Rithy Panh has dedicated the lion’s share of his career to interrogating the genocidal Khmer Rouge era in his native Cambodia, and it is no trivial obsession. Panh fled Phnom Penh when he was just 11, and after his family was devastated in the Killing Fields, he escaped to a Thai refugee camp at 15. Now 60, Panh has been committed to keeping the memory of the impact of Pol Pot’s tyrannical regime alive in documentary, narrative and animated film.
His 2013 feature The Missing Picture blended archival footage with clay figures re-creating the atrocities of the genocide, and the film was nominated for an Academy Award after picking up the top prize in Cannes’ Un Certain Regard section. His return to Cannes this year with Meeting with Pol Pot (Rendez-vous avec Pol Pot), in the Premiere lineup, brings that blend back to the screen, interweaving it into a narrative about three...
His 2013 feature The Missing Picture blended archival footage with clay figures re-creating the atrocities of the genocide, and the film was nominated for an Academy Award after picking up the top prize in Cannes’ Un Certain Regard section. His return to Cannes this year with Meeting with Pol Pot (Rendez-vous avec Pol Pot), in the Premiere lineup, brings that blend back to the screen, interweaving it into a narrative about three...
- 5/16/2024
- by Joe Utichi
- Deadline Film + TV
The enigma that was Pol Pot still remains to this day, with parts of his true story being relatively unknown even Cambodians, in a sense of mystery that was actually cultivated by him during his regime. One of the lesser known facts, which Pot himself kept hidden, was that he grew up in the royal court, as his older brother was a low-level official there, with Chea Samy, one of the greatest artists of Cambodia's ritualistic dance tradition, functioning as his foster mother, and also the one who introduced him to the concept of the particular type of dancing.
Pol Pot Dancing is screening at Thessaloniki Documentary Festival
In that fashion, Enrique Sanchez Lansch's film unfolds under three main narratives. The first one is the life of Chea Samy, before, during and after the regime, the second the particular dancing, connected to both the aforementioned and her student, Sophiline Cheam,...
Pol Pot Dancing is screening at Thessaloniki Documentary Festival
In that fashion, Enrique Sanchez Lansch's film unfolds under three main narratives. The first one is the life of Chea Samy, before, during and after the regime, the second the particular dancing, connected to both the aforementioned and her student, Sophiline Cheam,...
- 3/14/2024
- by Panos Kotzathanasis
- AsianMoviePulse
While photographs can be lies and we’re probably all taking and distributing too many pictures of ourselves in the age of smartphones, there’s something to be said for having these accessible mementos of a life lived, at least as reference for later on, when you might be clamoring for proof that you actually existed. And while audio-visual evidence isn’t necessary for us to remember everything, there can be an extent to which an absence of documentation can prove an existential burden. It can be difficult to build an identity when your memories are unreliable. If you have no visual record of you as a child, your parents, or guardians at that time, or what your home looked like, to what extent can you trust what you think you remember?
This is one of the central ideas driving Moroccan filmmaker Asmae El Moudir’s riveting, inventive Un Certain...
This is one of the central ideas driving Moroccan filmmaker Asmae El Moudir’s riveting, inventive Un Certain...
- 5/24/2023
- by Josh Slater-Williams
- Indiewire
Khaby Lame, the Senegalese-born Italian social media personality who is the world’s most followed content creator on TikTok, has joined “Italia’s Got Talent” as a juror.
Lame is a former factory worker in Italy who after being laid off from his job in March 2020 launched a TikTok channel in which he performed absurdly comic skits that went wildly viral.
The TikTok star whose comedy bits started with ironic takes on “life hacks” relies on iconic facial expressions and body language in videos delivered without speaking so that the humor is understood universally. The short-form comedy video virtuoso, who has more than 154 million followers on TikTok, will now be making his debut as an Italian TV personality on the hit talent show.
“Italia’s Got Talent,” however, will not mark Lame’s debut as a juror. Lame in 2022 was a member of the Cannes Film Festival’s #TikTokShortFilm jury,...
Lame is a former factory worker in Italy who after being laid off from his job in March 2020 launched a TikTok channel in which he performed absurdly comic skits that went wildly viral.
The TikTok star whose comedy bits started with ironic takes on “life hacks” relies on iconic facial expressions and body language in videos delivered without speaking so that the humor is understood universally. The short-form comedy video virtuoso, who has more than 154 million followers on TikTok, will now be making his debut as an Italian TV personality on the hit talent show.
“Italia’s Got Talent,” however, will not mark Lame’s debut as a juror. Lame in 2022 was a member of the Cannes Film Festival’s #TikTokShortFilm jury,...
- 3/1/2023
- by Nick Vivarelli
- Variety Film + TV
Strand Releasing has acquired all U.S. rights to Oscar-nominated Cambodian director Rithy Panh’s “Irradiated,” which world premiered at the Berlin Film Festival and won best documentary. The film is represented in international markets by Playtime.
Through “Irradiated,” Panh sheds light on the human horrors perpetrated by the Khmer Rouge regime which he experienced during his childhood. Narrated by Rebecca Marder and André Wilms (“Le Havre”), the film brings together black-and-white archival war footage across a tryptic of panels juxtaposing images of war and suffering across the 20th century and around the world. The cinematic documentary is scored by Panh’s longtime collaborator Marc Marder.
“What it means to be a survivor cannot be put into words. To live on, to make contact with this irradiation, for which there may be no cause, no knowledge, but from which there is no protection,” said Panh about his film. “Evil radiates.
Through “Irradiated,” Panh sheds light on the human horrors perpetrated by the Khmer Rouge regime which he experienced during his childhood. Narrated by Rebecca Marder and André Wilms (“Le Havre”), the film brings together black-and-white archival war footage across a tryptic of panels juxtaposing images of war and suffering across the 20th century and around the world. The cinematic documentary is scored by Panh’s longtime collaborator Marc Marder.
“What it means to be a survivor cannot be put into words. To live on, to make contact with this irradiation, for which there may be no cause, no knowledge, but from which there is no protection,” said Panh about his film. “Evil radiates.
- 4/22/2021
- by Elsa Keslassy
- Variety Film + TV
In a move that dramatically changes the way the Oscars choose nominees in the Best International Feature Film category, an executive committee will not be selecting three films to go on the shortlist from which nominations in the category are made this year.
The shortlist will also be expanded from 10 to 15 films, allowing more films than ever before to move to a second round of voting.
The rule change, which was revealed to members of the committee on Friday, could alter the kind of films that move to the second round of Oscar voting in the category, hurting the more challenging films in favor of ones that appeal to a broader audience.
Under the former system, any member who views a minimum number of the eligible films could vote for during a preliminary round referred to as Phase 1. Those members make up the category’s “general committee” — and after their votes are tallied,...
The shortlist will also be expanded from 10 to 15 films, allowing more films than ever before to move to a second round of voting.
The rule change, which was revealed to members of the committee on Friday, could alter the kind of films that move to the second round of Oscar voting in the category, hurting the more challenging films in favor of ones that appeal to a broader audience.
Under the former system, any member who views a minimum number of the eligible films could vote for during a preliminary round referred to as Phase 1. Those members make up the category’s “general committee” — and after their votes are tallied,...
- 1/15/2021
- by Steve Pond
- The Wrap
One year ago, the documentary “Honeyland” became the first film ever nominated for Oscars in both the Best Documentary Feature and the Best International Feature Film categories. And in a way, it feels as if that nomination for the nonfiction film from North Macedonia has had a ripple effect on this year’s international Oscar race, where documentaries like “Collective,” “The Mole Agent” and “Notturno” are among the high-profile contenders in a wide-open year.
The presence of docs in the international Oscar category certainly isn’t new — in fact, the seven documentaries in this year’s race are two fewer than the nine that competed in the foreign-language category two years ago. But in the aftermath of “Honeyland,” a cinema vérité look at a beekeeper in a remote mountain village, voters seem to be taking nonfiction films more seriously in a category where the only other nominated docs in this century were two animated ones,...
The presence of docs in the international Oscar category certainly isn’t new — in fact, the seven documentaries in this year’s race are two fewer than the nine that competed in the foreign-language category two years ago. But in the aftermath of “Honeyland,” a cinema vérité look at a beekeeper in a remote mountain village, voters seem to be taking nonfiction films more seriously in a category where the only other nominated docs in this century were two animated ones,...
- 1/5/2021
- by Steve Pond
- The Wrap
Strand Releasing has acquired U.S. distribution rights to Majid Majidi’s “Sun Children,” which competed at Venice and represents Iran in the international feature film race at the 2021 Academy Awards.
Represented in international markets by Hengameh Panahi’s Celluloid Dreams, “Sun Children” has been critically acclaimed in the festival circuit, and its young leading actor Ruhollah Zamani won Venice’s Marcello Mastroianni Award for best young actor. The movie went on to win the best feature film award at the Doha Ajyal Film Festival. The film was produced by Amir Banan and Majid Majidi.
“Sun Children” tells the story of 12-year-old Ali and his three friends who work hard together to survive and support their families, doing small jobs in a garage and committing petty crimes to make fast cash. In a turn of events that seems miraculous, Ali is entrusted to find hidden treasure underground, but in order...
Represented in international markets by Hengameh Panahi’s Celluloid Dreams, “Sun Children” has been critically acclaimed in the festival circuit, and its young leading actor Ruhollah Zamani won Venice’s Marcello Mastroianni Award for best young actor. The movie went on to win the best feature film award at the Doha Ajyal Film Festival. The film was produced by Amir Banan and Majid Majidi.
“Sun Children” tells the story of 12-year-old Ali and his three friends who work hard together to survive and support their families, doing small jobs in a garage and committing petty crimes to make fast cash. In a turn of events that seems miraculous, Ali is entrusted to find hidden treasure underground, but in order...
- 12/4/2020
- by Elsa Keslassy
- Variety Film + TV
A year after “Honeyland” became the first film ever nominated for Oscars in both the Best Documentary Feature and Best International Feature categories, Italy has become the seventh country to submit a nonfiction film to this year’s international race.
The country’s submission committee chose Gianfranco Rosi’s “Notturno,” an acclaimed doc from the filmmaker whose “Fire at Sea” was Italy’s Oscar entry five years ago. That film ended up being nominated in the documentary category but did not even make the shortlist in the category that was then called Best Foreign Language Film.
“Notturno” was chosen from 25 films under consideration by the Associazione Nazionale Industrie Cinematografiche Audiovisive e Multimediali (Anica), which is authorized by the Academy to choose Italy’s entry each year. The highest-profile film on that list was “The Life Ahead,” directed by Edoardo Ponti and featuring the first screen performance in a decade from Ponti’s mother,...
The country’s submission committee chose Gianfranco Rosi’s “Notturno,” an acclaimed doc from the filmmaker whose “Fire at Sea” was Italy’s Oscar entry five years ago. That film ended up being nominated in the documentary category but did not even make the shortlist in the category that was then called Best Foreign Language Film.
“Notturno” was chosen from 25 films under consideration by the Associazione Nazionale Industrie Cinematografiche Audiovisive e Multimediali (Anica), which is authorized by the Academy to choose Italy’s entry each year. The highest-profile film on that list was “The Life Ahead,” directed by Edoardo Ponti and featuring the first screen performance in a decade from Ponti’s mother,...
- 11/24/2020
- by Steve Pond
- The Wrap
by Nathaniel R
Italy has chosen Gianfranco Rosi's highly acclaimed documentary Notturno (which we reviewed at the AFI fest) to represent them at the Oscars from 25 Italian films that were submitted for consideration. Italy previously submitted his 2016 documentary Fire at Sea (which was not nominated for International Film but did score in Documentary Feature). Perhaps emboldened by Honeyland's double nomination last season for Best Documentary and Best International Film, more countries than usual have submitted documentaries this year hoping to repeat that historic double. That said, only three docs have ever been nominated in this particular category: Waltz with Bashir, The Missing Picture, and Honeyland.
As we've seen in past Oscar seasons, Italy skipping over The Life Ahead for their submission entry is not at all a deterrent for Sophia Loren's Best Actress campaign. Movie stars and world famous directors operate by different rules, if you know what we mean.
Italy has chosen Gianfranco Rosi's highly acclaimed documentary Notturno (which we reviewed at the AFI fest) to represent them at the Oscars from 25 Italian films that were submitted for consideration. Italy previously submitted his 2016 documentary Fire at Sea (which was not nominated for International Film but did score in Documentary Feature). Perhaps emboldened by Honeyland's double nomination last season for Best Documentary and Best International Film, more countries than usual have submitted documentaries this year hoping to repeat that historic double. That said, only three docs have ever been nominated in this particular category: Waltz with Bashir, The Missing Picture, and Honeyland.
As we've seen in past Oscar seasons, Italy skipping over The Life Ahead for their submission entry is not at all a deterrent for Sophia Loren's Best Actress campaign. Movie stars and world famous directors operate by different rules, if you know what we mean.
- 11/24/2020
- by NATHANIEL R
- FilmExperience
As we head into Oscar season, some countries are figuring out the advantages of grabbing increased attention with a well-regarded dual entry. Last year, Macedonia submitted documentary breakout “Honeyland” (Neon) for Best International Feature Film, and the movie became the first film to score nominations in both categories.
While the film earned raves, it helped that the movie was well-watched by both the documentary branch and the international committee voters.
In 2020, the most recent international submission is Chile’s World Documentary Sundance selection “The Mole Agent,” which won the Audience Award at San Sebastián. Directed by Maite Alberdi, the dramatic non-fiction film tracks ex-Interpol detective Rómulo Aitken, who selects elderly spy Sergio Chamy to embed in a nursing home and report back the treatment of a woman there.
Other documentaries submitted by their countries this year include Alexander Nanau’s hard-hitting health expose “Collective,” Kenya’s “The Letter” (Maia Lekow...
While the film earned raves, it helped that the movie was well-watched by both the documentary branch and the international committee voters.
In 2020, the most recent international submission is Chile’s World Documentary Sundance selection “The Mole Agent,” which won the Audience Award at San Sebastián. Directed by Maite Alberdi, the dramatic non-fiction film tracks ex-Interpol detective Rómulo Aitken, who selects elderly spy Sergio Chamy to embed in a nursing home and report back the treatment of a woman there.
Other documentaries submitted by their countries this year include Alexander Nanau’s hard-hitting health expose “Collective,” Kenya’s “The Letter” (Maia Lekow...
- 11/19/2020
- by Anne Thompson
- Thompson on Hollywood
As we head into Oscar season, some countries are figuring out the advantages of grabbing increased attention with a well-regarded dual entry. Last year, Macedonia submitted documentary breakout “Honeyland” (Neon) for Best International Feature Film, and the movie became the first film to score nominations in both categories.
While the film earned raves, it helped that the movie was well-watched by both the documentary branch and the international committee voters.
In 2020, the most recent international submission is Chile’s World Documentary Sundance selection “The Mole Agent,” which won the Audience Award at San Sebastián. Directed by Maite Alberdi, the dramatic non-fiction film tracks ex-Interpol detective Rómulo Aitken, who selects elderly spy Sergio Chamy to embed in a nursing home and report back the treatment of a woman there.
Other documentaries submitted by their countries this year include Alexander Nanau’s hard-hitting health expose “Collective,” Kenya’s “The Letter” (Maia Lekow...
While the film earned raves, it helped that the movie was well-watched by both the documentary branch and the international committee voters.
In 2020, the most recent international submission is Chile’s World Documentary Sundance selection “The Mole Agent,” which won the Audience Award at San Sebastián. Directed by Maite Alberdi, the dramatic non-fiction film tracks ex-Interpol detective Rómulo Aitken, who selects elderly spy Sergio Chamy to embed in a nursing home and report back the treatment of a woman there.
Other documentaries submitted by their countries this year include Alexander Nanau’s hard-hitting health expose “Collective,” Kenya’s “The Letter” (Maia Lekow...
- 11/19/2020
- by Anne Thompson
- Indiewire
The November 2020 lineup for The Criterion Channel has been unveiled, toplined by a Claire Denis retrospective, including the brand-new restoration of Beau travail, along with Chocolat, No Fear, No Die, Nenette and Boni, Towards Mathilde, 35 Shots of Rum, and White Material.
There will also be a series celebrating 30 years of The Film Foundation, featuring a new interview with Martin Scorsese by Ari Aster, as well as a number of their most essential restorations, including films by Jia Zhangke, Ritwik Ghatak, Luchino Visconti, Shirley Clarke, Med Hondo, and more.
There’s also David Lynch’s new restoration of The Elephant Man, retrospectives dedicated to Ngozi Onwurah, Nadav Lapid, and Terence Nance, a new edition of the series Queersighted titled Queer Fear, featuring a new conversation between series programmer Michael Koresky and filmmaker and critic Farihah Zaman, and much more.
See the lineup below and learn more on the official site.
There will also be a series celebrating 30 years of The Film Foundation, featuring a new interview with Martin Scorsese by Ari Aster, as well as a number of their most essential restorations, including films by Jia Zhangke, Ritwik Ghatak, Luchino Visconti, Shirley Clarke, Med Hondo, and more.
There’s also David Lynch’s new restoration of The Elephant Man, retrospectives dedicated to Ngozi Onwurah, Nadav Lapid, and Terence Nance, a new edition of the series Queersighted titled Queer Fear, featuring a new conversation between series programmer Michael Koresky and filmmaker and critic Farihah Zaman, and much more.
See the lineup below and learn more on the official site.
- 10/27/2020
- by Leonard Pearce
- The Film Stage
It’s a relatively slim week in new releases, even by the standards of the ongoing coronavirus shutdown — although there are a few gems to be found, if you hunt hard enough. Families have “Scoob!” which Warner Bros. decided to make available directly via digital, following the recent success of “Trolls World Tour.” And grownups can check out Tom Hardy playing the shell of a notorious gangster in “Capone.” Here are the week’s new releases, with excerpts from reviews and links to where you can watch them.
High-profile on-demand studio and indie offerings:
Capone (Josh Trank)
Distributor: Vertical Entertainment
Where to Find It: Rent on Amazon, iTunes and other on-demand platforms.
In “Capone,” Tom Hardy, as the aging, broken-down, not-all-there Al Capone, acts under a corpse-gray mask of desiccated-mobster makeup. Is “Capone” a fascinatingly idiosyncratic twilight-of-the-mobster drama? Or is it a “Saturday Night Live” sketch with pretensions? It may be a bit of both.
High-profile on-demand studio and indie offerings:
Capone (Josh Trank)
Distributor: Vertical Entertainment
Where to Find It: Rent on Amazon, iTunes and other on-demand platforms.
In “Capone,” Tom Hardy, as the aging, broken-down, not-all-there Al Capone, acts under a corpse-gray mask of desiccated-mobster makeup. Is “Capone” a fascinatingly idiosyncratic twilight-of-the-mobster drama? Or is it a “Saturday Night Live” sketch with pretensions? It may be a bit of both.
- 5/15/2020
- by Peter Debruge
- Variety Film + TV
By Glenn Dunks
It is not very often an autobiographical documentary about genocide is selected to open a prestigious strand of one of the biggest film festivals in the world. I suppose that’s what being the first filmmaker to, among other things, land an Oscar nomination for Best Foreign Language Film with a work of non-fiction does to one’s reputation. Director Rithy Panh has forged his career through telling the stories of his Cambodian homeland and it’s a testament that despite what may be considered tunnel vision for other filmmakers, this is his 18th feature, he continues to find new and interesting angles to investigate.
After detours through a colonial archival scrap-book in France is Our Mother Country and meditative stargazing experimental curiosity Exile, Panh has returned to the more earthbound terrain of his Oscar-nominated The Missing Picture (my no. 1 documentary of the decade). A film as...
It is not very often an autobiographical documentary about genocide is selected to open a prestigious strand of one of the biggest film festivals in the world. I suppose that’s what being the first filmmaker to, among other things, land an Oscar nomination for Best Foreign Language Film with a work of non-fiction does to one’s reputation. Director Rithy Panh has forged his career through telling the stories of his Cambodian homeland and it’s a testament that despite what may be considered tunnel vision for other filmmakers, this is his 18th feature, he continues to find new and interesting angles to investigate.
After detours through a colonial archival scrap-book in France is Our Mother Country and meditative stargazing experimental curiosity Exile, Panh has returned to the more earthbound terrain of his Oscar-nominated The Missing Picture (my no. 1 documentary of the decade). A film as...
- 5/6/2020
- by Glenn Dunks
- FilmExperience
Early in “Irradiated,” a powerful but troublesome documentary howl of despair from Cambodian director Rithy Panh, the narration describes an act that must be familiar to anyone similarly transfixed by history. Referring to the black and white archival war footage that marches in triplicate across a screen that’s divided into three panels, the narrator speaks of “searching the eyes of the soldiers… but finding nothing there.” Anyone who has ever stared long and hard at a photograph of a deceased loved one, or at a picture of conflict reportage must relate to the frustration: It’s as though somehow we believe that an image must have within it some clue to the understanding of the incomprehensible loss or tragedy it depicts, and we can be acutely disappointed to find no such enlightenment.
This urge informs and complicates “Irradiated,” a film that is broader, wider and more ambitious in scope...
This urge informs and complicates “Irradiated,” a film that is broader, wider and more ambitious in scope...
- 2/28/2020
- by Jessica Kiang
- Variety Film + TV
“Evil will hunt us if we don’t throw it out from us with open palms,” a disembodied voice declares to us in French at the start of “Irradiated,” Rithy Panh’s mesmerizingly bleak montage of war in the 20th century. “At the top of the sky is pain. It always comes as a surprise.” And so the great onslaught begins as the bombs rain down from the heavens and the image cracks into three perfect squares that stretch across the screen in a narrow sliver of light; together they create an anamorphic slot machine of needless suffering.
More often than not, each column shows the same snippet of archival footage, as Nazi rallies bleed into the Khmer Rouge before napalm glazes the treetops of Vietnam. Sometimes, however, the square in the center is out of sync with the two on either side; shots of a bombed out church frame...
More often than not, each column shows the same snippet of archival footage, as Nazi rallies bleed into the Khmer Rouge before napalm glazes the treetops of Vietnam. Sometimes, however, the square in the center is out of sync with the two on either side; shots of a bombed out church frame...
- 2/28/2020
- by David Ehrlich
- Indiewire
Filmmaker Rithy Panh’s numerous documentaries, and handful of fiction features, have often been built around the depiction of his native Cambodia under the deadly reign of the Khmer Rouge, during which the director lost his parents and several other members of his family. In movies like S-21: The Khmer Rouge Killing Machine (2003), Duch, Master of the Forges of Hell (2012) and the Oscar-nominated The Missing Picture (2013), Panh revisited the genocide committed by Pol Pot’s regime in the late-1970s via interviews, re-enactments and even claymation to compensate for the fact that images from the epoch tend to be few ...
- 2/28/2020
- The Hollywood Reporter - Film + TV
Filmmaker Rithy Panh’s numerous documentaries, and handful of fiction features, have often been built around the depiction of his native Cambodia under the deadly reign of the Khmer Rouge, during which the director lost his parents and several other members of his family. In movies like S-21: The Khmer Rouge Killing Machine (2003), Duch, Master of the Forges of Hell (2012) and the Oscar-nominated The Missing Picture (2013), Panh revisited the genocide committed by Pol Pot’s regime in the late-1970s via interviews, re-enactments and even claymation to compensate for the fact that images from the epoch tend to be few ...
- 2/28/2020
- The Hollywood Reporter - Movie News
Cambodian filmmaker Rithy Panh has never hidden from the horrors of his past. His escape from the brutal reign of the Khmer Rouge and the killing fields of the 1970s that took at least 2 million lives has been explored meticulously across his 30-year career.
In films such as the Oscar-nominated The Missing Picture (2013), Panh, now 55, has tried to piece together memories that are often patchy, even shattered by the brutal nature of what he saw and heard, and the director readily admits to using the process as part of a continual search for closure.
That process has led ...
In films such as the Oscar-nominated The Missing Picture (2013), Panh, now 55, has tried to piece together memories that are often patchy, even shattered by the brutal nature of what he saw and heard, and the director readily admits to using the process as part of a continual search for closure.
That process has led ...
- 2/23/2020
- The Hollywood Reporter - Movie News
Cambodian filmmaker Rithy Panh has never hidden from the horrors of his past. His escape from the brutal reign of the Khmer Rouge and the killing fields of the 1970s that took at least 2 million lives has been explored meticulously across his 30-year career.
In films such as the Oscar-nominated The Missing Picture (2013), Panh, now 55, has tried to piece together memories that are often patchy, even shattered by the brutal nature of what he saw and heard, and the director readily admits to using the process as part of a continual search for closure.
That process has led ...
In films such as the Oscar-nominated The Missing Picture (2013), Panh, now 55, has tried to piece together memories that are often patchy, even shattered by the brutal nature of what he saw and heard, and the director readily admits to using the process as part of a continual search for closure.
That process has led ...
- 2/23/2020
- The Hollywood Reporter - Film + TV
Western Europe traditionally gets the lion’s share of attention in the international film category, with France and Italy still leading the record books in terms of nominations and wins. But a number of the most exciting contenders among this year’s submissions hail from a little further east: in a bumper year for cinema from Central and Eastern Europe, a few titles stand out.
Language has been a subject of significant controversy in this year’s Oscar race. Yet, the Academy has moved the needle on this front in recent years: not so long ago, films that weren’t in an official language of the submitting country were ineligible. That would have ruled out this year’s submission from the Czech Republic, “The Painted Bird.” Aiming to be the first Czech film to score a nomination since 2003’s “Zelary,” Václav Marhoul’s film is a linguistic anomaly in all...
Language has been a subject of significant controversy in this year’s Oscar race. Yet, the Academy has moved the needle on this front in recent years: not so long ago, films that weren’t in an official language of the submitting country were ineligible. That would have ruled out this year’s submission from the Czech Republic, “The Painted Bird.” Aiming to be the first Czech film to score a nomination since 2003’s “Zelary,” Václav Marhoul’s film is a linguistic anomaly in all...
- 12/5/2019
- by Guy Lodge
- Variety Film + TV
A champion of Southeast Asian independent cinema, the Singapore International Film Festival (Sgiff) announced three commissioned short films anchored on the theme of celebration, by Southeast Asian directors Yeo Siew Hua (Singapore), Mouly Surya (Indonesia) and Anucha Boonyawatana (Thailand) today. This is the first commission series for Southeast Asian filmmakers in the history of Sgiff, which furthers its support to growing the regional film scene.
Exploring the complexity of human connections, Yeo Siew Hua’s short film Incantation (2019) returned to his experimental roots where he explored the age-old rituals of ancient spells, spirits and the idea of resurrection during Hungry Ghost Festival. Mouly Surya’s Something Old, New, Borrowed and Blue (2019) uses wry humour to present a forward-looking take of gender roles in today’s society through the intimate interactions between a mother and a bride-to-be at a traditional wedding procession; while Anucha Boonyawatana’s Not A Time to Celebrate...
Exploring the complexity of human connections, Yeo Siew Hua’s short film Incantation (2019) returned to his experimental roots where he explored the age-old rituals of ancient spells, spirits and the idea of resurrection during Hungry Ghost Festival. Mouly Surya’s Something Old, New, Borrowed and Blue (2019) uses wry humour to present a forward-looking take of gender roles in today’s society through the intimate interactions between a mother and a bride-to-be at a traditional wedding procession; while Anucha Boonyawatana’s Not A Time to Celebrate...
- 10/8/2019
- by Adriana Rosati
- AsianMoviePulse
South East Asian filmmakers, Mouly Surya, Yeo Siew Hua and Anucha Boonyawatana have received commissions to direct short movies for the Singapore International Film Festival.
Although other film festivals in Asia including Tokyo and Jeonju have previously ventured into production, it is a first for the Sgiff. It gave the trio the topic ‘celebration’ to work with.
Yeo, director of 2018 Locarno Winner “A Land Imagined,” delivered “Incantation,” an exploration of the age-old rituals of ancient spells, spirits and the idea of resurrection during Hungry Ghost Festival. Indonesian musician turned filmmaker Surya (“Marlina the Murderer in Four Acts”), shot “Something Old, New, Borrowed and Blue,” a look at gender roles in today’s society told through the intimate interactions between a mother and a bride-to-be at a traditional wedding procession. Thailand’s Boonyawatana (“Malila: The Farewell Flower”) hatched “Not A Time to Celebrate,” a light-hearted and cheeky take on the rewards and harsh reality of filmmaking.
Although other film festivals in Asia including Tokyo and Jeonju have previously ventured into production, it is a first for the Sgiff. It gave the trio the topic ‘celebration’ to work with.
Yeo, director of 2018 Locarno Winner “A Land Imagined,” delivered “Incantation,” an exploration of the age-old rituals of ancient spells, spirits and the idea of resurrection during Hungry Ghost Festival. Indonesian musician turned filmmaker Surya (“Marlina the Murderer in Four Acts”), shot “Something Old, New, Borrowed and Blue,” a look at gender roles in today’s society told through the intimate interactions between a mother and a bride-to-be at a traditional wedding procession. Thailand’s Boonyawatana (“Malila: The Farewell Flower”) hatched “Not A Time to Celebrate,” a light-hearted and cheeky take on the rewards and harsh reality of filmmaking.
- 10/7/2019
- by Patrick Frater
- Variety Film + TV
Germany has chosen Nora Fingscheidt’s “System Crasher” as its entry for the newly re-branded International Feature Film award at the 92nd Academy Awards, it was announced Wednesday by promotional body German Films.
Produced by Kineo Filmproduktion and Weydemann Bros, the film won a Silver Bear at the Berlin Film Festival, where it received its world premiere in February, and has since gone on to be a fixture on the festival circuit picking up a number of other prizes. It stars Helena Zengel as nine-year-old Benni, whose untamed energy in her wild quest for love drives everyone around her to despair.
The film was chosen from a list of seven films, submitted by their producers, by the eight members of the German selection committee, which consists of representatives from eight German cinema trade associations and institutions. German Films organizes the selection procedure for the German candidate for the Oscars’ International...
Produced by Kineo Filmproduktion and Weydemann Bros, the film won a Silver Bear at the Berlin Film Festival, where it received its world premiere in February, and has since gone on to be a fixture on the festival circuit picking up a number of other prizes. It stars Helena Zengel as nine-year-old Benni, whose untamed energy in her wild quest for love drives everyone around her to despair.
The film was chosen from a list of seven films, submitted by their producers, by the eight members of the German selection committee, which consists of representatives from eight German cinema trade associations and institutions. German Films organizes the selection procedure for the German candidate for the Oscars’ International...
- 8/21/2019
- by Robert Mitchell
- Variety Film + TV
Cambodian director first appeared at the festival in 1994.
Cambodian director Rithy Panh will be president of the Caméra d’Or jury at next week’s Cannes Film Festival (May 14-25).
The filmmaker will be joined on the jury by director Alice Diop; director, author and critic Sandrine Marques; director of photography Benoît Delhomme; and president and director of post-production house Polyson Nicolas Naegelen. All four are from France.
The jury will award the Caméra d’Or prize at the May 25 closing ceremony, to one of 22 first features playing in the Official Selection, Directors’ Fortnight and Critics’ Week sections. Last year...
Cambodian director Rithy Panh will be president of the Caméra d’Or jury at next week’s Cannes Film Festival (May 14-25).
The filmmaker will be joined on the jury by director Alice Diop; director, author and critic Sandrine Marques; director of photography Benoît Delhomme; and president and director of post-production house Polyson Nicolas Naegelen. All four are from France.
The jury will award the Caméra d’Or prize at the May 25 closing ceremony, to one of 22 first features playing in the Official Selection, Directors’ Fortnight and Critics’ Week sections. Last year...
- 5/8/2019
- by Ben Dalton
- ScreenDaily
Cambodian master director Rithy Panh’s is not optimistic about the chances of his latest film “Graves Without A Name” doing well at the Oscars. It is Cambodia’s contender in the foreign language category.
“There is very little possibility. We have had screenings here and there, but the Oscar campaign costs more than my film. Most of the voters are from the U.S. and we don’t have the financial support to screen on the East coast and the West coast, and give people cocktails,” said Panh.
Panh has been a tireless cinematic chronicler of the genocide perpetrated by the Khmer Rouge in Cambodia in the 1970s. His 2013 film “The Missing Picture” scored an Oscar nomination. “First They Killed My Father,” produced by Panh and directed by Angelina Jolie, was Cambodia’s entry to the Oscars last year, but did not secure a nomination.
Panh says that though the current generation is post-Fascist,...
“There is very little possibility. We have had screenings here and there, but the Oscar campaign costs more than my film. Most of the voters are from the U.S. and we don’t have the financial support to screen on the East coast and the West coast, and give people cocktails,” said Panh.
Panh has been a tireless cinematic chronicler of the genocide perpetrated by the Khmer Rouge in Cambodia in the 1970s. His 2013 film “The Missing Picture” scored an Oscar nomination. “First They Killed My Father,” produced by Panh and directed by Angelina Jolie, was Cambodia’s entry to the Oscars last year, but did not secure a nomination.
Panh says that though the current generation is post-Fascist,...
- 12/8/2018
- by Naman Ramachandran
- Variety Film + TV
No matter how much you loved “Crazy Rich Asians” — that glittering Singapore-set spin on the princess movie, which charmed audiences to the tune of nearly a quarter of a billion dollars earlier this year — don’t be surprised when the Academy fails to give it a single above-the-line Oscar nomination. When that happens, it will no doubt inspire a dozen or more outraged editorials, as #OscarsSoWhite critics bemoan the lack of Asian talent among this year’s nominees.
Why wait? The time for such think pieces is now, especially since Hollywood’s tendency to snub Asian talent is hardly limited to studio projects. Just compare the history of Oscar’s foreign-language category to that of world cinema overall, where the influence of such Asian masters as John Woo, Wong Kar-wai, Jia Zhangke and Edward Yang has been ignored over the years. And if the organization doesn’t wake up and realize the bias,...
Why wait? The time for such think pieces is now, especially since Hollywood’s tendency to snub Asian talent is hardly limited to studio projects. Just compare the history of Oscar’s foreign-language category to that of world cinema overall, where the influence of such Asian masters as John Woo, Wong Kar-wai, Jia Zhangke and Edward Yang has been ignored over the years. And if the organization doesn’t wake up and realize the bias,...
- 12/6/2018
- by Peter Debruge
- Variety Film + TV
For most of the 60-plus years in which foreign-language film and documentary feature have been competitive Oscar categories, they have had very little to do with each other: separate fields to honor the kinds of film that most Academy voters won’t consider for best picture, with no intersection between them. To this day, no film has ever been nominated for both awards.
In recent years, however, a few have come close, beginning with a 2008 landmark: Israel’s “Waltz With Bashir.” Ari Folman’s path-breaking animated Lebanon War memoir made history by becoming the first documentary ever nominated for foreign-language film; the documentary branch, however, ruled it ineligible due to its lack of a bi-coastal qualifying run. (The animation branch didn’t spring for it either.) One doc has cracked the foreign-language category since: Cambodian filmmaker Rithy Panh’s Khmer Rouge reflection “The Missing Picture,” in 2013. Unlike Folman’s film,...
In recent years, however, a few have come close, beginning with a 2008 landmark: Israel’s “Waltz With Bashir.” Ari Folman’s path-breaking animated Lebanon War memoir made history by becoming the first documentary ever nominated for foreign-language film; the documentary branch, however, ruled it ineligible due to its lack of a bi-coastal qualifying run. (The animation branch didn’t spring for it either.) One doc has cracked the foreign-language category since: Cambodian filmmaker Rithy Panh’s Khmer Rouge reflection “The Missing Picture,” in 2013. Unlike Folman’s film,...
- 11/8/2018
- by Guy Lodge
- Variety Film + TV
The early money might be on Alfonso Cuaron’s “Roma” (Mexico) and Pawel Pawlikowski’s “Cold War” (Poland), but Asia appears to have a real shot at the Oscar foreign-language category, with a mixture of heavy-hitters and dark horses from an eclectic line-up.
The continent’s frontrunner is easily Japanese master Hirokazu Kore-eda’s Palme d’Or winner “Shoplifters.” The film follows a family of petty thieves and the repercussions that ensue after they take in a waif. Moving, eloquent, and with an emphasis on the family unit, this is a film that could sway even the most cynical. The film will also benefit from its Magnolia Pictures’ release in the U.S.
From South Korea, Lee Chang-dong’s “Burning,” winner of the Fipresci Prize at Cannes, is mesmerising. Beginning as a frustrated youth drama, it gradually moves into missing-person thriller territory, culminating in a cathartic finale. The film is...
The continent’s frontrunner is easily Japanese master Hirokazu Kore-eda’s Palme d’Or winner “Shoplifters.” The film follows a family of petty thieves and the repercussions that ensue after they take in a waif. Moving, eloquent, and with an emphasis on the family unit, this is a film that could sway even the most cynical. The film will also benefit from its Magnolia Pictures’ release in the U.S.
From South Korea, Lee Chang-dong’s “Burning,” winner of the Fipresci Prize at Cannes, is mesmerising. Beginning as a frustrated youth drama, it gradually moves into missing-person thriller territory, culminating in a cathartic finale. The film is...
- 11/8/2018
- by Naman Ramachandran
- Variety Film + TV
The Silver Screen Awards will have four films by women filmmakers in competition.
The 29th Singapore International Film Festival (Sgiff) announced its full line-up today, with 103 films from 44 countries, and the launch of a new Sgiff Film Fund.
The new funding scheme aims to nurture up-and-coming Southeast Asian filmmakers through two grants. The Tan Ean Kiam Foundation – Sgiff Southeast Asian - Documentary Grant will support four mid-length or feature projects annually, with a cash amount of S$25,000 each, while the Sgiff South East Asian – Short Film Grant will support two short films annually, with a cash amount of S$4,000 and...
The 29th Singapore International Film Festival (Sgiff) announced its full line-up today, with 103 films from 44 countries, and the launch of a new Sgiff Film Fund.
The new funding scheme aims to nurture up-and-coming Southeast Asian filmmakers through two grants. The Tan Ean Kiam Foundation – Sgiff Southeast Asian - Documentary Grant will support four mid-length or feature projects annually, with a cash amount of S$25,000 each, while the Sgiff South East Asian – Short Film Grant will support two short films annually, with a cash amount of S$4,000 and...
- 10/23/2018
- by Silvia Wong
- ScreenDaily
Cambodian filmmaking collective Anti-Archive’s Echoes of Tomorrow initiative debuted in Busan’s Wide Angle shorts competition with the world premiere of Danech San’s “A Million Years.” Echoes of Tomorrow provides an opportunity to three first-time filmmakers to direct a short each.
“The film is not really like a story. My intention is to really talk about inner feelings,” San told Variety. “A Million Years” follows a woman taking a break in a riverside restaurant who talks about her past experiences with her server. The other two shorts, “Garden,” by Sreylin Meas, and “Intersection,” by Kanitha Tith, will be completed by the end of the year.
Anti-Archive was founded in 2014 by Davy Chou, Kavich Neang and Steve Chen, with Park Sungho joining in 2016. The collective has had considerable success around the world. “Dream Land” (2015), directed by Chen, was selected for the Locarno Film Festival; Chou’s “Diamond Island” was...
“The film is not really like a story. My intention is to really talk about inner feelings,” San told Variety. “A Million Years” follows a woman taking a break in a riverside restaurant who talks about her past experiences with her server. The other two shorts, “Garden,” by Sreylin Meas, and “Intersection,” by Kanitha Tith, will be completed by the end of the year.
Anti-Archive was founded in 2014 by Davy Chou, Kavich Neang and Steve Chen, with Park Sungho joining in 2016. The collective has had considerable success around the world. “Dream Land” (2015), directed by Chen, was selected for the Locarno Film Festival; Chou’s “Diamond Island” was...
- 10/8/2018
- by Naman Ramachandran
- Variety Film + TV
Italy has selected Matteo Garrone’s “Dogman” to represent the country in the race for Best Foreign Language Film at the 2018 Oscars – and with that announcement, which was made on Tuesday, most of the major pieces are in place for one of the most competitive races ever in the category.
“Dogman” premiered at this year’s Cannes Film Festival. The story of a small-town dog groomer and part-time drug dealer who has violent encounters with a local thug, the film is the latest from a director best known for the acclaimed 2008 gang saga “Gomorrah,” which caused a minor furor when it did not make the Oscar foreign-language shortlist.
Italy has won 11 competitive Oscars in the category plus three honorary ones, more than any other country. It selected the film from a list of 21 contenders, including Alice Rohrwacher’s “Happy as Lazzaro,” which won the screenplay prize in Cannes.
Also Read:...
“Dogman” premiered at this year’s Cannes Film Festival. The story of a small-town dog groomer and part-time drug dealer who has violent encounters with a local thug, the film is the latest from a director best known for the acclaimed 2008 gang saga “Gomorrah,” which caused a minor furor when it did not make the Oscar foreign-language shortlist.
Italy has won 11 competitive Oscars in the category plus three honorary ones, more than any other country. It selected the film from a list of 21 contenders, including Alice Rohrwacher’s “Happy as Lazzaro,” which won the screenplay prize in Cannes.
Also Read:...
- 9/25/2018
- by Steve Pond
- The Wrap
The Oscar race for Best Foreign Language Film now has a clear frontrunner, because Mexico has submitted Alfonso Cuaron’s “Roma” in the category.
Winner of the Golden Lion at the Venice Film Festival and one of the most acclaimed films of the fall festival circuit, “Roma” is a beautiful black-and-white film based on moments from Cuaron’s childhood, growing up in a suburb of Mexico City. The Netflix release is also a strong Best Picture contender, the only one of the 40-plus foreign-language entries to be in the running for both awards.
At this point, for it not to land a foreign-language nomination would be astonishing, though Netflix failed to make the cut last year in the category even though it had by far the highest-profile submission, Angelina Jolie’s “First They Killed My Father.”
Also Read: 'Roma' Film Review: Alfonso Cuarón's Intimate Epic Proves Less...
Winner of the Golden Lion at the Venice Film Festival and one of the most acclaimed films of the fall festival circuit, “Roma” is a beautiful black-and-white film based on moments from Cuaron’s childhood, growing up in a suburb of Mexico City. The Netflix release is also a strong Best Picture contender, the only one of the 40-plus foreign-language entries to be in the running for both awards.
At this point, for it not to land a foreign-language nomination would be astonishing, though Netflix failed to make the cut last year in the category even though it had by far the highest-profile submission, Angelina Jolie’s “First They Killed My Father.”
Also Read: 'Roma' Film Review: Alfonso Cuarón's Intimate Epic Proves Less...
- 9/14/2018
- by Steve Pond
- The Wrap
Screen’s regularly updated list of foreign language Oscar submissions.
Nominations for the 91st Academy Awards are not until Tuesday January 22, but the first submissions for best foreign-language film are now being announced.
Last year saw a record 92 submissions for the award, which were narrowed down to a shortlist of nine. This was cut to five nominees, with Sebastián Lelio’s transgender drama A Fantastic Woman ultimately taking home the gold statue.
Screen’s interview with Mark Johnson, chair of the Academy’s foreign-language film committee, explains the shortlisting process from submission to voting.
Submitted films must be released theatrically...
Nominations for the 91st Academy Awards are not until Tuesday January 22, but the first submissions for best foreign-language film are now being announced.
Last year saw a record 92 submissions for the award, which were narrowed down to a shortlist of nine. This was cut to five nominees, with Sebastián Lelio’s transgender drama A Fantastic Woman ultimately taking home the gold statue.
Screen’s interview with Mark Johnson, chair of the Academy’s foreign-language film committee, explains the shortlisting process from submission to voting.
Submitted films must be released theatrically...
- 9/12/2018
- by Ben Dalton
- ScreenDaily
“Bad karma doesn’t wait for the next life,” states a trauma-raddled Khmer Rouge survivor toward the end of Rithy Panh’s “Graves Without a Name.” He says it in a tone of numb assurance, confident but also past caring: He may wish ill on those who murdered, raped and tormented his people 40 years ago, but with no chance of remedy for his own grief, he’ll leave it in the hands of the universe. A more intimate follow-up to Panh’s Oscar-nominated documentary “The Missing Picture,” this meditative piece likewise seeks to move past devastation and into a manner of still-painful peace.
Following the director himself on a study of indigenous ritual and mythos in search of his slain family’s unknown resting places, it’s a less formally rigorous work than “The Missing Picture,” perhaps by design: Sudden surges of emotion seem to guide its shuffling of symbols,...
Following the director himself on a study of indigenous ritual and mythos in search of his slain family’s unknown resting places, it’s a less formally rigorous work than “The Missing Picture,” perhaps by design: Sudden surges of emotion seem to guide its shuffling of symbols,...
- 8/30/2018
- by Guy Lodge
- Variety Film + TV
As hard as it is to make any definitive statements about awards season from the vantage point of August, it’s safe to say that the fall festivals could launch a very crowded year for films vying for gold statuettes.
If nothing else, just look at the sheer quantity of Oscar-endorsed directors who will have films premiering at the Venice, Telluride and Toronto Film Festivals. The back-to-back-to-back fests will showcase dozens of contenders and pretenders, beginning with Venice’s launch on August 29 and continuing through the conclusion of Toronto on September 16.
All four of the directors involved in the two most hard-fought recent Oscar showdowns — the one between Damien Chazelle’s “La La Land” and Barry Jenkins’ “Moonlight” in 2017, and between Alfonso Cuaron’s “Gravity” and Steve McQueen’s “12 Years a Slave” in 2014 — will be back with new features.
Also Read: Can Fall Box Office Break Records Despite Lack...
If nothing else, just look at the sheer quantity of Oscar-endorsed directors who will have films premiering at the Venice, Telluride and Toronto Film Festivals. The back-to-back-to-back fests will showcase dozens of contenders and pretenders, beginning with Venice’s launch on August 29 and continuing through the conclusion of Toronto on September 16.
All four of the directors involved in the two most hard-fought recent Oscar showdowns — the one between Damien Chazelle’s “La La Land” and Barry Jenkins’ “Moonlight” in 2017, and between Alfonso Cuaron’s “Gravity” and Steve McQueen’s “12 Years a Slave” in 2014 — will be back with new features.
Also Read: Can Fall Box Office Break Records Despite Lack...
- 8/29/2018
- by Steve Pond
- The Wrap
The fall film festival circuit has grown by leaps and bounds as we scrutinize the likes of the Toronto, Venice and Telluride Film Festival selections and New York has just upped the ante even further. The fest already set Paul Greengrass' Captain Phillips as its opener, Spike Jonze's Her as its closer and The Secret Life of Walter Mitty as its centerpiece selection. With the secret screening still a question mark (will it be Martin Scorese's The Wolf of Wall Streetc) the fest has just announced 51 more titles that will be making an appearance and many are standouts from this year's Cannes Film Festival that had so far avoided Toronto and Venice. Among the titles that premiered at Cannes you have Joel and Ethan Coen's Inside Llewyn Davis (read my "A+" review here), J.C. Chandor's All is Lost starring Robert Redford (read my "A+" review here...
- 8/19/2013
- by Brad Brevet
- Rope of Silicon
The titles just keep coming as we are now just over three weeks away from the start of the 2013 Toronto International Film Festival and they have gone and added 90 new feature length titles to the program and it's not as if they are titles you haven't heard of. New to the Galas selection is Guillaume Canet's Blood Ties which premiered at Cannes earlier this year (read my review here) and Words and Pictures starring Clive Owen and Juliette Binoche. In the Special Presentations selection you find the bulk of the more noted titles including Alex Gibney's new documentary The Armstrong Lie about cyclist Lance Armstrong, Johnnie To's Blind Detective which also premiered at Cannes, James Franco's Child of God based on the Cormac McCarthy novel, John Turturro's Fading Gigolo which features Woody Allen in one of the roles, Kevin Macdonald's How I Live Now...
- 8/13/2013
- by Brad Brevet
- Rope of Silicon
"The Missing Picture" by Rithy Panh has been named the best film in the Un Certain Regard sidebar at the Cannes Film Festival. The film uses clay figures to recreate Panh's childhood under the Khmer Rouge regime in Cambodia. The jury was headed by Danish director Thomas Vinterberg and also included actresses Ludivine Sagnier and Zhang Ziyi. Other prizes went to Hany Abu-Assad's "Omar," Alain Guiraudie's "Stranger by the Lake," Diego Quemada-Diez's "La Jaula de Oro" and Ryan Coogler's "Fruitvale Station." In a letter to Cannes' Thierry Fremaux and Gilles Jacob, Vinterberg wrote, "One...
- 5/25/2013
- by Steve Pond
- The Wrap
Cannes has announced the lineup for the Official Competition and Un Certain Regard section, as well as special screenings, for the 66th edition of the festival.
Competition
Opening Night: The Great Gatsby (Baz Luhrmann)
Behind the Candelabra (Steven Soderbergh)
Borgman (Alex Van Warmerdam)
Un Chateau en Italie (Valeria Bruni-Tedeschi)
The Great Beauty (Paolo Sorrentino)
Grisgris (Mahamat-Saleh Haroun)
Heli (Amat Escalante)
The Immigrant (James Gray)
Inside Llewyn Davis (Joel & Ethan Coen)
Jeune et Jolie (François Ozon)
Jimmy P. (Arnaud Desplechin)
Like Father, Like Son (Hirozaku Koreeda)
The Life of Adele (Abdellatif Kechiche)
Michael Kohlhaas (Arnaud Despallieres)
Nebraska (Alexander Payne)
Only God Forgives (Nicolas Winding Refn)
The Past (Asghar Farhadi)
Straw Shield (Takashi Miike)
Tian Zhu Dang (Jia Zhangke)
Venus in Fur (Roman Polanski)
Closing Night: Zulu (Jérome Salle)
Un Certain Regard
Anonymous (Mohammad Rasoulof)
As I Lay Dying (James Franco)
Bastards (Claire Denis)
Bends (Flora Lau)
The Bling Ring (Sofia Coppola...
Competition
Opening Night: The Great Gatsby (Baz Luhrmann)
Behind the Candelabra (Steven Soderbergh)
Borgman (Alex Van Warmerdam)
Un Chateau en Italie (Valeria Bruni-Tedeschi)
The Great Beauty (Paolo Sorrentino)
Grisgris (Mahamat-Saleh Haroun)
Heli (Amat Escalante)
The Immigrant (James Gray)
Inside Llewyn Davis (Joel & Ethan Coen)
Jeune et Jolie (François Ozon)
Jimmy P. (Arnaud Desplechin)
Like Father, Like Son (Hirozaku Koreeda)
The Life of Adele (Abdellatif Kechiche)
Michael Kohlhaas (Arnaud Despallieres)
Nebraska (Alexander Payne)
Only God Forgives (Nicolas Winding Refn)
The Past (Asghar Farhadi)
Straw Shield (Takashi Miike)
Tian Zhu Dang (Jia Zhangke)
Venus in Fur (Roman Polanski)
Closing Night: Zulu (Jérome Salle)
Un Certain Regard
Anonymous (Mohammad Rasoulof)
As I Lay Dying (James Franco)
Bastards (Claire Denis)
Bends (Flora Lau)
The Bling Ring (Sofia Coppola...
- 4/20/2013
- MUBI
This morning the official 2013 Cannes Film Festival line-up was announced from Paris, France. The committee saw 1,858 films submitted this year and while additional titles will continue to be announced, this morning we got the full Competition and Un Certain Regard lineup and it looks amazing so far. Among the films announced In Competition so far, many were expected including Nicolas Winding Refn's Only God Forgives, Steven Soderbergh's Behind the Candelabra, Roman Polanski's Venus in Fur, Asghar Farhadi's The Past and Joel and Ethan Coen's Inside Llewyn Davis. Additionally James Gray's once titled Lowlife starring Marion Cotillard, Joaquin Phoenix and Jeremy Renner will play, but under the name The Immigrant and Takashi Miike's cop thriller Wara No Tate (Straw Shield) has also made the competition list. However, the biggest "surprise" is the inclusion of Alexander Payne's black-and-white film Nebraska, which is sure to be a big attention getter,...
- 4/18/2013
- by Brad Brevet
- Rope of Silicon
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