The enigmatic rebel of French cinema, a European film icon, and one of the world’s most beloved actors, the legendary Alain Delon comes to Romania for the first time as a special guest of the 16th edition of the Transilvania International Film Festival (June 2-11). The French star, who is often cited as one of the most beautiful men of all time, conquered the hearts and minds of the audiences during the golden age of European cinema.
Transilvania IFF will award Alain Delon the Lifetime Achievement Award for exceptional artistic contribution at the closing gala, on June 10th. In his honor, on June 9th, the Unirii Square will host a special screening of Pour la peau d’un flic/ For a Cop’s Hide (1981), a thriller directed by the great French actor and which also features Delon in the starring role.
This year the 81-year-old Delon celebrates six decades since his cinema debut, which launched an impressive career spanning over 100 memorable screen roles, as well as behind-the-screen credits as producer, writer, and director. Rocco e i suoi fratelli/ Rocco and His Brothers (1960), Plein soleil / Purple Noon (1960), L’Eclisse / The Eclipse (1962), Il Gattopardo / The Leopard (1963), La tulipe noire / The Black Tulip (1964), Le Samouraï / The Samurai (1967), Borsalino (1970), Notre histoire / Our Story (1984), and Parole de flic / Cop’s Honor (1985) are only some of the titles which have made Delon one of the most important French actors of the 20th century.
Born on November 8, 1935, into a troubled childhood and later an adventurous adolescence, Delon was not clearly set out for the resounding success that he registered when he was only 23. His magnetic beauty and personal charm made him a target for Hollywood, but, despite being given the opportunity to be cast in one of David O. Selznick’s movies, Delon decided to start his career in France, where in 1957 he appeared in Yves Allégret’s Quand la femme s'en mêle / Send a Woman When the Devil Fails. In 1958 he stars in Christine alongside Romy Schneider, the charming actress who later becomes his fiancée.
Delon was nominated for a Golden Globe for his role in Luchino Visconti’s 1964 Il Gattopardo / The Leopard, and for a César in 1977 for his starring role in Joseph Losey’s Mr. Klein. He was later awarded Best Actor for his role in Bertrand Blier’s 1985 Notre histoire / Our Story. The Berlinale awarded Delon a honorary Golden Bear in 1995, and in 2005 President Jacques Chirac made Delon an Officer of the Légion d’Honneur for his contribution to cinema.
In his career, Delon received festival, box office, and fan recognition, and worked with Luchino Visconti, Jean-Luc Godard, Jean-Pierre Melville, Michelangelo Antonioni, and Louis Malle, among others. Of all his collaborators, Delon considers Jean-Pierre Melville to be best as a director. Le cercle rouge / The Red Circle (1970), in which Delon plays a recently released convict preparing for his next crime, will be screened at TIFF as part of a Jean-Pierre Melville Retrospective.
A symbol of masculinity, Delon inspired the fashion and beauty industry, as well as pop culture. He has his own brand of luxury perfume and accessories, and he features on The Smiths’s cover for The Queen is Dead album. Madonna’s song “Beautiful Killer” on the MDNA album is a tribute to the iconic actor.
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The Transilvania International Film Festivalis organized by the Association for Romanian Film Promotion and the Association for the Transilvania International Film Festival.
Support from: Ministry of Culture and National Identity, National Center for Cinematography, Cluj City Hall and City Council, Romanian Cultural Institute, Cluj County Council, EU’s Creative Europe — MEDIA Programme
It's our great pleasure to announce the selected projects and participants for this year's MIDPOINT Feature Launch which takes off in June.
An extraordinary number of 75 projects were submitted, and filmmakers from no less than 32 countries were considered for the 9 slots in MIDPOINT's feature film program.
The participants will go through an intensive script and project development program which stretches over 5 months and includes two residential workshops in June and October as well as online consultations and not the least followed by high-end pitching and training awards - see more in the newsletter below.
The 9 projects are:
Read more about all projects ...
'Alive in Moscow' was selected thanks to our partnership with COCO / Connecting Cottbus, and 'Hawa Hawaii' in collaboration with REALNESS - A Screenwriters Residency
The members of the selection committee are MIDPOINT Artistic Director Pavel Jech, script writer/script editor and Professor at Chapman University, CA; Slovenian Producer Danijel Hocevar, Program Consultant and Core Tutor on Feature Launch; Alessandro Gropplero from Friuli Venezia Giulia Audiovisual Fund and Head of When East Meets West co-production forum; Inke Van Loocke, Coordinator of Cinemart and Rotterdam Lab under IFFR/International Film Festival Rotterdam, and Kristyna Plhonova, Project Manager of MIDPOINT Feature Launch.
International event at the end of April fulfilled its mission and brought big names of cinematography and students from all around the world to Bratislava. Masterclasses, screenings and discussions were balanced by friendly atmosphere.
Five-day event started with the screening of cult film The Neverending Story. Spectators travelled back to their childhood by watching this classic on the big screen in the presence of Colin Arthur, father of the phenomenal creatures. Not only he mentioned the process, he also showed real size models of creatures from the movie set like Stonebiter, Racer Snail and head of the Irish setter which – along with the real-life one that once belonged to Arthur – was an inspiration for the character of Falkor the Luckdragon.
Second day was led by the production designer Ludovica Ferrario who revealed behind the scenes and process of constructing fictional film world. She disclosed how she managed to build the replica of Sistine chapel or fill the square of St. Marco with water. She emphasized that script is like a recipe for audio-visual piece and later that day producer Tomáš Hrubý and scriptwriter Štepán Hulík picked up on that. They motivated participants with the stories of the beginnings of their careers and funny anecdotes from the movie sets of Wasteland and Burning Bush. At the end of their masterclass there was a vivid discussion about new streaming channels like VOD platforms Netflix and HBO GO.
On the third day of VFF Colin Arthur talked enthusiastically about his 50 year long career in SFX and make-up field. He mentioned various methods he used to create his spectacular effects, how to make a fake blood or how did he got away from working on wax figurines at the museum of Madame Tussauds to film set of Stanley Kubrick's 2001: Space Odyssey. He assured that despite he had created special effects without CGI he also believes it’s just another tool that provides even more possibilities in his field. At the end of his masterclass was acknowledged the old truth: Behind every great man there's a great woman. He and his wife Sarah Jeanne Arthur talked about their long relationship. Afterwards there was an exclusive pre-premiere screening of Menandros & Thaïs which led to brisk discussion with the producer Anna Tydlitátová and editor Zuzana Walter. They explained how they promoted their experimental and low-budget blockbuster.
Friday morning masterclass was led by the executive producer of HBO Steve Mathews. He talked about the work of scriptwriters and the role of film channel in the European TV market. Despite the fact that the American production is much more unified, scripts on the old continent need to be adapted to cultural contexts of specific European countries so that they can be fully appreciated by different groups of viewers and they also have to feel relevant in the present moment. Then the Austrian filmmaker Anja Salomonovitz presented her documentaries with strong political and social messages.
Event finished with British director Peter Strickland and his debut film Katalin Varga which got a Silver Bear at the Berlin Film Festival. Strickland also complained about the work of a freelance director being very hard because he never knows if he will have enough money for future projects,yet he encouraged students that if they follow their dreams despite the fear of failing, they will be eventually satisfied.
Networking and educational platform was fulfilled by the school encounters. Surprisingly friendly confrontations of film schools from around the world showed the different conditions in which are the films being made. Various teams exchanged their experience to improve and learn from each other.
Visegrad Film Forum is known for its great accompanying events. These took place at the various venues of Bratislava trying to represent its diverse nightlife. Overcrowded clubs were a proof that this exceptional city on the river Danube offers a lot, not only for the locals but also the foreigners. known for i e VOD platforms Netfearn from each other. the different unters. Surprising friendly promote and e VOD platforms Netf
Date: April 25-29, 2017 Place: Bratislava, Slovak Republic Venues: Film and TV Faculty, VŠMU
Organiser: Boiler, NGO Co-OrganizerFilm and TV Faculty, VŠMU Financially supported by: International Visegrad Fund, Bratislava Self-Governing Region, Ars Bratislavensis, Audiovisual Fund, Central Europen Foundation
Under the patronage of the Mayor of Bratislava Ivo Nesrovnal
Partner schools: The Academy of Performing Arts - Film and TV Faculty (FTF VŠMU Bratislava), University of Silesia in Katowice, Eszterházy Károly University in Eger (EKU Eger), The Film Academy of Miroslav Ondříček in Písek (FAMO Písek), Faculty of Dramatic Arts in Belgrad (FDA Belehrad), National I. K. Karpenko-Kary Theatre, Cinema and Television University in Kyjev (KNUTCT Kyjev), Dún Laoghaire Institute of Art, Design and Technology in Dublin (IADT Dublin), El Nahda Association for Scientific & Cultural Renaissance in Cairo.
Europe's most dynamic producers at the Cannes Film Festival 2017
EFP (European Film Promotion) and its member organisations have again selected 20 of the most promising up-and-coming European producers to take part in EFP's high-profile networking platform PRODUCERS ON THE MOVE at the Cannes Film Festival (May 17 - 28, 2017).
During the five-day event between May 19 and 23, the exclusive group will enjoy a tailor-made programme of roundtable pitching sessions, 1:1 speed dating, case studies, including one in co-operation with the pan-European co-production fund Eurimages, as well as other industry meetings. All of these events are being organized to support the exchange of experiences and help create new professional networks. The longstanding programme is financially backed by the Creative Europe - MEDIA Programme of the European Union and the participating EFP member organisations.
The stakes for participation are high, including the key requirements that the candidates have experience in an international co-production and an international theatrical release in their portfolio. The final selection shows that quality and entrepeneurship are not limited to the big players of the larger European countries, but can also be found in Latvia, Iceland or, as shown in previous years, in countries like Hungary. Consequently, Victoria Petranyi (Producer on the Move 2003 from Hungary) can be seen in Cannes competing for the Palme d'Or with her production of "Jupiter's Moon" by director Kornél Mundruczó in the same way as Patrick Quinet(who represented Belgium as a PoM in 2003) is in the Competition with his latest co-production, "Rodin" by Jacques Doillon. Another competition title is "The Square" by Ruben Östlund, produced by Erik Hemmendorff(PoM Sweden 2009) with the Danish co-producer Katja Adomeit (PoM Denmark 2015).
This year's group of Producers on the Move includes the Polish participant Maria Blicharska who will be presenting "Frost", starring Vanessa Paradis, in the Directors' Fortnight, while France's Didar Domehri co-produced Argentinian director Santiago Mitre's "La Cordillera" which will celebrate its world premiere in the "Un Certain Regard" sidebar.
Films in the Official Competition with EFP talent involvement are:
• 120 BATTEMENTS PAR MINUTE featuring Adèle Haenel (Shooting Star France 2012)• L'AMANT DOUBLE featuring Jérémie Renier (Shooting Star Belgium 2002)• LES FANTÔMES D'ISMAEL featuring Alba Rohrwacher (Shooting Star Italy 2009)• JUPITER'S MOON co-produced by Victoria Petranyi (PoM Hungary 2003)• RODIN co-produced by Patrick Quinet (PoM Belgium 2003)• THE SQUARE produced by Erik Hemmendorff (PoM Sweden 2009) and co-produced by Katja Adomeit (PoM Denmark 2015).
Click here to read more on EFP
The Award for Best Film Goes to Serbian Tragicomedy REQUIEM FOR MRS. J., German-Georgian Directorial Duo Nana & Simon Honoured with Two Prizes
The 17th edition of goEast - Festival of Central and Eastern European Film came to a successful conclusion on Tuesday, May 2nd, with a festive awards ceremony at Wiesbaden's Caligari FilmBühne. More than 12,000 guests attended the festival, hosted by Deutsches Filminstitut, providing for full cinemas and intensive lectures, discussions and talks. All in all 111 films from 29 countries were screened over the seven days of the festival, and awards worth a grand total of 50,000 euros were presented at the festival finale.
The members of the international jury - Latvian director Laila Pakalniņa (chairwoman), producer Max Tuula (Estonia/Russia), producer Sam Taylor (Great Britain), actor Jakob Diehl (Germany) and director Igor Drljača (Bosnia and Herzegovina/Canada) - awarded the main prizes to REQUIEM FOR MRS. J. (REKVIJEM ZA GOSPOĐU J., Serbia/Bulgaria/Macedonia/Russia/France, 2017, directed by Bojan Vuletić), MY HAPPY FAMILY (CHEMI BEDNIERI OJAKHI, Germany/France/Georgia, 2017, directed by Nana & Simon) and CITY OF THE SUN (MZIS QALAQI, Georgia/USA/Qatar/Holland, 2017, directed by Rati Oneli).
Festival director Gaby Babić emphasised: "I am very pleased to see that this year's focus on strong female characters in cinema and female filmmakers from Central and Eastern Europe is also reflected in the selected films."
An Overview of the goEast Prize Winners
The Golden Lily for Best Film went to REQUIEM FOR MRS. J. (REKVIJEM ZA GOSPOĐU J., Serbia/Bulgaria/Macedonia/Russia/France, 2017). This tragicomedy tells the story of depressive Jelena, who is in the midst of final preparations to take her own life. The prize, worth 10,000 euros, was accepted personally at Tuesday evening's event by director Bojan Vuletić, together with lead actress Mirjana Karanović. The jury explained their selection by commenting simply: "Thank you for not killing hope, Mrs. J."
Georgian-German directorial duo Nana & Simon won the Award of the City of Wiesbaden for Best Director (endowed with a prize of 7,500 euros). Their film MY HAPPY FAMILY (CHEMI BEDNIERI OJAKHI, Germany/France/Georgia, 2017), in which 52-year-old Manana resolves to move out of the family apartment and embark on a life of her own, opened this year's festival. Nana Ekvtimishvili und Simon Gross previously received the Award for Best Film at goEast 2013 for IN BLOOM. The jury explained its choice by commenting that the "film shows how difficult it is to open a window and let some fresh air in". Georgian actress Tsisia Kumsishvili, who plays the role of the daughter Nino in the film, was on hand to accept the award on behalf of cast and crew.
The documentary film CITY OF THE SUN (MZIS QALAQI, Georgia/USA/Qatar/Holland, 2017, directed by Rati Oneli), a portrait of the mining settlement Chiatura in Western Georgia which has become a sort of modern ghost town, was honoured with the Award of the Federal Foreign Office for Cultural Diversity (4,000 euros) for "captur[ing] the resilience and beauty of a place and its people as they overcome a grey city, a grey year and a grey century".
In addition, the jury also presented Honourable Mentions to the Latvian-Lithuanian war drama EXILED (PELNU SANATORIJA, 2016, directed by Dāvis Sīmanis) featuring Ulrich Matthes in the leading role, as well as Hana Jušić's virtuoso feature film debut QUIT STARING AT MY PLATE (NE GLEDAJ MI U PIJAT, Croatia, 2016).
Nana & Simon's MY HAPPY FAMILY was also honoured with the International Film Critics' Award for Best Fiction Feature by an international jury representing FIPRESCI. The jury called the film "a magnificent work of cinema that depicts the life of a Georgian family in a universal and harmonious fashion".
The International Film Critics' Award for Best Documentary Film went to Ivan Ramljak's ISLANDS OF FORGOTTEN CINEMAS (KINO OTOK, Croatia, 2016), which pulls at the heartstrings of cineastes and "with simple means and a minimalist style shows in wonderful manner how the cinema is part of the natural landscape".
In the Experimental Film and Video Art Competition, made possible with the support of BHF-BANK Foundation, Frankfurt-based artist Aleksandar Radan won the Open Frame Award (worth 5,000 euros) for his IN BETWEEN IDENTITIES, in which the audience observes game characters in a virtual world in a manner bordering on voyeurism. The work is "a compelling, refreshingly immoral commentary on the self-searching performances of not only our own seemingly perfect digital mirror images", according to the jury. An Honourable Mention went to EXILE EXOTIC (UK/Russia, 2015, directed by Sasha Litvintseva), a tale of the exotic beginnings of the filmmaker's exile told from the edge of a pool.
The project GILGAMESH 4000 (Russia) by Nick Teplov received the goEast Development Award (worth 3,500 euros and made possible with the support of Kulturfonds Frankfurt RheinMain) for the best pitch at the East-West Talent Lab. The jury commented on the selection thusly: "With captivating images captured on various continents, Nick Teplov creates a vibrant, multi-layered poem of a film. GILGAMESH 4000 has the potential to become a work equally capable of touching audiences and shaking them to the core."
In addition, the jury gave an Honourable Mention to PARALLELS IN THE INFINITY from Hungarian artist Borbála Nagy, stating that the "project sheds light on a painful truth behind current political developments: the corrosion of civil society and democracy starts within the educational system".
In the talent development project OPPOSE OTHERING!, which is dedicated to examining and countering various manifestations of the marginalisation of individuals belonging to specific groups, five directorial tandem teams were selected to receive production grants in the amount of 4,000 euros each, made possible with the support of Foundation "Remembrance, Responsibility and Future". The winning tandems are Oksana Kazmina (Ukraine) and Maxim Cirlan (Moldavia) with their project ANTIGONA, Miona Bogović (Serbia/ Germany) and Ana Hoffner (Austria) with THE OTHER ZENIT, Zhanna Ozirna (Ukraine) and Aurelia Natalini (Germany) with BOND, Ion Gnatiuc (Romania) and Artiom Zavadovschi (Moldavia) with FACE TO FACE and finally Andreas Boschmann (Germany) and Aleksandra Medianikova (Russia) with DOMASHNEE VIDEO. The duo teams will return to goEast in 2018 to present the world premieres of their completed films.
The 17th edition of goEast - Festival of Central and Eastern European Film took place from April 26th to May 2nd in Wiesbaden, Germany. Among the many highlights of the festival were guest appearances by internationally celebrated filmmakers Agnieszka Holland, Lana Gogoberidze and Márta Mészáros, the latter the subject of this year's Homage, as well as a touching personal encounter with Artur „Atze" Brauner, accompanied by his family, on the occasion of the world premiere of MARINA, MABUSE AND MORITURI - 70 YEARS OF POSTWAR GERMAN FILM (Germany, 2017, directed by Kathrin Anderson). The goEast Symposium 2017, under the title "Reluctant Feminism: Women Filmmakers from Central and Eastern Europe", was met with great interest from the world of film scholarship and research and the general audience alike.
The Prize Winners at goEast 2017
Golden Lily for Best Film (10,000 euros)REQUIEM FOR MRS. J. (REKVIJEM ZA GOSPOĐU J, Serbia/Bulgaria/Macedonia/ Russia/France, 2017, directed by Bojan Vuletić)
Award of the City of Wiesbaden for Best Director (7,500 euros)MY HAPPY FAMILY (CHEMI BEDNIERI OJAKHI, Germany/France/ Georgia, 2017, directed by Nana & Simon)
Award of the Federal Foreign Office for Cultural Diversity (4,000 euros)CITY OF THE SUN (MZIS QALAQI, Georgia/USA/Qatar/Holland, 2017, directed by Rati Oneli)
Honourable Mentions by the Main JuryEXILED (PELNU SANATORIJA, Latvia/Lithuania, 2016, directed by Dāvis Sīmanis)QUIT STARING AT MY PLATE (NE GLEDAJ MI U PIJAT, Croatia, 2016, directed by Hana Jušić).
International Film Critics' Award for Best Documentary FilmISLANDS OF FORGOTTEN CINEMAS (KINO OTOK, Croatia, 2016, directed by Ivan Ramljak)
International Film Critics' Award for Best Fiction FeatureMY HAPPY FAMILY (CHEMI BEDNIERI OJAKHI, Germany/France/ Georgia, 2017, directed by Nana & Simon)
Open Frame Award (5,000 euros, endowed by BHF-BANK Foundation)IN BETWEEN IDENTITIES (Germany, 2015, directed by Aleksandar Radan)Honourable Mention: EXILE EXOTIC (UK/Russia, 2015, directed by Sasha Litvintseva)
goEast Development Award (3,500 euros, endowed by Kulturfonds Frankfurt RheinMain)GILGAMESH 4000 (Russia, directed by Nick Teplov)Honourable Mention: PARALLELS IN THE INFINITY (Hungary, directed by Borbála Nagy)
Production Grants for OPPOSE OTHERING! (4,000 euros each, endowed by Foundation "Remembrance, Responsibility and Future"
goEast - Festival of Central and Eastern European Film is hosted by Deutsches Filminstitut and supported by numerous partners. The festival is primarily funded by the Hessen State Ministry of Higher Education, Research and the Arts, the State Capital Wiesbaden, Foundation "Remembrance, Responsibility and Future" (EVZ), Kulturfonds Frankfurt RheinMain, the Robert Bosch Stiftung, ŠKODA AUTO Deutschland, BHF-BANK Foundation, the Adolf und Luisa Haeuser-Stiftung für Kunst und Kulturpflege, the Federal Foreign Office, Deutsch-Tschechische Zukunftsfonds, the municipality of Eschborn, the Foundation for Polish-German Cooperation and Krušovice. Media partners include among others 3sat, the FAZ and hr-iNFO.
Slovenian Society of Cinematographers (ZFS) is committed to the progress and development of professional cinematography, it advocates respect of moral and ethical principles of the profession and stands for continuous development and quality of Slovenian cinema.
For the second time Slovenian Society of Cinematographers (ZFS) has awarded new award - IRIS in the filed of cinematography for the works finished by the end of 2016. Awards were presented in five categories: Feature film, short film, documentary film, student film, and animation. In all five categories 42 films were submitted. Candidates who submitted their works for IRIS award had to be Slovenian citizens or of Slovenian nationality, and not necessarily members of ZFS.
In addition to the five categories members of ZFS have decided to award Aleš Belak, ZFS for outstanding contribution in cinematography.
Winners of IRIS 2016 awards are:
1) feature film:
MILOŠ SRDIĆ (ZFS) for the film “POJDI Z MANO” (Come Along)
2) short film:
JURE NEMEC (ZFS) for the film “NISI POZABIL” (You didn’t forget)
3) documentary film:
ROŽLE BREGAR for the film “CODELLI” (Codelli)
4) student film (live action or documentary)
ROK KAJZER NAGODE for the film “K.A.O.S” (Chaos)
MILOŠ SRDIĆ (ZFS) for film “SLOVO” (Farewell)
6) Award for outstanding contribution in cinematography:
ALEŠ BELAK (ZFS)
At the initiative of the Polish Film Institute, the T-Mobile New Horizons Film Festival is now one of the 10 international film festivals to present selected films in the prestigious The Goes to Cannes during the biggest film market, Marché du Film, during the 70th Cannes International Film Festival.
The Goes to Cannes is a program that invites the largest festivals to present domestic films to the international film industry, films that do not yet have agents, distributors or set premiere dates.
The T-Mobile New Horizons Film Festival and the Polish Film Institute will present a selection of Polish films in various stages of production (works-in-progress) during New Horizons’ Polish Days Goes to Cannes, which will be a preview of the New Horizons’ industry event called Polish Days held during the Wrocław festival.
“Presence at a film market as prestigious as Marché du Film at Cannes is a tremendous opportunity to promote Polish film productions in their various stages of completion. For over six years we have successfully organized Polish Days jointly with the T-Mobile New Horizons Film Festival in Wroclaw. It is an industry event that has achieved exceptional renown among filmmakers and producers. Now, as part of New Horizons’ Polish Days Goes to Cannes, five Polish productions will be presented to the most important sales agents, distributors and festival programmers from around the world,” says Magdalena Sroka, Director of the Polish Film Institute.
The program of the New Horizons’ Polish Days Goes to Cannes on May 23 consists of five films, including three feature-length debuts: “Diagnosis”- a documentary film directed by Ewa Podgórska, “Thrice Falls the Saint” – fiction debut by Jacek Januszyk, “Tower. A Bright Day” – fiction debut by Jagoda Szelc and an animated film by Mariusz Wilczyński, „Kill It and Leave This Town,” as well as the latest film from Dorota Kędzierzawska, „Speedway”. The closed screening at New Horizons’ Polish Days Goes to Cannes will be held on May 23 at 10 AM-12 noon at Palais K- level 4 in the Festival Palace during the 70th Cannes International Film Festival.
More information here
Polish Days will be held on August 8-10, 2017, during the 17th T-Mobile New Horizons Film Festival (August 3-13, 2017).
Polish Days, the most important industry event at the T-Mobile New Horizons International Film Festival, is organized jointly with the Polish Film Institute. During closed screenings, film industry representatives from around the world watch the latest Polish films at various stages of production, including completed works as well as fragments of films in postproduction; they also participate in pitching sessions of projects in development. As each year, organizers expect about 200 guests, including sales agents, distributors, film festival programmers as well as producers. Polish Days is an excellent opportunity for Polish film producers and filmmakers to promote their projects, plan festival strategies and network with international partners.
Application deadline: May 22, 2017.
Copyright 11/04: European screenwriters and directors call for right to fair remuneration online – SAA European screenwriters and directors including Pedro Almodovar, Agnieszka Holland and Sir Alan Parker sent a letter to the Members of the Legal Affairs’ committee to support the introduction in the EC proposed Directive on Copyright in the Digital Single Market of an amendment that would guarantee audiovisual authors proportionate remuneration wherever their works are exploited online across Europe.
CineEurope 10/04: CineEurope announce winner of international exhibitor of the year award – UNIC Eddy Duquenne, Chief Executive Officer of Kinepolis Group, has been named as the 2017 recipient of the “International Exhibitor of the Year Award” at CineEurope.
European Parliament 14/04: “Culture has a key role to play in overcoming Europe's challenges“ by MEP Petra Kammerevert (DE, S&D) – The Parliament Magazine Culture has been overlooked in EU policymaking, but it has a crucial role to play in overcoming Europe's challenges, writes Petra Kammerevert.
25/04: Geo-blocking and other forms of discrimination: adoption of draft report on 25 April – European Parliament website The regulation on geo-blocking seeks to provide more legal certainty and enforceability by defining specific situations when there can be no justified reason for discrimination on the grounds of nationality/residence. It also bans the blocking of access to websites and the use of automatic re-routing without the customer's prior consent. 25/04: Vote on the Audiovisual Media Services Directive on 25 April in Culture Committee – European Parliament website On 25 April, the CULT committee voted its report on the review of the Audiovisual Media Services Directive. More than 1300 amendments have been tabled to the proposal published in May last year, evidence of the great interest it has generated.
Events 16/05: Vote in plenary Portability Regulation 20/05: European Audiovisual Observatory Conference, Cannes – more information here21/05: Europa Cinemas Conference, Cannes 22/05: European Film Forum, Cannes 15-16/06: Digital Assembly, Malta – more information here 19-22/06: CineEurope 2017 – register here
Two opportunities for documentary filmmakers from the Central and Eastern Europe with deadlines at the end of this month. We would like to ask you to share them with filmmakers in Poland.
DOCU TALENTS @KVIFF Filmmakers from the Central and Eastern Europe can submit their documentary films in production or post-production to the Docu Talents @KVIFF, selecting twelve most remarkable Central and East European documentaries. They will be presented on July 4, 2017 to festival programmers, distributors, sales agents and journalists attending the 52nd Karlovy Vary IFF.
JI.HLAVA FILM FUND
Filmmakers from the Central and Eastern Europe may now apply to the Ji.hlava Film Fund for support of their creative documentary films and receive visual and sound post-production services in the amount of 16,000 EUR, and other benefits. This is a new Ji.hlava's programme launched this year.
The eligible countries are: Albania, Armenia, Azerbaijan, Belarus, Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic, Estonia, Georgia, Hungary, Kosovo, Latvia, Lithuania, Macedonia, Moldova, Montenegro, Poland, Romania, Russia, Slovakia, Slovenia, Serbia, Ukraine.
Deadline for applications is April 30, 2017. More information can be found here.
21 Features and 13 Short Films To Be Screened in Analog Form at the Festival's 17th Edition
As a project of Deutsches Filminstitut, which was founded in 1949, thus rendering it Germany's oldest institute for cinematic arts and research, goEast - Festival of Central and Eastern European Film has stood since its founding in 2001 for the appreciation and appropriate presentation of the film histories, both common and individual, of the nations of Central and Eastern Europe. These histories feature prominently in more than a few of goEast's festival sections, above all however in the annual goEast Symposium and the Homage.
In 2017, the majority of the films of the Symposium Reluctant Feminism: Women Filmmakers from Central and Eastern Europe and all of the films of the Homage to Hungarian director Márta Mészáros will be shown in the 35mm format: representing a total of 13 short and 21 feature-length films. In Wiesbaden, goEast is in the fortunate position of having among its festival venues not one but two cinemas that are equipped for analog projection (including that of valuable archive copies): our partners Caligari FilmBühne and Murnau-Filmtheater.
It continues to be very vital to goEast, now going into its 17th edition, to be able to provide access to cinema history to the festival audience in its traditional mode of analog presentation - as 35mm projections on a movie theatre screen.
"From the 12th to the 13th edition of the festival, that would be from 2012 to 2013, we undertook a full shift from analog to digital as regards current film productions and their mode of presentation. In our research to find copies for our programs that feature films made before this time, we search very meticulously for analog film copies that are in good shape and suitable for presentation and usually prefer to use these copies instead of digital versions. These days, the archives are not always willing to lend us this material for our screening purposes. But we are persistent," as festival director Gaby Babić explains. "It even happens occasionally that we pay special fees for borrowing an analog copy that we would not have to pay for the corresponding digital copy. We have become increasingly aware of the fact that we as a festival are contributing actively to saving the cultural practice of analog film and that we have to demand that it be saved. We also represent a space for this analog school of seeing and perceiving."
It is noteworthy that the majority of the films for this year's Symposium and the lion's share of Márta Mészáros' works have yet to be digitized - in spite of the international significance of these female directors. This is an equally crucial step that needs to be taken, in addition to the preservation of the original analog material.
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