Tag Archives: Festival

Which movies are in the running for the 2017 Oscars?

 

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La La Land with Ryan Gossling and Emma Stone is already a favorite to win the 2017 Oscar for Best Picture. (Photo courtesy of SND)

LOS ANGELES, Sept 25 ― What were the films and who were the actors who stood out at the latest film festivals? In the wake of the Venice, Toronto and Telluride festivals, here is an update on the movies and players potentially in the running for the 2017 Oscars.

In the period from September to December, the pace of superhero epic and action blockbuster releases slows down to make way for potential Oscar-winning works. This year is no exception with studios and distributors preparing to launch the movies they feel stand the best chance in the 89th Academy Awards at a time when they will still be fresh in the minds of the 2017 jury. What are the movies that will benefit from this Hollywood marketing strategy?

Top favourite ‘La La Land’

Having won the People’s Choice Award at the Toronto Film Festival, La La Land is now a serious contender for the 2017 Oscar for Best Picture. The Canadian accolade should not be overlooked. In fact it is a more than reliable indicator for the likely winner of a much-coveted gold statuette, having been awarded to such previous Oscar winners as Twelve Years a Slave, The King’s Speech, Slumdog Millionaire and American Beauty.

But it would be unwise to bet on the musical comedy which features Emma Stone and Ryan Gosling without evaluating the chances of some of the other movies that have come to light in the latest festivals: notably Manchester by the Sea, which is buoyed by a remarkable performance by Casey Affleck, Jeff Nichols’ Loving, Denis Villeneuve’s Arrival, Nocturnal Animals by Tom Ford, which won the Silver Lion at the 73rd Venice Mostra, and the biopic of Jackie Kennedy, Jackie, which could harvest a second Oscar for Natalie Portman.

However, competition for Best Actress in a Leading Role looks set to be fierce this year. Having garnered an award in Venice, Emma Stone has every chance of gaining a nomination. Ruth Negga (Loving), Amy Adams (Arrival), Viola Davis (Fences) and Taraji P. Henson (Hidden Figures) are other likely contenders, as is French actress Isabelle Huppert for her much-noted performance in Paul Verhoeven’s Elle. As for Best Actor in a Leading Role, Casey Affleck (Manchester by the Sea), Joel Edgerton (Loving), Jake Gyllenhaal (Nocturnal Animals), Denzel Washington (Fences), Dev Patel (Lion) and Tom Hanks (Sully) could all be in the running.

A more diverse Oscars?

Several films that stand to be selected could also turn the page on the controversy surrounding the 2016 Oscars which was judged to be too “white.” Even if The Birth of a Nation does not currently look to be a competitor, the film which tells the story of a slave revolt may nonetheless be nominated. Other films that look likely to garner nominations include Moonlight, which premiered at the Telluride Film Festival. The story of an African-American growing up in a Miami neighbourhood has already been hailed as major work of independent cinema.

Hidden Figures which casts Octavia Spencer and Taraji P. Henson as mathematicians who, in spite of being overshadowed by their male colleagues, contributed to the success of the Apollo space program, and Denzel Washington’s Fences, which features Viola Davis, have also been tipped for Oscar nominations.

However, we will still have to wait close to five months to see which way the jury votes in the 2017 Academy Awards which will be held on February 26 in Los Angeles. The nominations for the Oscars will be announced on January 24. ― AFP-Relaxnews

(Source: http://www.themalaymailonline.com)

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FILM REVIEW: Nocturnal Animals (Ford, 2016): USA

Viewed by Larry Gleeson at Venice Film Festival.

 

Fashion Designer and Film Director Tom premiered his new film, Nocturnal Animals, at the Sala Grande Theater during the 73rd Venice International Film Festival. Nocturnal Animals received the Silver Lion – Grand Jury Prize (generally considered runner-up to the Golden Lion – Best Film). This was Ford’s second feature film. His first film was the critically acclaimed, A Single Man (2009) starring Colin Firth. Firth receiving an Oscar nomination for Best Performance by an Actor in a Leading Role for his efforts.

 

Nocturnal Animals, is a tale of redemption, revenge, love and cruelty. Ford opens the film with a strong musical score to reveal rotund, morbidly obese girls dancing topless upon pedestals seemingly pretending to be debutantes. Adding to the fanfare special effect confetti drops down and through the frame. All-American girls showcasing their goods and talents. Bordering on the macabre, the tone for the film has been set.

 

Hollywood, A-lister Amy Adams plays a real-life West Texas debutante, Susan Morrow, who lives an unfulfilling life of daunting privilege with her handsome husband, Hutton Morrow, played by Armie Hammer. As Hutton prepares for yet another last-minute weekend high-finance business meeting in New York relationship fissures widen. A pensive Susan reflects on the state of her union with Hutton after a ‘not-so-discreet’ phone conversation from Hutton’s elevator arriving at a penthouse suite amid feminine gaiety as she opens a plain, white, mail shipping box. Susan opens the box to a black and white manuscript titled, “Nocturnal Animals,” by Edward Sheffield, Susan’s former husband and first true love.

 

In dramatic fashion, Ford begins a journey into the past yet grounded in the present as the manuscript opens up a world fictional, yet etched within Susan’s consciousness. Using parallel storylines, present and fictional coupled with flashbacks to when Edward and Susan first met and the ensuing courtship and short-lived marriage. Laura Linney, plays Susan’s West Texas Republican mother, and delivers some of the film’s more memorable lines during a martini lunch where she unleashes her verbal diatribe lambasting Susan for even considering a marriage to “weak’ Edward. Notwithstanding, however, the real storytelling takes place within the pages of the manuscript. Self-reflective and dramatic the narrative is full of conflict and escalating tensions as a husband and wife, Tony and Laura Hastings, played respectively by Jake Gyllenhaal and Isla Fisher, travel at night across rural West Texas with their teenage daughter, India, played by Ellie Bamber. Without even as much as a lit billboard, out of a pitch dark blackness a vehicle approaches the family’s suburban mid-sized car at a high-rate of speed. The car is driven erratically and its occupants are behaving wildly as they pass. Not too much to worry about until they decide to force the Hastings car off the road. Mayhem ensues as the hellions carjack the Hastings vehicle with the women inside leaving Tony on the side of the road in the dark by his lonesome. Soon a vehicle returns to pick up Tony. He’s informed he gang leader wants to make amends and that Laura and India want Tony brought to where they are being held hostage. Fearing the worst Tony manages to escape and eventually makes his way to a law enforcement office to make an abduction/missing persons report to lawman Bobby Andes, played by Michael Shannon. Susan is shocked and awed at the power of Edward’s writing and the visceral strength of Edward’s character, Tony. By the end of the manuscript, Susan’s life perspective has shifted as she and Edward make plans to meet.

Unquestionably, Ford delivers an emotional and psychological thriller with Nocturnal Animals. Superb acting, exquisite production values and strong storytelling are the film’s hallmarks. Shane Valentino (Straight Outta Compton) handled the film’s production design. Seamus McGarvey (Godzilla, Atonement, The Avengers) provided the cinematography. Costuming was assembled by Arianne Phillips (Kingsman: The Secret Service, Walk The Line, 3:10 To Yuma). Abel Korzeniowski (A Single Man, We) orchestrated the music. Along with directing Ford takes a screenplay writing credit along with Austin Wright, the author of “Tony and Susan,”  for writing the novel the film is based on. Nevertheless, the Casting Director, Francine Maisler (The Revenant, Birdman, The Big Short, 12 Years a Slave) and performances by the actors are above and beyond. This is a Don’t Miss film waiting for Academy of Motion Pictures Arts and Sciences nominations. The Oscars.

Dorothy Dandridge, Ida Lupino and Anna May Wong Honored at AFI FEST 2016

In celebration of the 30th edition of AFI FEST presented by Audi, a trio of diverse female trailblazers will adorn the festival’s 2016 key art and be featured in its programming lineup. AFI FEST will spotlight Dorothy Dandridge, the first African American nominated for a Best Actress Academy Award®; Ida Lupino, a pioneering director, writer, producer and actress who became the first woman to direct a film noir; and Anna May Wong, the first Chinese-American actress to rise to international prominence.

AFI FEST will screen three films featuring each artist in its expanded Cinema’s Legacy section that celebrates motion picture heritage and presents recent restorations of film classics and films about the history of cinema: Otto Preminger’s CARMEN JONES (1954) starring Dandridge; the Lupino-directed THE HITCH-HIKER (1953); and E.A. Dupont’s PICCADILLY (1929) starring Wong.

Art

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Dorothy Dandridge (1922-1965) rose to prominence alongside her sister Vivian and jazz singer Etta Jones as part of the song-and-dance trio the Dandridge Sisters, before becoming a solo artist who starred in Hollywood musicals. With CARMEN JONES (1954), she became the first black woman to receive an Academy Award® nomination for Best Actress.

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London-born Ida Lupino (1918-1995) was a pioneering actress, director and producer. Her acting credits include THEY DRIVE BY NIGHT (1940) and HIGH SIERRA (1941) opposite Humphrey Bogart. She made her writing/directing debut with NEVER FEAR (1949) before THE HITCH-HIKER (1953) made her the first woman to direct a film noir.

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Anna May Wong (1905-1961) was the first Chinese-American movie star, having achieved stardom in the Technicolor THE TOLL OF THE SEA (1922). Among her collaborators were Douglas Fairbanks, Josef von Sternberg and Raoul Walsh, with credits including THE THIEF OF BAGDAD (1924), PICCADILLY (1929) and SHANGHAI EXPRESS (1932).

(Source: http://www.blog.afi.com)

FILM REVIEW: Paradise (Konchalovsky, 2016): Russia

Posted by Larry Gleeson

Russian Director Andrei Konchalovsky premiered his latest work, Paradise, at the Sala Grande Theater during the 73rd Venice International Film Festival.

 

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Olga and Helmut enjoying a summer moment before the atrocities of war interrupt their passionate relationship in Andrei Konchalovsky’s Paradise. (Photo courtesy of ASAC Images/Biennale Cinema di Venezia)

Paradise tells the story of three individuals, Olga, Helmut and Jules as their paths cross amidst the trials and tribulations of WWII during the Hitler regime. Olga, played by Yulia Vysotskaya the real-life wife of Director Konchalovsky, is an aristocratic Russian woman and a member of the French Resistance arrested for hiding Jewish children during a surprise Nazi police raid. As part of her punishment she is sent to jail where her path crosses with Jules, a French-Nazi investigator, played by Phillipe Duquesne, who has been assigned to investigate her case. Olga pumps up her feminine wiles with what appears to be some success to get Jules to lighten her punishment. However, events take an unexpected turn and Olga is sent off to a dark, dirty hellish concentration camp. While managing to survive and stay alive, Olga catches the eye of Helmut, played by Christian Clauss, a high-ranking German SS officer, played by Christian Clauss, who oversees the camp’s operations with an auditor’s acumen. Helmut had previously fallen madly in love with the upper-class Olga and still felt the yearnings of love. Slowly and with the utmost care initially, the two embark on a tumultuous and destructive relationship leading to a conscious break in Olga’s mental state of what constitutes Paradise with the impending Nazi defeat looming.

 

Konchalovsky takes the viewer on a compelling journey into the past utilizing what appears to be archival footage and documentary style interviews from the three main characters. He sets the film in 1942 early with the use of a text overlay during the film’s prologue and quickly introduces the audience to the world of Olga as a high-class, fashion editor for Vogue magazine. With the blink of an eye, the tone of the film is changed irrevocably as Olga is shown being grilled all night long about why she would hide Jewish children and lie to the police about it. And, Konchalovsky doesn’t stop there. He enters into power relationships via sexual manipulation, eavesdropping, concentration camp internment and the visceral art of kapo survival.

In the end the paradise unveiled falls into a similar vein to the spiritual realities of war and the fight for what is right displayed in Laszlo Nemes’ Academy Award nominated Son Of Saul. Also, like Son Of Saul, Konchalovsky’s Paradise has gotten the nod to be Russia’s entry for Best Foreign Language film. This comes on the heels of Konchalovsky garnering a Silver Lion for Best Director at the 73rd Venice International Film Festival.

 

Along the way Konchalovsky pays tribute to Russian cinema history with Paradise, shown in black and white with reflexive characteristics of film reels unwinding on the big screen harkening back to the days of Dziga Vertov’s Man With the Movie Camera. Paradise editor Ekaterina Vesheva poured through scores of newsreels in search of the film’s soul while keeping an authenticity to resonate within documentary sensibilities.

In line with achieving further authenticity, Konchalovsky wanted unknown actors audiences wouldn’t recognize from well-known projects. Not an easy task for a casting director to find three actors with Russian, German and French language abilities who could carry out the characters monologues with maximum believability. Consequently, casting was carried out simultaneously in three countries with Elina Ternyaeva as the Russian Casting Director, Uwe Bunker was in Germany and Constance Demontoy worked in France.

Such attention to detail continued with copious research into character development and environmental factors of female camp internment. Purportedly, Konchalovsky handed a compulsory list of 40 books for Clauss to read in preparation for his role as Helmut. A triangle of trust was being created between director, actor and audience. Julia Vysotskaya, a prominent television presenter and stage actress shaved her head, lost significant body weight and endured the rigors of the film’s highly intense, emotional scene work. Furthering the look and feel of the 1940’s war era with authentic costuming and set objects were Costume Designer, Dmitry Andreev, and Production Designer, Irina Ochina.

 

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Yulia Yvotskaya and Philippe Duquesne square off as Olga and Jules in sexually charged scene from Andrei Konchalovsky’s Paradise. (Photo courtesy of ASAC Images/Biennale Cinema di Venezia)

While the list of Holocaust films continues to grow, Konchalovsky submits a rare twist with an exquisite aura and an emotional delicacy.  Artistic, informative and transcendent, Paradise, permeates more than one metaphysical level. Highly recommended.

 

 

 

SBIFF Riviera Project Capital Campaign

The Santa Barbara International Film Festival (SBIFF) launched its Riviera Project Capital Campaign in Santa Barbara, California on September 22, 2016. The goal is to raise $5,000,000 by March 31, 2017.

The Riviera Capital Campaign comes on the heels of SBIFF’s recent announcement of its acquisition of Santa Barbara’s Riviera Theater with a new 30-year lease.

With unique timing and its dedication to bringing the finest selection of independent and international cinema to its audiences, SBIFF has positioned itself as one of the leading film festivals in the United States over the last 30 years. During this time SBIFF has expanded its operation to include a wide range of educational programming to fulfill its mission “to engage, enrich and inspire the Santa Barbara community through film.”

The Riviera Project is SBIFF’s capital campaign with the mission to create a cultural hub of all things film in Santa Barbara, for Santa Barbara.

Donations to The Riviera Project will help transform the Riviera Theatre into a state-of-the-art multi-purpose venue offering year-round programming. Renovations include:

  • Comfortable Seating
  • World-Class Sound System
  • World-Class Projection System
  • Loop System for Hearing Impaired
  • Heating and Air Conditioning
  • Improvements for Panels, Workshops, Q&As
  • Balcony Lounge with New Elevator

For more information on being a part of the SBIFF’s continuing commitment to the transformative power of quality films, click here.

SBIFF is a 501(c)(3) non profit organization. Your donation to support The Riviera Project is 100% tax deductible.

Check out The Riviera Brochure HERE .

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4 questions about Konchalovsky’s ‘Paradise’

What is the film about?

The action takes place in France during World War II. Russian émigré and Resistance member Olga Kamenskaya is detained by the police for trying to save two Jewish children. Jules, a French policeman and a Nazi collaborator, is willing to make concessions for her, but Olga winds up in a concentration camp where she meets S.S. officer Helmut, a Chekhov admirer who joined the S.S. in hopes of creating a paradise on Earth.

The scenes in the film alternate with interviews with the protagonists in which each talks about his or her childhood, family life, profession and the reasons they chose to support one side or the other.

Who stars in the film?

Olga is played by actress Yulia Vysotskaya, who is also director Konchalovsky’s wife. Helmut is portrayed by Christian Claus, and Jules, by Philippe Duquesne. Other actors include: Jakob Diehl, Peter Kurth, Viktor Sukhorukov and Vera Voronkova.

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Olga, played by actress Yulia Vyotskaya, who is also director Konchalovsky’s wife, plays up her feminine wiles with Jules, played by Phillip Duquesne, a French-Nazi collaborator assigned to investigate her case. (Photo courtesy of ASAC Images/Biennale Cinema di Venezia)

Which awards has the film received?

The film premiered on Sept. 8, 2016 at the Venice Film Festival and won the Silver Lion for Best Director.

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In the last 10 years, Russian films and directors had received five prizes in Venice: Nikita Mikhalkov (Special Lion, 2007), Alexei German, Jr. (Silver Lion for the film The Paper Soldier, 2008), Mikhail Krichman (Golden Osella for Best Cinematography for Silent Souls, 2010), Alexander Sokurov (Golden Lion for Faust, 2011) and Konchalovsky himself (Silver Lion for The Postman’s White Nights, 2014).

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Rooftop scene from Andrei Konchalovsky’s Paradise. (Photo courtesy of ASAC Images/Biennale Cinema di Venezia)

*Featured image: Paradise director Andrei Konchalovsky . Photo courtesy of ASAC Images/Biennale Cinema di Venezia.

(Source: http://www.rbth.com)

Filmmaker from Ferozepur gets slice of glory at Toronto fest with ‘India in a Day’

Posted by Larry Gleeso

By Gaurav Sagar Bhaskar,

A filmmaker from Ferozepur, one of Punjab’s hinterland towns on the border with Pakistan, has brought a slice of glory as video footage submitted by him is part of a feature screened at the Toronto International Film Festival earlier this month.

“The one-and-a-half-hour Google documentary film titled ‘India in a Day’ was made with about 16,000 clips of 370 hours, and some footage submitted by me is part of the final film,” explained Sunil Kataria, a resident of a locality in Ferozepur cantonment area who works in Chandigarh.

“The film tries to capture the essence of India through footage shot on a single day. It is co-produced by filmmakers Ridley Scott and Anurag Kashyap while Richie Mehta directed it. It will be theatrically released too in some main towns on Friday,” he added.

What’s the footage? He shot it last October when he was otherwise working in a news channel at Hyderabad. “I recorded the newsroom culture besides some shots from the life of a common man, within 10 minutes,” said Kataria.

“It’s been a wonderful experience watching the film in an online live-stream special screening on Wednesday before its official release. Also, I had a live discussion with director Mehta with other co-directors.”

Two years ago, Kataria’s 41-second micro-film titled ‘Honesty is the Best Policy’ was screened at the Third International Film Festival of South Asia and the Punjabi International Film Festival in Toronto too.

Kataria says he has recently joined a media firm in the state capital but at his heart he remains equally committed to his passion, filmmaking.

(Source: http://www.hindustantimes.com)

*Featured photo – Sunil Kataria, a resident of a locality in Ferozepur cantonment area who works in Chandigarh. (HT Photo)

 

Lights, camera, action!

 

Nepali movies with home-grown content and themes are doing well

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Sep 23, 2016- Chhakka Panja, a recently released comedy movie, has become one of the country’s highest grossing movies of the year. The movie with a good-natured script, and based on Nepali migrant workers, has joined the illustrious Rs1crore club.

Nepali movies are making good collections at the box office in recent times. This is good news for the Nepali movie industry, which has had to compete with Bollywood and Hollywood movies. While box office collections are not the only yardstick to determine a movie’s quality, a few Nepali movies are not only earning profits but are also winning critical domestic and international acclaim.

For example, Kalo Pothi premiered in the Venice International Film Festival’s Critics Week in 2015, where it was rewarded the Fedeora certificate for best film by the Italian film critics’ society. And this year, two Nepali movies—White Sun and Dadyaa—were featured at the Festival. White Sun even managed to bag the 6th INTERFILM Award of the 73rd Venice Film Festival.

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A scene from White Sun, a Nepali film and winner of the INTERFILM Award at the 73rd Venice International Film Festival. White Sun is the latest work from Nepali filmmaker Deepak Rauniyar. (Photo courtesy of ASAC Images/Biennale Cinema di Venezia)

To be sure, many Nepali movies in the past, as well as in the present, have been far from stellar. Nepali movie makers have often not shied away from borrowing the storylines and peculiarities from Bollywood movies. But recent films like Loot, Highway, Apabad and Pashupati Prasad, among others, were able to garner huge acclaim and revenues. The message to Nepali film makers is clear: if movies are well made, people will flock to the theatres to watch them.

A thriving movie industry can be a boon for a nation as a whole. Firmly established in Mumbai, the Indian film industry, or Bollywood, employs hundreds of thousands of people and has been growing by 10 percent annually. By 2016, its revenue is expected to reach $4.5 billion, according to DI International Business Development.

Bollywood took a leap forward in 2001 when it gained “industry status” that allowed banks to lend to it. Since 2004, its gross receipts have almost tripled. And it is not only about the money; the power of films to contribute to social change is also well documented.

The Nepali film industry has come a long way since the first movie, Aama, was made in 1964. The quality of the films being produced seems to be improving in recent years and more and more people are watching them. Huge numbers of people outside the country are also contributing to the sales, with Nepali movies being screened in countries like Qatar, Dubai and the UK. If the movie industry in the country is formalised like in India, it will encourage more independent and creative movie makers.

If films are based on contemporary subjects and have good content and presentation, they will do well, not only domestically but also internationally. Recent successes of a number of Nepali movies stand testament.

*Featured photo courtesy of ASAC Images/Biennale Cinema di Venezia

(Source: http://www.kathmandupost.ekantipur.com)

Oscar 2017 Predictions: Venice Film Festival winner ‘The Black Hen’ Will represent Nepal At the 2017 Oscars

Posted by Larry Gleeson

By Francisco Salazar

The Black Hen has been selected to represent Nepal at the 2017 Academy Awards. The film, which won the Best Film in the Venice Film Festival’s Critics week, was directed by first time filmmakers Min Bahadur Bham. The movie also played at the Singapore and Taipei Film festivals where it also received acclaimed.

The film takes place in 2001 when a ceasefire brought a break to the small war-torn village in Northern Nepal and tells the story of two young friends who start raising a hen given to Prakash by his sister, with hopes to save money by selling her eggs. However, the hen goes missing. The film has obtained rave reviews and could surprise if the Academy is interested in taking challenges and being unpredictable.

Though Nepal’s history with the Academy is short, the country was nominated in 1999 for its first submissions Caravan. However, since then the country has not been able to pick up another nomination. Last year Nepal submitted Talakjung vs. Tulke,  a film that never caught on with the Academy or with audiences worldwide.

This year represents an unusually strong year for the Foreign Language category. Among the frontrunners to be nominated are Toni Erdmann, Julieta, House of Others, Sieranevada, The Ardennes, Chevalier, and Mother.   Other films that will also be strong competitors include El Classico, From Afar, and Neruda.

The Academy is known for choosing some of the most critically acclaimed films out of the festival circuit and usually nominate films from Venice, Cannes, Toronto, Sundance, Berlin, Tribeca and Locarno Film Festivals. Last year Hungary took home the Oscar for the Cannes favorite Son of Saul while in 2014 the Toronto Film Festival and box office hit Ida  won.

The Foreign Language Film deadline to submit is Oct. 3. On Jan. 17 the Academy will announce the nine finalists from among the eligible films and on Jan. 24 nominations will be announced. The winner will be announced at the Oscar ceremony on Feb. 26.

(Source: http://www.latinpost.com)

ANIME NEWS: One-day anime event a feature of the Tokyo film festival this year

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The Boy and the Beast (Photo credit: The Boy and the Beast Film Partners)

The 29th Tokyo International Film Festival (TIFF) will open with the British film “Florence Foster Jenkins” and close with one about shogi titled “Satoshi: A Move for Tomorrow.”

Organizers also announced that a one-day special anime event TIFF Ani!! will be offered for anime fans on Halloween on Oct. 31.

The 10-day festival will be held from Oct. 25 to Nov. 3 at the Roppongi Hills complex, EX Theater Roppongi and other venues in the capital.

The TIFF was started in 1985. In recent years, it has shone the spotlight on anime films. Last year, it screened “Garakowa: Restore the World,” “Miss Hokusai,” “Ajin: Demi-Human” and other works, in addition to covering the “Mobile Suit Gundam” robot anime franchise.

Meryl Streep and Hugh Grant, who starred in Stephen Frears’ “Florence Foster Jenkins,” will visit Japan for the occasion.

“Satoshi: A Move for Tomorrow” starring Kenichi Matsuyama is about Satoshi Murayama, a shogi Japanese chess master who died at a young age.

In addition to a special evening event at Kabukiza theater, the festival will host the TIFF Ani!! event at the Tokyo International Forum.

Little advance information has been disclosed, but it will focus on anime songs.

This year, the TIFF will also feature Mamoru Hosoda in a special program titled “The World of Mamoru Hosoda.”

Hosoda is a leading anime director whose latest work is “The Boy and the Beast,” which opened in 2015. More details about the program will be unveiled in late September.

Visit the festival’s official website at (http://2016.tiff-jp.net/en/).

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(Source: http://www.asahi.com)