The Marrakech International Film Festival ended on Saturday evening with the film by Iranian director Emad Aleebrahim Dehkordi A story of Shemroon winning the festival’s grand prize, the Gold Star.

Located in Tehran, A story of Shemroon tells the story of two brothers and how they deal with love, loss and rage.

Between tender moments of brotherhood, the film creates moments of high tension as the older brother, furious at his father for squandering the family savings, gets sucked into the drug trade, and the younger, who is undergoing training of professional fighter, pays the price for it.

The festival only considers directors’ first and second feature films for awards. And of the 14 films in competition this year, six are female directors.

The seven-member festival jury, headed by Italian director Paolo Sorrentino, awarded the prize for best direction to Swiss director Carmen Jaquier for Thunder, a story set in 1900 about a 17-year-old girl’s desires and religious repression.

And the jury prize for best director went to the Portuguese Cristèle Alves Meira for her feature film Alma Viva and to Maryam Touzani for The blue caftanwhich is also Morocco’s entry for the Oscars this year.

The award for Best Performance by an Actress went to Choi Seung-Yoon for her role as a young Korean single mother in Canada in director Anthony Shim’s film riceboy sleeps. And Indonesian actor Arswendy Bening Swara won Best Actor for his role as Purna, a retired general running for mayor in director Makbul Mubarak’s film, Autobiography.

The nine-day Marrakech International Film Festival, which opened on November 11 by honoring Ranveer Singh with a trophy and the screening of three of his films, closed with a touching tribute to Tilda Swinton.

Ruben Ostlund, director of triangle of sadness, did the honors by calling Swinton “the David Bowie of cinema” for his ability to shapeshift with each role. The festival pulled off a pleasant surprise by flying Swinton’s daughter, Honor Swinton Byrne, to present her with the Golden Star trophy. Mama Swinton had tears in her eyes and seemed genuinely moved by the gesture.

“It’s hard, it’s not easy”

The Marrakech Film Festival, now in its 19th year, presented an impressive line-up of 76 films from 33 countries and opened with Oscar-winning director Guillermo Del Toro’s new animated film, Pinocchio. But other than that, the festival didn’t have any major film premieres.

Yet each year the festival attracts the best actors, directors and stars from around the world, including Hollywood, Bollywood, Africa, the Arab world and Europe.

On Saturday, the hour-long closing ceremony at the festival’s main site, the Palais des Congrès, was like a callback for movie stars.

British actors Jeremy Irons and Tilda Swinton, double Palme d’Or winner Ruben Ostlund, Paolo Sorrentino whose 2013 film, The great beautyOscar-winning Vanessa Kirby (who plays Princess Margaret in the Netflix series The crown), German actress Diane Kruger who starred in Troy and Inglourious BasterdsAustralian director Justin Kurzel whose 2011 film snow towna gruesome real-life crime drama, remains his most recognized work, superb Lebanese director and actress Nadine Labaki, French-Algerian actor Tahar Rahim who recently played Charles Sobhraj in The snakeand director Laïla Marrakchi whose 2005 film, Moroccoabout an affair between a Muslim girl and a Jewish boy, remains one of Morocco’s most beloved and controversial films, were on stage at the same time.

During its nine days, the festival organized two conversations a day, in particular with the Iranian director Ashgar Farhadi, the American director Jim Jarmusch, the young French director Julia Ducournau who won the Palme d’or for Titaniumactress Julia Delphy and Ranveer Singh, who also entertained a huge crowd in Marrakech’s iconic Jemaa el Fna Square.

“It’s hard, it’s not easy,” explains Melita Toscan du Plantier, director of the Marrakech International Film Festival, to bring all these cinema celebrities to Marrakech at the same time.

“There are a lot of festivals in the world and we are coming to the end of the year, after all the film festivals are over. So you have to fight to have people, to have films… They all come to Marrakech because I guess I find the right way to ask them [laughs]. But also because Marrakech is a city that is always in the minds of foreigners, as a very exotic city,” she said. Rolling Stone India.

‘We never paid Shah Rukh Khan, Amitabh Bachchan, Aamir Khan, Deepika Padukone. We only pay for the tickets and the room’

Melita leads the festival like an Indian mother would organize her daughter’s wedding.

She organizes all the meetings, checks the logistics, selects the members of the jury, to whom the festival will pay tribute, and even the films to be screened. “From dinners to logistics, cars, hotels, who stays where, I look at everything. I like when everything is really perfect. I think people see that and they really liked it too… It’s not like India, I’m sorry. I have been to Mumbai so many times and remember being invited by Shah Rukh Khan to the Filmfare Awards. It was so funny because there were strings everywhere, the rows were empty, the stars were walking around during the speeches,” she said.

Morocco, a nation of 37 million people, has around 45 cinema screens. And although it is among the top three African countries (along with South Africa and Egypt) in terms of the number of films produced, the annual average is around 20-25 films.

However, the Marrakech Film Festival, whose patron is Prince Moulay Rachid, is run efficiently and with the aim of encouraging guests to meet, attend screenings and interact with film lovers and journalists. on movies.

Delays are rare and brief. The staff is extremely courteous, and regular shuttles run to various venues, including the magnificent Yves Saint Laurent Museum, where contemporary and restored classics from the Arab world and the African continent are screened in the “11th continent” category.

“The difference between us and some other festivals in Arab countries, especially Saudi Arabia and Qatar, is that we never pay anyone. All the Indian stars who have come to the Marrakech Film Festival have never been paid, never. We never paid Shah Rukh Khan, Amitabh Bachchan, Aamir Khan, Deepika Padukone. We only pay for tickets and room,” Melita said.

The festival punches above its weight due to the goodwill ambassadors it has nurtured over the years, including Martin Scorsese, who is the festival’s “godfather”. “He came to the festival seven times and he wanted to come this year too, but he couldn’t because he was celebrating his 80th birthday. So when you have ambassadors like Francis Ford Coppola, Martin Scorsese, James Grey, and now Tilda Swindon… [it helps]Melita said.

‘Marrakech traps you… You keep wanting to come back’

Marrakech is called the red city because of the color of its buildings, which is a bit darker than the pink theme of Jaipur. And there’s something about the city sky that looks like an ever-changing web of color with tall palm trees gently swaying in a cool breeze, alfresco dining, yellow “little” taxis and two white camels standing like sentinels at the entrance to the old city, Medina. It also has some of the best hotels and spas in the world and the festival puts its brightest and most stylish foot forward as it rolls out the red carpet for its guests.

All the actors and directors invited by the festival stay at the La Mamounia hotel at Rs 43,000 per night. The 32-acre, 99-year-old property is an island of laid-back luxury and indulgence with bits of history scattered all around. British Prime Minister Winston Churchill stayed at the hotel every winter to “recharge his batteries” and paint. Alfred Hitchcock shot several scenes of The man who knew too much here and Paul McCartney composed the song “Mamunia” here in 1973.

Besides the hospitality, what also attracts actors and directors is the relaxed atmosphere where they can, perhaps, spend a few hours in a hammam and get together over a drink.

“We have no commercial pressure. For example, in Cannes or at the Venice Film Festival, it is commercially important that films have the best international reviews because if in Cannes a screening goes badly, your film is dead. So all these huge festivals are very stressful. In Marrakech, we don’t have that. Stars, when they come here, often don’t have bodyguards except Indian stars because they are like God here. I’ve seen so many American stars walking around without bodyguards, including Keanu Reeves, Robert De Niro. I mean, it’s really relaxed, it’s really zen, and they have a lot of time to meet, to chat, which they don’t have in Cannes because they’re all in different hotels, and everybody’s rushing, everybody’s stressed,” Melita says, then adds, “I’m also known for bringing people together.”

What she means is her talent for knowing who wants to meet who.

In 2013, she called Anurag Kashyap and asked him if he would like to spend 12 days with Martin Scorsese, Marion Cotillard and Paolo Sorrentino as part of the jury. “He almost cried,” she said.

Since then, Kashyap calls her “my goddess” and Martin Scorsese is “Marty”. He was back in Marrakech this year, with his new film, almost love, which will hit Indian theaters next year. The film was screened in the Jemaa el Fna square.

“Marrakesh traps you. You cannot leave. You keep wanting to come back,” said Moroccan journalist Said el Mazouari.

The magic of Marrakech is a decoy. But so are the delicious surprises Melita and her team have in store.

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Reinforcing its letters of nobility in the international race for the Oscars for feature films this year when it represents France, Alice Diop’s film “Saint Omerbeat Belgium’s Oscar entry ‘Close’ for top honors, the Giraldillo de Oro, on a lively night Seville European Film Festival.

A timely celebration of European arthouse – the fall in arthouse attendance was the main talking point of the festival – Seville’s top awards highlighted the wide variety of tones and issues of current European cinema.

“Saint Omer”, Variety noted in a Venice review, is “a quietly momentous French courtroom drama that subtly but radically rewrites the rules of the game”.

Lukas Dhont’s second feature, ‘Close’, shared the Seville Jury Prize with João Pedro Rodrigues’ ‘Will-o’-the-Wisp’. The two films couldn’t be more different in tone, with “Close” weighing like “a deeply felt portrait of two inseparable friendswhile “Will-o’-the-Wisp is, for Variety, an extravaganza of a musical romance that”mixes anti-royalist politics, climate change apocalypse and horny firefighter fetish”.

The awards follow buzz for Charlotte Well’s “Aftersun” topping the New Wave tier. A “sensual and moving beginningspicked up at Cannes by A24 and nominated for 16 BIFA awards last week, it seems destined for significant box office success and awards.

The main applause of the Andalusian program went to the doc “Como ardilla en el agua”, a first film directed by Mayte Gomez Molina and her mother Mayte Molina Romero.

The awards crowned the 2022 Seville European Film Festival. A 9-day event that saw 222 films screened, the majority, 60%, making their Spanish or world premiere in Seville, an impressive tally.

With a varied program and a Merci distribution forum alongside the festival, there was a lot to consider. Five takeaways:

Defending regional talents, a triumph

Any region without a thriving film industry is a loss to cultural diversity. Well attended, the Andalusian program has shown that there is most certainly a demand to take into account the different voices of any community or place.

Winner of the “Como ardilla en el agua” prize, she balances the experimental and the intimate with aplomb. Director Ana Puentes shows promise in her skin-tight short “My Life At The Beginning.” And Helm vet Gonzalo Garcia Pelayo and Pedro G. Romero conjure up rambling magic with “Sietes Jereles.”

Cinema needs more column inches

At Merci, a Film Visibility in the Media session took on a somber tone as many expressed frustration at a reduction in film coverage in the press. That’s true of major publications that movie critics have discounted. But the challenge is not limited to criticism, said Avalon CEO Stefan Schmitz, producer of “Alcarràs”, Spain’s Oscar nominee. Variety: Ttwo levers of communication are needed here, one “to convince the older public that it is not dangerous to go to the cinema” and the other to persuade “the younger public to come and learn that cinemas cinema offer something they cannot have at home”.

“Without a continued focus on watching movies in the cinema, [chances of it] becoming a regular hobby for the number of people who once felt thin,” Schmitz said.

Cinema audiences are still rebounding weak

David Rodriguez, Comscore’s managing director for Spain and Portugal, presented interim figures for 2022 showing that audiences in Spain could end 2022 down 37% from the 2015-2019 average. The latest data, for October 2022 compared to 2019, gave an unfavorable reading, with Spain down 40%, compared to France and the UK at 28%, and Germany at 31%. %.

attract them

There was inspiration to assist exhibitors with presentations from the Queen’s Film Theater in Belfast and the Cinema Galeries in Brussels. QFT talked about a system where memberships can be attached to a specific baby, but any caregiver can attend. The Cinema Galleries have had success expanding into art associated with filmmakers. They collaborated with David Lynch on an exhibition of his paintings, and Jim Jarmusch with a curated assortment of what inspires his films; it covered poetry, photography, music and art. The marketing copy for the Jarmusch season shows seduction in practice: “This exhibition can only be thought of as a back and forth between the film and the exhibition. All his films will be screened at Cinéma Galeries. In the same building, we can pass from one state (the film) to another (the image-plane) to play better at surprising ourselves.

If you want mainstream, you need Arthouse

At least that’s what Schmitz says: “Our business consists of discovering talent, working with new directors, launching careers as filmmakers. And platforms need this phase of content development. They need us as a breeding ground, and they need us as a brand establishment. Because if you want mainstream, you have to have artists, if you don’t have art house, mainstream dies. Talent needs to be nurtured, and independent films have a history of nurturing the next generation of filmmakers for big-budget films.

SEVILLE EUROPEAN FILM FESTIVAL 2022

OFFICIAL SELECTION

Official competition

Golden Giraldillo: “Saint Omer” (Alice Diop, France)

Grand Jury Prize: “Close” (Lukas Dhont, Belgium, Netherlands, France) and “Will-o’-the-Wisp” (João Pedro Rodrigues, Portugal, France)

Best Director: “Scarlet” (Pietro Marcello, France, Italy, Germany)

Best actor: Eden Dabrine, (“Close”)

Best Actress: Julie Ledru (“Rodeo”, Lola Quivoron, France) and Zar Amir Ebrahimi (“Holy Spider”, Denmark, Germany, Sweden, France)

Script: Alice Diop, Amrita David, Marie Ndiaye (“Saint Omer”)

Editing : Géraldine Mangenot (“Other people’s children”, Rebecca Zlowtowski, France)

Cinematography: Mauro Herce (“Matadero”, Santiago Fillol, Argentina, France, Spain)

new waves

Best film : Aftersun (Charlotte Wells, UK, US)

Best Documentary: Viagem ao Sol (Susana de Sousa Dias, Ansgar Schaefer, Portugal)

Special mention: In Noiva (Sergio Tréfaut, Portugal)

Andalusian panorama

Best film : Como ardilla en el agua (Mayte Gómez Molina and Mayte Molina Romero, Spain)

Rosario Valpuesta Award, Best Short Film: Mothertruckers (Paula Romero, Spain, UK)

Rosario Valpuesta Prize, Technical Art: Menudo viaje. El sueño torcido del arte contemporáneo (María Cañas, Spain)

endless revolutions

Best film : Afterwater (Dane Komlijen, Germany, Spain, Serbia, South Korea)

Extraordinary stories

Audience Award: Blue Jean (Georgia Oakley, UK)

EFA selection

Audience Grand Prize: Tori and Lokita (Jean-Pierre Dardenne, Luc Dardenne, Belgium)

OTHER PRIZES

AC/E Prize (Spanish Cultural Action), Best Spanish Achievement: Carlos Pardo Ros (“H”, Spain)

Best director, first/second European feature film: Nikola Spasic (Christina, Serbia)

Future Moviegoers Award: Rodeo (Lola Quivoron, France)

Europe Junior Prize: Las vacaciones de Yoko (Juanjo Elordi, Spain)

Asecan Award, Best Film, Official Selection: Siete Jereles (Pedro G. Romero, Gonzalo García-Pelayo, Spain)

Ocaña Freedom Award: Skin Deep (Alex Schaad, Germany)

AAMMA Women in Focus Awards: Blue Jean (Georgia Oakley, UK)

XV European Prize, Film Script, University of Seville, Fiction: In Recuerdo by Lupi (Silvia Mares García, Spain)

XV European Prize, Film Script, University of Seville, Non-Fiction: Erosion (Jesús Minchón Rodicio, Spain)

A special year for Indo-French film ties as our two countries are celebrated at each other’s film festivals.

On the occasion of the 75^e anniversary of India’s independence, India was named “Country of Honor” at the Cannes Film Festival Market. High-level professionals and government delegations from India were present at the Festival, where Indian films were screened in the Special Screenings and Cannes Classics categories. This first distinction, conferred on India, symbolizes the important role that cinema plays in the bilateral relationship between India and France in the cultural field.

To reciprocate, International Indian Film Festival (IFFI Goa)which is one of the most important festivals in Asia, will present France in the “Country Focus” segment during its next edition on the 20^e at 28^e November 2022. The history of the art of cinema dates back to the rich cinematographic traditions of France, which boasts of august names like Auguste and Louis Lumière to Jean-Luc Godard, François Truffaut and Claude Chabrol, the pioneers of cinema.

Speaking ahead of the event, the French Ambassador to India, HE Mr. Emmanuel Lenain, said: “Cinema is a powerful tool for bringing the French and Indian peoples closer together. France and India are two nations with a long and rich cinematic history and thriving film industries. Indian cinema was honored in June at the Cannes Film Festival, on the occasion of the 75^e India’s Independence Day. Conversely, France will be the flagship country of the International Film Festival of India with an astonishing selection of contemporary French films. I hope Indian audiences will enjoy them. ”

The French cinema program that will be screened at IFFI Goa includes:

Carte blanche:

1. The Children of Others by Rebecca Zlotowski
2. Ouistreham (Between Two Worlds) by Emmanuel Carrère
3. Belle and Sébastien: New Generation (Belle et Sébastien – Next Generation) by Pierre Coré
4. The Crossing of Florence Miailhe
5. 16 years old (Sixteen) by Philippe Lioret
6. The Snow Panther by Marie Amiguet
7. Nicolas Pariser’s Green Perfume
8. The Tiger and the President by Jean-Marc Peyrefitte
9. On Friday, Robinson (Tribute to Godard) by Mitra Farahani
10. Special sessions:

1. With Love and Relentlessness by Claire Denis
2. Pacifiction – Torment on the Islands (Pacification) by Albert Serra
3. One Fine Morning by Mia Hansen Love

France, the country that gave birth to the “big screen”, is also very present on OTT platforms. Several contemporary and classic French films and series are available on various platforms in India. Overall, among European platforms, French films represented 4.5% of European content broadcast in 2021. French films rank 3rd in terms of the most promoted content (up one place compared to 2020), and #1 in non-English content promoted on the European TVOD platform.

Some key points on the French cinema and audiovisual industry:

– France produced 300 feature films and 5,000 hours of TV & WEB programs in 2021.

– Foreign pre-financing at its highest level since 2001: the first commitments of broadcasters and international partners are a sign of confidence in French production

– Record export flow in 2021: €189.8 million in 2021 (+20% compared to 2020) including:

• International pre-sales: €101.5 million (record), +30.5% compared to 2020
• Investments in international co-productions: €88.4 million (the highest since 2003), up 10.2% compared to 2020

– A global financial flow from abroad of €680 million

The global financial flow from abroad for television includes:

• International sales of French TV programs and international pre-financing (investments in presale and co-production)
• Foreign expenses in France for international TV projects (beneficiaries of the Tax Relief for International Productions – TRIP).
• Strong attractiveness of TRIP: spending in France for foreign projects soared in 2021
• In 2021, an overall financial flow of €678.6 million, the highest level ever recorded (+38.8% compared to 2020)

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The Torino Film Festivalwhich celebrates its 40th edition this year, will open with a special musical and visual event focusing on two of Britain’s most iconic bands – the Beatles and the Rolling Stones – and their love for cinema, which led them to work with Richard Lester, Jean-Luc Godard, Jonas Mekas, Wim Wenders and Martin Scorsese.

The 70-minute event, which will be held at the prestigious Teatro Regio on November 25 and broadcast by Rai Radio3, will feature “rare and previously unseen archival footage”.

More Variety

Film critic Steve Della Casa, who served as the gathering’s artistic director from 1999 to 2002, is back at the helm. In his introductory remarks, he described Turin as “a true urban festival”, which places great importance on the theatrical experience and is poised to attract both industry representatives and a large young and film-loving audience. Additionally, this year’s edition will see the inauguration of Casa Festival, a brand new “cinema citadel” based in the historic Cavallerizza Reale and open to all attendees, he announced.

The international competition, made up of first, second and third feature films, spans four continents. The lineup, which includes 12 titles from emerging filmmakers, promises to offer an “empathetic look at reality.” Highlights include the initiatory drama “Falcon Lake” by Charlotte Le Bon (world premiere at Cannes in Un Certain Regard and based on a comic by Bastien Vivès), the magical and realistic tale by Nicaraguan filmmaker Laura Baumeister “Daughter of Rage,” Andrea Magnani’s second feature “Jailbird” (with “Happy as Lazzaro” lead actor Adriano Tardiolo), Dmytro Sukholytkyy-Sobchuk’s Ukrainian drama “Pamfir”, the story of Japanese ghosts by Takeshi Kogahara “Nagisa” and “Palm Trees and Power Lines” by Jamie Dack”, a “understated and rigorous” film zooming in on a disconnected teenager entering into a relationship with a man twice her age.

The story continues

Meanwhile, some festival favorites playing out of competition are ‘EO’ by Jerzy Skolimowski, ‘Fairytale’ by Aleksandr Sokurov, ‘The Fire Within: A Requiem for Katia and Maurice Krafft’ by Werner Herzog, ‘Empire of Light’ by Sam Mendes, “Hlynur Pálmason” Godland” and “A Tale of Filipino Violence” by Lav Diaz.

As always, a number of Italian and international guests will be present. Among these are Italian directors Mario Martone and Paolo Sorrentino, as well as actors Toni Servillo and Malcolm McDowell. All will lead masterclasses retracing their careers and their achievements.

In addition to the rich program of short films and documentaries, the two tributes dedicated to McDowell and filmmaker Mike Kaplan (Hollywood veteran and long-time collaborator of Robert Altman), a particular focus on the work of Spanish director Carlos Vermut and “Mezzogiorno di fuoco”, a showcase of eight B.

The 40th edition of the Torino Film Festival will present a total of 173 titles (135 feature films, 14 medium-length films, 24 short films), including 81 world premieres and 10 international premieres. The rally will take place from November 25 to December 25. 3.

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Acclaimed Swedish director and writer, Ruben Ostlundwho made his first feature in English with the film, took part in Majorca’s Evolution International Film Festival in Mallorca – he actually opened the festival with a special screening of the film.

He revealed that the first test screenings of the film during post-production and editing took place in Campos – Where he lives.

Turns out a little over a year ago he and his wife bought a small townhouse in Fields.
They have a young boy and they wanted to be closer to the grandparents, who live in Sant Llorenç, and reduce the constant trips to and from the island.

So, Campos has become more than a second home and Ruben said that not only was most of the film’s editing done in Campos, but the first test screenings also took place in the village.
“I think it’s important when you move to a new place to connect to the local culture and society and that’s something I was determined to do. And so organizing the testing for the local community provided the perfect opportunity,” he said.

“It was a great and very productive experience.
“The first group was a little worried about its initial three and a half hour duration (he joked). But seriously, post-production and editing is a hugely important part of making a movie, especially an epic piece, and the art of filmmaking is obviously about connecting with people and audiences. We managed to bring together a very diverse audience for the various test screenings.

“What was different and more interesting was that we didn’t have groups of filmmakers and people from the film industry at the test screenings, the kind of people who are always looking for the negatives. We were showing the film to real people, members of the general public, and the feedback was very different from what we usually receive and very productive. And testing resulted in a few changes, like the pacing of the movie. When you show a movie to an audience, there’s a different reaction compared to people watching it alone. People leave the screenings and they talk about it, they discuss the experience and have different points of view and we took them all on board,” he said.

And as a gift, a way of thanking some of the people who attended Campos’ test screenings, they were invited to the festival’s opening night red carpet.
While Mallorca played an import role in triangle of sadnessit may well be the location of Rubin’s next production.
“I’m about to start working on my next film, which will be called The entertainment system is down.

“It takes place on a 15 hour long haul flight and about two hours into the flight the entire entertainment system fails – no in-flight movies, no wifi, no cell phone connection, nothing . It’s about how passengers react to a situation like this as we now live in a world where we are addicted to our phones and social media.

“I have already had discussions with the Mallorca film commission and the airport about filming at Palma airport, but obviously most of the film will be shot in the closed environment of an airplane, and that is something we could also do here in Palma. So that’s what we’re looking at now. But I tend to take three years between movies. Triangle of Sadness took five years to make due to the pandemic hiatus, but I think my next film will be finished in three to four years and if possible shot here in Mallorca or at least part of it of it,” he said. said.

“There is a very good organization on the island for filmmakers and it keeps getting better. It’s the perfect place to make and shoot movies and also for a film festival of the caliber that Evolution offers. The island is so well connected with other countries, it is incredibly beautiful and the festival is getting better and better, with many members of the global industry is talking about it and wants to come here. And that’s very important for any film festival to be a success. Additionally, festivals need to connect with their location and local communities, and this festival does all of that – that’s why it’s such a hit,” Rubin said.

His new film will still make the public suffer. “Of course. Going to the cinema is an experience, it has to be and, like in Triangle of Sadness, I intend to take the audience on another wild roller coaster ride. I want people to come out of the cinema talking about the film. Audiences aren’t stupid, they’re very smart, and that’s why we as filmmakers have to go the extra mile. We have to push ourselves, we have to take audiences beyond all expectations and that’s more important than ever in the age of streaming platforms and social media.

“The emergence of platforms has changed cinema, but it has also changed the way people watch movies.
“I remember growing up in Sweden that as a family we always watched TV together. Today, the only time the whole family or a group of people can get together to watch TV is for Eurovision. Yes, people watch screens, but they do so alone, on their own devices in their own spaces. And that can be quite dangerous because people no longer talk about what they watch collectively and share their experiences together.

“What happens is that people, especially young people, are constantly exposed to images and impressions that do not reflect what is happening in society.
“I have already started researching the subject of the new film, because the next generation is going to be influenced by 14-year-old social media influencers and computer generated images, artificial intelligence. There are no human curators of the content that young people watch and this means that humans do not control the content of images that influence society. And that’s why cinema is unique. We humans are the curators. Additionally, we bring people together for collective experience and enjoyment and we don’t dictate what people should see. Cinema is very often a reflection of society, of the real world in which we live, and that’s how I like to approach my projects. I like to take social topics and play with them, give the audience a chance to maybe look in the mirror, trigger a thought process, and that doesn’t happen on social media.

“And the big challenge is also getting people out of their bedrooms, away from their personal devices, to come to the cinema to watch movies. For this reason, we have a responsibility as an industry to make good films. As a filmmaker and writer, I like to question and confront myself. I touched on the art world in Square and the rich and famous in Triangle of Sadness and with my next project it will be about our addiction to our individual screens and devices.

“I was reading about a recent experience in the United States. A group of people were rounded up and placed in a room with nothing, no phones or anything, to see how they would react. All agreed that it was a horrifying experience and just to make the experience a little more exciting, each member of the group had access to a button which, when pressed, gave them a painful electric shock. By the end of the experiment, 40% had pressed the button, they were unable to sit still and do nothing for 15 minutes. This is where we are,” Rubin said.

“We have become unable to manage our own thoughts, we have to have constant and total distraction.
“So on the plane in my new film, I’ll be looking at how people react and behave when they don’t have access to any form of distraction. At first, cabin crew offer them compensation in the form of a free sandwich and bottled water, but then the passengers want more, they want endless free booze and so on.

“It’s going to be a challenge, especially shooting in an enclosed environment. I also want to look into air rage and why it has increased so much recently. According to some studies conducted by the airlines, when boarding the plane and passengers have to change from business class to economy class, the rage increases by four compared to boarding and you turn either left in business class or right in economy class and don’t see how the other half flies. It’s really fascinating and, again, the movie has to be an epic, so it’s going to be another wild roller coaster ride for the audience. In the end, the plane crashes and everyone dies in the process,” he said.

Whether that’s actually true I suppose we’ll have to wait and see, but Rubin is already making his case for what he intends to be another award-winning production.
So what does Triangle of Sadness mean?
“In Sweden it’s called the wrinkles between the eyebrows that point to problems in your life or if you’ve had a troubled life — you know, the ones people can easily fix today with a 15-minute botox session,” Rubin explained with a smile.

And when it comes to watching a movie and maybe looking at themselves or part of society in the mirror, some of the Mallorcan public may find Triangle of Sadness stimulating because it’s about a satirical film about the wealthy elite. The film stars Harris Dickinson, Charlbi Dean, Dolly de Leon, Zlatko Burić, Henrik Dorsin, Vicki Berlin and Woody Harrelson. It was the last film Dean starred in before his death at the end of August this year.

Sure, the Mile High City might not be Venice or Cannes, but the annual Denver Film Festival is a favorite with the nearly 40,000 moviegoers who fill local theaters to catch some of the most anticipated movies. of State. The festival is back for its 45th year from November 2-13 with over 250 feature films, documentaries, shorts and interactive experiences, not to mention parties, red carpets and panels with filmmakers.

Although the festivities include big-budget, Hollywood star-studded screenings, like the opening night screening of armageddon time starring Anne Hathaway, Jeremy Strong and Anthony Hopkins – viewers can also try to catch one of 20 films that have a local twist. Here, we’ve rounded up six of the most anticipated films that were filmed in the state or directed by a Coloradan.

life returned

Emma Needell grew up on a cattle ranch in rural Colorado and often felt lonely and out of place, which is before Oprah Winfrey chose her original screenplay to produce Netflix. The water man. Today, Needell designs and produces life returned, a 25-minute short film loosely based on his own life (pictured above). Plot: Protagonist Mark Redman works on his family’s ranch in rural Colorado while caring for his disabled father, but leads a double life in virtual reality, where he feels free to explore romance as a than a gay man. Needell and his team explore how humans can truly be who they are when connected to each other, even if it happens virtually. To buy tickets here.

Visits:

Holly

One of the most anticipated films at this year’s festival is Hollya 102-minute adaptation by journalist Julian Rubinstein eponymous book since last year. Rubinstein studies the real-life incident where former gang member turned anti-gang activist Terrance Roberts shot and crippled a man at his peace rally in 2013. While Roberts was found not guilty of attempted murder while acting in self-defense, the shooting leads Rubinstein to explore Denver’s disturbing gang activity and violence. It focuses on an area known as “The Holly”, a corner of the Northeast Park Hill neighborhood where street gangs, law enforcement, peace activists and developers have long struggled for control . While Rubinstein is directing the film, the film’s executive producer is 2021 director Adam McKay. Don’t look up. To buy tickets here.

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Aria

After their father’s sudden death, sisters Aria and Ava set out to clean up his cabin, which is deep in the woods. There, they encounter a supernatural presence. University of Colorado Boulder graduate and Denver-based filmmaker Bruce Tetsuya wrote, directed and produced this 17-minute short horror film with the help of a very small production team. Those who aren’t fans of traditional slashers are in luck: Tetsuya set out to create a more cerebral and deeply weird and haunting horror film. In other words, Aria does not rely on jump alerts. To buy tickets here.

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This is [Not] Who we are

In March 2019, Zayd Atkinson, a black student at Naropa University, was harassed by a white police officer while picking up trash around his dorm. The incident sparked local protests and a settlement between Atkinson and the city of Boulder was reached, but filmmakers and directors Beret E. Strong and Katrina Miller say it was just a glimpse into Boulder’s long racist past. . In 77 minutes This is [Not] Who we areStrong and Miller explore black history in Boulder, a city described as progressive and inclusive, through the use of characters between the ages of 12 and 78. To buy tickets here.

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Amache Pink

Near the southeast corner of Colorado is Granada, a city with a population of just 445. While it’s a seemingly quiet borough today, the area saw more than 10,000 Japanese Americans unjustly incarcerated from 1942 to 1945. With support from the Denver Botanical Gardens, director Billy Kanaly presents Amache Pinka 29-minute documentary about the Japanese-American people of the Granada War Relocation Center (known as “Amache” to imprisoned people) who planted roses during their stay in the concentration camp. Eighty years later, without anyone taking care of it, the roses continue to bloom. Hear from Amache survivors, descendants, and historical and botanical experts in this touching yet powerful documentary. To buy tickets here.

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When the music stops

The COVID-19 pandemic has brought live music to a screeching halt, negatively affecting local musicians who are already swimming upstream in a ruthless industry. That’s why CEO Sam Krentzman of Denver Armorya concert hall and a space for creative production, directed and produced When the music stops. The film is a glimpse into Denver’s post-pandemic music scene, where some of the city’s top local artists are interviewed, including Kid Astronaut, Wes Watkins and Wildermiss. Plus, the 81-minute documentary is the only way for you to catch exclusive live performances from the featured musicians. To buy tickets here.

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The 25th^e The East Lansing Film Festival is almost here, with films featuring Michigan at both ends. It will be:

− Open Thursday (November 3) with a film about a Cambodian family trying to have a restaurant in Bad Axe, despite COVID-19, prejudice and more. “It sold out completely” at the Traverse City Film Festival, said ELFF founder Susan Woods. “He’s had the most buzz in ages.”

− Close Nov. 10 with a film about Jim Hoffmaster, a former stage actor from Lansing who found success (by most standards) on television. “It’s been a really long time coming,” Hoffmaster said.

After wrapping principal photography three years ago, director Jane Rosemont (also formerly of Lansing) had well over 100 hours of film. “It’s like putting together a puzzle,” she says.

The festival will open with the world premiere of “Decibel” and end with the VIP screening of “Decision to Leave”

HOLLYWOOD, CA., October 27, 2022 /PRNewswire/ — The 8th^e annual Asian World Film Festival (AWFF) will take place November 9 – 18, 2022 at Los Angeles. Kick AWFFs stopped Wednesday, November 9 with the world premiere of DECIBEL, directed by In-ho Hwang and featuring Kim Rae Won and Lee Jang Suk. The action thriller will be unveiled at the Regency Village Theater, Westwood and will be followed by a Q&A with writer/producer Jin-hoon Lee (“Midnight FM”) and a VIP reception. Red carpet appearances begin 5:00 p.m. and the projection at 7:00 p.m..

The AWFF closing film will be South Korea Oscar submission DECISION TO LEAVErealized by Chan Park-wook, winner of walking sticks 2022 Best Director Award. The neo-noir, romantic mystery will screen Nov. 17 at the Directors Guild of America, Hollywood after a pre-show reception. The AWFF Closing Gala, a star-studded multimedia affair in which the Snow Leopard and other special prizes will be awarded, is scheduled for November 18 at the Saban Theater, beverly hills.

Celebrating the work of Asian filmmakers, AWFF has grown year after year. AWFF 2022 will feature 20 submissions for the 95^e Oscar for best international feature film as well as several contenders for the 80^e Golden Globe, Best Picture – Non-English Language Award. The expanded 10-day lineup will include showpieces and special screenings, themed film days, industry forum discussions and other celebrations. Additional screenings and activities will take place November 10 – 16 on the AMC marketplace, Marina Del Rey and at the Culver Hotel, Culver City, California.

“AWFF’s theme for this eighth edition is ‘The Power of Connectivity’,” said Georges N. Chamchoun, AWFF Executive Director. “Eight is an important number for many Asian cultures, connoting good fortune and social communication, among other qualities, and calls for AWFF’s continued role in nurturing the connections between Hollywood and Asia.”

Chamchoun continued, “Asian films are gaining greater artistic prominence every year and with DECIBEL, DECISION TO LEAVE and all of our 2022 programming, we are bringing a lot of from Asia best new and established creative voices for Hollywood.”

Festival sponsors and partners include Aitysh UNITED STATESPeer, Dr. Dao Medical Center, Win Slavin Fine Arts, Dutcher Crossing, Panavision, The One Heart Movement, The Bruce Lee Foundation, Barco, Korean Cultural Center (KCC, LA), Hollywood Foreign Press Association (HFPA), AKIpress, Asia Society and Jackson’s Deli & Market.

ABOUT THE ASIAN WORLD FILM FESTIVAL (AWFF)

The Asian World Film Festival (AWFF), founded by Kyrgyz public figure Sadyk Sher-Niyaz, brings the best of a wide selection of Asian world cinema to Los Angeles raise awareness of the wealth of filmmakers in the region and strengthen ties between Asia and Hollywood film industries. Uniting through cross-cultural collaboration, the Festival champions films from more than 50 countries across Asiaof Turkey at Japan and of Russia at India and the Middle East. All participating films have the unique opportunity to be guided through the difficult awards season. They are also presented to members of the Motion Picture Academy, the Hollywood Foreign Press Association, and entertainment guilds for greater exposure, media attention, and awards consideration. AWFF is a non-profit organization under Aitysh, UNITED STATES.

Connect with AWFF: instagram Twitter Facebook

Press accreditation contact:

Opening Night Red Carpet Accreditation Request
Closing Night Red Carpet Accreditation Request
Application for festival accreditation

Media contact at Weissman/Markovitz Communications:
Rick Markovitz 818.760.8995
[email protected]

SOURCE Asian World Film Festival (AWFF)

Cannes director Thierry Fremaux brings a deep love of cinema and film culture back to his hometown of Lyon with the Lumière Film Festival.

Thierry Fremaux may be the director of the Cannes Film Festival, but his heart is in his hometown of Lyon. He is also a lover of old films and director of the Institut Lumière, which specializes in the preservation and enhancement of cinema classics. It bears the name of the Lumière brothers, pioneers, who invented the revolutionary Cinématographe, a camera capable of recording, developing and projecting films, in Lyon in 1895.

Incredibly, Fremaux also has a third role as director of the Lumière Film Festival, which has taken place in October since 2009. Over the years, the festival has grown to encompass new cinema as well. As director of Cannes, Fremaux has considerable leverage in attracting big names to the festival.

Each year, a special Lumière Prize is awarded to one of the greats of cinema. Last year it was Jane Campion and this year the honor went to Tim Burton, who thanked the festival at numerous events including screenings of his films.

“This festival is so great because it’s all about movies and not business or awards and that’s why it’s so strong and powerful and beautiful.”

At the closing ceremony, Fremaux told the crowd how their thunderous response to Burton’s presence attests to his incredible popularity as an artist, his artistic ability, and his ability to present humanity in his films.

Burton admits the festival is now one of his favorites. “Like Arnold Schwarzenegger says, I’ll be back.”

Fremaux announced that sleepy hollow had won a poll voted by students as their favorite Burton film. Incredibly, the filmmaker has only been nominated for the Oscars twice, in the animation category for Frankenweenie and Corpse bride. He says his favorite movie is probably Ed Wood, although he admits it was also his biggest box office bombshell. The film played in competition at Cannes long before Fremaux’s arrival.

FilmInk was only at the Lyon festival in its final days, when there were two standout screenings of iconic silent films that were painstakingly restored and accompanied by live music. Thursday, the 1929 film In the night, probably the last French film of the silent era, projected on the playing of an incredible organist in the Auditorium which looks like a spaceship in the city. But the piece de resistance was a German orchestra accompanying a screening of Murnau’s classic Nosferatus, which celebrates its centenary this year. It happened at the Opéra de Lyon which is black and steely and postmodern and would surely be to Burton’s taste.

Similarly, Burton would approve of Guillermo del Toro’s new stop-motion animated musical version of Pinocchio which is coming to Netflix in December. The Mexican filmmaker was unable to travel to Lyon as his mother died suddenly, but he sent a video message to the sold-out screening of the film.

“Animation is an art; it’s not a genre just for kids,” he insisted. “It took 14 to 15 years to get it done and it had to be the right atmosphere for my partner and me,” he said of his co-director Mark Gustafson.

Del Toro asked Cate Blanchett to be part of the project when she starred in her previous feature film, alley of nightmares. The Australian actress has a leading role as the voice of a monkey named Sprezzatura who befriends and assists Pinocchio. The film is visually stunning and inventive.

Main photo: Institut Lumière, Olivier Chassignole