent movie: a mysterious, wordless evocation of Calabria in southern Italy, notionally set in the early 60s but actually unfolding in something like geological time. The dead-slow, dead-calm Il Buco (The Hole) is similar to Le Quattro Volte in style and substance, and incidentally restates a trope from that film: the ageing, unwell shepherd, played by a nonprofessional, whose craggy face is itself a kind of microcosmic landscape on which the camera lingers in closeup.
But where Le Quattro Volte was populated almost entirely by animals, their lives unhurriedly transcribed by Frammartino’s camera, here we get human visitors from the big city,...
- 6/7/2022
- by Peter Bradshaw
- The Guardian - Film News
Starring Léa Seydoux, Mia Hansen-Løve’s “One Fine Morning” won this year’s Europa Cinemas Cannes Label for best European film at the 2022 Cannes Directors’ Fortnight.
Announced Thursday by Europa Cinemas, ahead of the closing ceremony this evening, the prize is one of two at Directors Fortnight, and awarded by one of the sidebar’s partners given the section is non-competitive.
A second partner plaudit, the Sacd Prize, handed out by France’s Writers’ Guild, will be announced later today at an awards ceremony.
“One Fine Morning” was always a frontrunner for a prize at Directors’ Fortnight, though never a shoo-in. The award comes just three days after Sony Pictures Classics announced it had acquired North American, Latin American and Middle East rights to the film.
Marking Hansen-Løve’s return to Directors’ Fortnight after Cannes competition player “Bergman Island,” “One Fine Morning” stars Séydoux as a woman stretched between long-time single motherhood,...
Announced Thursday by Europa Cinemas, ahead of the closing ceremony this evening, the prize is one of two at Directors Fortnight, and awarded by one of the sidebar’s partners given the section is non-competitive.
A second partner plaudit, the Sacd Prize, handed out by France’s Writers’ Guild, will be announced later today at an awards ceremony.
“One Fine Morning” was always a frontrunner for a prize at Directors’ Fortnight, though never a shoo-in. The award comes just three days after Sony Pictures Classics announced it had acquired North American, Latin American and Middle East rights to the film.
Marking Hansen-Løve’s return to Directors’ Fortnight after Cannes competition player “Bergman Island,” “One Fine Morning” stars Séydoux as a woman stretched between long-time single motherhood,...
- 5/26/2022
- by John Hopewell
- Variety Film + TV
Frammartino Digs Deep, But Barely Scratches the Surface
Michelangelo Frammartino’s Il Buco (“The Hole”) is a meditative journey into the center of the earth, replete with some of the year’s most gorgeous visuals and transportive sound design. The film recreates a real cave expedition in 1961, Calabria, Italy—observed by a weathered shepherd (Paolo Cossi) and his livestock, with whom he converses in guttural bursts that echo across the rocky hillsides.
Frammartino’s last feature was the quietly absorbing Le Quattro Volte (2011): unhurried, painterly cinema, much like Il Buco. For those who need drama, however, this intentionally opaque and plotless film may prove challenging: Frammartino—in tandem with cinematographer Renato Berta and sound designer Simone Paolo Olivero—delivers cinematic poetry … but ultimately, there’s more surface than depth.…...
Michelangelo Frammartino’s Il Buco (“The Hole”) is a meditative journey into the center of the earth, replete with some of the year’s most gorgeous visuals and transportive sound design. The film recreates a real cave expedition in 1961, Calabria, Italy—observed by a weathered shepherd (Paolo Cossi) and his livestock, with whom he converses in guttural bursts that echo across the rocky hillsides.
Frammartino’s last feature was the quietly absorbing Le Quattro Volte (2011): unhurried, painterly cinema, much like Il Buco. For those who need drama, however, this intentionally opaque and plotless film may prove challenging: Frammartino—in tandem with cinematographer Renato Berta and sound designer Simone Paolo Olivero—delivers cinematic poetry … but ultimately, there’s more surface than depth.…...
- 5/13/2022
- by Dylan Kai Dempsey
- IONCINEMA.com
It’s one of busiest opening weeks in some time for indie releases with Neon (Pleasure), Bleecker Street (Montana Story), IFC Midnight (The Innocents) and Roadside Attractions (Family Camp) in theaters — even as the imminent closure of the Landmark Pico underscores just how arthouses are struggling to win back core demos.
Also out, Grasshopper Films presents Michelangelo Frammartino’s Venice Special Jury Prize-winner Il Buco; Greenwich Entertainment documentary Mau is the first feature-length treatment on design visionary Bruce Mau; and Trafalgar Entertainment offers a remastered version of Lasse Hallstrom’s Abba: The Movie, which follows the group’s hugely successful 1977 Australian tour.
Roadside’s faith-based comedy Family Camp is the widest specialty release on over 850 screens. It’s the first feature from The Skit Guys — Tommy Woodard and Eddie James – targeting “family member from eight to eighty.” Two polar-opposite families find themselves sharing a cabin and vying for a coveted...
Also out, Grasshopper Films presents Michelangelo Frammartino’s Venice Special Jury Prize-winner Il Buco; Greenwich Entertainment documentary Mau is the first feature-length treatment on design visionary Bruce Mau; and Trafalgar Entertainment offers a remastered version of Lasse Hallstrom’s Abba: The Movie, which follows the group’s hugely successful 1977 Australian tour.
Roadside’s faith-based comedy Family Camp is the widest specialty release on over 850 screens. It’s the first feature from The Skit Guys — Tommy Woodard and Eddie James – targeting “family member from eight to eighty.” Two polar-opposite families find themselves sharing a cabin and vying for a coveted...
- 5/13/2022
- by Jill Goldsmith
- Deadline Film + TV
Michelangelo Frammartino’s new feature, Il buco, is his first that can be rightfully labelled a period piece. Set in the early sixties, it reenacts a legendary caving expedition that saw a handful of young speleologists travel from Turin to Calabria and descend down the Bifurto Abyss—a 700 meters deep cave then thought to be the third largest on Earth. But the Italian director’s filmography (a protean body of work spanning shorts and three features) has always hailed from its own anachronistic planet, one where time seems to work differently—if it does work at all. His first two features were ostensibly set in the present, but the rural Calabria they immortalized looked like a universe telegraphed from the past. Ancestral rituals, slow-paced routines, and pastoral landscapes where humans are almost camouflaged against plants and animals; to be walking into Frammartino’s films is to experience a kind of temporal dissonance,...
- 5/12/2022
- MUBI
Exclusive: French distributor Arp Selection has just acquired Cannes Competition movie Eo by Polish veteran Jerzy Skolimowski.
The film is a vision of modern Europe as seen through the eyes of a donkey. HanWay Films is handling worldwide sales and the deal was negotiated by Gabrielle Stewart and Arp’s Michèle Halberstadt.
Eo is presented by Skopia Film and Jeremy Thomas and stars Sandra Drzymalska, Isabelle Huppert, Lorenzo Zurzolo and Mateusz Kosciukiewicz. Pic was produced by Ewa Piaskowska, Jerzy Skolimowski and Eileen Tasca.
Jeremy Thomas is the executive producer. Screenplay was written by Ewa Piaskowska and Jerzy Skolimowski.
Here’s the film’s official synopsis: “The world is a mysterious place when seen through the eyes of an animal. Eo, a grey donkey with melancholic eyes, meets good and bad people on his life’s path, experiences joy and pain, endures the wheel of fortune randomly turn his luck into...
The film is a vision of modern Europe as seen through the eyes of a donkey. HanWay Films is handling worldwide sales and the deal was negotiated by Gabrielle Stewart and Arp’s Michèle Halberstadt.
Eo is presented by Skopia Film and Jeremy Thomas and stars Sandra Drzymalska, Isabelle Huppert, Lorenzo Zurzolo and Mateusz Kosciukiewicz. Pic was produced by Ewa Piaskowska, Jerzy Skolimowski and Eileen Tasca.
Jeremy Thomas is the executive producer. Screenplay was written by Ewa Piaskowska and Jerzy Skolimowski.
Here’s the film’s official synopsis: “The world is a mysterious place when seen through the eyes of an animal. Eo, a grey donkey with melancholic eyes, meets good and bad people on his life’s path, experiences joy and pain, endures the wheel of fortune randomly turn his luck into...
- 5/12/2022
- by Andreas Wiseman
- Deadline Film + TV
One of the most ravishing, enveloping theatrical experiences I had last year was with Michelangelo Frammartino’s long-awaited return, Il Buco. The latest film from the Le Quattro Volte director depicts a 1960s expedition to explore Europe’s deepest cave, 700 meters below Eath, located in southern Italy. The Venice winner and NYFF selection was picked up by Grasshopper Film and now the new trailer has arrived ahead of a May 13 theatrical release.
David Katz said in his review, “Caves… whence we came from––and for Italian auteur Michelangelo Frammartino’s latest work Il Buco––towards which we return. The fixation with caves and speleology in this film hint at the sometimes-regressive nature of that discipline. In human evolutionary terms, it’s like retracing one’s steps: going back towards the darkness, our primitive homes before homo sapiens could colonize other terrains. As a candidate for geographical mapping, is there such an urgent sense of utility?...
David Katz said in his review, “Caves… whence we came from––and for Italian auteur Michelangelo Frammartino’s latest work Il Buco––towards which we return. The fixation with caves and speleology in this film hint at the sometimes-regressive nature of that discipline. In human evolutionary terms, it’s like retracing one’s steps: going back towards the darkness, our primitive homes before homo sapiens could colonize other terrains. As a candidate for geographical mapping, is there such an urgent sense of utility?...
- 4/27/2022
- by Jordan Raup
- The Film Stage
For “Il Buco,” “El Quattro Volte” filmmaker Michelangelo Frammartino found the perfect metaphor in a deep, dark cave — and then, he got stuck in it. He was 700 meters inside the Bifurto Abyss, a large cave in the south of Italy, when a flood trapped him and his crew there during filming. That’s just one of the wild stories to emerge from Frammartino’s experience shooting the film, which won three prizes in Venice last year. Now, Grasshopper Film releases the movie May 13 in New York and in L.A. May 20. Exclusively on IndieWire, watch the trailer for the film below.
Here’s the synopsis: During the economic boom of the 1960s, Europe’s highest building is being built in Italy’s prosperous North. At the other end of the country, young speleologists explore Europe’s deepest cave in the untouched Calabrian hinterland. The bottom of the Bifurto Abyss, 700 meters below Earth,...
Here’s the synopsis: During the economic boom of the 1960s, Europe’s highest building is being built in Italy’s prosperous North. At the other end of the country, young speleologists explore Europe’s deepest cave in the untouched Calabrian hinterland. The bottom of the Bifurto Abyss, 700 meters below Earth,...
- 4/26/2022
- by Ryan Lattanzio
- Indiewire
New York-based distribution company Grasshopper Film and Gratitude Films have jointly acquired U.S. distribution rights to Italian director Michelangelo Frammartino’s Venice Special Jury Prize winner “Il Buco,” about a group of speleologists who in 1961 discover Europe’s deepest cave.
The deal was negotiated by Ryan Krivoshey of Grasshopper Film with Nadine Rothschild of Paris and Berlin-based Coproduction Office on the eve of the U.S. premiere of “Il Buco” at the New York Film Festival.
Gratitude, which is based in Los Angeles and Mumbai, is headed by Anu Rangachar, a producer and the former programmer for the Mumbai Film Festival.
With “Il Buco” Frammartino, whose dialogue-free “Le Quattro Volte” made a global splash in 2010, has segued with another similarly eclectic pic that has no dialogue or music.
His latest work reconstructs the young cave scientists’ journey to explore the depth of the Bifurto Abyss, 700 meters below Earth in the pristine Calabrian hinterland.
The deal was negotiated by Ryan Krivoshey of Grasshopper Film with Nadine Rothschild of Paris and Berlin-based Coproduction Office on the eve of the U.S. premiere of “Il Buco” at the New York Film Festival.
Gratitude, which is based in Los Angeles and Mumbai, is headed by Anu Rangachar, a producer and the former programmer for the Mumbai Film Festival.
With “Il Buco” Frammartino, whose dialogue-free “Le Quattro Volte” made a global splash in 2010, has segued with another similarly eclectic pic that has no dialogue or music.
His latest work reconstructs the young cave scientists’ journey to explore the depth of the Bifurto Abyss, 700 meters below Earth in the pristine Calabrian hinterland.
- 10/10/2021
- by Nick Vivarelli
- Variety Film + TV
A shepherd sits on the edge of a mountain, where the slate-gray stones meet the deep, verdant grass. Lush trees, whose branches dance in the wind, surround him. Every day, the old man watches cows graze at the foot of the mountain. Call it a ritual. His wrinkled and stubbly face marks the passage of time. Occasionally, his donkey joins him. So begins Il Buco, Michelangelo Frammartino’s masterful work of sound and sight.
Eleven years after his last feature, The Four Times, a philosophical meditation on a goatherd’s life, Frammartino returns with this quiet study of a dangerous exploratory effort. This film,...
Eleven years after his last feature, The Four Times, a philosophical meditation on a goatherd’s life, Frammartino returns with this quiet study of a dangerous exploratory effort. This film,...
A shepherd sits on the edge of a mountain, where the slate-gray stones meet the deep, verdant grass. Lush trees, whose branches dance in the wind, surround him. Every day, the old man watches cows graze at the foot of the mountain. Call it a ritual. His wrinkled and stubbly face marks the passage of time. Occasionally, his donkey joins him. So begins Il Buco, Michelangelo Frammartino’s masterful work of sound and sight.
Eleven years after his last feature, The Four Times, a philosophical meditation on a goatherd’s life, Frammartino returns with this quiet study of a dangerous exploratory effort. This film,...
Eleven years after his last feature, The Four Times, a philosophical meditation on a goatherd’s life, Frammartino returns with this quiet study of a dangerous exploratory effort. This film,...
Back in 2010, a small film of uncertain genre — was it documentary or drama, or something in between? — became the biggest word-of-mouth hit at the Cannes Film Festival. “Have you seen the goat film?” became a cheerful morning greeting between critics who usually just grunt at each other biliously about whatever has most recently annoyed them; here was something revelatory, something to get those sour old juices flowing.
“The goat film” was Le Quattro Volte, a film about an elderly goatherd living in a village in Calabria, his mischievous dog and the herd of goats who would chivvy him around, sometimes checking on him as if to make sure he hadn’t died yet. It was tranquil but melancholy, reverent but never sentimental. And it wasn’t like anything else.
Now the director of the goat film, Michelangelo Frammartino, is at the Venice Film Festival with another magnificent pastoral, Il Buco — meaning,...
“The goat film” was Le Quattro Volte, a film about an elderly goatherd living in a village in Calabria, his mischievous dog and the herd of goats who would chivvy him around, sometimes checking on him as if to make sure he hadn’t died yet. It was tranquil but melancholy, reverent but never sentimental. And it wasn’t like anything else.
Now the director of the goat film, Michelangelo Frammartino, is at the Venice Film Festival with another magnificent pastoral, Il Buco — meaning,...
- 9/5/2021
- by Stephanie Bunbury
- Deadline Film + TV
Ten years after village doc Le Quattro Volte, Michelangelo Frammartino returns with an observational piece centring on a deep-cave system in Calabria
In 2011 Italian artist Michelangelo Frammartino scored a small indie hit with a film called Le Quattro Volte, a metaphysical study of a mountain village that featured bleating goats and ringing bells, charcoal burners and Roman centurions. Le Quattro Volte was odd and gentle and by and large people loved it. I’m not sure how much money one earns from a small indie hit. Probably enough to pay for a weekend break in Tropea. Now Frammartino is back – 10 years later, not wanting to rush things – with the lovely Il Buco, another film that is content to saunter on the wild side, gazing at woods and sky, rocks and trees and identifying a serene, quiet heaven in everything that it sees. It’s not quite a documentary, yet nor...
In 2011 Italian artist Michelangelo Frammartino scored a small indie hit with a film called Le Quattro Volte, a metaphysical study of a mountain village that featured bleating goats and ringing bells, charcoal burners and Roman centurions. Le Quattro Volte was odd and gentle and by and large people loved it. I’m not sure how much money one earns from a small indie hit. Probably enough to pay for a weekend break in Tropea. Now Frammartino is back – 10 years later, not wanting to rush things – with the lovely Il Buco, another film that is content to saunter on the wild side, gazing at woods and sky, rocks and trees and identifying a serene, quiet heaven in everything that it sees. It’s not quite a documentary, yet nor...
- 9/4/2021
- by Xan Brooks
- The Guardian - Film News
After a century marked by breakneck change and nonstop innovation, there’s something coldly comforting about the fact that the broad contours of the “ethics in nonfiction filmmaking” conversation haven’t moved all that far since Robert J. Flaherty stuck a Nanook in the north and called it documentary way back in 1922, and whatever similar debate raged in online film circles way back in the heady days of… last month.
It feels noteworthy to bring this up in reference to Michelangelo Frammartino’s “Il Buco” because such are the thoughts you might find yourself dwelling upon throughout this alternately challenging and absorbing sit. Of course, the fact that the film both welcomes and nourishes such mental digressions is neither a feature nor a bug but a direct and inevitable outcome of an uncompromised and uncompromising deep dive into the nature of screen representation that is — very much by design — painstakingly dry.
It feels noteworthy to bring this up in reference to Michelangelo Frammartino’s “Il Buco” because such are the thoughts you might find yourself dwelling upon throughout this alternately challenging and absorbing sit. Of course, the fact that the film both welcomes and nourishes such mental digressions is neither a feature nor a bug but a direct and inevitable outcome of an uncompromised and uncompromising deep dive into the nature of screen representation that is — very much by design — painstakingly dry.
- 9/4/2021
- by Ben Croll
- Indiewire
If we believe the adage that the wish to climb a mountain comes about just because it’s there, perhaps it follows, not to be too glib about it, that a cave explorer mapping a hole in the ground does so because it’s not. Notions of absence — not just of solid ground, but of light and of life — as well as oppositions of up and down, ephemeral and eternal, high and low, infuse Michelangelo Frammartino’s “Il Buco” (“The Hole”), a docufiction that tenderly, wordlessly and rather too obliquely recreates a 1961 speleological expedition to measure the depth of an unexplored crevasse in Italy’s Calabria region.
As the first beautiful image, in a film composed entirely of beautiful images, fades slowly in, lagging behind the sound of chirruping crickets that faintly echo down from above, it’s like having your eyes adjust to sudden darkness. We are inside the hole,...
As the first beautiful image, in a film composed entirely of beautiful images, fades slowly in, lagging behind the sound of chirruping crickets that faintly echo down from above, it’s like having your eyes adjust to sudden darkness. We are inside the hole,...
- 9/4/2021
- by Jessica Kiang
- Variety Film + TV
Michaelangelo Frammartino was 700 meters deep inside the Bifurto Abyss, a vast cave in southern Italy, when a sudden flood trapped him there. The filmmaker and amateur speleologist, who was in the process of shooting his new movie “Il Buco,” wasn’t too worried.
“Everything was under control,” he said in a recent interview over Zoom. “We could have just waited until the end of the flooding but the media asked for a real-time rescue. We arrived outside the cave and it was strange.” He felt that the TV reporters embellished the rescue to play up a nonexistent drama, which struck an ironic contrast with the immersive cinematic experience he was constructing down below. “Outside the cave, there was this fiction that was far less ordinary and calm than the one we were trying to tell,” he said.
Frammartino doesn’t make movies so much as intangible immersions: In 2010, his acclaimed...
“Everything was under control,” he said in a recent interview over Zoom. “We could have just waited until the end of the flooding but the media asked for a real-time rescue. We arrived outside the cave and it was strange.” He felt that the TV reporters embellished the rescue to play up a nonexistent drama, which struck an ironic contrast with the immersive cinematic experience he was constructing down below. “Outside the cave, there was this fiction that was far less ordinary and calm than the one we were trying to tell,” he said.
Frammartino doesn’t make movies so much as intangible immersions: In 2010, his acclaimed...
- 9/4/2021
- by Eric Kohn
- Indiewire
The country’s box office is still sputtering but Italian cinema is instead “in a state of grace,” as Venice chief Alberto Barbera put it recently as he announced the five features from Italy that are competing for the fest’s Golden Lion. It’s the most he’s ever selected from Italy.
And Barbera is adamant that he didn’t allocate almost one-fourth of Venice’s 21 competition slots to Cinema Italiano “to support our colors at a difficult time.”
“Some years he selects very little from Italy,” notes Barbara Salabè, who is the top Warner Bros. exec in Italy. “But this year Alberto told me: ‘the [Italian] films are good.’”
The Italian contingent on the Lido spans a wide range of cinematic styles, from “Il Buco,” an eclectic film with no dialogue or music about a group of speleologists who, in 1961, discover the world’s second-deepest cave — directed by underground helmer Michelangelo Frammartino,...
And Barbera is adamant that he didn’t allocate almost one-fourth of Venice’s 21 competition slots to Cinema Italiano “to support our colors at a difficult time.”
“Some years he selects very little from Italy,” notes Barbara Salabè, who is the top Warner Bros. exec in Italy. “But this year Alberto told me: ‘the [Italian] films are good.’”
The Italian contingent on the Lido spans a wide range of cinematic styles, from “Il Buco,” an eclectic film with no dialogue or music about a group of speleologists who, in 1961, discover the world’s second-deepest cave — directed by underground helmer Michelangelo Frammartino,...
- 9/4/2021
- by Nick Vivarelli
- Variety Film + TV
Coproduction Office’s Italian cave drama has also sold to Denmark, Turkey and Taiwan.
Italian director Michelangelo Frammartino’s cave journey drama Il Buco has been racking up sales for the Paris and Berlin-based Coproduction Office ahead of its world premiere in Venice Competition this week.
Sales include to France (Les Films du Losange), UK (New Wave), Denmark (Ost for Paradis), ex-Yugoslavia (Demiurg), Turkey (Filmarti), Baltics (Must Kasi) and Taiwan (Hooray!).
Lucky Red will release the film in Italy in Q2 2022 as previously announced.
Set in the early 1960s, the film stars Paolo Cossi, Jacopo Elia, Denise Trombin and Nicola Lanzs.
Italian director Michelangelo Frammartino’s cave journey drama Il Buco has been racking up sales for the Paris and Berlin-based Coproduction Office ahead of its world premiere in Venice Competition this week.
Sales include to France (Les Films du Losange), UK (New Wave), Denmark (Ost for Paradis), ex-Yugoslavia (Demiurg), Turkey (Filmarti), Baltics (Must Kasi) and Taiwan (Hooray!).
Lucky Red will release the film in Italy in Q2 2022 as previously announced.
Set in the early 1960s, the film stars Paolo Cossi, Jacopo Elia, Denise Trombin and Nicola Lanzs.
- 9/1/2021
- by Geoffrey Macnab
- ScreenDaily
While the majority of 2020’s film festivals opted for virtual or hybrid affairs — and some were even cancelled, as was the case for both Cannes and Telluride — this year sees the world creeping, quite cautiously, back into seeming normalcy. Cannes went off without a hitch (albeit in an un-traditional July slot), while both Venice and Telluride are gearing up for in-person editions in the coming days. The Toronto International Film Festival and the New York Film Festival are both going ahead with hybrid events that will likely offer less virtual options for audiences than they did last year, with NYFF even announcing that it would not screen any films on a virtual platform, though some other events will be available that way.
So, no, this year’s packed fall festival season doesn’t look quite the same as it did even two years ago, but 2021 promises to feel more like old times than 2020 ever did.
So, no, this year’s packed fall festival season doesn’t look quite the same as it did even two years ago, but 2021 promises to feel more like old times than 2020 ever did.
- 8/27/2021
- by Kate Erbland, David Ehrlich and Eric Kohn
- Indiewire
Screen profiles the Venice Competition section, which includes new titles from Pedro Almodovar, Paolo Sorrentino, Jane Campion and Pablo Larrain.
Following a physical 2020 edition that triumphantly braved the pandemic, Venice Film Festival (September 1-11) is back on the Lido with a line‑up showcasing major filmmakers including Pedro Almodovar, Paolo Sorrentino, Jane Campion and Pablo Larrain.
America Latina (It-Fr)
Dirs. Damiano D’Innocenzo, Fabio D’Innocenzo
Widely seen as Italian film’s next big things, the 33-year-old twin brothers have so far — among other feats — opened their 2018 debut feature Boys Cry in Berlin’s Panorama section, co-scripted Matteo Garrone’s Dogman, picked...
Following a physical 2020 edition that triumphantly braved the pandemic, Venice Film Festival (September 1-11) is back on the Lido with a line‑up showcasing major filmmakers including Pedro Almodovar, Paolo Sorrentino, Jane Campion and Pablo Larrain.
America Latina (It-Fr)
Dirs. Damiano D’Innocenzo, Fabio D’Innocenzo
Widely seen as Italian film’s next big things, the 33-year-old twin brothers have so far — among other feats — opened their 2018 debut feature Boys Cry in Berlin’s Panorama section, co-scripted Matteo Garrone’s Dogman, picked...
- 8/27/2021
- ScreenDaily
Venice this year has the goods and the glitz with a star-studded lineup packed with hotly anticipated titles such as Denis Villeneuve’s “Dune,” Jane Campion’s “The Power of the Dog” and Ridley Scott’s “The Last Duel,” alongside more esoteric titles. It’s likely to make the Lido a place to reignite theatrical and bolster its standing as an awards season kingmaker.
The U.S. studios and indies will be out in force. European cinema is well-represented, especially Italy. Latin America has a significant presence, as does the Middle East. The only notable absence is China, which, due to Covid restrictions, makes travel to and from the country extremely difficult for filmmakers.
“Up until recently all Americans were in lockdown, which was much more rigid than what European productions had to contend with,” says Venice artistic director Alberto Barbera. “Americans shuttered for a year, films were not released,...
The U.S. studios and indies will be out in force. European cinema is well-represented, especially Italy. Latin America has a significant presence, as does the Middle East. The only notable absence is China, which, due to Covid restrictions, makes travel to and from the country extremely difficult for filmmakers.
“Up until recently all Americans were in lockdown, which was much more rigid than what European productions had to contend with,” says Venice artistic director Alberto Barbera. “Americans shuttered for a year, films were not released,...
- 8/27/2021
- by Nick Vivarelli
- Variety Film + TV
The Venice Film Festival has unveiled a star-studded lineup full of hotly anticipated new works from Jane Campion, Ana Lily Amirpour, Maggie Gyllenhaal, Denis Villeneuve, Ridley Scott, Paolo Sorrentino and Edgar Wright — to name a few standouts — who are likely to bolster the Lido’s standing as an awards season kingmaker.
Amirpour’s “Mona Lisa And The Blood Moon,” in competition, starring Kate Hudson as girl with unusual powers who escapes from a mental asylum, will bring the Iranian-American director back to Venice after her post-apocalyptic cannibal love story “The Bad Batch,” scored the Special Jury Prize in 2016.
Campion, as anticipated by Variety, is competing with “The Power of the Dog,” a drama about feuding brothers set in 1920s Montana starring Benedict Cumberbatch, Kirsten Dunst and Jesse Plemons. “Dog” is one of two Netflix Original films in the Venice competition, the other one being Paolo Sorrentino’s personal drama “The Hand of God,...
Amirpour’s “Mona Lisa And The Blood Moon,” in competition, starring Kate Hudson as girl with unusual powers who escapes from a mental asylum, will bring the Iranian-American director back to Venice after her post-apocalyptic cannibal love story “The Bad Batch,” scored the Special Jury Prize in 2016.
Campion, as anticipated by Variety, is competing with “The Power of the Dog,” a drama about feuding brothers set in 1920s Montana starring Benedict Cumberbatch, Kirsten Dunst and Jesse Plemons. “Dog” is one of two Netflix Original films in the Venice competition, the other one being Paolo Sorrentino’s personal drama “The Hand of God,...
- 7/26/2021
- by Nick Vivarelli
- Variety Film + TV
Osaka Asian Film Festival is held yearly under the theme of “From Osaka to All of Asia!” We are pleased to announce the line-up of the 15th edition of Oaff.
The number of selected films is 64 in total, the highest number ever for the festival, and they include 14 World Premieres, 12 International Premieres, and 3 Asian Premieres. Films from 23 countries and regions, including China, Hong Kong, Taiwan, Korea, Thailand, Malaysia, Indonesia, the Philippines, Singapore, Cambodia, India, Bangladesh, Nepal, Kazakhstan, Poland, France, Germany, Denmark, Portugal, Italy, the USA, Mexico and Japan, will be screened.
Opening Film
The Garden of Evening Mists
by Tom Shu-yu Lin (Malaysia) Japan Premiere
Closing Film
Kamata Prelude
by Nakagawa Ryutaro, Akiyama Mayu, Yasukawa Yuka, Watanabe Hirobumi (Japan) World Premiere
Competition
This section will present 15 films chosen from films completed on or after 1st October 2018 and unreleased in Japan. The international jurors will choose the winners of the Grand...
The number of selected films is 64 in total, the highest number ever for the festival, and they include 14 World Premieres, 12 International Premieres, and 3 Asian Premieres. Films from 23 countries and regions, including China, Hong Kong, Taiwan, Korea, Thailand, Malaysia, Indonesia, the Philippines, Singapore, Cambodia, India, Bangladesh, Nepal, Kazakhstan, Poland, France, Germany, Denmark, Portugal, Italy, the USA, Mexico and Japan, will be screened.
Opening Film
The Garden of Evening Mists
by Tom Shu-yu Lin (Malaysia) Japan Premiere
Closing Film
Kamata Prelude
by Nakagawa Ryutaro, Akiyama Mayu, Yasukawa Yuka, Watanabe Hirobumi (Japan) World Premiere
Competition
This section will present 15 films chosen from films completed on or after 1st October 2018 and unreleased in Japan. The international jurors will choose the winners of the Grand...
- 2/8/2020
- by Adriana Rosati
- AsianMoviePulse
Exclusive: “The film talks about an end of days…in a way, it’s a companion piece to The Irishman,” Luca Guadagnino says about Sundance documentary The Truffle Hunters, on which he is an executive producer.
Martin Scorsese’s $150m mob epic wasn’t the first movie that came to mind after watching the intimate documentary about elderly Truffle hunters in northern Italy. My thoughts went to Michelangelo Frammartino’s Le Quattro Volte and Cosima Spender’s Palio. But Guadagnino is right in a sense.
“The Truffle Hunters is about a group at the end of their lives who see their world fading and their place in reality increasingly on the boundaries,” the filmmaker observes. “At the same time, the aggression of the new goes over their heads. It’s about mortality and approaching death. The image of the hunter who doesn’t want to hunt any more reminds me...
Martin Scorsese’s $150m mob epic wasn’t the first movie that came to mind after watching the intimate documentary about elderly Truffle hunters in northern Italy. My thoughts went to Michelangelo Frammartino’s Le Quattro Volte and Cosima Spender’s Palio. But Guadagnino is right in a sense.
“The Truffle Hunters is about a group at the end of their lives who see their world fading and their place in reality increasingly on the boundaries,” the filmmaker observes. “At the same time, the aggression of the new goes over their heads. It’s about mortality and approaching death. The image of the hunter who doesn’t want to hunt any more reminds me...
- 1/24/2020
- by Andreas Wiseman
- Deadline Film + TV
#14. Il Buco / The Hole
It’s been a full decade without a new narrative feature from Italy’s Michelangelo Frammartino, whose Le Quattro Volte was one of 2010’s most notable films. After spending years developing a project called Late Spring, which was said to be a Pinocchio-like fantasy told in reverse, this past September Frammartino finally commenced a new project, Il Buco (The Hole), a period piece on some noted spelunkers, lensed by famed Dp Renato Berta.…...
It’s been a full decade without a new narrative feature from Italy’s Michelangelo Frammartino, whose Le Quattro Volte was one of 2010’s most notable films. After spending years developing a project called Late Spring, which was said to be a Pinocchio-like fantasy told in reverse, this past September Frammartino finally commenced a new project, Il Buco (The Hole), a period piece on some noted spelunkers, lensed by famed Dp Renato Berta.…...
- 1/3/2020
- by Nicholas Bell
- IONCINEMA.com
The film stars Garai as Karl Marx’s youngest daughter Eleanor.
Paris-based sales company Celluloid Dreams has acquired world sales rights on Susanna Nicchiarelli’s upcoming biopic Miss Marx, starring Romola Garai as Karl Marx’s youngest daughter Eleanor.
The picture, set in 19th-Century England, is produced by Marta Donzelli and Gregorio Paonessa of Rome-based independent production company Vivo film with Rai Cinema and in co-production with Valérie Bournonville and Joseph Rouschop of Tarantula and will shoot in the fall of 2019.
Donzelli and Paonessa, whose credits also include Le Quattro Volte and Daughter Of Mine, produced Nicchiarelli’s award-winning 2017 film...
Paris-based sales company Celluloid Dreams has acquired world sales rights on Susanna Nicchiarelli’s upcoming biopic Miss Marx, starring Romola Garai as Karl Marx’s youngest daughter Eleanor.
The picture, set in 19th-Century England, is produced by Marta Donzelli and Gregorio Paonessa of Rome-based independent production company Vivo film with Rai Cinema and in co-production with Valérie Bournonville and Joseph Rouschop of Tarantula and will shoot in the fall of 2019.
Donzelli and Paonessa, whose credits also include Le Quattro Volte and Daughter Of Mine, produced Nicchiarelli’s award-winning 2017 film...
- 5/10/2019
- by Melanie Goodfellow
- ScreenDaily
Documentary premiered in Locarno and screened at True/False and SXSW.
Kino Lorber has acquired all North American rights to The Challenge, Yuri Ancarani’s documentary focused on a group of super-wealthy, Qatari sheikhs who moonlight as amateur falconers.
The Challenge offers a rare window into a group of ultra-privileged men who spare no expense in the pursuit of their idiosyncratic wishes.
The film will screen in New York on September 8, followed by a nationwide roll-out in the autumn. VOD and home video releases are scheduled for 2018.
“Yuri Ancarani is the type of visionary and ambitious filmmaker that we love to introduce to American audiences,” Kino Lorber CEO Richard Lorber said. “And his feature debut The Challenge is an unforgettable cinematic experience that’s going to both charm and astound audiences everywhere.”
“We are excited to work with Kino Lorber on the North American release of The Challenge,” Slingshot Films’ Manuela Buono said. “We always...
Kino Lorber has acquired all North American rights to The Challenge, Yuri Ancarani’s documentary focused on a group of super-wealthy, Qatari sheikhs who moonlight as amateur falconers.
The Challenge offers a rare window into a group of ultra-privileged men who spare no expense in the pursuit of their idiosyncratic wishes.
The film will screen in New York on September 8, followed by a nationwide roll-out in the autumn. VOD and home video releases are scheduled for 2018.
“Yuri Ancarani is the type of visionary and ambitious filmmaker that we love to introduce to American audiences,” Kino Lorber CEO Richard Lorber said. “And his feature debut The Challenge is an unforgettable cinematic experience that’s going to both charm and astound audiences everywhere.”
“We are excited to work with Kino Lorber on the North American release of The Challenge,” Slingshot Films’ Manuela Buono said. “We always...
- 5/5/2017
- ScreenDaily
Late Spring
Director: Michelangelo Frammartino
Writer: Michelangelo Frammartino
Italian director Michelangelo Frammartino announced himself as an important new cinematic talent with his 2010 sophomore film Le Quattro Volte.
Continue reading...
Director: Michelangelo Frammartino
Writer: Michelangelo Frammartino
Italian director Michelangelo Frammartino announced himself as an important new cinematic talent with his 2010 sophomore film Le Quattro Volte.
Continue reading...
- 1/4/2017
- by Nicholas Bell
- IONCINEMA.com
Exclusive: Iffr reveals lineup and jury for programme focused on emerging filmmakers.
International Film Festival Rotterdam (Iffr) (25 Jan – 5 Feb) has announced the full line-up of its Bright Future programme, including the titles that will compete for the Bright Future Award.
Scroll down for the full lineup
The competition for the Bright Future Award 2017 consists of sixteen debut films, including Chinese documentary Children Are Not Afraid of Death, Children Are Afraid of Ghosts by Rong Guang Rong and Caroline Leone’s melancholy Brazilian road movie Pela Janela. Also competing are Belgian title Inside the Distance and German feature Self-Criticism Of A Bourgeois Dog.
The jury for the award will be made up of Italian film producer Marta Donzelli (Le Quattro Volte); Marleen Slot, Netherlands producer for Viking Film (Neon Bull) and chair of Film Producers Netherlands (Fpn); and Jean-Pierre Rehm, director of the French film festival Fid Marseille.
Outside of this competition, Bright Future also presents...
International Film Festival Rotterdam (Iffr) (25 Jan – 5 Feb) has announced the full line-up of its Bright Future programme, including the titles that will compete for the Bright Future Award.
Scroll down for the full lineup
The competition for the Bright Future Award 2017 consists of sixteen debut films, including Chinese documentary Children Are Not Afraid of Death, Children Are Afraid of Ghosts by Rong Guang Rong and Caroline Leone’s melancholy Brazilian road movie Pela Janela. Also competing are Belgian title Inside the Distance and German feature Self-Criticism Of A Bourgeois Dog.
The jury for the award will be made up of Italian film producer Marta Donzelli (Le Quattro Volte); Marleen Slot, Netherlands producer for Viking Film (Neon Bull) and chair of Film Producers Netherlands (Fpn); and Jean-Pierre Rehm, director of the French film festival Fid Marseille.
Outside of this competition, Bright Future also presents...
- 1/4/2017
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
The Together Project was directed by Solveig Anspach, who died last August.
Afghan fantasy drama Wolf And Sheep has picked up the Art Cinema Award at the 48th Directors’ Fortnight in Cannes.
Making Of… Wolf And Sheep
It marks the completion of a six-year journey with Cannes for Afghan director Shahrbanoo Sadat, who was 20 when selected as the youngest participant of the festival’s Cinefondation Residency, where she began to develop this debut in 2010.
Wolf And Sheep follows a group of Afghan shepherd boys and girls living in a remote village, where folklore helps explain the world’s mysteries.
Starring largely non-professional actors, Wolf And Sheep was shot in Tajikistan because it was too dangerous for the crew to shoot in Afghanistan.
The Denmark-France-Sweden-Afghanistan co-production is produced by Katja Adomeit and is being sold by Alpha Violet.
Although considered a non-competitive section, the film was selected for the sponsored prize over titles such as Pablo Larrain’s [link...
Afghan fantasy drama Wolf And Sheep has picked up the Art Cinema Award at the 48th Directors’ Fortnight in Cannes.
Making Of… Wolf And Sheep
It marks the completion of a six-year journey with Cannes for Afghan director Shahrbanoo Sadat, who was 20 when selected as the youngest participant of the festival’s Cinefondation Residency, where she began to develop this debut in 2010.
Wolf And Sheep follows a group of Afghan shepherd boys and girls living in a remote village, where folklore helps explain the world’s mysteries.
Starring largely non-professional actors, Wolf And Sheep was shot in Tajikistan because it was too dangerous for the crew to shoot in Afghanistan.
The Denmark-France-Sweden-Afghanistan co-production is produced by Katja Adomeit and is being sold by Alpha Violet.
Although considered a non-competitive section, the film was selected for the sponsored prize over titles such as Pablo Larrain’s [link...
- 5/21/2016
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Late Spring
Director: Michelangelo Frammartino
Writer: Michelangelo Frammartino
Italian director Michelangelo Frammartino announced himself as an important new cinematic talent with his 2010 sophomore film Le Quattro Volte. He’s been developing his latest feature Tarda primavera (Late Spring) with producer Marta Donzelli, who had claimed the feature was supposed to film over the summer in 2015. Described as a fantasy film version of Pinocchio but told in reverse order, no confirmations of completion have yet to surface, so there’s a possibility this could be delayed until 2017 depending on Frammartino’s post-production period. The title is meant to close the animist trilogy that began with his 2003 film The Gift.
Cast: Na
Producers: Marta Donzelli
U.S. Distributor: Rights available Tbd (domestic/international)
Release Date: Le Quattro Volte was unveiled in Directors’ Fortnight. If Frammartino is indeed ready for 2016, we expect a slot in Ucr, if not a fighting chance at the...
Director: Michelangelo Frammartino
Writer: Michelangelo Frammartino
Italian director Michelangelo Frammartino announced himself as an important new cinematic talent with his 2010 sophomore film Le Quattro Volte. He’s been developing his latest feature Tarda primavera (Late Spring) with producer Marta Donzelli, who had claimed the feature was supposed to film over the summer in 2015. Described as a fantasy film version of Pinocchio but told in reverse order, no confirmations of completion have yet to surface, so there’s a possibility this could be delayed until 2017 depending on Frammartino’s post-production period. The title is meant to close the animist trilogy that began with his 2003 film The Gift.
Cast: Na
Producers: Marta Donzelli
U.S. Distributor: Rights available Tbd (domestic/international)
Release Date: Le Quattro Volte was unveiled in Directors’ Fortnight. If Frammartino is indeed ready for 2016, we expect a slot in Ucr, if not a fighting chance at the...
- 1/8/2016
- by Eric Lavallee
- IONCINEMA.com
Read More: Is Cph:dox Ruining Documentary Film or Saving It? Cph:dox, the informal, angularly hip moniker of the event officially labeled the Copenhagen International Documentary Festival, takes place in Dongara every year, some 8,237 miles from Copenhagen. Since 2003, Cph:dox — "Dox" for even shorter — has sought to showcase the best of the planet's non-fiction filmmaking, while simultaneously challenging and redefining exactly what "documentary cinema" means in the 21st century. Many Dox films wouldn't even be regarded as documentaries by squarer, more traditional festivals, including several winners of the top prize in the centerpiece "Dox:Award" competition, most notably Michelangelo Frammartino's "Le Quattro Volte" (2011) and Harmony Korine's "Trash Humpers" (2009). A Cracked ExperimentSix years on, Korine was represented by one of the more noteworthy of the festival's 60 world premieres: "A Crackup at the Race...
- 11/25/2015
- by Neil Young
- Indiewire
A terrific documentary explores the lives of a family in the north Pennines trying to rear the perfect sheep
Pitched somewhere between Nicolas Philibert’s Être et Avoir and Michelangelo Frammartino’s Le Quattro Volte, this insightful account of a year in the life of a family of north Pennines tenant farmers proved a deserved hit at the 2015 Sheffield Doc/Fest. Told with affection but without sentimentality (life and death are unflinchingly intertwined), Magali Pettier’s debut feature gets under the skin of its subjects and the tough lives they lead. While Tom and Kay Hutchinson joke about his devotion to rearing the perfect prize-winning sheep, their children reflect on the ups and downs of rural life with a wonderful blend of innocence and experience. The whole family are terrific company and Magali captures both the beauty and the bleakness of the environment in which they live and work.
Continue reading.
Pitched somewhere between Nicolas Philibert’s Être et Avoir and Michelangelo Frammartino’s Le Quattro Volte, this insightful account of a year in the life of a family of north Pennines tenant farmers proved a deserved hit at the 2015 Sheffield Doc/Fest. Told with affection but without sentimentality (life and death are unflinchingly intertwined), Magali Pettier’s debut feature gets under the skin of its subjects and the tough lives they lead. While Tom and Kay Hutchinson joke about his devotion to rearing the perfect prize-winning sheep, their children reflect on the ups and downs of rural life with a wonderful blend of innocence and experience. The whole family are terrific company and Magali captures both the beauty and the bleakness of the environment in which they live and work.
Continue reading.
- 8/30/2015
- by Mark Kermode, Observer film critic
- The Guardian - Film News
After the huge international success of the film Gomorrah in 2008 followed by its acclaimed recent TV adaptation, Francesco Munzi’s Anime Nere has a tough act to follow. While there are no end of films depicting the mafia, and Gomorrah shows life in Naples’ camorra underworld, this time it’s the turn of the Calabrian ’ndrangheta.
The opening scene is a chilly and grey waterfront in Holland before travelling south to Milan, then all the way down to the tiny mountainside village of Aspromonte, yet as it reaches the Mediterranean the film never manages to shake off those downcast and icy tones. Outside, from north to south it’s dark, grey and gritty.
Luigi (Marco Leonardi) is in Holland to close a drugs deal, then it’s off to Milan for celebrations with his brother, the solid and steady Rocco (Peppino Mazzotta). But there’s another brother, Luciano (Fabrizio Ferracane), ensconced down south,...
The opening scene is a chilly and grey waterfront in Holland before travelling south to Milan, then all the way down to the tiny mountainside village of Aspromonte, yet as it reaches the Mediterranean the film never manages to shake off those downcast and icy tones. Outside, from north to south it’s dark, grey and gritty.
Luigi (Marco Leonardi) is in Holland to close a drugs deal, then it’s off to Milan for celebrations with his brother, the solid and steady Rocco (Peppino Mazzotta). But there’s another brother, Luciano (Fabrizio Ferracane), ensconced down south,...
- 8/29/2014
- by Jo-Ann Titmarsh
- HeyUGuys.co.uk
Ifp announced its 2014 slate of 133 new films in development and works in progress selected for its esteemed Project Forum at Independent Film Week. This one-of-a-kind event brings the international film and media community to New York City to advance new projects by nurturing the work of both emerging and established independent artists and filmmakers. Through the Project Forum, creatives connect with financiers, executives, influencers and decision-makers in film, television, new media and cross-platform storytelling that can help them complete their latest works and connect with audiences. Under the curatorial leadership of Deputy Director/Head of Programming Amy Dotson & Senior Director of Programming Milton Tabbot, this one-of-a-kind event takes place September 14-18, 2014 at Lincoln Center supporting bold new content from a wide variety of domestic and international artists.
“As we set to embark on our 36th Independent Film Week, we are impressed by the outstanding slate of both U.S. and international projects selected for this year’s Project Forum,” said Joana Vicente, Executive Director of Ifp. “We know that the industry will be as excited as we are with the accomplished storytellers and their diverse and boundary pushing films.”
Featured works at the 2014 Independent Film Week include filmmakers and content creators from a variety of backgrounds and experiences. From documentarians Tony Gerber ("Full Battle Rattle"), Pamela Yates ("Granito: How To Nail A Dictator"), and Penny Lane ("Our Nixon") to Michelangelo Frammartino ("Quattro Volte") and Alexis Dos Santos ("Unmade Beds"), as well as new work from critically acclaimed artists and directors Aurora Guerrero ("Mosquita y Mari"), Barry Jenkins ("Medicine for Melancholy"), Travis Matthews ("Interior. Leather. Bar") and Yen Tan ("Pit Stop").
Independent Film Week brings the international film and media community to New York City to advance new documentary and narrative works-in-progress and support the future of storytelling. The program nurtures the work of both emerging and established independent artists and filmmakers through the facilitation of over 3,500+ custom, one-to-one meetings with the financiers, executives, influencers and decision-makers in film, television, new media and cross-platform storytelling that can help them complete their latest works and connect with audiences. In recent years, it has also played a vital role in launching the first films of many of today’s rising stars on the independent scene including Rama Burshtein ("Fill The Void"), Derek Cianfrance ("Blue Valentine"), Marshall Curry ("If A Tree Falls: A Story of the Earth LIberation Front"), Laura Poitras ("The Oath"), Denis Villeneuve ("Incendies") and Benh Zeitlin ("Beasts of the Southern Wild").
For the full 2014 Project Forum slate visit Here
New For 2014
Evenly split between documentary and narrative features, selected projects hail from throughout the U.S., Europe and Canada, as well Africa, Asia, South America, and the Middle East. New this year, Ifp will be including web series in it programming, as well as spotlighting Latin & Central American artists and content with 15 projects featured across all programs in the Forum.
In a joint effort to recognize the importance of career and creative sustainability, Ifp and Durga Entertainment have partnered on a new $20,000 filmmaker grant for an alumnus of Ifp. The grant is intended for active, working filmmakers who are also balancing a filmmaking career with parenting. The grant provides a $20,000 unrestricted prize to encourage the recipient to continue on her or his career path of making quality independent films. American directors or screenwriters working in narrative film who have participated in the Ifp Filmmaker Labs or Ifp Independent Film Week's Emerging Storytellers or No-Borders International Co-Production market are encouraged to apply by the deadline of August 8, 2014.
Narrative Feature Highlights
Narrative features and webseries in Rbc’s Emerging Storytellers and No Borders International Co-Production Market sections highlight new work from top emerging and established creative visionaries on the U.S. and international independent scene.
This year’s slate includes new feature scripts featuring directors Dev Benegal ("Road, Movie"), Alexis Dos Santos ("Unmade Beds"), Jason Cortlund and Julia Halperin ("Now, Forager"), Michelangelo Frammartino ("Le Quattro Volte"),Terry George ("Hotel Rwanda"), Rashaad Ernesto Green ("Gun Hill Road"), Aurora Guerrero ("Mosquita Y Mari"), Barry Jenkins ("Medicine for Melancholy"),Alison Klayman ("Ai Weiwei: Never Sorry"), Travis Mathews ("Interior. Leather Bar"), Stacie Passon ("Concussion"), Yen Tan ("Pit Stop"), as well as up-an-coming actor/directors Karrie Crouse ("Land Ho!") and Peter Vack ("Fort Tilden""I Believe in Unicorns").
Producers and executive producers of note attached to participating projects include Jennifer Dubin and Cora Olson ("Good Dick"), Jonathan Duffy and Kelly Williams ("Hellion"),Laura Heberton ("Gayby"), Dan Janvey ("Beasts of the Southern Wild"), Kishori Rajan ("Gimme the Loot"), Adele Romanski ("The Myth of the American Sleepover"), Kim Sherman ("A Teacher"), Susan Stover ("High Art"), and Alicia Van Couvering ("Tiny Furniture").
Web Storytellers Highlights
For the first time this year, Ifp presents a dedicated spotlight within the Rbc’s Emerging Storytellers program for creators developing episodic content for digital platforms. The inaugural slate for the Web Storytellers spotlight includes new works from filmmakers Desiree Akhavan ("Appropriate Behavior", HBO’s Girls), Calvin Reeder ("The Rambler"), and Gregory Bayne ("Person of Interest"), as well as producers Elisabeth Holm ("Obvious Child"), Susan Leber ( "Down to the Bone"), and Amanda Warman ("The Outs,"Whatever This Is"). Two of the series participating are currently in post-production, and will be making their online debut in the coming months – Rachel Morgan’s Middle Americans, starring Scott Thompson, Carlen Altman, and Alex Rennie, and Daniel Zimbler and Elisabeth Gray’s Understudies, starring Richard Kind and David Rasche. [p Spotlight On Documentaries Highlights
The documentary selection includes new work from seasoned non-fiction directors such as Emmy winners Robert Bahar andAlmudena Carracedo ("Made in La"), Pamela Yates ("Granito: How to Nail a Dictator"),Ramona Diaz ("Imelda," "Don’t Stop Believin’") Gini Reticker ("Pray the Devil Back to Hell") Tony Gerber ("Full Battle Rattle"); from producers such as Court 13’s Benh Zeitlin and Dan Janvey ("Beasts of the Southern Wild"), Liran Atzmor ("The Law in These Parts"), Tim Williams ("Once In A Lifetime") and Hilla Medalia ("Web Junkie"), and follow-up second features from recent doc world “breakouts”Steve Hoover ("Blood Brother") Penny Lane ("Our Nixon"), Michael Collins ("Give Up Tomorrow"), and Michael Nichols and Christopher Walker ("Flex is Kings").
Exciting new work from debut documentary directors previously known for fiction films include Alex Sichel ("All over Me") with her personal doc The Movie about Anna, Lisa Cortés (producer, "Precious") with "Mothership: The Untold Story of Women and Hip Hop," and Daniel Patrick Carbone ("Hide Your Smiling Faces") with Phantom Cowboys.
Sponsors
Independent Film Week’s Premier sponsors are Royal Bank of Canada (Rbc) and HBO. Gold sponsors are A&E IndieFilms and SAGIndie. Silver sponsors are Durga Entertainment, Eastman Kodak Company, National Film & Video Foundation of South Africa and Telefilm Canada. Official Independent Film Week Partner is Film Society of Lincoln Center. Independent Film Week is supported, in part, by funds provided by the Ford Foundation, New York City Department of Cultural Affairs, New York State Council for the Arts and Time Warner Foundation.
About Ifp
The Independent Filmmaker Project (Ifp) champions the future of storytelling by connecting artists with essential resources at all stages of development and distribution. The organization fosters a vibrant and sustainable independent storytelling community through its year-round programs, which include Independent Film Week, Filmmaker Magazine, the Gotham Independent Film Awards and the Made in NY Media Center by Ifp, a new incubator space developed with the Mayor’s Office of Media and Entertainment. Ifp represents a growing network of 10,000 storytellers around the world, and plays a key role in developing 350 new feature and documentary works each year. During its 35-year history, Ifp has supported over 8,000 projects and offered resources to more than 20,000 filmmakers, including Debra Granik, Miranda July, Michael Moore, Dee Rees, and Benh Zeitlin. More info at www.ifp.org.
“As we set to embark on our 36th Independent Film Week, we are impressed by the outstanding slate of both U.S. and international projects selected for this year’s Project Forum,” said Joana Vicente, Executive Director of Ifp. “We know that the industry will be as excited as we are with the accomplished storytellers and their diverse and boundary pushing films.”
Featured works at the 2014 Independent Film Week include filmmakers and content creators from a variety of backgrounds and experiences. From documentarians Tony Gerber ("Full Battle Rattle"), Pamela Yates ("Granito: How To Nail A Dictator"), and Penny Lane ("Our Nixon") to Michelangelo Frammartino ("Quattro Volte") and Alexis Dos Santos ("Unmade Beds"), as well as new work from critically acclaimed artists and directors Aurora Guerrero ("Mosquita y Mari"), Barry Jenkins ("Medicine for Melancholy"), Travis Matthews ("Interior. Leather. Bar") and Yen Tan ("Pit Stop").
Independent Film Week brings the international film and media community to New York City to advance new documentary and narrative works-in-progress and support the future of storytelling. The program nurtures the work of both emerging and established independent artists and filmmakers through the facilitation of over 3,500+ custom, one-to-one meetings with the financiers, executives, influencers and decision-makers in film, television, new media and cross-platform storytelling that can help them complete their latest works and connect with audiences. In recent years, it has also played a vital role in launching the first films of many of today’s rising stars on the independent scene including Rama Burshtein ("Fill The Void"), Derek Cianfrance ("Blue Valentine"), Marshall Curry ("If A Tree Falls: A Story of the Earth LIberation Front"), Laura Poitras ("The Oath"), Denis Villeneuve ("Incendies") and Benh Zeitlin ("Beasts of the Southern Wild").
For the full 2014 Project Forum slate visit Here
New For 2014
Evenly split between documentary and narrative features, selected projects hail from throughout the U.S., Europe and Canada, as well Africa, Asia, South America, and the Middle East. New this year, Ifp will be including web series in it programming, as well as spotlighting Latin & Central American artists and content with 15 projects featured across all programs in the Forum.
In a joint effort to recognize the importance of career and creative sustainability, Ifp and Durga Entertainment have partnered on a new $20,000 filmmaker grant for an alumnus of Ifp. The grant is intended for active, working filmmakers who are also balancing a filmmaking career with parenting. The grant provides a $20,000 unrestricted prize to encourage the recipient to continue on her or his career path of making quality independent films. American directors or screenwriters working in narrative film who have participated in the Ifp Filmmaker Labs or Ifp Independent Film Week's Emerging Storytellers or No-Borders International Co-Production market are encouraged to apply by the deadline of August 8, 2014.
Narrative Feature Highlights
Narrative features and webseries in Rbc’s Emerging Storytellers and No Borders International Co-Production Market sections highlight new work from top emerging and established creative visionaries on the U.S. and international independent scene.
This year’s slate includes new feature scripts featuring directors Dev Benegal ("Road, Movie"), Alexis Dos Santos ("Unmade Beds"), Jason Cortlund and Julia Halperin ("Now, Forager"), Michelangelo Frammartino ("Le Quattro Volte"),Terry George ("Hotel Rwanda"), Rashaad Ernesto Green ("Gun Hill Road"), Aurora Guerrero ("Mosquita Y Mari"), Barry Jenkins ("Medicine for Melancholy"),Alison Klayman ("Ai Weiwei: Never Sorry"), Travis Mathews ("Interior. Leather Bar"), Stacie Passon ("Concussion"), Yen Tan ("Pit Stop"), as well as up-an-coming actor/directors Karrie Crouse ("Land Ho!") and Peter Vack ("Fort Tilden""I Believe in Unicorns").
Producers and executive producers of note attached to participating projects include Jennifer Dubin and Cora Olson ("Good Dick"), Jonathan Duffy and Kelly Williams ("Hellion"),Laura Heberton ("Gayby"), Dan Janvey ("Beasts of the Southern Wild"), Kishori Rajan ("Gimme the Loot"), Adele Romanski ("The Myth of the American Sleepover"), Kim Sherman ("A Teacher"), Susan Stover ("High Art"), and Alicia Van Couvering ("Tiny Furniture").
Web Storytellers Highlights
For the first time this year, Ifp presents a dedicated spotlight within the Rbc’s Emerging Storytellers program for creators developing episodic content for digital platforms. The inaugural slate for the Web Storytellers spotlight includes new works from filmmakers Desiree Akhavan ("Appropriate Behavior", HBO’s Girls), Calvin Reeder ("The Rambler"), and Gregory Bayne ("Person of Interest"), as well as producers Elisabeth Holm ("Obvious Child"), Susan Leber ( "Down to the Bone"), and Amanda Warman ("The Outs,"Whatever This Is"). Two of the series participating are currently in post-production, and will be making their online debut in the coming months – Rachel Morgan’s Middle Americans, starring Scott Thompson, Carlen Altman, and Alex Rennie, and Daniel Zimbler and Elisabeth Gray’s Understudies, starring Richard Kind and David Rasche. [p Spotlight On Documentaries Highlights
The documentary selection includes new work from seasoned non-fiction directors such as Emmy winners Robert Bahar andAlmudena Carracedo ("Made in La"), Pamela Yates ("Granito: How to Nail a Dictator"),Ramona Diaz ("Imelda," "Don’t Stop Believin’") Gini Reticker ("Pray the Devil Back to Hell") Tony Gerber ("Full Battle Rattle"); from producers such as Court 13’s Benh Zeitlin and Dan Janvey ("Beasts of the Southern Wild"), Liran Atzmor ("The Law in These Parts"), Tim Williams ("Once In A Lifetime") and Hilla Medalia ("Web Junkie"), and follow-up second features from recent doc world “breakouts”Steve Hoover ("Blood Brother") Penny Lane ("Our Nixon"), Michael Collins ("Give Up Tomorrow"), and Michael Nichols and Christopher Walker ("Flex is Kings").
Exciting new work from debut documentary directors previously known for fiction films include Alex Sichel ("All over Me") with her personal doc The Movie about Anna, Lisa Cortés (producer, "Precious") with "Mothership: The Untold Story of Women and Hip Hop," and Daniel Patrick Carbone ("Hide Your Smiling Faces") with Phantom Cowboys.
Sponsors
Independent Film Week’s Premier sponsors are Royal Bank of Canada (Rbc) and HBO. Gold sponsors are A&E IndieFilms and SAGIndie. Silver sponsors are Durga Entertainment, Eastman Kodak Company, National Film & Video Foundation of South Africa and Telefilm Canada. Official Independent Film Week Partner is Film Society of Lincoln Center. Independent Film Week is supported, in part, by funds provided by the Ford Foundation, New York City Department of Cultural Affairs, New York State Council for the Arts and Time Warner Foundation.
About Ifp
The Independent Filmmaker Project (Ifp) champions the future of storytelling by connecting artists with essential resources at all stages of development and distribution. The organization fosters a vibrant and sustainable independent storytelling community through its year-round programs, which include Independent Film Week, Filmmaker Magazine, the Gotham Independent Film Awards and the Made in NY Media Center by Ifp, a new incubator space developed with the Mayor’s Office of Media and Entertainment. Ifp represents a growing network of 10,000 storytellers around the world, and plays a key role in developing 350 new feature and documentary works each year. During its 35-year history, Ifp has supported over 8,000 projects and offered resources to more than 20,000 filmmakers, including Debra Granik, Miranda July, Michael Moore, Dee Rees, and Benh Zeitlin. More info at www.ifp.org.
- 7/25/2014
- by Peter Belsito
- Sydney's Buzz
On the heels of the 39th edition of the Toronto Int. Film Festival (Sept 4-14), Ifp’s Independent Film Week is where a plethora of fiction, non-fiction and new this year, web-based series from the likes of Desiree Akhavan and Calvin Reeder find future coin. Sectioned off as projects at the very beginning of financing to those that are nearing completion, there happens to be tons of Sundance alumni in the names below. Among those that caught our attention we have Medicine for Melancholy‘s Barry Jenkins’ sophomore feature, produced by Bad Milo!‘s Adele Romanski, Moonlight is about “two Miami boys navigate the temptations of the drug trade and their burgeoning sexuality in this triptych drama about black queer youth”. Concussion‘s Stacie Passon digs into the thriller genre with Strange Things Started Happening. Produced by vet Mary Jane Skalski (Mysterious Skin), this is about “a woman who has...
- 7/24/2014
- by Eric Lavallee
- IONCINEMA.com
Ifp, Filmmaker Magazine’s publisher, announced today the 133 new films in development and works in progress chosen for its Independent Film Wee Forum Project. A complete list of the projects can be found here. Featured works at the 2014 Independent Film Week include filmmakers and content creators from a variety of backgrounds and experiences, from documentarians Tony Gerber (Full Battle Rattle), Pamela Yates (Granito: How To Nail A Dictator), and Penny Lane (Our Nixon) to Michelangelo Frammartino (Le Quattro Volte) and Alexis Dos Santos (Unmade Beds), as well as new work from critically acclaimed artists and directors Aurora Guerrero (Mosquito […]...
- 7/23/2014
- by Filmmaker Staff
- Filmmaker Magazine - Blog
Ifp, Filmmaker Magazine’s publisher, announced today the 133 new films in development and works in progress chosen for its Independent Film Wee Forum Project. A complete list of the projects can be found here. Featured works at the 2014 Independent Film Week include filmmakers and content creators from a variety of backgrounds and experiences, from documentarians Tony Gerber (Full Battle Rattle), Pamela Yates (Granito: How To Nail A Dictator), and Penny Lane (Our Nixon) to Michelangelo Frammartino (Le Quattro Volte) and Alexis Dos Santos (Unmade Beds), as well as new work from critically acclaimed artists and directors Aurora Guerrero (Mosquito […]...
- 7/23/2014
- by Filmmaker Staff
- Filmmaker Magazine-Director Interviews
Thomas Cailley’s French drama scores hat-trick at the Cannes Film Festival sidebar.
First-time feature director Thomas Cailley has won three top prizes at Cannes’ Directors’ Fortnight with Love At First Fight (Les Combattants), a drama about a teenager falling for a tough young woman who is fixated on preparing for a state of war.
The film won the Europa Cinema Label, the Sacd Prize and the Art Cinema Award.
It marks the 11th year Europa Cinemas has presented the prize in Cannes and comes with the support of the Europa Cinemas Network, with additional promotion and incentives for exhibitors to extend the film’s theatrical run.
Interview: Thomas Cailley, Love At First Fight
The jury said in its statement: “This is that rarity – a well-scripted and well-acted feelgood arthouse film.
“Thomas Cailley’s debut feature has witty dialogue and the relationship between the man and the woman at the centre of the film is delightfully modern...
First-time feature director Thomas Cailley has won three top prizes at Cannes’ Directors’ Fortnight with Love At First Fight (Les Combattants), a drama about a teenager falling for a tough young woman who is fixated on preparing for a state of war.
The film won the Europa Cinema Label, the Sacd Prize and the Art Cinema Award.
It marks the 11th year Europa Cinemas has presented the prize in Cannes and comes with the support of the Europa Cinemas Network, with additional promotion and incentives for exhibitors to extend the film’s theatrical run.
Interview: Thomas Cailley, Love At First Fight
The jury said in its statement: “This is that rarity – a well-scripted and well-acted feelgood arthouse film.
“Thomas Cailley’s debut feature has witty dialogue and the relationship between the man and the woman at the centre of the film is delightfully modern...
- 5/23/2014
- by wendy.mitchell@screendaily.com (Wendy Mitchell) michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Thomas Cailley’s Love At First Fight (Les Combattants) has won the Europa Cinemas Label as Best European film in Cannes Directors’ Fortnight.
This is the 11th year Europa Cinemas has presented the label in Cannes. The prize comes with the support of the Europa Cinemas Network, with additional promotion and incentives for exhibitors to extend the film’s theatrical run.
Interview: Thomas Cailley, Love At First Fight
The jury said in its statement: “This is that rarity – a well-scripted and well-acted feelgood arthouse film. Thomas Cailley’s debut feature has witty dialogue and the relationship between the man and the woman at the centre of the film is delightfully modern and free of cliché. Les Combattants deserves to be seen as widely as possible around Europe.”
Bac Films handles sales. Cailley also co-wrote with Claude le Pape. Pierre Gayard produced the film. The film is a Nord Ouest Films production, co-produced with Appaloosa...
This is the 11th year Europa Cinemas has presented the label in Cannes. The prize comes with the support of the Europa Cinemas Network, with additional promotion and incentives for exhibitors to extend the film’s theatrical run.
Interview: Thomas Cailley, Love At First Fight
The jury said in its statement: “This is that rarity – a well-scripted and well-acted feelgood arthouse film. Thomas Cailley’s debut feature has witty dialogue and the relationship between the man and the woman at the centre of the film is delightfully modern and free of cliché. Les Combattants deserves to be seen as widely as possible around Europe.”
Bac Films handles sales. Cailley also co-wrote with Claude le Pape. Pierre Gayard produced the film. The film is a Nord Ouest Films production, co-produced with Appaloosa...
- 5/23/2014
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Director Michelangelo Frammartino unveiled his latest project at Den Frie Center for Contemporary Art in Copenhagen in November. Alberi, his stunning 26-minute video installation, which first screened at MoMA P.S.1 last spring, was receiving its European premiere at Cph:dox, a festival that awarded its top prize to his second feature, Le Quattro Volte, in 2010. Like that film, Alberi is a hybrid work that combines documentary and staged performance, but operates in the space between video installation and cinema. It describes a mysterious ritual from the southern region of the filmmaker’s native Italy that is well known but little understood. […]...
- 1/10/2014
- by Paul Dallas
- Filmmaker Magazine-Director Interviews
Director Michelangelo Frammartino unveiled his latest project at Den Frie Center for Contemporary Art in Copenhagen in November. Alberi, his stunning 26-minute video installation, which first screened at MoMA P.S.1 last spring, was receiving its European premiere at Cph:dox, a festival that awarded its top prize to his second feature, Le Quattro Volte, in 2010. Like that film, Alberi is a hybrid work that combines documentary and staged performance, but operates in the space between video installation and cinema. It describes a mysterious ritual from the southern region of the filmmaker’s native Italy that is well known but little understood. […]...
- 1/10/2014
- by Paul Dallas
- Filmmaker Magazine - Blog
Six emerging producers selected to join upcoming writers and support development of their stories.
After hosting a first module in August with 14 upcoming UK screenwriters, The Bureau’s Sos development programme is set to enter its second stage.
Six emerging producers have been selected to join the writers to support them during the development of their story – now at treatment stage - the aim being to fast track their own development experience while connecting with writers and writer-directors.
Selected Participants & Projects for Module II
Writers
Adam Dewar – The SafetyAl Mackay Mackay – The FarmAleem Khan – After LifeEd Hime – Last ChristmasJesse Quinones – Carlito Y JaneMatthew Knott – TrollOrhan Boztas - Twinelle
Producers
Amy BasilDavid AllainEmily MorganFarhana BuhlaJack TarlingJessica Levick
The newly selected producers includes Nfts graduates Jessica Levick and Emily Morgan, who have been active in producing shorts since leaving the school, and Jack Tharling, a Newcastle-based producer with more than 20 shorts to his credit and production experience, currently co-producing...
After hosting a first module in August with 14 upcoming UK screenwriters, The Bureau’s Sos development programme is set to enter its second stage.
Six emerging producers have been selected to join the writers to support them during the development of their story – now at treatment stage - the aim being to fast track their own development experience while connecting with writers and writer-directors.
Selected Participants & Projects for Module II
Writers
Adam Dewar – The SafetyAl Mackay Mackay – The FarmAleem Khan – After LifeEd Hime – Last ChristmasJesse Quinones – Carlito Y JaneMatthew Knott – TrollOrhan Boztas - Twinelle
Producers
Amy BasilDavid AllainEmily MorganFarhana BuhlaJack TarlingJessica Levick
The newly selected producers includes Nfts graduates Jessica Levick and Emily Morgan, who have been active in producing shorts since leaving the school, and Jack Tharling, a Newcastle-based producer with more than 20 shorts to his credit and production experience, currently co-producing...
- 11/5/2013
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
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