The International Juries of Venezia 74

Posted by Larry Gleeson

The selection is complete for the members of the four Juries of the 74th Venice International Film Festival.

 

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The Presidents of the four Juries are: 

Venezia 74 – Annette Bening 

Orizzonti – Gianni Amelio

Venice Virtual Reality – John Landis

Premio Venezia Opera Prima “Luigi De Laurentiis” – Benoît Jacquot

 

Stay tuned for more on this developing feature about the world’s oldest and by far one of the today’s most prestigious and glamorous film festivals!

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The members of the International Jury of the Orizzonti section are:

· The Italian director Gianni Amelio (President of the Jury). He debuted in feature films with Colpire al cuore (1982), which participated In Competition in Venice, where he won the Golden Lion in 1998 with Così ridevano; he returned to Venice three more times. Other films of his include The Stolen Children (Grand Prize of the Jury in Cannes in  1992), Lamerica and The Keys to the House. This year, La tenerezza received the Silver Ribbon for Best Film.

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Rebecca Zlotowski (Photo courtesy of ASAC/La Biennale di Venezia)

· Rebecca Zlotowski is a French screenwriter and the director of three feature films. Her first movie,  Belle épine, was presented in 2010 in Cannes, where she returned in 2013 with Grand Central in Un Certain Regard. Planetarium, her 2016 film starring Natalie Portman, was presented Out of Competition in Venice.

· Rakhshan Banietemad is one of Iran’s most important filmmakers, the director of numerous documentaries and fiction films such as Under the Skin of the City and Our Times, fundamental works of Iranian cinema. In 1995, The Blue Veiled won the Bronze Leopard in Locarno, while Taleswon Best Screenplay at Venice 71.

· The American director Ami Canaan Mann. She has directed three feature films. She debuted in 2001 with Morning; in 2011 she presented Texas Killing Fields In Competition in Venice, where she returned three years later with Jackie & Ryan, selected for the Orizzonti section. She has directed episodes for several TV series such as Robbery Homicide Division and, most recently, Shots Fired and Sneaky Pete.

· The Irish-Scottish director, screenwriter and curator Mark Cousins. He has made many documentaries and is particularly famous for his monumental The Story of Film: An Odyssey, a 930-minute journey through the history of cinema. He has also made short films and experimental works, and is a university professor and essayist. He directed his first fiction film, Stockholm, My Love, in 2016.

· The Argentine screenwriter, architect and artistic curator Andrés Duprat. He wrote the screenplays of El artista (2008), El hombre de al lado(2010), Querida voy a comprar cigarrillos y vuelvo (2011) and El ciudadano ilustre (2016), all of which were directed by Mariano Cohn and Gastón Duprat. El ciudadano ilustre allowed Oscar Martínez to winthe Coppa Volpi in Venice. Duprat is the curator of the Pavilion of Argentina at the 57thInternational Art Exhibition of the Biennale di Venezia.

· The Belgian director and screenwriter Fien Troch. She debuted in feature films in 2005 with Someone Else’s Happiness, presented in Toronto, where she returned with her next film, Unspoken. Her most recent movie, Home, won Best Director in the Orizzonti section in Venice in 2016.

The Jury of the Orizzonti section will award the following prizes, with no ex-aequo permitted:

Orizzonti Award for Best Film; Orizzonti Award for Best Director; Special Orizzonti Jury Prize; Orizzonti Award for Best Actor; Orizzonti Awardfor Best Actress; Orizzonti Award for Best Screenplay; Orizzonti Award for Best Short Film.

 

The members of the International Jury of the “Luigi De Laurentiis” Venice Award for a Debut Film – Lion of the Future are:

· The French director and screenwriter Benoît Jacquot (President of the Jury). He has participated several times In Competition at the Venice Film Festival, with Le septième ciel in 1997; Pas de scandale in 1999; L’intouchable in 2006, for which the film’s protagonist Isild Le Besco received the Marcello Mastroianni Award; and 3 coeurs in 2014.

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Benoit Jacqout (Photo courtesy of ASAC/La Biennale di Venezia)

 

· The British author, professor, interviewer and film programmer Geoff Andrew. He has been the editor and lead writer of Time Out and a regular contributor to Sight & Sound for many years. Andrew was the head programmer at the National Film Theatre (now BFI Southbank) and a programming consultant for the London Film Festival.

· Albert Lee is one of the most experienced and versatile figures in Hong Kong’s film industry. He has worked as producer with directors such as Herman Yau, Dante Lam, Benny Chan and Jeff Lau. He is well-known for his long-standing collaboration with the Chinese director Jiang Wen, which began in 2007 with The Sun Also Rises, presented In Competition in Venice.

· The Italian actress Greta Scarano. She starred in the film Senza nessuna pietà by Michele Alhaique, presented in Venice in 2014 in the Orizzonti section. She received the Silver Ribbon and the Golden Ciak as the discovery of the year for her performance in Suburra by Stefano Sollima. Greta Scarano plays Elisa in Sky’s cult TV series In Treatment. Scarano

· Yorgos Zois is a Greek director who has worked as an assistant to Theo Angelopoulos. His first short, Casus Belli, was presented in 2010 in Venice, where he returned two years later with Out of Frame, which was nominated at the 2012 European Film Award and also received several other international awards. His first feature film, Interruption, was presented in the Orizzonti section in  2015.

 

The Jury will award, with no ex-aequo awards permitted, the Lion of the Future – “Luigi De Laurentiis” Venice Award for a Debut Film to one of the debut feature-length films selected from the various competition sections of the Venice Film Festival (Official Selection and Independent and Parallel Sidebars). The Lion of the Future – “Luigi De Laurentiis” Venice Award for a Debut Film comes with a cash prize of 100,000 USD donated by Filmauro, to be divided equally between the director and the producer.

 

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(Sourced from the Biennale Cinema Press Office)

 

 

 

John Landis to reside over Venice Virtual Reality Jury

Posted by Larry Gleeson

John Landis, American film director, screenwriter, actor, and producer who got his start in the mail room at 20th Century- Fox has been tabbed to be the President of the Venice Virtual Reality International Jury over the new competition for virtual reality (VR) films: Venice Virtual Reality.

Last year I witnessed the world premiere presentation of the first feature length VR film (Jesus VR). This year there will be up to 18 VR films in the Venice Virtual Reality competition at the newly constructed VR Theater inside the Palazzo del Casinò, Lido di Venezia. The competition will be held from August 31st through September 5th, 2017.

 

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Last year the screening of several experimental films as well as the world premiere of the first feature length VR film, Jesus VR, aroused enormous interest among participants. (Photo credit: Larry Gleeson/HollywoodGlee)

 

The members of the International Jury of the Venice Virtual Reality section are:

· The American director John Landis (President  of the Jury), a key figure in American cinema for the past forty years. Landis has influenced generations of filmmakers with his movies, which include Animal HouseTheBlues BrothersAn American Werewolf in LondonTrading PlacesInto the Night, one of his most famous movies, will be screened in its restored version in Venice this year. In 2008 Landis was a jury member for the Competition at the 65thVenice Film Festival.

· The French screenwriter and director Céline SciammaNaissance des pieuvres, her first film, was presented in Cannes in 2007, as was Bande de filles seven years later. She became famous with her second feature film, Tomboy, presented in Berlin and the winner of many awards. Her screenplays include Ma vie de courgette, which received an Oscar nomination for Best Animated Feature Film.

· The actor and director Ricky Tognazzi. He won a Silver Bear for Best Director with Ultrà, tying with The Silence of the Lambs, and a David di Donatello in the same category, a feat he repeated two years later with La scorta, which participated In Competition in Cannes. In 2011, he presented Tutta colpa della musica in Venice. He has performed in movies such as Una storia semplice and Caruso Pascoski di padre polacco.

 

The Jury of Venice Virtual Reality will award, with no ex-aequo awards permitted, the following prizes: Best VR, Best VR experience (for interactive content), Best VR story (for linear content).

 

Stay tuned for more on Venice Virtual Reality!

 

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(Sourced from the Biennale Press Office)

Annette Bening to serve as the President of the Venice 74 Film Jury

Posted by Larry Gleeson

The 74th Venice International Film Festival has announced Annette Bening will serve as the President of the Venezia 74 Jury for this year’s festival.

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Other Jury members include:

· The Hungarian director and screenwriter Ildikó Enyedi; she won the Golden Camera for Best Debut Film at Cannes for My Twentieth Century; the movie was included on the list of the 12 best Hungarian films of all time. She participated In Competition in Venice in 1994 with Magic Hunter and in Locarno in 1999 with Simon the Magician. Her most recent film, On Body and Soul, won the Golden Bear in Berlin in 2017.

· The director, producer and screenwriter Michel Franco.Born and raised in Mexico he has made five feature films, four of which were presented in Cannes. Después de Lucía and Las hijas de Abril won Best Film and the Special Jury Prize in Un Certain Regard, respectively. Chronic, presented In Competition, won Best Screenplay. He produced Desde allá by Lorenzo Vigas, which won the Golden Lion in Venice in 2015.

· The British actress Rebecca Hall; she spends her time between Great Britain and the United States, where she has worked with directors such as Christopher Nolan, Steven Spielberg and Woody Allen, thanks to whom she was nominated for a Golden Globe for her role in Vicky Cristina Barcelona. She has also appeared in The TownA Promise and Iron Man 3. She received critical acclaim and major international awards for her performance in Christine.

· The actress Anna Mouglalis is an iconic figure of French art house cinema. At a very young age, she appeared in La captive (2000) by Chantal Akerman. She became famous in Italy thanks to her role in Romanzo criminale (2005) by Michele Placido. She spends her time between Italy and France, making art house films with directors such as Arnaud Desplechin, Mario Martone and Philippe Garrel, and she is in the cast of Gainsbourg (Vie héroïque), a protagonist at the 2011 César awards.

· The Anglo-Australian film critic David Stratton; he directed the Sydney Film Festival for almost twenty years and has been a member of the jury at major film festivals all over the world, including Venice, Cannes and Berlin. Stratton collaborated with Variety for twenty years and he has produced and hosted important television programs about cinema.

· The actress Jasmine Trinca; she is one of the most important Italian actresses of her generation. She has appeared in films by important directors such as Nanni Moretti, Marco Tullio Giordana, Michele Placido and Taviani brothers. In 2009, she won the Marcello Mastroianni Award in Venice for The Big Dream and in 2017 she was awarded Best Actress in Un Certain Regard at Cannes for Fortunata. She has also won two Silver Ribbons.

· The English director and screenwriter Edgar Wright; he is the director of the iconic “Three Flavours Cornetto” Trilogy, starring Simon Pegg and Nick Frost, started with Shaun of the Dead (2004), which revitalized genre parodies. In 2010, he directed Scott Pilgrim vs. the World, an original experiment overlapping film and comics. At the moment, his film Baby Driver is receiving acclaim in the American theaters and it will be released in Italy on September 7th.

· The director, producer and screenwriter Yonfan; world traveler, active across China, Hong Kong and Taiwan, he has written, directed and produced all thirteen of his own movies, including Breaking the Willow (2003) and Prince of Tears (2009), both of which were presented in Venice, the latter film in Competition; he also participated in the project Venezia 70 – Future Reloaded. He has worked with the top Hong Kong stars, including Maggie Cheung, Chow Yung-fat and Daniel Wu, who became well-known for his role in Bishonen.

The Venezia 74 Jury will award the following prizes: Golden Lion for Best Film; Silver Lion – Grand Jury Prize; Silver Lion for Best Director; Coppa Volpi for Best Actor; Coppa Volpi for Best Actress; Award for Best Screenplay; the Special Jury Prize and “Marcello Mastroianni” Award for Best New Young Actor or Actress.

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(Source: Biennale Press Office)

 

 

74th Venice International Film Festival

Posted by Larry Gleeson

The 74th Venice International Film Festival, directed by Alberto Barbera and organized by La Biennale di Venezia, will run at Venice Lido from August 30th to September 9th, 2017.

The aim of the Festival is to raise awareness and promote the various aspects of international cinema in all its forms: as art, entertainment and as an industry, in a spirit of freedom and dialogue. The Festival also organizes retrospectives and tributes to major figures as a contribution towards a better understanding of the history of cinema.

The line-up of the next Festival will be announced during the official press conference to take place in Rome on 27th July (at Cinema Moderno, Piazza della Republica, 11:00 am).

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(Sourced from labiennale.org)

Music Box Films Presents THE MIDWIFE from Martin Provost! Opens July 21st!

Fabulous film! A must see!

Posted by Larry Gleeson

Cesar-award winning director, Martin Provost’s latest film, The Midwife,was an official selection of the 2017 Berlin International Film Festival starring Catherine Deneuve and Catherine Prost.

 

 Presents

The MidWife

Written and Directed by Martin Provost (Violette, Séraphine)

Starring Catherine Deneuve, Catherine Frot (Marguerite, Haute Cuisine) and Olivier Gourmet (The Minister, The Son)

Opens in Los Angeles and New York on July 21st 

Official Selection: 2017 Berlin Film Festival

THE MIDWIFE - © Michaâl Crotto/Courtesy of Music Box Films
Catherine Deneuve, left, as Beatrice Sobolevski, and Catherine Frot as Claire Breton, in The Midwife. @Michaal Crotto/Courtesy of Music Box Films.

THE MIDWIFE, starring Catherine Deneuve and Catherine Frot in their first on screen appearance together in a moving drama about unlikely friendships, forgiveness, and the need for change, written specifically for them by director Martin Provost (Séraphine, Violette). THE MIDWIFE is scheduled to open in Los Angeles and New York on Friday, July 21st.

THE MIDWIFE - © Michaâl Crotto/Courtesy of Music Box Films
Catherine Frot as Claire Breton in The Midwife. @Michaal Crotto/Courtesy of Music Box Films

Claire (Catherine Frot-Marguerite) is a talented but tightly wound midwife and single mother on the cusp of losing her job as her small maternity clinic can’t compete with the nearby big hospital.  Béatrice (Catherine Deneuve), is the estranged, free-spirited but broken-down mistress of Claire’s deceased father looking for redemption.  Though polar opposites in almost every way, the two women come to rely on each other to cope with the unusual circumstances that brings them together.

THE MIDWIFE - © Michaâl Crotto/Courtesy of Music Box Films
The Midwife Director, Martin Provost. @Michaal Crotto/Courtesy of Music Box Films

 

THE MIDWIFE is scheduled to open in Los Angeles and New York on Friday, July 21st.

Running Time: 117 Minutes
Language:French with English subtitles.
Rating: Unrated

 

Sources: FILM REVIEW: The Midwife (Provost, 2017): France (Press materials provided                                                                                                                          by Marina Bailey PR)

FILM REVIEW: Atomic Homefront (Cammisa, 2017): USA

Posted and reviewed by Larry Gleeson

Rebecca Cammisa knows a story when she sees one. Cammisa received a tip from a St. Screen Shot 2017-07-13 at 4.57.23 PMLouis reporter about a situation unfolding in North County (St. Louis) communities. The “situation” has been festering for over 70 years. St. Louis has a little known secret  – one among many I’m sure. During World War II (WWII), St. Louis was one of the nation’s atomic weapons manufacturing locations. The well-known Mallinckrodt Corporation, in addition to a few other entities, was contracted to carry out war time operations related to to our country’s Manhattan Project atomic program including uranium processing. Using traditional documentary film techniques such as the direct interview, voice-over narration, emotional testimonials and non-diagectic musical scoring, Cammisa gets right into the controversy that pits local residents against the federal government with Atomic Homefront, an HBO Documentary Film.

Here’s why Cammisa made her film. After the atomic bomb uranium processing was mv5bywyyzgizmjktowqxyi00mzq0lweyzwmtmdq3ogqwmzkwnzcyxkeyxkfqcgdeqxvymty5otuwma-_v1_ux182_cr00182268_al_completed, the radioactive waste was deposited in several areas in and around St. Louis and its surrounding communities. A few areas, like the one Cammisa focuses on in her timely film, is the Coldwater Creek area. Here the waste lay in piles exposed to the elements, including rainfall, along Latty Avenue until 1973. The radioactive material ran off into the nearby creek where neighborhood children played. Moreover, when the creek flooded water made its way into nearby homes. Increased cancer rates associated with the radioactive isotope have been, and, are being reported. Cammisa chose to include a heart-wrenching, on-camera interview with a sixteen-year- old male on death’s doorstep. His mother believed she had been contaminated by the radioactive materials and had passed it on to her son. The son heroically states he wanted to “help others” by going on camera.

But there’s more to the situation than the radioactive runoff in the Coldwater Creek area. After receiving numerous complaints of the god-awful stench emanating from the Latty Avenue piles of radioactive waste, the piles were illegally dump into the periphery, West Lake neighborhood landfill, which became an Environmental Protection Agency (EPA) Superfund site in 1990. Now the EPA is responsible for the oversight and cleanup. But what about the odorific stench? Somehow, it’s still emanating and making it into the air making nearby residents cringe and worry about what’s being ingested with each and every breath. And, the “situation” doesn’t end there.

The EPA set up air monitoring sites and the radioactive particles are under levels know to cause harm and advised residents to close their windows. That didn’t sit well with those moms I mentioned earlier. They’ve gotten together and formed Just Moms STL,  a strong group of moms-turned advocates that believe their communities are being poisoned and have vowed to continue fighting until the EPA removes the waste or relocates nearby residents – neither of which or likely to happen anytime soon as the EPA lacks funding. And as reported in the Washington Post on March 28th, 2017, President Trump signs order at the EPA to dismantle environmental protections.

Unbelievably, for the last seven an uncontrolled subterranean fire has been burning in closed areas of the landfill and recently has been migrating towards the buried radioactive waste. And for the last seven years, Republic Services, a waste management company, has been stating the fire is contained and there is no threat from the radiation. Yet, in 2016, the EPA has clearly identified radiologically impacted material had migrated within 700 feet of the fire and was moving closer. What would happen if the radioactive particles attached to the smoldering vapors and became airborne migrating into the communities potentially miles away? Undaunted, Republic Services insists the site is in a “safe and managed state.”

Atomic Homefront highlights St. Louis an example of how radioactive “situations” are sometime just swept under the rug by the federal and private agencies charged with overseeing them. What the federal government knew, knows or doesn’t know is smoldering underneath the center of Camissa latest documentary, Atomic Homefront. A 1988 film nominated for an Academy Award for best documentary, Radio Bikini, highlights another atomic, highly, radioactive “situation” from WWII with a bit more of an historical treatment. Personally, I would have appreciated that from Cammisa as I trained on ground, as a member of the U.S. Army Reserve, adjacent to the Weldon Springs, Missouri site (another radiologically contaminated dumping site). Nevertheless, Cammisa presents a powerful portrait of Just Moms STL with Atomic Homefront and poses questions sure to stimulate dialogue. Highly recommended.

*The local EPA office would not allow Atomic Homefront to record any meetings with concerned residents who were demanding answers to this sordid state of affairs.

 

FILM REVIEW: The Midwife (Provost, 2017): France

Posted and reviewed by Larry Gleeson

 

 

Cesar-award winning director, Martin Provost’s latest film, The Midwife, an official selection of the 2017 Berlin International Film Festival, is a bittersweet drama about the unlikely friendship that develops between Claire, a talented but tightly wound midwife, portrayed by Catherine Frot, and Beatrice, the estranged, free-spirited mistress of Claire’s late father, portrayed by Catherine Deneuve. Interestingly, Provost wrote his script with the two French actresses in mind for the lead roles of Claire and Beatrice.

THE MIDWIFE - © Michaal Crotto/Courtesy of Music Box Films

In a printed interview distributed by Music Box Films, Provost, having been saved by a midwife at birth, insists his film work is not autobiographical. After learning of his difficult birth he sought out the midwife who gave her blood that allowed him to live. His efforts turned up nil as the hospital archives were destroyed. Consequently, he decided to pay tribute, in his own way, by dedicating his film to her and through her to all the women who work in the shadows, dedicating their lives to others, without expecting anything in return.

THE MIDWIFE - © Michaâl Crotto/Courtesy of Music Box Films

The film’s opening scene delivery room’s color palette of pink and blue pastels contrasting with cross-cutting establishing shots of earthy tones foreshadow what unfolds in the film’s narrative as Provost unfolds the lives of two very different women.  A non-diagetic score by Gregoire Hetzel, the film’s musical composer, accompanies the scene and is repeated throughout in Claire’s scenes reminiscent of “Peter and the Wolf.” Meanwhile, a stunning mise-en-scene of daybreak is meticulously presented with an enormous tracking shot. A secondary, high, magnificent, omniscient point of view shot of Claire entering a building slowly tilts and pans to reveal the Porte Saint-Denis.

THE MIDWIFE - © Michaâl Crotto/Courtesy of Music Box Films

Another non-diagetic score, decidedly melancholic, accompanies the next scene as Claire hears someone at the door asking if she is the daughter of Olympic swimmer, Antoine Breton. It is Beatrice. And, this score is repeated in scenes with Beatrice. But, unbeknownst to Claire, Beatrice, living off winnings from illegal gambling dens, is destitute and quite possibly terminally ill. All of her life, Beatrice has lived casually, enjoying all that life has to offer with little regard for those around her much like La Fontaine’s Grasshopper from “The Ant and The Grasshopper.”

Yet, the two women slowly become a source of complementarity, of reciprocity, of wisdom. Their relationship is at the heart of the film: for Beatrice, the relationship becomes an opportunity to bring some light into Claire’s life while possibly gaining a better understanding of her own life; and for Claire the relationship becomes an opportunity to rediscover her second mother, the one she chose at a time she was just becoming a young girl.

With The Midwife, Provost introduces a powerful thematic question on what is freedom. On the surface, it appears, Beatrice is the ultimate purveyor of freedom living without boundaries and outside the rules of society. However, upon closer scrutiny, her reality echoes of escapism. For Beatrice, Claire, whose lifestyle Beatrice has always rejected, becomes a conduit for a lasting freedom with the opportunity to create good, loving memories that will live on in Claire’s mind.

Admittedly, some of the delivery room scenes in The Midwife are graphic. Nevertheless, the scenes create a remarkable sense of vulnerability and provide a bird’s eye view of the fragility of life. Ultimately, The Midwife is a story of transmission and of transformation with Claire receiving the light of Beatrice and with Beatrice achieving a deeper understanding that life without others is nothing. Catherine Deneuve is as regal as she has ever been. Catherine Frot emits a chilling performance until warmed over by Deneuve’s character performance. Costumer Bethsabee Dreyfus achieves a strong character sensibility in clothing the lead actresses. Thierry Francois’ production design is the epitome of realism as both actresses are performing in extremely realistic settings of a delivery room and an illegal gambling den.

The Midwife is scheduled to open in Los Angeles and New York on July 21st, 2017 and is highly recommended.

The MidWife

Music Box Films Presents The Midwife

Posted by Larry Gleeson

 

 Presents

The MidWife

Written and Directed by Martin Provost (Violette, Séraphine)

Starring Catherine Deneuve, Catherine Frot (Marguerite, Haute Cuisine) and Olivier Gourmet (The Minister, The Son)

Opens in Los Angeles and New York on July 21st 

Official Selection: 2017 Berlin Film Festival

THE MIDWIFE - © Michaâl Crotto/Courtesy of Music Box Films
Catherine Deneuve, left, as Beatrice Sobolevski, and Catherine Frot as Claire Breton, in The Midwife. @Michaal Crotto/Courtesy of Music Box Films.

THE MIDWIFE, starring Catherine Deneuve and Catherine Frot in their first on screen appearance together in a moving drama about unlikely friendships, forgiveness, and the need for change, written specifically for them by director Martin Provost (Séraphine, Violette). THE MIDWIFE is scheduled to open in Los Angeles and New York on Friday, July 21st.

THE MIDWIFE - © Michaâl Crotto/Courtesy of Music Box Films
Catherine Frot as Claire Breton in The Midwife. @Michaal Crotto/Courtesy of Music Box Films

Claire (Catherine Frot-Marguerite) is a talented but tightly wound midwife and single mother on the cusp of losing her job as her small maternity clinic can’t compete with the nearby big hospital.  Béatrice (Catherine Deneuve), is the estranged, free-spirited but broken-down mistress of Claire’s deceased father looking for redemption.  Though polar opposites in almost every way, the two women come to rely on each other to cope with the unusual circumstances that brings them together.

THE MIDWIFE - © Michaâl Crotto/Courtesy of Music Box Films
The Midwife Director, Martin Provost. @Michaal Crotto/Courtesy of Music Box Films

Writer-director Martin Provost began his career as both a stage and screen actor and joined the prestigious Comédie Française theatre troupe in the 1980s.  After two shorts and first feature Tortilla y Cinema (starring Carmen Maura), his directorial breakthrough was Séraphine, about the self-taught artist Séraphine de Senlis, which went on to win seven César awards including Best Film and Best Actress for Yolande Moreau. Provost has also written several novels including Aime-moi vite, Léger, humain, pardonable, La Rousse Péteuse and Bifteck.  For THE MIDWIFE, Provost filmed in maternity wards in Belgium capturing real life births.

THE MIDWIFE is scheduled to open in Los Angeles and New York on Friday, July 21st.

Written and directed by Martin Provost. Cinematography by Yves Cape. Edited by Albertine Lastera. Produced by Olivier Delbosc. Starring Catherine Frot, Catherine Deneuve, Olivier Gourmet, Quentin Dolmaire, Mylène Demongeot.

Running Time: 117 Minutes
Language:French with English subtitles.
Rating: Unrated

(Sourced from press materials provided by Marina Bailey PR)

The AFI FEST Interview: FISH STORY Director Charlie Lyne

Posted by Larry Gleeson

Charlie Lyne is an AFI FEST alumnus with his feature film FEAR ITSELF (AFI FEST 2016). AFI spoke to Lyne about his new short film, FISH STORY, which was  just released online and won the Short Film Audience Award at AFI DOCS. The film investigates a mysterious gathering rumored to have taken place in 1980s Wales, at which an unlikely group of people with one thing in common came together.

AFI: You work in both short and feature-length formats. Is the short format more freeing compared to feature-length? Is it harder to tell a story in a much shorter length? 

CL: I think stories can lend themselves to all kinds of runtimes, and one of the great sadnesses of contemporary film culture is the rigid distinction we draw between short and feature-length filmmaking. I’m lucky to have told a lot of stories that wound up being around 90 minutes long, or under 15 minutes long, because there are so many opportunities to show films of those lengths. People whose stories naturally end up 50 minutes long are f—-d!

That said, there are definitely unique charms and challenges to telling a story over a short runtime. For one thing, you can maintain a level of energy or visual dynamism that might be exhausting at feature-length, and you’re free to flout traditional narrative conventions without worrying that an audience will feel stranded. I think viewers are generally more patient and open-minded when it comes to shorts. 

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AFI: At what point in hearing this story did you decide you wanted to film it? Did you face any challenges as you tried to trace the people involved?

CL: I’ve known Caspar Salmon for a long time, but it was only a few years ago that he made the mistake of telling me the story of his grandmother’s attendance at a gathering for the preeminent fish-surnamed people of North Wales. After that, I couldn’t introduce him to anyone without immediately forcing him to retell the story, and each new telling (which seemed to be stranger and more labyrinthine than the last) would make me die laughing all over again. Finally, I talked him into committing the story to film.

The process of making FISH STORY was a genuine voyage of discovery, as I honestly never imagined my investigation would lead anywhere. I thought the film would wind up being about the futility of trying to prove what was, more than likely, a family myth. Obviously, it didn’t turn out that way, which was as thrilling to me as it hopefully now is to viewers.

AFI: You also work as a journalist. How does that experience lend itself to the style of documentary you work in?

CL: I’ve always identified more as a critic than a journalist, partly because I’m far from rigorous when it comes to journalistic practice. Weirdly, this film is by far the closest I’ve come to actual investigative journalism, which seems odd given that it’s about fish surnames, and that my investigative methods — which consisted mainly of looking people up in the phone book — were so rudimentary.

Still, now that the film has been picked up by The Guardian, I fully expect to see it honored at next year’s Pulitzers.

AFI: Your films have screened at festivals all over the world. As a filmmaker how important do you find it to travel with your films to festivals? Do you have any advice for other filmmakers who are trying to figure out how to navigate the film festival landscape?

CL: I can track a huge number of filmmaking opportunities I’ve had in recent years back to specific moments at festivals. There are so few other places where you’re surrounded by likeminded individuals from all over the world, and in a context of heightened artistic engagement — both with the films screening and the ideas being expressed all around you. I couldn’t put a price on it.

That said, the literal price of it can render festivals an impractical luxury for filmmakers just getting started in the industry, especially short filmmakers whose travel and accommodation is rarely paid for by the festivals themselves. Schemes like the British Council’s Shorts Support Scheme, which funds the travel of UK filmmakers like me to international festivals, are therefore invaluable. It’s just a shame so few countries have them.

Ultimately, as the line between short and feature filmmaking becomes more and more blurred — as it inevitably will — I hope and expect that festivals will begin to offer equal provisions to visiting filmmakers, whether their films run 10, 50 or 200 minutes long.

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