Lav Diaz | HollywoodGlee

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AFI FEST presented by Audi has a new section this year. The inaugural year of Masters in Conversation features three longtime international filmmakers who continually turn out provocative, challenging works that push the limits of what is possible in cinema. Films screening in this section are I AM NOT YOUR NEGRO, followed by a discussion with director Raoul Peck, and THE WOMAN WHO LEFT, followed by a discussion with director Lav Diaz. Documentarian Gianfranco Rosi also joins this section for a conversation about his lauded documentary on the migrant crisis, FIRE AT SEA.

MASTERS IN CONVERSATION

Lav Diaz works as a director, writer, producer, editor, cinematographer, poet, composer, production designer and actor. Known for the daring length of his films, some of which run up to 11 hours, Diaz made his feature debut with THE CRIMINAL OF BARRIO CONCEPCION in 1998. His subsequent features include EVOLUTION OF A FILIPINO FAMILY (2004); CENTURY OF BIRTHING (2011); NORTE, THE END OF HISTORY (2013); FROM WHAT IS BEFORE (AFI FEST 2014), winner of the Golden Leopard at the Locarno International Film Festival; and A LULLABY TO THE SORROWFUL MYSTERY (2016). His film THE WOMAN WHO LEFT will screen at AFI FEST.

Raoul Peck’s complex body of work includes THE MAN BY THE SHORE (1993), which competed at the Cannes Film Festival; LUMUMBA (2000), SOMETIMES IN APRIL (2005), MOLOCH TROPICAL (2009) and MURDER IN PACOT (2014), all of which premiered at top international festivals. His documentaries include LUMUMBA: DEATH OF A PROPHET (1990), DESOUNEN: DIALOGUE WITH DEATH (1994) and FATAL ASSISTANCE (2013). He served on the Cannes Jury in 2012, and is presently chairman of the French lm school La Fémis. In 2001, the Human Rights Watch Organization awarded him the Irene Diamond Lifetime Achievement Award. His film I AM NOT YOUR NEGRO will screen at AFI FEST.

Gianfranco Rosi is the director of the documentary BELOW SEA LEVEL (2008), which won the Orizzonti Award at the Venice Film Festival and was nominated for Best Documentary at the European Film Awards; EL SICARIO, ROOM 164 (2010), which won the FIPRESCI Award at Venice; and SACRO GRA (2013), which won the Golden Lion at Venice. Living for a year on Lampedusa resulted in FIRE AT SEA, the Golden Bear and Ecumenical Prize winner at the Berlinale.

Tickets to Masters in Conversations will be available on AFI.com beginning November 1

*Featured photo from THE WOMAN WHO LEFT

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

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Posted by Larry Gleeson

By Misuzu Sato

Japanese films failed to make the Golden Lion shortlist at the 73rd Venice Film Festival that wrapped up in September. A question was posed at the Venice Film Festival Press Conference on why Japan is missing out on challenging in the top competition for the second consecutive year.

Also in Cannes and Berlin this year, no Japanese films were shown in competition, meaning they were not in the running for the top prizes at the “Big Three” film festivals.

While experts say Asian films have been losing their foothold in the increasingly competitive film festival circuit, they urge Japanese filmmakers to pursue their ingenuity and attempt a more international perspective.

The Venice festival has given the Golden Lion prize to Akira Kurosawa’s Rashomon and Takeshi Kitano’s Hana-bi, and also showcased films by Kitano, Hayao Miyazaki, Shinya Tsukamoto and other Japanese filmmakers in competition for 13 consecutive years until 2014. Although three of the 21 films showcased in competition in 2008 were from Japan, no Japanese movies have made it to the main competition for the past two years.

“With the number of films produced having increased, the margin for not only Japanese films but also for other Asian movies to be featured at international film festivals has shrunk in recent years,” said Tokyo International Film Festival programming director Yoshihiko Yatabe. “As it stands, it is less of the quality of the works than the fact that organizers can’t get around to reviewing Asian films as South American and North European films are also doing great.”

However, Filipino director Lav Diaz won the Golden Lion for Best Film for his The Woman Who Left at Venice this year.

A forum focusing on the rapidly growing Chinese market was also held on the sidelines.

But Venice festival director Alberto Barbera said the festival had picked up a powerful and beautiful Japanese work in the Orizzonti section for cutting-edge films: Kei Ishikawa’s first feature film Gukoroku–Traces of Sin.

While Ishikawa was presented in Orizzonti, Yasushi Kawamura’s full-CG film Gantz: O–also his first full-length feature–was screened out of the competition at Venice.

At Cannes, Koji Fukada’s Harmonium received the Jury Prize in the Un Certain Regard section.

“In Japan, it is difficult for filmmakers to make auteuristic art films, but it shouldn’t be impossible if they are determined,” said film journalist Atsuko Tatsuta, as to how Japanese films could break into the competition lineup. “They need to gain a more international perspective by collaborating with other countries and making other efforts.”

Jean-Michel Frodon, former editorial director of film magazine Cahiers du Cinema, said that although Japanese filmmakers are making good films, they have yet to earn recognition abroad. He also stressed the importance of showing their presence at other film festivals and promoting their works to overseas audiences.

*Featured photo: The red carpet at the Venice Film Festival in Lido Island, Italy, where all the films want to be competing (The Asahi Shimbun)

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

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Jio MAMI 18th Mumbai Film Festival with Star introduces new programming this year called The New Medium. This section will feature the best in innovative filmmaking by scouring the living history of cinema – from its inception to the contemporary moment.

The New Medium is formulated and programmed by artist, Shaina Anand who is co-founder of the artist studio CAMP, and the Indian Cinema Foundation. These films will be screened throughout the festival, between 20th to 27th October, 2016. The New Medium will bring together works that have shaped and transcended the language of cinema in both form and content. Powerful and relevant at the time they were made, they remain transformative as experiences. These movies challenge the preconceptions of standard methods of filmmaking.

Speaking about The New Medium, curator and artist Shaina Anand said, “This programme is not just about experimental avant-garde cinema. The moving image has a very short historical life. Its only 125 years old and its form and language is far from exhausted. Some of the films we present here are canons. Others are cult classics, known only in small circles. Here you will find assemblage, agitprop, a film about a film, an essay film, a reenactment, a faux documentary, a music video, a science fiction fantasy, a TV-series, a collectively-authored film, a pure formal interactive experience, and even one of the longest films ever made! The New Medium invites the audience to experience first- hand these remarkable trajectories from the chronicles of cinema.”

The New Medium opens with the restored version of Dziga Vertov’s audacious Man with the Movie Camera that was made in 1929. In2014, Sight and Sound Magazine named it as the greatest documentary of all time. The film will be accompanied by a live score performed by the Vitaly Tkachuk Quartet joining us from Ukraine.

Among the 14 titles that will screen throughout the festival is Uday Shankar’s fantastical dance film, Kalpana (1948) restored by the World Cinema Foundation, Mani Kaul’s unseen mini-series “Ahamaq” (Idiot), and an iconic work of expanded cinema, the two-screen Light Music (1975) by Lis Rhodes that will be installed inside the cinema hall.

Jio MAMI with Star, Festival Chairperson, Kiran Rao said, “We are truly excited to present this new section -my personal favourite section! – which showcases some of the more bold and seminal experiments in filmmaking. I hope film lovers will take this opportunity to experience works like the newly restored Man with a Movie Camera accompanied by live music, and Lav Diaz’ Evolution of a Filipino Family, among others.”

The 14 movies that will be featured as part of The New Medium are:

Man with A Movie Camera

Directed by Dziga Vertov (RUSSIA 1929)

Accompanied by live music from the Vitaly Tkachuk Quartet

Kalpana

Directed by Uday Shankar (INDIA 1948)

For a first (and only) film by a dancer who also plays the lead role, Kalpana shows an amazing grasp of cinematic form. Uday Shankar‟s accurate compositions and use of movement within them are breathtakingly original. Here dance is not a mere addition to the other attractions of the film but it is integrated into the very fabric of what is

almost a new cinematic form.

Now!

Directed by Santiago Alvarez (CUBA 1965)

Preceding the music video genre by 20 years, and made mostly with still photographs, it is a visceral and haunting document of racism and police brutality in the United States.

Far from Vietnam

Directed by Joris Ivens, William Klein, Claude Lelouch, Agnès Varda, Jean-Luc Godard, Chris Marker and Alain Resnais (FRANCE 1967)

Seven of French cinemas greats come together to collectively author this film. Passionately critical and self-critical, and as bold in form as it is in rhetoric, the film is a milestone in political documentary and in the French cinema.

Vampir Cuadecuc

Directed by Pere Portabella (SPAIN 1971)

A parasitical film. A cult classic. Christopher Lee lends his features to another vampire, General Franco, hoping to hasten his end in this political fable.

Space is The Place

Directed by Johan Coney (USA 1974)

Science fiction, blaxploitation, cosmic free jazz and radical race politics combine when the legendary Jazz musician Sun Ra returns to earth in his music-powered space ship to battle for the future of the black race and offer an ‘alter-destiny’ to those who would join him.

Chhatrabhang

Directed by Nina Shivdasani Rovshen (INDIA 1976)

With a simple narrative that unravels in a direct yet poetic manner, Chhatrabhang‟ explores the caste dynamics of a drought stricken villagein rural India.

Light Music

Directed by Lis Rhodes (UK 1975)

The space between the two screens turns the beams into airy sculptural forms consisting of light, shadow and smoke, which encourages the viewer to move around the room. This in turns destroys conventional film watching codes and turns the film into a collective practice where the audience is expected to intervene into the work and thus, become the

performer. 16 mm Black and White 2 screen projection, with sound and fog. In

collaboration with British Council Mumbai, with technical support from Max Meuller Bhavan, Delhi. Lis Rhodes ‘Light Music’ can be described but only in order to be experienced. We present this iconic work of expanded cinema inside the cinema as part of The New Mediums programming.

Agraaharathil Kazhuthai

Directed by John Abraham (INDIA 1977)

Made as a satire on the Brahminical bigotry and superstition, the surreal narrative style makes excellent use of repetitions for comic effect.

Evolution of a Filipino Family

Directed by Lav Diaz (PHILIPINES 2004)

A special film and an especially long film. Watch the first independent film of the prolific and mutl-award winning Pillipino auteur Lav Diaz. Ten years in the making, and just as long. Follows the adventures of a family against the backdrop of the social and political developments in Marcos regime’s state of siege in the Philippines between 1971-1987.

Ahmaq

Directed by Mani Kaul (INDIA 1991)

Mani Kaul explores Dostoevsky’s novel faithfully following the original plot transposed into a scathing depiction of a feudal elite, largely bypassed by history, located in Bombay and Goa. The unedited mini-series presented back to back as a four-hour film. To discuss the film and how it was to work with Mani Kaul, we bring together key members of Kaul’s original cast and crew. They are:

Piyush Shah: Cinematographer, alumnus of the Film and Television Institute of India

Vikram Joglekar: Sound artist, musician, alumnus of the Film and Television Institute of India

Meeta Vasisht: Actor, alumna of National School of Drama

Lalitha Krishna: Editor of all of Kaul’s films in the middle period, beginning with

Before My Eyes, and including The Cloud Door, Nazar, Siddheshwari and Ahamaq.

Ashish Rajadhyaksha: Film theorist and historian

D. Wood: multi-instrumentalist, composer, producer and educator

Ming of Harlem

Directed by Philip Warnell (UK 2014)

The film explores the relations between Antoine (a US citizen), Ming (400 pound Bengal tiger), and Al (a 7-foot long American alligator) and the high-rise dwelling they shared, presenting portraits of each of them as embedded in ethically fraught community and political concerns, accompanied by philosopher and collaborator Jean-Luc Nancy’s responses to their inter-species rapport in poetic form.

Goodbye to Language

Directed by Jean Luc Godard (FRANCE 2014)

Godard‟s Experimental 3-D film plays with the conventions of stereo vision using custom made DIY rigs.

Parallel I-IV

Directed by Harun Farocki (GERMANY 2014)

Tracing the evolution of video game graphics, the series continues the late filmmaker’s long-standing investigation into the rise of calculable, actionable images possessing a relationship to reality very different than that of the cinema before them.

Jio MAMI with Star VISION 2016

The Jio MAMI Mumbai Film Festival with Star is an inclusive movie feast. We showcase the latest cutting-edge, independent, cinema-art house fare alongside genre movies from Bollywood and Hollywood and cult international movies. We offer the best of world cinema to the people of Mumbai and we offer the best of Indian cinema to the world. The festival

is run by the Mumbai Academy of Moving Image popularly known as MAMI. This is a space where we revel in the sheer pleasure of cinema, the joy it gives us and how much it enhances our lives. The goal is to nurture and ignite a passion for movies. We want Jio MAMI with Star to be shorthand for excellence in cinema.

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Filipino films have been garnering international recognition in recent years. “The Woman Who Left” by director Lav Diaz won the prestigious Lion Award at the Venice Film Festival last month.

In May, the Philippines’ Jaclyn Jose won best actress at the Cannes Film Festival.

CCTV’s Barnaby Lo reports this could be a new golden era in Philippine cinema.

It was a red carpet event, and rightly so. After its success in the international film festival circuit, “Ang Babaeng Humayo” or “The Woman Who Left” opened in the Philippines last week. The almost four-hour film about a woman seeking revenge for getting incarcerated for a crime she didn’t commit had won the prestigious Lion Award last month, the highest honor at the Venice Film Festival. But for its Filipino cast and filmmakers, it was both an exciting and nervous moment.

Today’s Filipino films have little to prove abroad, especially with the win of Lav Diaz’s latest epic at the Venice Film Festival. The real battle now is at home, where romantic comedies and commercial dramas still dominate the local movie industry.

While awards do not guarantee box office success, surely, they are a measure of where Filipino films are right now on the world stage.

(Source: http://www.cctv-america.com)

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(Photo courtesy of ASAC Images/Biennale Cinema/Hazel Orencio)

PanARMENIAN.Net – Despite skepticism that it would ever make it into cinemas, Filipino auteur Lav Diaz’s nearly four-hour-long opus “The Woman Who Left”, which won the Venice Film Festival’s Golden Lion, is set for theatrical release in Italy by local niche distributor Microcinema, Variety said.

Microcinema has acquired Italian rights to the revenge drama from Berlin-based Films Boutique and plans to distribute it theatrically in coming months, in spite of comments in the press and on social media that the movie’s 228-minute running time made it too hard a sell.

Sam Mendes, who presided over this year’s Venice jury, said during the awards ceremony that one of the jury’s jobs is “to encourage people to come to the cinema and see original films,” while also noting that the jurors in discussions “talked about all movies the same way.”

“Mendes and the jury chose to give the Golden Lion to a film that thinks outside the box,” said Microcinema managing director Roberto Bassano. “And we are also planning to think a bit different.”

Bassano acknowledged that releasing “The Woman Who Left,” which stars Charo Santos-Cancio as a wrongly convicted schoolteacher facing the outside world after 30 years behind bars, would be “a business challenge” both in terms of finding ticket buyers and exhibitors unfazed by the “double screen time” taken up by the movie.

But he said that several art-house exhibitors, and also some Italian multiplexes in metropolitan areas, have already expressed interest. “It’s a slow burner, the kind of film you open small and expect to have legs on a few screens,” Bassano said.

An Italian release of “The Woman Who Left” would mark the first time a movie directed by Diaz made it into Italian cinemas, and also a rare release of one of his films in Europe.

Upcoming Italian releases by Microcinema, which uses a satellite transmission system to beam movies into movie theaters, include Argentinian romcom “No Kids,” directed by Ariel Winograd.

“The Woman Who Left,” shot in black-and-white with long fixed-camera takes, is considered one of Diaz’s more accessible works, with a “restrained run-time by the Filipino director’s standards,” as Variety critic Guy Lodge put it.

Earlier this year, the prolific Diaz won the Berlin Film Festival’s Silver Bear for his eight-hour historical epic, “A Lullaby to the Sorrowful Mystery.” That film was released theatrically in the Philippines by Star Cinema and elsewhere only screened in festivals.

Ang Babaeng Humayo (The Woman Who Left) director/filmmaker, Lav Diz. (Photo courtesy of ASAC Images/Biennale Cinema/Hazel Orencio)

(Source: http://www.panarmenian.net)

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Posted by Larry Gleeson

By Agnieszka Flak | VENICE

A nearly four-hour long movie about a woman’s thirst for revenge and her feelings of forgiveness after 30 years in jail for a crime she did not commit won the Venice Film Festival’s top prize on Saturday.

Director Lav Diaz has described “Ang Babaeng Humayo” (“The Woman Who Left”) as a testimony to the struggles of the Philippines after centuries of colonial rule.

“This is for my country, for the Filipino people, for our struggle, for the struggle of humanity,” the 57-year-old said as he accepted the Golden Lion award for his black-and-white movie.

Diaz, who at the Berlin Film Festival in February had premiered a film that ran over eight hours, said he hoped the latest recognition would create more appreciation for longer movies.

“Cinema is still very young, you can still push it,” he said.

Director Lav Diaz, center, poses with actress Charo Santos-Concio, left, and actor John lLoyd Cruz, right, as they attend the photo call for the movie *Ang Babaeng Humayo (The Woman Who Left)* at the 73rd Venice International Film Festival in Venice, Italy, September 9, 2016. (Photo credit: REUTERS/Alesandro Bianchi)

Twenty U.S. and international movies featuring top Hollywood talent and auteur directors were in competition at the world’s oldest film festival, in its 73rd outing this year. The event is seen as a launching pad for the industry’s award season.

All the movies that won awards were examples of directors’ “lack of compromise, (their) imagination, original vision, daring, and a kind of pure identity,” said Sam Mendes, known for directing James Bond movies “Skyfall” and “Spectre”, who headed the jury. “It’s taken me out of my comfort zone.”

Mendes said he hoped the awards would help the films get distributed.

The runner-up Grand Jury prize went to Tom Ford’s thriller “Nocturnal Animals”, the second feature by the celebrated fashion designer.

The Best Director award was shared by Russia’s Andrei Konchalovsky for the Holocaust drama “Rai” (“Paradise”) and Mexico’s Amat Escalante for “La Region Salvaje” (“The Untamed”).

Commenting on Escalante’s drama, which opens with a naked woman being pleasured by a tentacled creature, jury member and Venezuelan director Lorenzo Vigas said the movie affected all the judges emotionally.

“We liked the lack of sentimentalism. We felt he really took risks making the film. It’s a film that pushes the medium forward,” he said.

American Emma Stone took the Best Actress prize for her role in the musical “La La Land” and Argentine actor Oscar Martinez was named Best Actor for his performance in the comedy-drama “El Ciudadano Ilustre” (“The Distinguished Citizen”).

German actress Paula Beer received the Marcello Mastroianni Award acknowledging an emerging performer, for her role in post-war drama “Frantz”.

Noah Oppenheim took the best screenplay award for his work on Pablo Larrain’s “Jackie”, about first lady Jacqueline Kennedy in the aftermath of the assassination of her husband U.S. President John F. Kennedy.

The special jury prize went to Ana Lily Amirpour’s cannibal-survivor fairytale “The Bad Batch”. While the film earned mixed reviews, the jury appreciated its spirit.

“Someone has made a very individual, very personal vision, whatever you think of it; that alone, the act of making that film is astonishing,” Mendes said.

(Additional reporting by Sarah Mills and Hanna Rantala, Editing by Robin Pomeroy and Richard Chang)

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

*Featured photo courtesy of ASAC Images/Biennale Cinema/Hazel Orencio

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I attended my first Venice International Film Festival at the Cinema del Palazzo complex in Lido this year from the Pre-Opening Night event August 30th through Closing Night September 10th, 2016 as an accredited media entity.

The Venice Film Festival is the oldest film festival in the world with a history dating to 1932. This year was the 73rd edition showing little signs of its age. Steeped in glamor and tradition, the festival remains a testament to the cinematic arts with its viewing venues and its programming.

Italian Actress Monica Bellucci takes a moment to sgn an autograph on the Red Carpet at the 73rd Venice International Film Festival. (Photo courtesy of ASAC Images/Biennale Cinema)

Amy Adams walks the Red Carpet in a shoulder baring black dress at the 73rd Venice International Film Festival. (Photo courtesy of ASAC Images/Biennale Cinema)

Liev Schreiber and Naomi Watts walk hand-in-hand on the Red Carpet at the 73rd Venice International Film Festival. (Photo courtesy of ASAC Images/Biennale Cinema)

Set in Lido with a plethora of screens each only a score or two steps away, these hallowed cinema grounds created a magical setting adorned with cafes, raised walkways, and abundance of shade trees.

The Al Leone D’Oro sidewalk cafe on the Lido grounds at the 73rd Venice International Film Festival. (Photo credit: Larry Gleeson/HollywoodGlee)

Cinema patrons makeing their way between venues during the 73rd Venice International Film Festival. (Photo credit: Larry Gleeson/HollywoodGlee)

Last night and final view of the 73rd Venice International Film Festival. (Photo credit: Larry Gleeson/HollywoodGlee)

The real magic, however, took place inside the cinema!

Leading the way were the spell-binding performances of Lily-Rose Depp and Natalie Portman in Planetarium from Director Rebecca Zlotowski.

*Planetarium* Director, Rebecca Zlotowski. (Photo courtesy of ASAC Images/Biennale Cinema)

Award-winning, Tom Ford’s Nocturnal Animals, took home the Silver Lion Grand Jury Prize for Best Film. Nocturnal Animals captured my eye and imagination with it’s captivating story lines, exceptionally rich, mise-en-scene and wildly, powerful acting. Damien Chazelle and crew mesmerized audiences with their dazzling La La Land. The lovely Emma Stone received the Best Actress Silver Lion Volpi Cup for her heartful, soul-revealing performance as Mia.

Director Tom Ford receives this year’s Silver Lion for Best Film from the Grand Jury. (Photo courtesy of ASAC Images/Biennale Cinema))

Ms. Emma Stone at the La La Land Press Conference on Augsut 31st, 2016, at the 73rd Venice International Film Festival. (Photo courtesy of ASAC Images/Biennale Cinema))

Director Lav Diaz, left, with *Ang Babaeng Humayo* film delegation at the 73rd Venice International Film Festival. (Photo courtesy of ASAC Images/Biennale Cinema)

This year’s Golden Lion for Best Film went to Lav Diaz for his painstaking drama, Ang Babaeng Humayo (The Woman Who Left), an epic story with a runtime of 226 minutes. The film follows one woman rediscovering her homeland after a 30 year stay in a correctional facility.

For a complete list of winners click here.

Other noteworthy films, not already mentioned, included: Paradise, a Russian Federation film, set amidst the Nazi WWII reign of terror (Director Andrei Konchalovsky garnered Silver Lion for Best Director for his Paradise efforts); Terrence Malick’s Voyage of Time: Life’s Journey, winner of the 5th Green Drop Award awarded by Green Cross Italy to films that bring attention to the values of ecology and sustainable development; Jackie, Pablo Larrain’s portrait of the iconic First Lady, Jacqueline Bouvier Kennedy (Noah Oppenheim won Best Screenplay for Jackie); and Orecchie, a Biennale College – Cinema Production, directed by Alessandro Aronadio and produced by Costanza Coldagelli.

A special note of thanks to this year’s ushers for their efforts in ensuring my safety and well-being at the 73rd Venice International Film Festival. Until next year, Ciao’!

Ushers at the 73rd Venice International Film Festival. (Photo credit: Larry Gleeson/HollywoodGlee)

*Featured photo courtesy of Larry Gleeson/HollywoodGlee

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Director Lav Diaz receives Golden Lion for Best Film for *Ang Babaeng Humayo.* (Photo courtesy of ASAC Images/Biennale Cinema)

VENEZIA 73

The Venezia 73 Jury, chaired by Sam Mendes and comprised of Laurie Anderson, Gemma Arterton, Giancarlo De Cataldo, Nina Hoss, Chiara Mastroianni, Joshua Oppenheimer, Lorenzo Vigas and Zhao Wei having viewed all 20 films in competition, has decided as follows:

GOLDEN LION for Best Film to:

ANG BABAENG HUMAYO (THE WOMAN WHO LEFT)

by Lav Diaz (Philippines) with a run time of 226m.

SILVER LION – GRAND JURY PRIZE to:

NOCTURNAL ANIMALS

by Tom Ford (USA)

SILVER LION – AWARD FOR BEST DIRECTOR ex-aequo to:

Andrei Konchalovsky

for the film PARADISE (Russian Federation, Germany)

Amat Escalante

for the film LA REGIÓN SALVAJE (THE UNTAMED)

(Mexico, Denmark, France, Germany, Norway, Switzerland)

COPPA VOLPI

for Best Actress:

Emma Stone

in the film LA LA LAND by Damien Chazelle (USA)

COPPA VOLPI

for Best Actor:

Oscar Martínez

in the film EL CIUDADANO ILUSTRE by Mariano Cohn and Gastón Duprat

(Argentina, Spain)

AWARD FOR BEST SCREENPLAY to:

Noah Oppenheim

for the film JACKIE by Pablo Larraín (UK)

SPECIAL JURY PRIZE to:

THE BAD BATCH by Ana Lily Amirpour (USA)

MARCELLO MASTROIANNI AWARD

for Best Young Actress to:

Paula Beer

in the film FRANTZ by François Ozon (France, Germany)

LION OF THE FUTURE

“LUIGI DE LAURENTIIS” VENICE AWARD FOR A DEBUT FILM

Lion of the Future – “Luigi De Laurentiis” Venice Award for a Debut Film Jury at the 73rd Venice Film Festival, chaired by Kim Rossi Stuart and comprised of Rosa Bosch, Brady Corbet, Pilar López de Ayala and Serge Toubiana, has decided to award:

LION OF THE FUTURE

“LUIGI DE LAURENTIIS” VENICE AWARD FOR A DEBUT FILM to:

Akher Wahed Fina (The Last of Us) by Ala Eddine Slim

(Tunisia, Qatar, U.A.E., Lebanon)

VENICE INTERNATIONAL FILM CRITICS WEEK

as well as a prize of 100,000 USD, donated by Filmauro of Aurelio and Luigi De Laurentiis to be divided equally between director and producer.

ORIZZONTI AWARDS

The Orizzonti Jury of the 73rd Venice International Film Festival, chaired by Robert Guédiguian and composed of Jim Hoberman, Nelly Karim, Valentina Lodovini, Moon So-ri, José María (Chema) Prado and Chaitanya Tamhane after screening the 32 films in competition has decided to award:

the ORIZZONTI AWARD FOR BEST FILM to:

LIBERAMI by Federica Di Giacomo (Italy, France)

the ORIZZONTI AWARD FOR BEST DIRECTOR to:

Fien Troch

for HOME (Belgium)

the SPECIAL ORIZZONTI JURY PRIZE to:

KOCA DÜNYA (BIG BIG WORLD)

by Reha Erdem (Turkey)

the ORIZZONTI AWARD FOR BEST ACTRESS to:

Ruth Díazin the filmTARDE PARA LA IRA by Raúl Arévalo (Spain)

the ORIZZONTI AWARD FOR BEST ACTOR to:

Nuno Lopes in the film SÃO JORGE by Marco Martins (Portugal, France)

the ORIZZONTI AWARD FOR BEST SCREENPLAY to:

KU QIAN (BITTER MONEY) by Wang Bing (France, Hong Kong)

the ORIZZONTI AWARD FOR BEST SHORT FILM to:

LA VOZ PERDIDA by Marcelo Martinessi (Paraguay, Venezuela, Cuba)

the VENICE SHORT FILM NOMINATION FOR THE

EUROPEAN FILM AWARDS 2016 to:

AMALIMBO by Juan Pablo Libossart (Sweden, Estonia)

VENICE CLASSICS AWARDS

The Venice Classics Jury, chaired by Roberto Andò composed of 25 students of Cinema History, chosen in particular from the professors of 12 Italian Dams university programmes and from the Venice University of Ca’ Foscari, has decided to award:

the VENICE CLASSICS AWARD FOR BEST DOCUMENTARY ON CINEMA to:

LE CONCOURS by Claire Simon (France)

the VENICE CLASSICS AWARD FOR BEST RESTORED FILM to:

BREAK UP – L’UOMO DEI CINQUE PALLONI by Marco Ferreri

(1963 and 1967, Italy, France)

GOLDEN LION FOR LIFETIME ACHIEVEMENT 2016 to:

JEAN-PAUL BELMONDO

JERZY SKOLIMOWSKI

JAEGER-LECOULTRE GLORY TO THE FILMMAKER AWARD 2016 to:

Amir Naderi

PERSOL TRIBUTE TO VISIONARY TALENT AWARD 2016 to:

Liev Schreiber

L’ORÉAL PARIS PER IL CINEMA AWARD to:

Matilde Gioli

(Source:www.labiennale.org)

HollywoodGlee

Tag Archives: Lav Diaz

Announcing AFI FEST’s Inaugural Masters in Conversation Section

Japanese films fail to make mark at ‘Big 3’ festivals

MUMBAI FILM FESTIVAL CELEBRATES INNOVATION IN FILMMAKING WITH THE LAUNCH OF THE NEW MEDIUM

Filipino films garnering wider international attention

Venice Golden Lion winner “The Woman Who Left” finds distributor

Philippine revenge drama wins Venice Film Festival’s top prize

Wrap Up: 73rd Venice International Film Festival Continues to Mesmerize

Official Awards of the 73rd Venice Film Festival

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