Tag Archives: Larry Gleeson

THE PANORAMA AUDIENCE AWARDS GO TO INSYRIATED AND I AM NOT YOUR NEGRO

Posted by Larry Gleeson

The public has cast its votes: the 19th Panorama Audience Awards – presented by the Berlinale Panorama section in collaboration with radioeins and for the first time in co-operation with rbb television (Berlin-Brandenburg Broadcasting) – go to Insyriated by Philipp Van Leeuw for best fiction film and I Am Not Your Negro by Raoul Peck for best documentary.

Insyriated is a tautly-constructed chamber drama about trying to live a normal life in a war zone. It is the second film starring Hiam Abbass that has won the Panorama Audience Award (she also played the lead in Eran Riklis’s Lemon Tree in 2008).

Raoul Peck’s filmic essay I Am Not Your Negro about James Baldwin and his three assassinated friends – civil rights activists Medgar Evers, Martin Luther King, and Malcolm X – has also been nominated for an Academy Award as Best Documentary Feature.

The official award ceremony will be held at 5 pm on Sunday, February 19 in CinemaxX 7 at Potsdamer Platz. The prizes will be awarded by rbb director Patricia Schlesinger. Knut Elstermann, radioeins film expert, and Panorama curator Wieland Speck will host the event. Directly after the ceremony, the winning fiction film will be shown. The Panorama Dokumente winner will be screened at 8 pm, also in CinemaxX 7.

The Panorama Audience Award has been given since 1999. Since 2011, not only the best fiction film but also the best documentary film have received awards. During the festival, moviegoers are asked to rate the films shown in Panorama on voting cards after the screenings. In 2017 a total of 29,000 votes were cast and counted.

This year Panorama presented 50 feature-length films from 43 countries, of which 21 screened in the Panorama Dokumente series.

Panorama Audience Award Winner Fiction Film 2017
Insyriated
Belgium / France / Lebanon 2017
By Philippe Van Leeuw

2nd place Panorama Audience Award Fiction Film 2017
Karera ga Honki de Amu toki wa (Close-Knit)
Japan 2017
By Naoko Ogigami

3rd place Panorama Audience Award Fiction Film 2017
1945
Hungary 2017
By Ferenc Török

Panorama Audience Award Winner Panorama Dokumente 2017
I Am Not Your Negro
France / USA / Belgium / Switzerland 2016
By Raoul Peck

2nd place Panorama Audience Award Panorama Dokumente 2017
Chavela
USA 2017
By Catherine Gund, Daresha Kyi

3rd place Panorama Audience Award Panorama Dokumente 2017
Istiyad Ashbah (Ghost Hunting)
France / Palestine / Switzerland / Qatar 2017
By Raed Andoni

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(Source: Berlinale Press Office)

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Berlinale FILM CAPSULE: For Ahkeem (Levine,Van Soest, 2017): USA

Posted by Larry Gleeson

Jeremy S. Levine and Landon Van Soest presented For Ahkeem, a new documentary, at the 67th Berlin International Film Festival in Forum. For Ahkeem attempts to address and capture a young, black woman’s life pathway from footage accumulated over the course of approximately two years. In doing so, Levine and Von Soest limit a wider lens.

For Ahkeem tracks a roughly seventeen year-old African-American female, Daje, from the north side of St. Louis, Missouri, an area of the city notorious for its gun violence and innocent killings from drive-by shootings. The film is predominantly direct cinema.

Daje comes across as a rather representative, angry, militant teenager of the area. Daje has been expelled from school for the final time and has to make an appearance in juvenile court. The judge has read Daje’s not-so-promising juvenile record and decides to give her a refuge of last resort – an alternative school he started. It’s an offer Daje can’t refuse despite her best efforts.

It’s here Daje transforms from adolescent girl to young woman. With help from the staff and support from family and friends, Daje blossoms into a confident, independent young woman. As her graduation nears, Daje struggles with math, yet manages to overcome her obstacle and proudly receives her diploma. She’s persevered pregnant and birthing a child with another alternative schoolmate she felt was nice to her and to whom she could talk with and confide in.

Levine and Van Soest’s focus successfully captures the trajectory of young African-Americans in the North St. Louis ghetto, in my opinion. Footage from Michael Brown’s mother shouting into a camera shows the passion this cultural segment possesses. As Michael Brown graduated high school so did Daje. The tragic life of Michael Brown need not be repeated in Daje’s son Ahkeem. Efforts from community leaders allow troubled youths a way out. But, it’s not a one stop cure all.

 

 

 

Berlinale FILM CAPSULE: Bright Nights (Arslan, 2017) Norway

Posted by Larry Gleeson

German Director Thomas Arslan brings it home with his latest Golden Bear nominated film, Bright Nights (Helle Nachte). Arslan had been previously nominated for the Golden Bear, the festival’s top film prize in 2013 for his film GoldBright Nights, making its world premiere at the 67th Berlin International Film Festival in Competition, tells the story of a single, working father, Michael,  who reunites with his son, Luis, after the loss of his own father.

Arslan proves he is a master of cinematic language from the opening scene set within an industrial batch plant on a waterway. The image of a plant operator seated at his indoor work station wearing a protective hard hat speaks volumes. The lighting recedes from a medium to high key to low key lighting. The man removes his hard hat and drops his head into his hands exasperated. The scene transitions to the solidly built man walking through the night in profile. Reinhild Blaschke managed the Production Design. Director of Photography Reinhold Vorschneider allows much of the story to unfold with long takes.

Later in the film, after discovering his father has died, the man has opted to bring his son to help remediate his father’s cabin. As Michael is packing up his father’s belonging, a silence ensues where Michael comes to the realization, he doesn’t really know his own son.

With a sense of his own mortality now, Michael seeks to reconnect and re-establish a relationship with Luis. Visually pleasing mise-en-scene depicts scenes of father and son hiking and fishing in breathtaking Austrian locations. However, not everything is perfect in this natural sportsman’s paradise. Luis feels confused and rebels.

The relationship teeters in the balance when an young woman befriends the son and the two share their experiences. The son decides to give his father a second chance. Going for one last hike the father drives for through a gray, fogged in road. The drive goes on for an uncomfortable amount of time signifying the large amount of gray space in the relationship.

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@Schramm Film / Marco Kruger

The film transitions revealing vibrant colors of green and yellow symbolizing a time of joy and healing with a touch of red foreshadowing a powerful element of emotionality is still present. The relationship dynamic between Michael, played by Georg Friedrich and Luis, played by Tristan Göbel drives the narrative. Both actors deliver very compelling performances.

In my opinion, the climatic image comes quickly thereafter, as the son goes off on his own. A wide angle long shot of the man running across a mountain ridge with a large mountain range looming in the background slightly out of focus reminiscent of Peter O’Toole in Lawrence of Arabia as he rides solo across the barren Arabian desert. Again, the cinematic language is so much greater than mere words. The lengths the father is willing to go to in order to re-establish the father/son relationship bond is beyond measure. Reinhold Vorschneider served as the film’s Director of Photography.

While there are many father/son relationship dynamic films, there is only one Bright Nights. Highly recommended. A cinematic language extraordinaire.

*Featured photo courtesy of Berlinale.de and @Schramm Film / Marco Kruger

 

 

 

 

The Berlin New Compass Perspektive Award Announced

Posted by Larry Gleeson

BEST FILM IN THE PROGRAM GOES TO ADRIAN GOIGINGER

On Friday, February 17, the jury members – filmmakers Feo Aladag, Sigrid Hoerner, and Johannes Naber – presented the 2017 Compass Perspektive Award for Best Film. Awarded for the first time this year and endowed with EUR 5,000, the prize goes to the fiction film Die Beste aller Welten by Adrian Goiginger. The trophy is a small compass conceived to provide orientation and direction to a new generation of Perspektive filmmakers.

The jury members watched the 14 films in the Berlinale’s Perspektive Deutsches Kino section. After debating passionately, they picked their favorite.

Jury statement – The Best of All Worlds
The film is the story of seven-year-old Adrian, who lives in 1990s Salzburg with a heroin-addicted, but loving mother and her friends. His life is like an adventure playground – until both child services and the brutal reality of drug addiction threaten to destroy his world.

Director Adrian Goiginger’s film is based on his own childhood and is a disturbingly realistic portrayal of the seemingly hopeless battle between maternal love and addiction. Goiginger leaves open to interpretation whether it is the drug itself, or society’s way of dealing with it, that presents a greater threat to the child protagonist.

With his sensitive direction of a brilliant ensemble cast, the film is touching without becoming kitschy; the unpretentious cinematography gets under your skin without being voyeuristic.

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(Source: Berlinale Press Office)

 

Berlinale FILM CAPSULE: Ana, mon amour (Netzer, 2017): Romania

Posted by Larry Gleeson

Călin Peter Netzer returns to the Berlinale Competition, having captured the Golden Bear in 2013 with his low budget, digitally shot, Mutter & Sohn, a mother-son relationship piece. Netzer’s entry this year, another relationship piece, is Ana, mon amour, starring Diana Cavallioti, as Ana, and Mircea Postelnicu as Toma. Ana, mon amour is a story of two young people who meet at the university and begin a co-committed love affair full of hopes and dreams. Each feels mutually supported.

Opening in tight framing, Netzer introduces us to Ana and Toma discussing Friedrich Nietzsche and Adolph Hitler. Panic ensues for Ana. Toma caresses her belly and the two become intimate partners. Director of Photography Andrei Butică delivers highly crafted frames representing the closeness and intimacy Ana and Toma share.

As the relationship evolves the episodes continue until medication is used and then reconsidered with psychoanalytic therapy. Along the way we meet both sets of parents and discover root causes for the affective emotionality Ana and Toma exhibit and experience.

Netzer shows Ana’s struggles and Toma’s attempts to cope with exquisite, tender and emotive close ups. In, addition Netzer incorporates the use of extended narrative flashbacks as Toma is participating in on-going, regular psychoanalytic therapy sessions.

In addition, Netzer addresses racial and social bias in Romanian society. Each visits the other’s parents home. Taking a cue from Milos Forman’s The Loves of a Blonde (1965) Netzer gives an up-close and introspective view exploring in seemingly real-time these racial and social biases. Afterwards, the two begin to isolate themselves from their families and friends. Moving into more graphic detail, Netzer effectively shows Ana unravelling and Toma’s increasing frustration at his own inability to stabilize her.

Eventually, Toma succumbs to the stress from Ana’s anxiety and walks away from his career becoming a stay-at-home husband/father as the two have chosen to embark on parenthood. Ana has now become the sole breadwinner. Unsure of herself at first, Ana begins therapy with a competent psychologist finding an inner strength from the insights and support she garners from her sessions. Toma feels left out and the relationship comes to a head.

In Ana, non amour, Netzer delves into some rather deep and heady territory including dream interpretation as it relates to psychoanalysis. The film’s narrative is strongly driven by Andrei Butică (Director of Photography) camera work and dynamic editing from Dana Bunescu (Editor) in revealing the multi-faceted aspects and multi-faceted complexities of relationship in a most intimate space. Bunescu would go on to win the Silver Bear for Outstanding Artistic Contribution in the categories camera, editing, music score, costume or set design. That being said, the actors more than hold their own.

But above all, In Ana, non amour, Netzer delivers a profound dramatic presentation on mental illness, how it’s overcome and the toll it takes on an adult, romantic relationship. Netzer delves into some rather deep and heady territory including dream interpretation as it relates to psychoanalysis revealing the complex psychological affects due to repression related to Romanian societal taboos.

 

 

Berlinale FILM CAPSULE: Have a Nice Day (Liu Jian, 2017) China

Posted by Larry Gleeson.

Liu Jian mortgages the house to make films! Chinese artist/filmmaker Liu Jian delighted the house at the Berlinale Palast Theater during the 67th Berlin International Film Festival.

Utilizing a warm color palette and an exceptional musical score mixing classical American jazz with traditional Chinese sounds, Liu Jian takes the viewer on a colorful journey through a southern Chinese city drawing several people from diverse backgrounds with different motives into bloody conflict in the darkly comedic, animation feature film, Have a Nice Day.  But wait, there’s more!

Have a Nice Day is Liu Jian second foray into feature animation film. His first Piercing I, a cold, hard look at the 2008 global financial crisis. Liu Jian is now in production on his third film, a self-reflective animation feature, School Town, an autobiographical look at Liu Jian’s own life.

In Have a Nice Day, Liu Jian allows a bag containing a million yuan to take center stage. Greed and selfish motives take over. The gangster boss who lays claim to the bagful of yuan holds court and wistfully recalls days from future past while pontificating to a subordinate who has spunk and maintains he’s an artist. Some philosophical discourse takes place on what exactly constitute art and who can call themselves a true artist. The bag has been lost and/or stolen and a butcher/hitman is sent to recover the money-laden bag.

The bag representing progress continues to move from one point to another. Various, vicarious and unsuspecting, dialoguing individuals reveal social and moral issues issues while clutching the bag of money tightly in hopes of securing a better life. In the end, it’s all just an illusory pipe dream fantasy.

Nevertheless, Modern China is in flux and a real war for control is ripe with violence and dangerous activities. With the animation format, Liu Jian is adeptly able to circumvent and soften some of the more distasteful aspects of this movement toward progress while heightening and stylizing the mood in China today.

Along the way, Liu Jian adds some subtle Western influences as he develops nuances of character. For example, the Hitman is a butcher when he’s not working for the mob boss. To add depth to the butcher, Liu Jian inserts a Rocky movie poster starring Sylvester Stallone on the Hitman’s locker at the meat processing plant.

In recent time, much is made of China’s growing economic power and goal of world dominance and, by the film’s end, one of the film’s protagonists, the Hitman, laments, “without high-technologies we just can’t win.” The film closes with an earthy mise-en-scene as a large city-scape with shades of browns and grays sits silently while a long, steady rain cascades across the screen in a vertical fashion.

Another beautiful film in the Berlinale Competition. While Chinese animation short films have been in previous Berlinales, Liu Jian’s Have a Nice Day, is the first feature-length, Chinese animation film to be screened at a Berlinale. It’s a touching expose. And, it’s a worthy contender for the Golden Bear. Warmly recommended.

*Featured photo: Courtesy of Liu Jian/Berlinale.de

 

 

 

BERLINALE TALENTS 2017: COURAGE IN ACTION!

Posted by Larry Gleeson.

The 15th edition of Berlinale Talents was rounded off yesterday by Berlinale International Jury member and artist Olafur Eliasson as well as director Raoul Peck, who is at the festival this year with the Oscar-nominated I Am Not Your Negro (Panorama) and Le jeune Karl Marx (Berlinale Special). During the last six days, over 100 experts, 250 Talents and well over 6,000 visitors turned HAU Hebbel am Ufer into an international hub of discussion and networking for film lovers.

 

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Prof. Monika Gruttes, the Federal Commissioner for Culture and Media (Photo via monika-grutters.de)

“Once again, this year’s Berlinale Talents proves to be the festival’s innovation lab. Where else can young filmmakers and experienced experts from every culture, country and profession have such open, inspiring exchange and collaborate on bringing new films to life? I wish these Talents success as they turn their ideas into reality. And above all: Have courage!” said the Federal Commissioner for Culture and the Media, Prof. Monika Grütters, on the occasion of the 15th anniversary of Berlinale Talents.

 

 

Courageous Mutual Exchange

screen-shot-2017-02-17-at-9-48-23-pmIn a time of political and social upheaval, this year’s theme has been a call to take a clear stance on cinematic narratives and aesthetics as well as a reminder against discouragement to rally our optimism and work together to bring about change. Throughout over 100 events and workshops, Talents discussed and worked with renowned experts and mentors, including Paul Verhoeven and Maggie Gyllenhaal, Christo, Agnieszka Holland, Ana Lily Amirpour, Isabel Coixet, Andres Veiel, Gurinder Chadha, Laura Poitras, Timothy Spall and many more.

Sunday’s opening panel, with this year’s Berlinale International Jury President Paul Verhoeven and Berlinale International Jury member Maggie Gyllenhaal set the tone for this year’s edition. “Be courageous and step into the unknown,” was Paul Verhoeven’s encouragement for the Talents. Christo, in his 90-minute discussion with the audience, called for creative work to be based in real contexts: “The most important thing of all our work is that it is about real things: real wind, real wet, real dry, real fear.” The days to come were a journey towards discovering personal, creative and filmic moments of courage. Talents alumna Ana Lily Amirpour, who returned this year as an expert, summed up what makes Berlinale Talents so special: “I loved it here when I came in 2010, and I still feel the same. It’s invigorating to be around so many people from everywhere in the world who are just madly in love with their ideas.”

Prizes during Berlinale Talents

Once again, prizes were awarded to filmmakers during Berlinale Talents.

As part of the “Talent Project Market,” the VFF Talent Highlight Award, endowed with € 10,000, went to the project The Bus to Amerika by producer Nefes Polat and director Derya Durmaz (Turkey). Cash prizes of €1,000 each were awarded to the Cuban producer Maria Carla del Rio and the Singaporean producer Jeremy Chua for their nominated projects.

For the fifth time, the Robert Bosch Stiftung awarded during Berlinale Talents film prizes to promote international cooperation between German and Arab filmmakers, endowed with up to € 60,000 each.

Animation: Night by director Ahmad Saleh (Jordan) and producers Jessica Neubauer (Germany) and Saleh Saleh (Jordan)

Short Film: The Trap by director Nada Riyadh (Egypt) and producers Eva Schellenbeck (Germany) and Ayman El Amir (Egypt)

Documentary: Behind Closed Doors (Mor L’Bab) by director Yakout Elhababi (Morocco) and producers Karoline Henkel (Germany) and Hind Sah (Morocco / France)

Co-Partner Nespresso kicked off the vertical video contest “Nespresso Talents 2017” during Berlinale Talents. The competition is open for entries until April 17, 2017, at nespresso.com/talents. Winners will be officially announced during the Cannes Film Festival and receive a cash prize and participation in a mentoring programme.

And tonight, Berlinale Talents and Perspektive Deutsches Kino will jointly award the inaugural Kompagnon-Fellowship during the closing evening of Perspektive Deutsches Kino.

For press information and interview requests please contact:

Malte Mau

Phone +49.30.259 20.518
Fax +49.30.259 20.534

Berlinale Talents is an initiative of the Berlin International Film Festival, with the support of the Federal Government Commissioner for Culture and the Media, Creative Europe – MEDIA Programme of the European Union, Robert Bosch Stiftung, Medienboard Berlin-Brandenburg, the Federal Foreign Office and the German Federal Film Board.

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(Source: Berlinale Press Office)

Berlinale FILM CAPSULE: Logan (Mangold, 2017): USA

Posted by Larry Gleeson.

Writer/Director James Mangold’s Logan is hot out of the box! Making its World Premiere last night, February 17th, at the 67th Berlin International Film Festival, Logan brings back Hugh Jackman as the Wolverine and has blockbuster written all over it!

Set in 2029, the film opens in low-key lighting as a band of Latino roughians are in the process of stripping tires from Logan’s (Wolverine) small limousine. Unfortunately for the desperadoes, the vehicle has chrome plated lug nuts and even more so, the Wolverine is coming to after having tied one on.

This scene sets the tone for the film as the Wolverine winds up taking a beating but still manages to fend off the aggressors. Logan looks haggard and worn. This scenario is carried out repeatedly in several action sequences Logan without it getting old.

Patrick Stewart returns as an ailing Professor X with his now mind control registered as a weapon of mass destruction. The albino, Caliban, played again by Stephen Merchant, reprises his mutant tracker role. Newbie Dafne Keen plays young mutant, Laura Kinney/X-23, to great affect. Laura appears as a fugitive pursued by dark forces led by Boyd Holbrook. She’s a showstopper with plenty of moxie!

Logan is the tenth installment in the X-men series of film and the third and final installment of the Wolverine franchise following the successes of The Wolverine (2013) and X-Men Origins: Wolverine (2009). Both films grossed in excess of $130,000,000 at the box office. Logan is sure to match and/or surpass this figure. All three films are big-budget film. While budget numbers for Logan are not made readily available, the film boasted it created 15,000 jobs in its production.

In addition to the hand-to-hand combat fighting scenes with the Wolverine’s wielding his bristling, shimmering trademark claws, the narrative in Logan has a slightly familiar feel as the mutants are portrayed as very open and loving towards one another. And, again, they are portrayed primarily social outcasts pursued by predators for diabolical purposes. There’s also a new twist added to the story.

Nevertheless, Mangold manages to keep it fresh. Just when situations seem to be hopeless or on the verge of becoming mundane, Mangold injects a new catalyst propelling the film forward in dramatic fashion. Costumer Daniel Orlandi does excellent work keeping characters believable while imbuing them with just enough complementary edginess to enhance the narrative. Director of Photography of John Mathieson teams up with Editors Michael McCusker and Dirk Westervelt to unveil some wickedly fun action sequences.

Unfortunately, Jackman has said this is his final go with the Wolverine character. Quite frankly, it’s a shame. But, to have had one of the world’s great, great actors – onstage or on the big screen – portray a comic book action/adventure character for the films spanning just over a decade has been an unexpected delight.

While Jackman tends to carry most scenes, young Dafne Keen gave the audience quite a thrill with her own acting chops and sharp-witted quips. Hats off to screenwriters Mangold, Michael Green and Scott Frank for keeping any semblance of staleness at bay. Newly added character, Donald Pierce, played by Narcos star Boyd Holbrook, brings an energetic, counterbalancing dynamic to offset the mind-boggling powers of the mutants consistent with the previous Wolverine films.

Granted, Logan has the look and feel of the previous two Wolverine films. For fans of the previous Wolverine prequels, Logan is a must-see. For anyone not seeing the prequels, Logan stands on it’s own merits and is sure to make a believer out of the uninitiated . Highly recommended!

The film is scheduled to open in US theaters this Friday, March 3rd, 2017.

Logan was produced by Marvel Entertainment, TSG Entertainment and Twentieth Century Fox Film Corporation and employed over 15,000 personnel in its production.

Berlinale FILM CAPSULE: On the Beach at Night Alone (Hong Sangsoo, 2017): South Korea

Posted by Larry Gleeson.

Kim Minhee returns to the big screen after her scrumptuous portrayal of Lady Hideko in Chan-Wook Park’s The Handmaiden (2016). Kim, as Younghee, portrays an actor out-of-work, in On the Beach at Night Alone (Bamui haebyun-eoseo honja). Officially, Younghee has decided to take some time off after having had a tumultuous affair with a married man, a rather considerable Korean societal taboo.

The film opens with Younghee traveling to Hamburg attempting to sort out her life. One of the film’s treasures is its mise-en-scene. In the early scenes, Younghee is shown taking long walks along colorful riverbanks and through wintry parks revealing the depth of her conflicting feelings and desires.

Written and directed by Hong Sangsoo, [Right Now, Wrong Then (2015), Nobody’s Daughter Haewon (2013) and In Another Country (2012)] On the Beach at Night Alone, is a think-piece. Utilizing long takes and a stationary camera, Hong gives the viewer an intimate perspective of Younghee as she grapples with issues of love and its pursuit, a common theme in all Hong Sangsoo’s films. Unbeknownst to her, Younghee has been the subject of tabloid rumors.

Skillfully shot by Directors of Photography, Kim Hyungkoo and Park Hongyeol, the natural beauty and energies of the characters, as well as the film’s mise-en-scene, are highlighted.

In allowing the characters time and space, Hong has written some fairly heady dialogue in the first half of the film, as Younghee explores the metaphysical possibility of her lover following her if he misses her as much as she misses him. Younghee is a woman of some mystery and has an abundance of desire.

In the second half of the film, Younghee search for meaning moves to the forefront. She revisits old stomping grounds in Gangneung, a coastal town with an expansive, recreational beach where she reconnects with friends from her past. While not seemingly a big imbiber of alcohol, Younghee allows herself to be coerced at first and then joyfully partaking while reveling in alcohol’s mind-liberating properties.

And, as is usually the case, too much of a good thing can have deleterious effects as the answers Younghee is seeking seem to just slip through her grasp. During an informal dinner party, Younghee and her friends are partaking in the traditional Korean cultural custom of eating together and enjoying Soju, the country’s national drink. Speaking from her now blemished heart and finding courage with her Soju consumption, Younghee has harsh and inconsiderate words for those in her close company as deep feelings and personal truths are unveiled. Sharing a needed, tender, sensuous, on-screen kiss with another female, Younghee’s vulnerability reaches its climax. Afterwards, she retreats to the beach at night alone to just be. At this point, it seems Younghee can only truly find herself in nature.

On the Beach at Night Alone is a beautiful film from start to finish. Intricacies of Korean culture are displayed and explored. Sanghoo’s  exploration of love and the affective role it has in life provides the groundwork for the the protagonist’s, Younghee’s, truth and life revelations to unfold in dramatic and profound ways and Kim Minhee devours the complexities of her character Younghee. This was the second powerhouse performance in a row from Kim. For her portrayal of Younghee, Kim received the 2017 Silver Bear for Best Actress from the 2017 Berlin International Film Jury. Highly recommended film.

 

*Featured photo credit: Kim Jinyoung © 2017 Jeonwonsa Film Co./Berlinale.de

 

#SBIFF Announces 3rd Weekend

Posted by Larry Gleeson.

sbiff_app_updateThe Santa Barbara International Film Festival (SBIFF) announced its 3rd Weekend featuring Festival highlights for FREE!

All screenings this year will be at the Fiesta Theatre at 916 State Street.
Seating is first-come first served.

Info on each film is available at schedule.sbiff.org and on the new SBIFF app available on iOS and Android.

FRIDAY, FEBRUARY 17

5:00PM “DOCUMENTARY SHORTS: REFUGEES”
Including “REFUGE” and “REFUGEE” – Winners of the Best Documentary Short Film Award

7:30PM “THE CONSTITUTION”
Winner of the Jeffrey C. Barbakow Award – Best International Feature Film

9:30PM “GAVIOTA: THE END OF SOUTHERN CALIFORNIA”

SATURDAY, FEBRUARY 18

11:00AM “REBELS ON POINTE”

2:00PM “THE GOOD CATHOLIC”
Winner of the Panavision Spirit Award for Independent Cinema
Preceded by “IT’S BEEN LIKE A YEAR” – winner of the Bruce Corwin Award for Best Live Action Short Film

5:00PM “SÁMI BLOOD”
Winner of the Valhalla Award for Best Nordic Film

7:30PM “MY HERO BROTHER”
Winner of the Audience Choice Award and Best Documentary Award

9:30PM “GIVEN”

SUNDAY, FEBRUARY 19

11:00AM “TAMARA”
Winner of the Nueva Vision Award for Spain/Latin America Cinema

2:00PM “ANGRY INUK”
Winner of the Social Justice Award for Documentary Film

5:00PM “STRAWBERRY DAYS”
Winner of the ADL Stand Up Award
Preceded by “CONFINO” – Winner of the Bruce Corwin Award for Best Animated Short Film

7:30PM “JERICO, THE INFINITE FLIGHT OF DAYS”

(Source: sbiff.org)