Bucharest International Dance Film Festival (6-9 September 2018) invites film directors, choreographers and other artist to submit their dance films to the fourth edition of BIDFF. The competition is open for fiction short dance films, documentaries and animations around the world, with a prize pool of 3000 euro. BIDFF can also screen off competition feature films and long documentaries.
Dance Film Development Lab - 3 - 9 sept 2018, Bucharest
FESTIVALS: Open Call for Bucharest International Dance FF and Dance Film Development Lab
Romania 11-07-2018BUCHAREST: The 2018 Bucharest International Dance Film Festival (6-9 September 2018) is receiving submissions until 17 July 2018, while applications for the Dance Film Development Lab (3-9 September 2018) can be filed until 22 July 2018.
Borys Lankosz, a renowned Polish filmmaker to tutor a screenwriting group at Slawomir Idziak's Film Spring Workshop
Press releases 10-07-2018Borys Lankosz, a renowned Polish filmmaker is to tutor the screenwriting group at the annual Film Spring Workshop in Krakow, Poland, 17-26 October 2018.
SARAJEVO: Ten films were selected for the 2018 Competition Programme - Feature Film of the Sarajevo Film Festival, running from 10 to 17 August 2018.
Sarajevo Film Festival proudly presents Competition Programme – Feature Film and In Focus Programme.
FNE asked Evelyne Gebhardt about the importance of the LUX Prize for cultural diversity in Europe and what we can learn about young cinema audiences from the KVIFF experience.
BUCHAREST: HBO Europe and Germany’s TNT Serie wrapped shooting on the six-episode series Hackerville, directed by Igor Cobileanski and Anca Miruna Lăzărescu.
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https://filmneweurope.com/blog/fne-staff?start=5030#sigProId98af8cd5e4
The Crystal Globe for Best Feature Film at the 53rd Karlovy Vary International Film Festival went to the new endeavor of the recognised Romanian director Radu Jude – “I Do Not Care If We Go Down in History as Barbarians”. The film produced by Ada Solomon in Romania, in co-production with the Czech Republic, France, Bulgaria and Germany, reconstructs a ghastly incident and ingeniously updates Hannah Arendt’s incisive work on the banality of evil. Employing an uncompromising narrative form à la Godard, it demonstrates that committing brutal acts is not only the path to barbarism, for even a mere stunted conscience is enough to lead a person to it.