FILM REVIEW: Mifune: The Last Samurai (Okazaki, 2015): Japan

Reviewed by Larry Gleeson

Viewed during AFIFEST 2016 presented by Audi, Mifune: The Last Samurai, directed by Steven Okazaki, is a feature-length documentary about the life and films of legendary Japanese actor Toshiro Mifune. Okazaki utilizes archival clips, photographic stills and interviews with those who worked with Mifune. The film is narrated by Keanu Reeves.

Interestingly, the film is more of a creative interpretation of specific formative elements, both personal and cultural, that led to Mifune’s distinct personality. Okazaki presents Mifune is a non-linear fashion. He opens the film with the infamous rape scene from Rashomon. From there he discusses Mifune’s approach to some of his Rashomon scenes. Apparently, to embody the untamed animal instinct of his character, Mifune studied the movements and behavior of a lion. To add substance to such a claim, Okazaki shows, much to the audience’s delight, Mifune closing in on his samurai opponent in a lion-like fashion.

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Iconic Japanese Director Akira Kurasaw, left, and legendary Japanese Actor Toshiro Mifune, during a set break.

The 1950’s and 60’s were a Golden Age for Japanese Film. Iconic Japanese Director Akira Kurasawa had won the Golden Lion at Venice with Rashomon in 1951 putting Japanese films on the world scene. Kurasawa and Mifune would go on to collaborate on 16 films over an eighteen year period including renowned, classic films such of Rashomon (1950), Seven Samurai (1954), Throne of Blood (1957) and Yojimbo (1961). 

Telling interviews from Kyoko Kagawa, Takeshi Kato, Haruo Nakajima, Yosuke Natsoki and Sadao Nakajima reveal Mifune’s ardent preparation for roles, painstakingly researching and laborious rehearsal processes. Kurasawa rarely, if ever, gave Mifune specific direction on creating characters. Other interviews came from American directors Martin Scorcese and Steven Spielberg revealing the admiration and respect Mifune garnered not only in Japan but in Hollywood as well.

With the advent of war in 1931 and Japan invading Manchuria every able-bodied Japanese male was conscripted into service including Mifune. Mifune and his parents were Japanese Nationalists living in China at the time. Mifune’s early experiences in the war consisted of a lot of beatings as his superior officers found his tone of voice off-putting and insubordination charges followed. By war’s end males as young as eleven years old were brought into the army and referred to as Little Citizens and Children of the Emperor. Mifune’s role became training the young men as Kamakazi’s. Both of Mifune’s parents were casualties of the war.

After the war, time were tough for the Japanese. Men sold their suits and women sold their socks just to have enough to eat. Mifune made himself a pair of trousers and a matching coat from his army blanket. Such a look, coupled with his strong voice, gave Mifune a big presence. He applied for a camera assistant position with a film studio and got the position. However, in 1947, Mifune made his entrance as an actor in Kurasawa’s Snow Trail. Kurasawa was impressed with Mifune’s work and began writing bigger and better roles for Mifune. Mifune would not go back to being a camera assistant.

Kurasawa was a well-known director in Japan before the war and continued filmmaking during the war years with propaganda films. The US banned swordplay films after the war for seven years. When the ban was lifted Kurasawa was ready with one of the great films in cinematic history, Seven Samurai, with Mifune playing a often humorous, wanna-be Samurai. Mifune’s father had been a photographer and young Toshiro often posed as a Samurai for photos.

Mifune became an inspiration for young actors who found his minimalist approach accessible. Often referred to as the John Wayne of Japan, Toshiro Mifune is The Last Samurai. Warmly recommended…a cinephile’s dream!

Palm Springs Film Fest Appoints Michael Lerman as Artistic Director

The Palm Springs International Film Festival (PSIFF) has announced the hiring of Michael Lerman as Artistic Director.  Currently, Lerman serves as Acting Michael LermanHead of Programming and Primetime Programmer for the Toronto Film Festival, which concludes its 11-day run on September 18, as well as the Artistic Director for the Philadelphia Film Society, where he has worked since 2005.

Lerman will oversee all artistic decisions for the 28th annual Palm Springs International Film Festival that runs from January 2-16, 2017.

“Michael Lerman is a young but very seasoned film festival veteran who brings a keen eye for identifying and curating remarkable films and filmmaker talent. He is an exemplary match for the Palm Springs International Film Festival,” said Festival Chairman Harold Matzner. “We were very impressed with his programming work at the Toronto International Film Festival and are honored to have him join our Palm Springs team.”

About The Palm Springs International Film Festival
The 28th Annual Palm Springs International Film Festival (PSIFF), will hold its Film Awards Gala at the Palm Springs Convention Center on Monday, January 2, 2017 hosted by Mary Hart.  Considered an important stop on the Oscar campaign trail, the Film Awards Gala honors individuals in the film industry with awards for acting, directing and lifetime achievement.  Honorees will be presented with either the John Kennedy “The Entertainer” statue or a Chihuly Glass Sculpture.   In the past 4 years, 40 of the 44 honorees have been nominated for the Academy Awards.  Amazingly, all honorees have attended for the past 14 years. The Palm Springs International Film Festival (PSIFF) is one of the largest film festivals in North America, welcoming 135,000 attendees last year for its lineup of new and celebrated international features and documentaries.

For more information, call 760-322-2930 or 800-898-7256 or visit www.psfilmfest.org.

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MEDIA CONTACT:
Steven Wilson
B|W|R Public Relations
212-901-3920
steven.wilson@bwr-pr.com

David Lee
Palm Springs International Film Society
760-322-2930
david@psfilmfest.org

SBIFF Showcase – The Handmaiden

From Chan-wook Park, the celebrated director of OLDBOY, LADY VENGEANCE and STOKER, comes a ravishing new crime drama. PARK presents a gripping and sensual tale of two women – a young Japanese Lady living on a secluded estate, and a Korean woman who is hired to serve as her new handmaiden, but is secretly plotting with a conman to defraud her of a large inheritance. Inspired by the novel Fingersmith by British author Sarah Waters, THE HANDMAIDEN borrows the most dynamic elements of its source material and combines it with PARK Chan-wook’s singular vision to create an unforgettable viewing experience.

“One of the year’s sliest, sexiest thrillers. The first section is only part of the story. The rest is so suspenseful, sexy and surprising that it would be a shame to say any more.” – Entertainment Weekly

“A feast for all the senses.” – Rolling Stone

“A hugely entertaining thriller. Simmering with genuine sexual tension.” – The Guardian

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Screening:
Sunday, November 27 @ 2:00pm
Monday, November 28 @ 7:30pm
Tuesday, November 29 @ 5:00pm
Wednesday, November 30 @ 7:30pm
Sunday, December 4 @ 2:00pm
Monday, December 5 @ 7:30pm
Tuesday, December 6 @ 5:00pm
Wednesday, December 7 @ 7:30pm
at the Riviera Theatre – 2044 Alameda Padre Serra

THE HANDMAIDEN
Directed by Chan-wook Park
Written by Seo-Kyung Chung, Chan-wook Park
Inspired by the novel “Fingersmith” by Sarah Waters
Starring Min-hee Kim, Kim Tae-ri, Jung-woo Ha,
Jin-woong Cho, Hae-suk Kim, So-ri Moon
Country of Origin: South Korea
Running Time: 144 min
Subtitled

To purchase tickets click here.

showcasesbiff

(Source:sbiff.org)

FILM REVIEW: Divines (Benyamina, 2016): France

Viewed by Larry Gleeson as part of AFIFEST 2016 presented by Audi.

screen-shot-2016-11-18-at-11-01-54-amDivines is the first feature length film by self-taught director Houda Benyamina. Benyamina, Actress Oulaya Amamra, and Divines were AFIFEST 2016 winners of the New Auteurs Audience Award, the Breakthrough Audience Award and a Special Jury Mention for Acting.

The film opens in surreal fashion with an out of focus frame containing a smoke and fog-like effect reminiscent of a meditation and indicative of the filmmaker’s use of dream logic.

Quickly, homage is made to Martin Scorcese’s Taxi Driver, with lead character, Dounia, played exquisitely by Oulaya Amamra, standing in front of a mirror pretending to fire a pistol while asking, “You looking at me?” Later in the film another homage to Scorcese is made from his early work,  Mean Streets, with Dounia on her knees  in the middle of the street pleading with God.

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And, without too much adieu, Benyamina quickly takes us into the inner world of her lead character, Dounia. In a sacred space Dounia sneaks voyeuristically in a low-key lit, high-angle omniscient shot looking down on a theater stage during an audition. She likes what she sees in the form of Djigui, a dancer with moves and passion, played by Kevin Mishel.

A transition is made to a rambunctious classroom. Soon, Dounia is arguing with hyper intensity as Dounia questions her teacher’s values and choice of vocation. The moment culminates with Dounia quitting school vowing to “show them.” Her vocation is to make money.

Another transition is made to a slow motion sequence in a darkly lit dance club playing diagetic music from a singing disc jockey. Here we see Dounia’s troubled mother inebriated and looking for love in all the wrong places – a common scenario throughout Divines for Dounia’s mother.

screen-shot-2016-11-18-at-11-08-25-amBefore long, Dounia witnesses a drug stash in the back of the theater. Dounia seizes the moment and takes the stash to a local dealer with her best friend, Maimouna, an Iman’s daughter, played by Deborah Lukumuena. The circle is complete as the drug dealer, Rebecca, played handsomely by Jisca Kalvanda, rounds out a strong cast of mostly female characters.

Throughout Divines, Dounia is searching for dignity. She lives in a Roma (gypsy) camp on the outskits of Paris and is frequently called Bastard. She discovers drug dealing as a way to gain respect and power. Before long, however, Dounia finds out the price she must pay for her vocation might be too high.

In Divines, Benyamina illuminates an emerging Parisian subculture made up of colorful, fringe characters steeped in Islam highlighting their highly creative, unique, and authentic stories. In furthering her artistic vision to democratize cinema, Benyamina formed a mutual assistance cinematic trade association, 1000 Visages (Faces).

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Possibly quite coincidentally, American mythologist, Joseph Campbell’s tome, “The Hero with a Thousand Faces,” a seminal work on archetypal heroes and myths shared by world religions and traditions, contains the association’s name in the book’s title. However, I believe Benyamina has dissected the work drawing extensively from its teachings as we witness the transformation of Dounia.

For a first feature, Benyamina’s Divines is polished. Costuming is realistic. The camera work and editing augment the film’s reality well. The musical score sets the mood and aids in pacing. And the acting is quite good. Highly recommended.

Casey Affleck to Receive the Desert Palm Achievement Award

Palm Springs, CA (November 11, 2016) – The 28th annual Palm Springs International Film Festival (PSIFF) will present Casey Affleck with the Desert Palm Achievement Award, Actor at its annual Film Awards Gala for his performance in Manchester By the Sea. Each year the festival selects an actor and actress to receive this award. The Film Awards Gala, hosted by Mary Hart, will be held Monday, January 2 at the Palm Springs Convention Center. The Festival runs January 2-16.

“Casey Affleck delivers his finest performance in Manchester By the Sea, playing a Boston screen-shot-2016-11-24-at-4-21-37-pmjanitor living a lonely and isolated existence,” said Festival Chairman Harold Matzner. “He has earned rave reviews from critics and is sure to garner awards attention. It is our honor to present the Desert Palm Achievement Award, Actor, to Casey Affleck.”

Past actor recipients of the Desert Palm Achievement Award include Jeff Bridges, Bradley Cooper, Johnny Depp, Daniel Day-Lewis, Colin Firth, Matthew McConaughey, Sean Penn, Brad Pitt and Eddie Redmayne. In the years they were honored, Bridges, Day-Lewis, McConaughey, Penn and Redmayne went on to win the Academy Award® for Best Actor, while Cooper, Firth and Pitt received Oscar® nominations.

Affleck stars in Manchester by the Sea, the latest film from award-winning writer and director Kenneth Lonergan, about the life of a solitary Boston janitor who is haunted by his past when he returns to his hometown to take care of his teenage nephew. The story of the Chandlers, a working-class family living in a Massachusetts fishing village for generations, Manchester by the Sea is a deeply poignant, exploration of the power of familial love, community, sacrifice and hope.  The film also stars Michelle Williams, Kyle Chandler, Lucas Hedges, Gretchen Mol and C.J. Wilson.

Casey Affleck was nominated for an Academy Award®, a Golden Globe Award® and a Screen Actors Guild Award for his performance in the character drama The Assassination of Jesse James by the Coward Robert Ford. His film credits include Gone Baby Gone, Gerry, Good Will Hunting, To Die For, Interstellar, Out of the Furnace, Ain’t Them Bodies Saints, Steven Soderbergh’s Oceans trilogy, Triple 9, and The Finest Hours.

About The Palm Springs International Film Festival
The Palm Springs International Film Festival (PSIFF) is one of the largest film festivals in North America, welcoming 135,000 attendees last year for its lineup of new and celebrated international features and documentaries. The Festival is also known for its annual Film Awards Gala, an upscale black-tie event attended by 2,500, honoring the best achievements of the filmic year by a celebrated list of talents who, in recent years, have included Ben Affleck, Javier Bardem, Cate Blanchett, Sandra Bullock, Bradley Cooper, George Clooney, Daniel Day-Lewis, Leonardo DiCaprio, Clint Eastwood, Tom Hanks, Matthew McConaughey, Julianne Moore, Brad Pitt, Eddie Redmayne, Julia Roberts, David O. Russell, Meryl Streep, and Reese Witherspoon.

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For more information, call 760-322-2930 or 800-898-7256 or visit www.psfilmfest.org.

MEDIA CONTACTS:
Steven Wilson / Lauren Peteroy
B|W|R Public Relations
212-901-3920
steven.wilson@bwr-pr.com / lauren.peteroy@bwr-pr.com

David Lee
Palm Springs International Film Society
760-322-2930
david@psfilmfest.org

(Source:www.psfilmfest.org)

FILM REVIEW: Citizen Kane (Welles, 1941): USA

Viewed by Larry Gleeson as part of the American Film Institute’s (AFI) AFIFEST 2016 presented by Audi. Citizen Kane, directed by Orson Welles, was first on AFI’s first 100 Greatest American Movies Movies of All Time in 1998. Ten years later, a 10th Anniversary Edition of AFI’s 100 Greatest American Movies found Citizen Kane still perched in the top spot.

Loosely based on newspaper tycoon, William Randolph Hearst, Citizen Kane was the first feature film by Welles. Hearst forbad any mention of the film in his newspapers upon the film’s release.

After signing his contract, Welles had been green-lighted for his film with a directorial final cut by RKO Pictures after his string of successes on Broadway with his Mercury Theater, including the thrilling radio broadcast of ‘The War Of The Worlds.’ Welles also brought several of his Mercury Theater actors on board for the project, several of whom would go on to have substantial Hollywood film careers including Joseph Cotton, Agnes Moorehead, Everett Sloane and Ruth Warrick.

Welles shared writing credits for Citizen Kane with Herman Mankiewicz and the two won the Academy Award for Best Screenplay in 1942. The film received a total of nine Oscar nominations in 1942 including Best Picture, Best Director (Welles), Best Actor in a Leading Role (Welles), Best Cinematography (Gregg Toland), Best Sound, Recording (John Aalberg), Best Music, Scoring of a Dramatic Picture (Bernard Herrmann), Best Film Editing (Robert Wise), and Best Art Direction-Interior Decoration, Black-and-White (Perry Ferguson, Van Ness Polglase, A. Roland Fields, Darrell Silvera).

The film opens in what appears to be a surreal reflection with a Bengali Tiger and ominous non-diagetic music with snow falling inside a crystal with an utterance of “Rosebud.” A strong, deep-toned, narrative voice-over begins informing the viewer with wartime newsreel clips from “News on The March,” mentioning among others Khubla Khan. After a series of quick edits, a low-angle shot of a large, stone-built castle the narrator refers to as “Xanadu, a pleasure dome,” is held for a moment.

Without missing much of a beat the narration continues with quick frames of paintings, pictures and statues that have been “looted” from the finest European museums. Not stopping, the narration intensifies as the narrator projects powerfully about animals of the land, foul of the air – two of each – in creation of the world’s largest private zoo since Noah and the largest monument a man has built to himself since the pyramids using 100,000 tons of concrete and 200,00 tons of marble in its construction culminating in a crescendo as the narrator introduces by name only the film’s protagonist, Charles Foster Kane, the great yellow journalist and heir of the Colorado Lode. News stories and the biography of the his life and death are flashed on screen as the story begins with a smoke-filled room of newsmen trying to determine the significance of the last word the newspaper tycoon uttered, ‘rosebud.’

Told primarily through flashbacks as the mystery of rosebud is explored, Citizen Kane contains a highly structured narrative coupled with revolutionary deep focus cinematography, mostly unseen before in mainstream cinema. Cinematographer Gregg Toland provided the deep focus effect with his specially treated lenses and light-sensitive film stock. The deep focus cinematography allowed the entire scene being shot to have primary focus and thus allowing the subjects to have equal importance visually. In addition, Welles and Toland removed floorboards in another groundbreaking scene to create ultra low-angle shots of the newspaper men following Kane’s unsuccessful pursuit of the American Presidency. The effect visually is stunning as rather ordinary, though influential, men are now seen as overly large, powerful titans squaring off.

In its essence, Citizen Kane, is the tragic tale of a man who has high ideals to be the people’s voice, the voice of the common everyday man. Slowly, however, the benevolence of the man becomes consumed with a passionate pursuit for power.

Tellingly, Citizen Kane’s message is still pertinent today. After Kane is defeated at the ballot box by the ‘sleaze factor’ (a decidedly distasteful tactic that can skewer even the most accurate polling data) he uses his newspapers to declare “Fraud at the Polls” in large-type newsprint headlines. Historians often cite Welles’ depiction of Susan Alexander Kane (a character purportedly representative of Hurst’s long-time, close intimate, Marion Davies) as the basis for Hurst strong negative reaction to Citizen Kane. More recently, several news outlets cite President Obama’s infamous roasting of President-elect Donald Trump at a 2011 White House Correspondents’ Dinner as the catalyst for Trump’s headlong dive into the 2016 race for the White House. Interestingly, even before Election Day, Trump declared fraud on the election. Interesting indeed. Citizen Kane is a must-see film for any serious cinephile and is highly recommended for all filmgoers.

International film distribution 101

Posted by Larry Gleeson

By Mark Litwak, Entertainment Lawyer

Filmmakers fortunate enough to receive distribution offers for their films are often confronted with complex deals to distribute their films. These can bewilder those unfamiliar with the customs and practices of the industry. Let’s begin with a discussion of international film sales.

International sales agents are distributors, although they usually do not own a single theater, home video label or television outlet. They are essentially distributors that license films to territory distributors (“buyers”). Territory distributors acquire rights to exhibit a film within their country although sometimes they may license rights for several different countries. They often find out about films from sales agents whom they meet at various markets held throughout the year. Sales agents and buyers typically attend the three major film markets, which are at Cannes, Berlin and Santa Monica (AFM) as well as TV markets such as Mip and MipCom. This film markets are critical: last year’s Cannes Market alone boasted more than 1,100 sales agents and 10,000 participants from almost 100 different countries.

Sales agents not only license films, but also service buyers by providing them with various materials and elements, including film and video masters, key art, photos and trailers. Most filmmakers have no clue how to go about licensing their film, for instance, to a Turkish buyer, and what terms would be acceptable. Moreover, they don’t even know who the buyers are in most territories.

screen-shot-2016-11-23-at-6-44-39-pmTwo-thirds of all film revenue now comes from abroad. International sales grew 35 percent from 2007 to 2011, while revenue in North America increased a mere 6 percent. Over the past four years, the number of screens in China has doubled to more than 6,200, a number that’s expected to double again by 2015. Chinese box-office receipts hit a record $1.5 billion last year. With China and other rapidly developing countries building thousands of new theaters, this trend is expected to continue. Indeed, the North American market is by far the toughest market to crack for a low budget independent film without stars.

Reputable sales agents should be willing to accept terms in their contract with filmmakers that protect their interests. Many such provisions do not cost the sales agent anything, as long as the sales agent lives up to the terms of its contract. A requirement for interest on late payments, for example, costs the sales agent nothing as long as payments are made on time. Such a clause is important because it will encourage a sales agent to live up to its commitments, and provide the filmmaker with a viable remedy in case the sales agent defaults. While a competent sales agent provides valuable services, one should always remember the importance of what the filmmaker brings to the table. Without a good film, the sales agent has nothing to sell. Most sales agents produce few if any movies themselves.

Indeed, the North American market is by far the toughest market to crack for a low screen-shot-2016-11-23-at-6-55-20-pmbudget independent film without stars. International sales grew 35 percent from 2007 to 2011, while revenue in North America increased a mere 6 percent.

Here are just a few of the most critical ways for filmmakers to protect their interests in contracting with sales agents:

No changes. The film should not be edited or changed without the filmmaker’s approval. Editing for censorship purposes, television broadcast and changes made for a foreign language release is permissible.

Minimum advertising specified. Contracts should specify the minimum amount the sales agent will spend on promoting the film. These expenses could include advertising in the trade papers, a billboard or payment for a screening room for the film.

Expenses limited. There should be a floor and a ceiling on expenses. Market expenses should be limited to the first year of release and capped per market. Promotional expenses should be limited to direct out-of-pocket costs spent to promote the film, and should specifically exclude the sales agent’s general overhead and staff expenses.

Term. The term should be a reasonable length. The filmmaker should be able to regain rights to the film if the sales agent gives up on it. It is best to have a short initial term and a series of automatic rollovers that apply if certain performance milestones are met.

Indemnity. Filmmakers should be indemnified for any losses incurred as a result of the sales agent’s breach of the terms of the agreement or violation of third party rights.

Possession of negative. The sales agent should simply receive a lab access letter rather than possession of the original negative; the sales agent should not be permitted to remove masters from the laboratory.

Errors and omissions policy. It’s generally the filmmaker’s responsibility to purchase such an insurance policy, though sales agents sometimes may be willing to advance the cost of this insurance. In such an event, the filmmaker should be added as an additional named insured on the policy.

Termination clause. If the sales agent defaults on contractual obligations, the filmmaker should have the right to terminate the contract, and regain rights to license the film in unsold territories as well as obtain money damages. It is only fair for the filmmaker to give the sales agent reasonable prior notice of default before exercising her right to terminate.

Limitation on action. The filmmaker should have at least three years from receipt of any financial statement, or discovery of any accounting irregularity, whichever is later, to contest accounting errors.

Assignment. It is best to prohibit assignment unless filmmaker consents.

Warranties. The filmmaker’s warranties, in regard to infringement of third party rights, should be to the best of the filmmaker’s knowledge and belief, not absolute.

Schedule of minimums. Foreign sales agents should agree to attach to their contract a schedule of minimum acceptable license fees per territory.

Arbitration clause. Every contract should contain an IFTA arbitration clause ensuring that all contractual disputes are subject to binding arbitration with the prevailing party entitled to reimbursement of legal fees and costs. The arbitration award should be final, binding and non-appealable.

(Source:www.indiewire.com)

Nowhere To Hide at International Documentary Film Festival Amsterdam

Posted by Larry Gleeson

By Goeffrey Macnab

It’s late 2011, and the Americans are about to leave Iraq. The local people are rejoicing. “The whole country is now independent and free,” the radio announcer proclaims.

Three years later, and this optimism is well and truly shattered. Male nurse Nori Sharif, working in central Iraq in a part of the country deemed the “triangle of death” and a complete no-go-zone for outsiders, chronicles the slow slide into despair, the increasing sectarianism and the rise of ISIS. The violence seeps into hospitals and schools. Kidnappings shoot up.

Kurdish-Norwegian filmmaker Zaradasht Ahmed was “directing” Nori from a distance. (Ahmed himself was in the town of Sulaymaniyah, in Iraqi Kurdistan.) At first, the idea was that Nori would film what was going on around him – he would be the observer, not the subject.

“We gave him the camera, we gave him the knowledge,” Ahmed says of Nori. He and his collaborators would tell Nori what to shoot and where to point his camera. All the time, the violence was moving closer and closer to Ahmed. By the end of 2013 and the start of 2014, society was close to collapse.

At this point, Sharif himself became the subject of the film. It turned into the story of a man and his family trying to survive. “It was the only way to justify the work, to focus on Nori,” Ahmed remembers. “All material since about 2013 was twisted again. It was more Nori to be in front of the camera, teaching him how to film himself, teaching other people how to film him, to angle it more from a personal point of view.”

By the end, Nori was isolated. He didn’t know whether to stay or to leave. ISIS was in control. This was a world in which anybody could be a victim – and anybody could be an enemy.

Ahmed had between 300 and 400 hours of footage from which to assemble Nowhere to Hide, which runs at 86 minutes. The project involved five years of shooting and a year of research. The director pays tribute to his editor, Eva Hillstöm, and her painstaking work in uncovering the “hidden human feeling” in the story as they attempted to make a “different kind” of war film – one looking at the experiences of “ordinary” people caught up in a conflict they’ve done nothing to provoke. “The film would have been different without her,” the director says.

As for Nori himself, he is not expected at IDFA. “When I was last in Iraq a couple of months ago, I suggested to him that we wanted him to come,” Ahmed recalls. However, over the space of a month, Nori lost two of his brothers. One died in a car accident, the other “because of ISIS.” “He was not in the mood to travel. He said ‘I think I should stay here … I wish he could have been here to see his work.”

(Source: http://www.idfa.nl)

Nowhere to Hide wins IDFA Award for Best Feature-Length Documentary

Nowhere to Hide by Zaradasht Ahmed won the IDFA Award for Best Feature-Length Documentary and Still Tomorrow by Jian Fan won the IDFA Special Jury Award for Feature-Length Documentary.


The award for best Dutch documentary went to Reber Dosky for Radio Kobanî. Guido Hendrikx’s Stranger in Paradise, which opened the festival, received the IDFA Special Jury Award for Dutch Documentary.


At the beginning of the evening, Heddy Honigmann presented the Prins Bernhard Cultuurfonds Documentary Award (€ 50,000) to filmmaker Ester Gould.
A total of 16 awards were presented, following last night’s presentation of the IDFA Alliance of Women Film Journalists’ EDA Award for Best Female-Directed Documentary to Maite Alberdi for The Grown-Ups.
The festival continues through Sunday, when the winner of the VPRO IDFA Audience Award will be announced.

Zaradasht Ahmed won the IDFA Award for Best Feature-Length Documentary (€ 12,500) for Nowhere to Hide (Norway/Sweden). The film is an eyewitness report by an Iraqi nurse forced to flee when his home falls into the hands of IS.
From the jury report: There are those films which are wonderful to see and there are films that the world needs to see. The film we choose is both of these things. The experience was immersive and left us deeply touched. The director respected the unique perspective that only the subject could have and in doing so he gave us an unprecedented window into the real life lasting consequences of war.

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In addition, the jury presented the IDFA Special Jury Award for Feature-Length Documentary (€ 2,500) to Still Tomorrow (China) by Jian Fan. The documentary is a portrait of Chinese poet Xiuhua Yu, who blossoms from a disabled farmer caught in a loveless marriage into an internet sensation and Chinese media darling.

The jury of the IDFA Competition for Feature-Length Documentary consisted of chair Tom Paul (USA), Yuri Ancarini (Italy), Jordana Berg (Brazil), Ingrid van Tol (the Netherlands) and Debra Zimmerman (USA).
Jury report VPRO IDFA Award for Best Feature-Length Documentary

  • The IDFA DocLab Award for Digital Storytelling (€ 5,000) went to DeathTolls Experience (Iran) by Ali Eslami.
    Mia Donovan received the Scenic IDFA DocLab Immersive Non-Fiction Award (€ 2,500) for Deprogrammed (Canada).

    The jury of the IDFA DocLab Competition for Digital Storytelling consisted of Brett Gaylor (Canada), Anna Higgs (UK) and Jan Rothuizen (the Netherlands).
    Jury report IDFA DocLab Award for Digital Storytelling

  • The IDFA Award for First Appearance (€ 7,500) was presented to Sine Skibsholt for Who We Were (Denmark).
    The Special Jury Award for First Appearance (€ 2,500), dedicated to the memory of Peter Wintonick, was presented to Plastic China (China) by Jiu-liang Wang. Plastic China was made with financial support from the IDFA Bertha Fund.

    The jury of the IDFA Competition for First Appearance was made up of Marjoleine Boonstra (the Netherlands), Uldis Cekulis (Latvia), Kahane Cooperman (USA), Samir Mehanovic (Scotland) and Bob Moore (Canada).
    Jury report IDFA Award for First Appearance

  • Tali Shemesh and Asaf Sudry won the IDFA Award for Best Mid-Length Documentary (€ 10,000) for Death in the Terminal (Israel).
    Ksenia Okhapkina won de IDFA Special Jury Award for Mid-Length Documentary (€ 2,500) for Come Back Free (Estonia).

    The jury of the IDFA Competition for Mid-Length Documentary consisted of Ryan Harrington (USA), Noe Mendelle (Scotland), Jake Perlin (USA), Andrea Prenghyová (Czech Republic) and Digna Sinke (the Netherlands).
    Jury report IDFA Award for Best Mid-Length Documentary

  • The Beeld en Geluid IDFA Award for Dutch Documentary (€ 7,500) went to Radio Kobanî by Reber Dosky.
    Guido Hendrikx received the IDFA Special Jury Award for Dutch Documentary (€ 2,500) for Stranger in Paradise.

    The jury of the IDFA Competition for Dutch Documentary was made up of Tine Fischer (Denmark), Maureen Gosling (USA), Ester Gould (the Netherlands), Nilotpal Majumdar (India) and Qi Zhao (China).
    Jury report Beeld en Geluid IDFA Award for Dutch Documentary

  • The ARRI IDFA Award for Best Student Documentary (€ 5,000) was awarded to When Will This Wind Stop (Poland) by Aniela Astrid Gabryel.
    Close Ties (Poland) by Zofia Kowalewska won the IDFA Special Jury Award for Student Documentary (€ 2,500). Alongside the cash prize, both winners were given an Amira camera, made available by ARRI for the makers’ next productions.

    The jury of the IDFA Competition for Student Documentary was made up of Judy Kibinge (Kenya), Salome Machaidze (Georgia) and Daan Veldhuizen (the Netherlands).
    Jury report IDFA Award for Student Competition

  • The IDFA Award for Best Children’s Documentary (€ 2,500) was awarded to Rocknrollers (the Netherlands) by Daan Bol.
    Saskia Gubbels won the IDFA Special Jury Award for Children’s Documentary (€ 1,000) for Naomi’s Secret (the Netherlands).

    The jury of the IDFA Kids & Docs Competition consisted of Monica Hellström (Denmark), Ollie Huddleston (UK) and Niki Padidar (Nederland).
    Jury report IDFA Award for Best Children’s Documentary

  • Other awards
    At the beginning of the evening, Heddy Honigmann presented the Prins Bernhard Cultuurfonds Documentary Award to filmmaker Ester Gould (A Strange Love Affair with Ego, Strike a Pose). This bursary is made available by an anonymous donor and was set up by the Cultuurfonds. It consists of an amount of € 50,000 for the production of a new documentary.

    On Tuesday evening, the IDFA Alliance of Women Film Journalists’ EDA Award for Best Female-Directed Documentary(€ 2,500) was presented to The Grown-Ups (Chile/the Netherlands/France) by Maite Alberdi.
    The Grown-Ups was made with financial support from the IDFA Bertha Fund.

The festival runs until Sunday, 27 November, when the winner of the VPRO IDFA Audience Award (€ 5,000) will be announced.

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(Source: http://www.idfa.nl)

Ruth Negga to Receive the Rising Star Award at Palm Springs

Palm Springs, CA (November 16, 2016) – The 28th annual Palm Springs International Film Festival (PSIFF) will present Ruth Negga with the Rising Star Award at its annual Ruth NeggaFilm Awards Gala for her performance in Loving. The Film Awards Gala, hosted by Mary Hart, will be held Monday, January 2 at the Palm Springs Convention Center. The Festival runs January 2-16.

“Ruth Negga’s performance as Mildred Loving is one of the year’s most luminous and striking portrayals,” said Festival Chairman Harold Matzner. “This timeless love story about an interracial couple reminds us of the unstoppable power of love in the face of hate and prejudice – a story that could not be more resonant and powerful today. This will certainly be just one of many breathtaking performances in a long career. The Palm Springs International Film Festival is honored to present Ruth Negga with this year’s Rising Star Award.”

Past recipients of the Rising Star Award include Alicia Vikander, Jennifer Lawrence, Scarlett Johansson, Anna Kendrick, Dakota Fanning, and Terrence Howard.

New in theaters this month from Focus Features, Loving is written and directed by Jeff Nichols, and stars Joel Edgerton and Ruth Negga as Richard and Mildred Loving. Loving celebrates the real-life courage and commitment of the interracial couple who fell in love and were married in 1958. The couple had grown up in Central Point, a small town in Virginia that was more integrated than surrounding areas in the American South. Yet it was the state of Virginia, where they were making their home and starting a family, that first jailed and then banished them. Their civil rights case, Loving v. Virginia, went all the way to the Supreme Court, which in 1967 reaffirmed the very foundation of the right to marry. Richard and Mildred returned home and their love story has become an inspiration to couples ever since.

Ruth Negga’s body of work spans award-winning theatre productions, big-screen dramas, independent films, and innovative television series. Her film work includes World War Z, The Samaritan, Breakfast on Pluto, Una Vida (a.k.a. Of Mind and Music), Noble; Jimi: All Is by My Side, Warcraft; and Iona. Negga won the Irish Film & Television Academy (IFTA) Award for Best Actress for her portrayal of legendary singer Shirley Bassey in the telefilm Shirley. Her other TV work includes Misfits, Love/Hate, the miniseries Coup (a.k.a. Secret State), Five Daughters, and Agents of S.H.I.E.L.D., She currently stars on AMC’s series Preacher.

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About The Palm Springs International Film Festival
The Palm Springs International Film Festival (PSIFF) is one of the largest film festivals in North America, welcoming 135,000 attendees last year for its lineup of new and celebrated international features and documentaries. The Festival is also known for its annual Film Awards Gala, an upscale black-tie event attended by 2,500, honoring the best achievements of the filmic year by a celebrated list of talents who, in recent years, have included Ben Affleck, Javier Bardem, Cate Blanchett, Sandra Bullock, Bradley Cooper, George Clooney, Daniel Day-Lewis, Leonardo DiCaprio, Clint Eastwood, Tom Hanks, Matthew McConaughey, Julianne Moore, Brad Pitt, Eddie Redmayne, Julia Roberts, David O. Russell, Meryl Streep, and Reese Witherspoon.

For more information, call 760-322-2930 or 800-898-7256 or visit www.psfilmfest.org.

MEDIA CONTACTS:
Steven Wilson / Lauren Peteroy
B|W|R Public Relations
212-901-3920
steven.wilson@bwr-pr.com / lauren.peteroy@bwr-pr.com

David Lee
Palm Springs International Film Society
760-322-2930
david@psfilmfest.org

(Source: http://www.psfilmfest.org)