Tag Archives: television

Berlinale FILM CAPSULE: The Other Side of Hope (Kaurismaki, 2017): Finland

Posted by Larry Gleeson.

Writer/Director Aki Kaurismaki served up a full platter of entertainment with Toivon tuolla puolen (The Other Side of Hope) during the 67th Berlin International Film Festival at the Berlinale Palast Theater. Tackling the migration and asylum bureaucratic processing issues of the day, Kaurismaki serves up quite a treat with The Other Side of Hope.

The film opens in the dark of night in a shipping harbor complete with fog horn blasts and heavy equipment operating including a dock loader transferring coal from ship to shore. The black, glistening bituminous coal shimmering in the light as it is being piled is magical this night. Emerging from the center of the pile a rounded shape with two spherical orbs projecting light are visible. Soon a human form emerges.

A cut is made to a businessman, Wikstrom, played by Sakari Kuosmanen primping himself for what appears to be another day. Yet, on this day, Wikstrom has decided to leave his wife, who comes into frame with a full head of curlers, a cigarette dangling from her mouth, attired in a cheaply-made, tropical floral robe. Wikstrom places his wedding ban on the table and exits. The woman reached for a gin bottle pouring herself a double taking a mouthful to wrap up the scene.

Using these two main protagonists, Kaurismaki embarks on a story showcasing two very different lives. Wikstrom, a haberdasher of sorts peddling ties and men’s shirts, drives a black luxury sedan listening to Western music while the coal refugee, Khaled, a Syrian asylum seeker, portrayed by Sherwan Haji, takes a coin-fed shower releasing the black soot from his skin’s pores. These men are on different trajectories. Khaled tries to do the right thing by finding the nearest police station in Helsinki to seek political sanctuary status from Aleppo. Despite his best efforts Khaled is denied sanctuary and decides to stay in the country illegally as many in his predicament seem to be doing. Wikstrom is hustling at a private, high-stakes poker game winning enough money to purchase outright an old, seemingly well-established restaurant in one of the remotest areas of Helsinki.

The restaurant undergoes several incarnations – each one bringing more laughs from the audience than the previous one. Wikstrom has developed very solid rapport with the chef and head waiter and takes to heart almost every one of their suggestions. Khaled, on the other hand, has been living on the streets and has made friends with a hip and funky group of rock-n-rollers. As luck would have it, or, maybe it was a form of divine Providence, the Wikstrom finds Khaled sleeping in the back of his restaurant and winds up giving him a bed and a job. With the help of the Wikstrom’s connections, Khaled is reunited with his sister and manages to find a way to stay in the country.

Hats off to Kaurismak. He wields quite a powerful wand in The Other Side of Hope. Bringing the main protagonists together after nearly forty minutes and having the story and its characters gel in a believable manner is no easy task. Quite the opposite. Tiina Kaukanen rapid fire costume changes aids immensely in the humorous attempts to find a working restaurant motif. I would be amiss not to mention the uber strong production design managed by Mark Lwoff and Misha Jaari. Director of Photography, Timo Salminen, captures the telling mise-en-scene with various lighting sets ranging from very low-key sets to more traditional tungsten indoor lighting set ups.

An interesting note: Eevi Kareinen handled the casting while serving as the Assistant Director.

In the end, Kaurismaki brings these two characters together – the practical businessman and a refugee seeking a life free from Syrian war for him and his sister. Along the way, he provides plenty of comic relief in this heart-warming and life-affirming tale of pragmatism and redemption. An exceptional film in light of the present migration dilemma and one I recommend highly without reservation.

*Featured photo credit: Malla Hukkanen © Sputnik Oy

Advertisements

Chicago Film Fest CineYouth Challenge 2017 – Entries Now Open

Posted by Larry Gleeson

CineYouth Film Challenge
Do you know an aspiring young filmmaker? We’ve got a great opportunity for students ages 10-18 to participate in a single day filmmaking experience. Join us for CineYouth Film Challenge on Saturday, April 22, at Columbia College Chicago, where students will collaborate on making a short film from start to finish. The completed films will go on to screen at CineYouth Festival, May 4-6.
 screen-shot-2017-02-07-at-5-18-57-pm
The Film Challenge is generously supported by sponsor Allstate Insurance and partner Columbia College Chicago.

(Source: Chicago Press Office)

Berlinale Goes Kiez: The Festival in Neighbourhood Cinemas

Posted by Larry Gleeson

Once again the Berlinale Goes Kiez special series is bringing the glamour of the festival to Berlin’s very diverse neighborhoods and the city of Potsdam. The Berlinale will screen at seven select arthouse cinemas known for participating in and contributing to cultural life in their respective neighborhoods.

In Neukölln a new cinema  w o l f  will be opening its doors for the first time with the Berlinale. And in the Wrangelkiez, one of Kreuzberg’s most upbeat neighborhoods, the Red Carpet will again be rolled out at the newly converted and enlarged EISZEIT cinema.

1c5d841ac4

 

From February 11 to 17, 2017, a selection of films from the official Berlinale program will be shown in neighborhoods, ranging from Berlin-Weißensee to beyond the city limits in Potsdam-Babelsberg. Each evening one arthouse cinema will be turned into a festival venue.

Members of film teams have already announced their intention to present their works personally and discuss them with audiences after the screenings. At each neighborhood cinema a prominent film personality will serve as its patron.

The Berlinale Goes Kiez series will also begin with the official opening film of this year’s Berlinale. Django (Competition) by Etienne Comar will kick off the evening at the Bundesplatz-Kino in Wilmersdorf. Local moviegoers can expect a long and interesting evening, as shortly before midnight a film from the Berlinale Classics program will be presented as well: the digitally restored version of George A. Romero’s horror classic Night of the Living Dead.

For the first time NATIVe, the Berlinale special series on Indigenous cinema, has been invited to participate in Berlinale Goes Kiez. At the EISZEIT cinema in Kreuzberg, two films from Canada will represent this year’s special region of focus, the Artic.
At the  w o l f  in Neukölln, Berlinale Goes Kiez and Berlinale Talents will launch their first collaboration. In public talks titled “Local Heroes: Community Cinema Reloaded”, innovative international cinema operators will discuss with the audience ways to curate, finance, and involve the neighborhood in local movie theatres.

 

Berlinale-Festival Director Dieter Kosslick: “Our ‘local heroes’ are neighborhood cinemas in Berlin and Brandenburg that are open to topics important to the community and foster an on-going dialogue through the stories presented on their screens.”

 

Advance sales start on February 6, 2017; tickets will also be available at the respective cinemas.

Neighbourhood cinemas and programme

Saturday, February 11 at Bundesplatz-Kino, Wilmersdorf
6.00 pm Competition
Django by Etienne Comar

9.00 pm Competition
Teströl és lélekröl (On Body and Soul) by Ildikó Enyedi

11.45 pm Berlinale Classics
Night of the Living Dead by George A. Romero

Sunday, February 12 at Toni & Tonino, Weißensee
3.30 pm Generation Kplus
Die Häschenschule – Jagd nach dem Goldenen Ei (Rabbit School – Guardians of the Golden Egg) by Ute von Münchow-Pohl

6.30 pm Competition
Wilde Maus (Wild Mouse) by Josef Hader

9.30 pm Perspektive Deutsches Kino
Back for Good by Mia Spengler

Monday, February 13 at Odeon, Schöneberg
6.30 pm Berlinale Special Gala
Le jeune Karl Marx (The Young Karl Marx) by Raoul Peck

9.30 pm Competition
Una mujer fantástica (A Fantastic Woman) by Sebastián Lelio

Tuesday, February 14 at  w o l f  , Neukölln
4.30 pm Talents Go Kiez
“Local Heroes: Community Cinema Reloaded”
Public talk (in English)

6.30 pm Panorama Special
Tiger Girl by Jakob Lass

9.30 pm Forum
Chemi bednieri ojakhi (My Happy Family) by Nana & Simon

Wednesday, February 15 at Thalia Programmkino, Potsdam-Babelsberg
6.30 pm Competition
Toivon tuolla puolen (The Other Side of Hope) by Aki Kaurismäki

9.30 pm Competition
Beuys by Andres Veiel

Thursday, February 16 at City Kino Wedding
in Centre Français de Berlin, Wedding
6.30 pm Forum
Tiere (Animals) by Greg Zglinski

9.30 pm Berlinale Shorts Go Kiez
Fishing Is Not Done On Tuesdays by Lukas Marxt, Marcel Odenbach
Kometen (The Comet) by Victor Lindgren
Everything by David OReilly
Estás vendo coisas (You are seeing things) by Bárbara Wagner, Benjamin de Burca
Os Humores Artificiais (The Artificial Humors) by Gabriel Abrantes

Friday, February 17 at EISZEIT cinema, Kreuzberg
6.30 pm Culinary Cinema Goes Kiez
Theater of Life by Peter Svatek
After the screening menu at Markthalle Neun

9.00 pm NATIVe Goes Kiez
Tungijuq by Félix Lajeunesse, Paul Raphaël
Angry Inuk by Alethea Arnaquq-Baril

Berlinale Goes Kiez is supported by the Medienboard Berlin-Brandenburg. Its complete programme can be found at www.berlinale.de. Please contact Uschi Feldges for more information ().

Logo-Berlinale-Facebook

(Source: Berlinale Press Office)

Drafthouse Films acquires “R100”

Posted by Larry Gleeson

R100 one was a midnight favorite at the American Film Institute’s AFIFEST 2013. I ventured out with a Japanese exchange student/cohort. We were in stitches and the audience was rollicking. I went on to review the film initially at the Santa Barbara City College SBCC Film and Media Studies site before posting it here earlier this year. In addition, at a recent Art Cinema Seminar/Class led by Santa Barbara International Film Festival Program Director Michael Albright, R1oo, received noteworthy mention. This is a film I highly recommend from a nationally renowned and esteemed Japanese director, Hitosi Matsumoto. Please enjoy the excerpt from Austin360.com!

hero_r100_2015_1

 

Editor’s note: This article was originally published September 26, 2013.

Drafthouse Films, the film distribution arm of the Alamo Drafthouse Cinema, has acquired of North American rights to Japanese director Hitoshi Matsumoto’s “R100,” a lunatic tale of male self-destruction. R100 premiered at Toronto International Film Festival’s Midnight Madness section and made its US premiere at Fantastic Fest last weekend. A VOD/Digital and theatrical release is planned for 2014.

It is not suprising that Drafthouse is picking this one up. Drafthouse and Fest founder Tim League introduced the completely gaga “R100” himself, nothing that it was the last film booked but that League, a huge Matsumoto fan, wasn’t going to let it get away. “If you don’t like this movie, you are (expletive) stupid,” League said…

fl20131006cub“R100” (The title is itself a play on the Japanese movie ratings R-15 and R-18) is an almost early-Woody Allen-esque comedy (think “Without Feathers” era or “What’s Up, Tigher Lilly?”) about Takafumi Katayama (Nao Ohmori, the star of “Ichi The Killer” fame) whose life has gone a bit pear-shaped. His department store job is mindless, his father-in-law is helping Katayama raise his young son while his wife is in a coma in the hospital and things are just looking kind of rough for the guy (the color palette for much of the film is all browns, tans and neutrals, washed out and quite 70’s looking in spots).

No wonder the guy feels the need to contact a dominatrix service and gets more than he bargained for. To wit: he never knows exactly when the doms (called “Queens,” each with a special, uh, talent) are going to show up to beat or humiliate him. At first, things seem to go fine. Then the wheels start to come off and things start to get very, very strange.

Matsumoto masterfully switches tones, almost from scene to scene. There are quiet, tender scenes that could hail from an earnest indie movie. There is old school silent movie boffo comedy. There are a couple of solid runs at the fourth wall. As League noted in his introduction, Matsumoto takes his time to set up a joke, but the payoffs are tremendous. And it features the best use of the “Ode to Joy” since “Raising Arizona.”

(Source: Excerpted from austin360.com)

DGA 69th ANNUAL AWARDS WINNERS

Posted by Larry Gleeson

Los Angeles – The winners of the Directors Guild of America Outstanding Directorial Achievement Awards for 2016 were announced during the 69th Annual DGA Awards at the Beverly Hilton in Beverly Hills. Damien Chazelle won the DGA’s Award for Outstanding Directorial Achievement in Feature Film for La La Land.

Actor Jane Lynch hosted the ceremony before an audience of more than 1,200 guests. Presenters included (in alphabetical order): Amy Adams, Michael Apted, Casey Affleck, Paris Barclay, Martha Coolidge, Laverne Cox, Billy Crudup, Michael Fassbender, America Ferrera, Cuba Gooding Jr., Ryan Gosling, Taylor Hackford, Tony Hale, Alex R. Hibbert, Gale Anne Hurd, Alejandro G. Iñárritu, Nicole Kidman, Christine Lahti, Helen Mirren, Mandy Moore, Kevin Nealon, Christopher Nolan, Sarah Paulson, Gene Reynolds, Trevante Rhodes, Ashton Sanders, John Singleton, Emma Stone, Milo Ventimiglia, and Kerry Washington.

Click the links below to view specific categories:

Feature Film First-Time Feature Film
Dramatic Series Movies for Television and Mini-Series
Comedy Series Variety/Talk/News/Sports – Regular
Reality Programs Variety/Talk/News/Sports – Specials
Children’s Programs Commercials
Documentary Achievement & Service Awards

(Source: dga.org)

The Hasty Pudding Theatricals Honors Ryan Reynolds as 2017 Man Of The Year

Posted by Larry Gleeson

CAMBRIDGE, MA (February 3rd, 2017) – The Hasty Pudding Theatricals, the oldest theatrical organization in the United States, welcomed producer and Golden Globe nominated actor, RYAN REYNOLDS, to Harvard University where he received his Man of the Year award.

The Hasty Pudding Theatricals’ Man and Woman of the Year Awards are presented annually to performers who have made lasting and impressive contributions to the world of entertainment. The Man of the Year award was established in 1963. Its past recipients include, among others, Clint Eastwood, Tom Hanks, Robert De Niro, Harrison Ford, Justin Timberlake, Robert Downey Jr, Chris Pratt and most recently, Joseph Gordon-Levitt, who was the 50th Man of the Year.

Hasty Pudding Theatricals Honors Ryan Reynolds as 2017 Man Of The Year
CAMBRIDGE, MA – FEBRUARY 03: (L-R) Roaster Natalie Kim, actor Ryan Reynolds and roaster Adam Chiavacci perform on stage during Hasty Pudding Theatricals Honors Ryan Reynolds as 2017 Man Of The Year on February 3, 2017 in Cambridge, Massachusetts. (Photo by Paul Marotta/Getty Images for for Hasty Pudding Institute of 1770)

The Man of the Year festivities, presented by RELATED, started early in the day, when Mr. Reynolds was given a tour of Farkas Hall, followed by a private seminar with the members of the Hasty Pudding Theatricals. In the evening, Mr. Reynolds was given the Pudding’s traditional roast and was then made to earn his Pudding Pot as punishment for not finishing college degree. Some of the tasks, which Mr. Reynolds had to perform, were acting out a “traditional” Canadian wedding, complete with lap dance, and auditioning for a role in Deadpool 2, which tested his ability to hurl Deadpool-esque insults at beloved figures, like Tom Brady and former Woman of the Year, Meryl Streep.

A press conference followed the presentation, which was the second to be live-streamed free and to the public via the Hasty Pudding’s Facebook (www.facebook.com/thehastypudding), as it happened. To close out the festivities, the Hasty Pudding Theatricals members gave the Opening Night performance of their 169th production, Casino Evil.

TO PURCHASE TICKETS to the Hasty Pudding Theatricals’ 169th production, Casino Evil, contact the HPT Box Office at 617-495-5205 or order online www.hastypudding.org

The show will be performed at Harvard University’s historic Farkas Hall, located at 12 Holyoke Street, from February 3rd until March 5th. The company then travels to New York to perform at The Kaye Playhouse at Hunter College on March 10th and 11th (call 212-772-4448 for tickets), followed by performances on March 15th-17th at Hamilton City Hall in Bermuda.

ABOUT THE HASTY PUDDING INSTITUTE OF 1770

The Hasty Pudding Institute of 1770’s philanthropic mission is to provide educational and developmental support in all aspects of the performing arts for the underprivileged, to encourage satire and comedy, and to cultivate young talent around the world. The Institute is comprises the Hasty Pudding Club (the oldest social club in the United States), the Hasty Pudding Theatricals (the third oldest theater group in the world, after the Comédie-Française and the Oberammergau Passion Players) and the Harvard Krokodiloes (the foremost collegiate a cappella group in the United States). Over the last two centuries, it has grown into a premiere performing arts organization, a patron of the arts and comedy, and an advocate for satire and discourse as tools for change worldwide.

(Source: image.net/hastypudding.org)

Nostradamus Report – The Future of Film

Posted by Larry Gleeson

If you could see what the film industry has in store for the next 3-5 years, would you dare…

2017 Nostradamus Report

screen-shot-2017-02-03-at-10-44-39-pm

Despite increased competition for audience attention in general and cinema screens in particular, the number of feature films produced in Europe and the US continues to grow. It is not expected to shrink significantly in the next 3-5 years. Among the reasons are new tax incentives and increasing investment from new platform media companies, but also the impact of real democratization of production technologies and to some degree of funding.

A Swell of Films

While this swell of cinema in theory allows a wider range of voices to be heard, in practice it makes it very difficult even for excellent work – of which there is arguably a lot – to find an audience, as there is no equivalent surge of innovation in distribution and audience relations. It also means that bad or irrelevant work has almost no chance to be seen. While it seems clear that public funds should be redirected from the latter categories either towards more deserving feature projects, or towards the production of excellent film content in other formats or for other platforms, this is currently not politically possible. A change like that might also exacerbate the already difficult career paths especially of directors in a marketplace where films by unknowns are very difficult to fund or sell.

3dtechnologyOn the next 3-5 years, all exhibitors will need to focus on the customer experience to stay competitive, but this can look very different depending on their type. On the one hand, we are seeing the emergence of a technologically oriented cinema optimized for experiencing blockbuster fare. On the other hand, we are seeing a focus on human interactions and live performance – so called “live cinema” – as a rapidly developing segment of the exhibition sector, helping audiences both new and old to build relationships with institutions and curators. These ostensibly very different styles of exhibition have in common that they are immersive, allowing the viewers to place themselves socially or physically inside the story, or to engage with its themes together. The social aspect is also at the heart of the growing market for film festivals aimed at general audiences.

Specializing The Screening Experience

Another approach to eventizing movies is just to make the cinemas a lot nicer, with better chairs, better concessions, food and alcohol, increasing cinema’s appeal to, for instance, grownups on dates. This strategy is working well both in mainstream and arthouse environments. At the extreme end are the dedicated luxury cinemas, offering experiences like butler service, Tempur mattresses, or massages.

While the future looks bright for movie theatres big and small, the sheer number of feature premieres means a theatrical window is not feasible even for all quality films – not even on the festival circuit. There is certainly room in the VOD marketplace for both strong curation and dedicated film libraries, but among the pieces missing from the distribution puzzle are still business models for social or distributed digital premieres.

A complete digital transformation of the small screen landscape seems inevitable and will probably happen relatively fast since audiences neither understand nor much care about business models or back-end technologies. As we discussed last year, the end result will probably look something like TV has for the past few decades, with consumers paying one or a few separate bills to services aggregating OTT content. Viewers are, however, likely to be allowed to pick their packaged channels more selectively than before.

The Uncovered Financial Stream

The revenue streams will of course be radically different from the current models. Mergers and acquisitions are likely to continue as the biggest players scramble to establish dominance throughout the value chain. In the US, studios and networks are eyeing a future after affiliate fees and syndication fees, and considering whether owning the viewer relationship directly could provide a similar amount of revenue. Similarly, it seems feasible that a major technology company could purchase a major studio. If antitrust regulation is relaxed under the Trump administration, as net neutrality rules almost certainly will be, the media landscape is regardless likely to consolidate dramatically during the next four years. Changes in the US entertainment industry have global ripple effects. It is also likely that the cultural importance of US content specifically will diminish in the long term, a tendency that could be accelerated by isolationist policies.

image2a_large-1_large

VR on the Verge

In the next 3-5 years, the fundamental grammar of VR storytelling will finally be developed, and the real leaps will happen once the production tools are more widely available. Some standardisation will help focus a splintered marketplace. Investment in “VR cinemas” today should be viewed as tests – exhibitors preparing for a coming generation of the technology that may not be easily available in homes. In the short run we are also likely to see a brief exclusive “theatrical” window for VR.

Download the full report here at your own risk: nostradamus2017

screen-shot-2017-02-03-at-10-46-45-pm

(Source: nostradamusproject.org)

 

 

 

 

ACADEMY’S OSCAR® WEEK EVENTS

Posted by Larry Gleeson

FOR IMMEDIATE RELEASE

LOS ANGELES, CA — In the week leading up to the 89th Oscars®, the Academy of Motion Picture Arts and Sciences will present a series of public programs celebrating this year’s nominees in the Animated Feature Film, Documentary Feature, Documentary Short Subject, Foreign Language Film, Makeup and Hairstyling, and Animated and Live Action Short Film categories.  All events will be held at the Academy’s Samuel Goldwyn Theater in Beverly Hills.

The Oscar® Week schedule is as follows:

OSCAR WEEK: SHORTS
Tuesday, February 21, 7 p.m.
Hosted by director Tim Miller  

Miller received an Oscar nomination in the Animated Short Film category for “Gopher Broke” and most recently directed last year’s “Deadpool.”  The program will delve into the Animated Short Film and Live Action Short Film categories with complete screenings of all the nominated films as well as onstage panel discussions with the filmmakers (schedules permitting).

OSCAR WEEK: DOCUMENTARIES
Wednesday, February 22, 7:30 p.m. 
Hosted by Documentary Branch governors Kate Amend and Rory Kennedy

Amend is a film editor whose film credits include “The Case against 8” and the Oscar winning documentaries “Into the Arms of Strangers: Stories of the Kindertransport” and “The Long Way Home.”  Kennedy is a director-producer who received an Oscar nomination in 2015 for the documentary feature “Last Days in Vietnam.”  Her other credits include “Ethel” and “Ghosts of Abu Ghraib.”  All the films nominated in the Documentary Feature and Documentary Short Subject categories this year will be presented in an evening of clips and onstage discussions with the filmmakers (schedules permitting).

OSCAR WEEK: ANIMATED FEATURES
Thursday, February 23, 7:30 p.m.
Hosted by director Pete Docter and Producer Jonas Rivera

Docter and Rivera took home Animated Feature Film Oscars last year for “Inside Out.”  Docter’s other feature credits include “Up, “which Rivera also produced, “Monsters Inc.” and “Toy Story.”  This year’s nominees in the Animated Feature Film category (schedules permitting) will talk about their creative processes and present clips illustrating their techniques.

OSCAR WEEK: FOREIGN LANGUAGE FILMS
Saturday, February 25, 10 a.m. 
Hosted by Producers Branch governor Mark Johnson

Johnson won the 1988 Best Picture Oscar for “Rain Man” and received a second nomination for “Bugsy.”  The directors of the nominated films in the Foreign Language Film category (schedules permitting) will explore a wide range of topics, from their experiences developing their projects to the specific challenges of their profession.  The program will include clips from each of the nominated films.

OSCAR WEEK: MAKEUP AND HAIRSTYLING SYMPOSIUM
Saturday, February 25, 3 p.m. 
Moderated by Academy Governors Kathryn L. Blondell, Lois Burwell and Leonard Engelman

Blondell is a BAFTA winning hairstylist for “The Aviator” whose other film credits include “The Revenant,” “Django Unchained,” ” Shampoo,” and “Harold and Maude.”  Burwell won an Oscar for her work on “Braveheart” and was nominated for “Saving Private Ryan.”  Her other feature credits include “Lincoln” and “The Princess Bride.” Engelman, has served as a makeup artist on such features as “Burlesque,” “Heat,” “Moonstruck,” “Rocky IV,” and “Ghostbusters.” In Oscar Week’s final public event, the nominees in the Makeup and Hairstyling category (schedules permitting) will reveal the secrets behind their on-screen work.  Photographs, appliances, molds, wigs and other items will be on display in the theater lobby.

Tickets are now available online at Oscars.org.  Tickets to the Shorts, Docs, Animated Features and Foreign Language Films events are $5 for the general public and $3 for Academy members and students with a valid ID (Shorts and Foreign Language Films tickets limited to four per person).  Admission to the Saturday afternoon Makeup and Hairstyling event is free, but advance tickets are required (limited to two per person).  The Academy’s Samuel Goldwyn Theater is located at 8949 Wilshire Boulevard in Beverly Hills.  Doors open one hour prior to each event.  All ticketed seating is unreserved.  For more information, visit Oscars.org or call (310) 247-3600.

The 89th Oscars will be held on Sunday, February 26, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be televised live by the ABC Television Network at 7 p.m. ET/4 p.m. PT.  The Oscar presentation also will be televised live in more than 225 countries and territories worldwide.

 

# # #

 

 

ABOUT THE ACADEMY
The Academy of Motion Picture Arts and Sciences is a global community of more than 7,000 of the most accomplished artists, filmmakers and executives working in film. In addition to celebrating and recognizing excellence in filmmaking through the Oscars, the Academy supports a wide range of initiatives to promote the art and science of the movies, including public programming, educational outreach and the upcoming Academy Museum of Motion Pictures, which is under construction in Los Angeles.

(Source; oscars.org/Academy Publicity Department)

BERLIN FILM FEST PROMOTING CULTURAL PARTICIPATION, STRENGTHENING ENGAGEMENT, CREATING COMMUNAL EXPERIENCES

Posted by Larry Gleeson

ACTIVITIES FOR AND WITH REFUGEES DURING THE 67TH BERLINALE

In 2017 the Berlin International Film Festival will again work towards furthering the integration of refugees. The Festival has always made a point of fostering understanding, tolerance, and acceptance, as well as responding to current events in society – not only with its film program, but also with many other activities.

The Berlinale will renew its collaboration with KulturLeben Berlin in order to promote the participation of the socially disadvantaged in the cultural life of the city. Tickets for vacant seats will again be available to people with low incomes at a 50 percent discount.

Last year several concrete projects were launched to support refugees. Due to the very positive feedback of the participants and the desire to achieve longer-lasting integration, these projects will be continued and expanded.

screen-shot-2017-01-31-at-2-16-06-pmA call for donations

The Berlinale would like to urge Festival guests and visitors to make donations to the children and youth department of Zentrum ÜBERLEBEN (formerly called the Behandlungszentrum für Folteropfer e. V.). This Berlin-based centre provides psychological, social, and integrative support to children and adolescents who have been traumatized by torture, flight, and/or persecution. In addition to individual therapeutic care, group activities are an important feature of the centre’s work. The money collected last year enabled adolescents who have experienced flight and trauma to attend a film camp. There they were able to try out different positions in front of and behind the camera, and creatively explore topics of their choice, some of which were autobiographical.

Donations may be paid into an account (banking details are at the bottom of this press release) or made at 17 donation boxes distributed around the Festival grounds.

Participation

Movie mentors for refugees
Within the scope of a “movie mentoring”-project, volunteers from Berlin’s non-profit refugee aid organizations are asked to register as mentors and accompany refugees to Berlinale screenings.
With this project the Berlinale wants to show its appreciation to volunteers for their engagement and strengthen existing relationships, as well as promote cultural exchange.

LOLA at the Berlinale
Within the scope of a collaboration with the Berliner Volkshochschulen (VHS: schools for adult education), the Berlinale is offering 160 free tickets to VHS “integration classes” and their instructors. They will be able to select from eight German films screening in the LOLA series of the Berlinale at the Zoo Palast.

Guest trainees
During the Berlinale around 20 guest trainees who came to Germany as refugees will be given the chance to take a look at various fields behind the scenes of the Festival in collaboration with the Beratungs- und Betreuungszentrum für junge Flüchtlinge und Migrant*innen (BBZ/ KommMit e.V.).

Generation: School projects for “welcome classes”
For eleven years now, the Generation section has offered pupils the opportunity to participate within the framework of a school project in the Berlinale. With educational staff that is well versed in cinema, these pupils may see and discuss films, as well as work on assignments about them afterwards.
Since last year, the Berlinale’s school program has been extended to include “welcome classes” (introductory German language classes for refugees). This year ten “welcome classes” are to participate in the program.

Banking details for donations:

Zentrum ÜBERLEBEN GmbH
Bank für Sozialwirtschaft
IBAN: DE82 1002 0500 0001 5048 00
BIC: BFSWDE33BER
Reason for transfer: “Berlinale helps 2017”

Logo-Berlinale-Facebook

(Source: Berlinale press Office)

 

 

Outstanding Film and Television Performances Honored at the 23rd Annual Screen Actors Guild Awards®

Posted by Larry Gleeson

LOS ANGELES (Jan. 29, 2017) —The Screen Actors Guild Awards® presented its coveted Actor® statuettes for the outstanding motion picture and primetime television performances of 2016 at the 23rd Annual Screen Actors Guild Awards® held Sunday, Jan. 29 at the Los Angeles Shrine Exposition Center. In a ceremony attended by film and television’s leading actors, the 23rd Annual SAG Awards® was simulcast live coast-to-coast by TNT and TBS at 8 p.m. (ET). A primetime encore presentation immediately followed on TNT. In addition, TBS and TNT subscribers were able to watch the SAG Awards live through the networks’ websites and mobile apps.

Honored with individual awards were Denzel Washington, Emma Stone, Mahershala Ali and Viola Davis for performances in motion pictures, and Bryan Cranston, Sarah Paulson, John Lithgow, Claire Foy, William H. Macy and Julia Louis-Dreyfus for performances in television. The Screen Actors Guild Awards originated awards for the outstanding performances by a motion picture cast and by television drama and comedy ensembles. The Actor® for a motion picture cast performance went this year to “Hidden Figures,” while the Actors® for television drama and comedy ensemble performances went this year to “Stranger Things” and “Orange is the New Black.”

The 23rd Annual Screen Actors Guild Awards - Show
Actor Lily Tomlin (l) accepts the 2016 SAG Life Achievement Award from actor/singer Dolly Parton during the 23rd Annual Screen Actors Guild Awards at The Shrine Auditorium on January 29, 2017 in Los Angeles, California (Photo by Kevin Winter/Getty Images)

Dolly Parton presented Lily Tomlin with the 53nd Life Achievement Award, following a filmed salute to the actor, comedian, writer, producer and all-round entertainment maverick.  Carteris introduced a filmed “In Memoriam” tribute to the SAG-AFTRA members lost during 2016, an honor roll that sadly included three past presidents of our union:  Ken Howard, Patty Duke and William Schallert; as well as two beloved Life Achievement Award recipients: Mary Tyler Moore and Debbie Reynolds.

The 23rd Annual Screen Actors Guild Awards presented by SAG-AFTRAwith Screen Actors Guild Awards®, LLC was produced by Avalon Harbor Productions. For more information about the SAG Awards, SAG-AFTRA, TNT and TBS, visit sagawards.org/about,

The complete list of recipients for the 23rd Annual Screen Actors Guild Awards®follows:

23rd ANNUAL SCREEN ACTORS GUILD AWARDS® RECIPIENTS


THEATRICAL MOTION PICTURES

Outstanding Performance by a Male Actor in a Leading Role

DENZEL WASHINGTON / Troy Maxson – “FENCES” (Paramount Pictures)

Outstanding Performance by a Female Actor in a Leading Role

EMMA STONE / Mia – “LA LA LAND” (Lionsgate)

Outstanding Performance by a Male Actor in a Supporting Role

MAHERSHALA ALI / Juan – “MOONLIGHT” (A24)

Outstanding Performance by a Female Actor in a Supporting Role

VIOLA DAVIS / Rose Maxson – “FENCES” (Paramount Pictures)

Outstanding Performance by a Cast in a Motion Picture

HIDDEN FIGURES (20th Century Fox)

MAHERSHALA ALI / Col. Jim Johnson

KEVIN COSTNER / Al Harrison

KIRSTEN DUNST / Vivian Mitchell

TARAJI P. HENSON / Katherine G. Johnson

ALDIS HODGE / Levi Jackson

JANELLE MONÁE / Mary Jackson

JIM PARSONS / Paul Stafford

GLEN POWELL / John Glenn

OCTAVIA SPENCER / Dorothy Vaughan

TELEVISION PROGRAMS

Outstanding Performance by a Male Actor in a Television Movie or Limited Series

BRYAN CRANSTON / President Lyndon B. Johnson – “ALL THE WAY” (HBO)

Outstanding Performance by a Female Actor in a Television Movie or Limited Series

SARAH PAULSON / Marcia Clark – “THE PEOPLE V. O.J. SIMPSON: AMERICAN CRIME STORY” (FX Networks)

Outstanding Performance by a Male Actor in a Drama Series

JOHN LITHGOW / Winston Churchill – “THE CROWN” (Netflix)

Outstanding Performance by a Female Actor in a Drama Series

CLAIRE FOY / Queen Elizabeth II – “THE CROWN” (Netflix)

Outstanding Performance by a Male Actor in a Comedy Series

WILLIAM H. MACY / Frank Gallagher – “SHAMELESS” (Showtime)

Outstanding Performance by a Female Actor in a Comedy Series

JULIA LOUIS-DREYFUS / President Selina Meyer – “VEEP” (HBO)

Outstanding Performance by an Ensemble in a Drama Series

STRANGER THINGS (Netflix)

MILLIE BOBBY BROWN / Eleven

CARA BUONO / Karen Wheeler

JOE CHREST / Ted Wheeler

NATALIA DYER / Nancy Wheeler

DAVID HARBOUR / Jim Hopper

CHARLIE HEATON / Jonathan Byers

JOE KEERY / Steve Harrington

GATEN MATARAZZO / Dustin Henderson

CALEB McLAUGHLIN / Lucas Sinclair

MATTHEW MODINE / Dr. Martin Brenner

ROB MORGAN / Officer Powell

JOHN PAUL REYNOLDS / Officer Callahan

WINONA RYDER / Joyce Byers

NOAH SCHNAPP / Will Byers

MARK STEGER / The Monster

FINN WOLFHARD / Mike Wheeler

Outstanding Performance by an Ensemble in a Comedy Series

ORANGE IS THE NEW BLACK (Netflix)

UZO ADUBA / Suzanne “Crazy Eyes” Warren

ALAN AISENBERG / Baxter “Gerber” Bayley

DANIELLE BROOKS / Tasha “Taystee” Jefferson

BLAIR BROWN / Judy King

JACKIE CRUZ / Marisol “Flaca” Gonzales

LEA DeLARIA / Big Boo

BETH DOVER / Linda Ferguson

KIMIKO GLENN / Brook Soso

ANNIE GOLDEN / Norma Romano

LAURA GOMEZ / Blanca Flores

DIANE GUERRERO / Maritza Ramos

MICHAEL J. HARNEY / Sam Healy

BRAD WILLIAM HENKE / Desi Piscatella

VICKY JEUDY / Janae Watson

JULIE LAKE / Angie Rice

SELENIS LEYVA / Gloria Mendoza

NATASHA LYONNE / Nicky Nichols

TARYN MANNING / Tiffany “Pennsatucky” Doggett

JAMES McMENAMIN / Charlie “Donuts” Coates

ADRIENNE C. MOORE / Cindy “Black Cindy” Hayes

KATE MULGREW / Galina “Red” Reznikov

EMMA MYLES / Leanne Taylor

MATT PETERS / Joel Luschek

LORI PETTY / Lolly Whitehill

JESSICA PIMENTEL / Maria Ruiz

DASCHA POLANCO / Dayanara “Daya” Diaz

LAURA PREPON / Alex Vause

JOLENE PURDY / Stephanie Hapakuka

ELIZABETH RODRIGUEZ / Aleida Diaz

NICK SANDOW / Joe Caputo

ABIGAIL SAVAGE / Gina Murphy

TAYLOR SCHILLING / Piper Chapman

CONSTANCE SHULMAN / Erica “Yoga” Jones

DALE SOULES / Frieda Berlin

YAEL STONE / Lorna Morello

LIN TUCCI / Anita DeMarco

SAMIRA WILEY / Poussey Washington

STUNT ENSEMBLES

Outstanding Action Performance by a Stunt Ensemble in a Motion Picture

“HACKSAW RIDGE” (Lionsgate)

Outstanding Action Performance by a Stunt Ensemble in a Comedy or Drama Series

“GAME OF THRONES” (HBO)

LIFE ACHIEVEMENT AWARD

53rd Annual SAG Life Achievement Award

LILY TOMLIN

 

About the 23rd Annual Screen Actors Guild Awards®

One of the awards season’s premier events, the SAG Awards® annually celebrates the outstanding motion picture and television performances from the previous calendar year. Of the top industry honors presented to actors, only the SAG Awards are selected entirely by performers’ peers in SAG-AFTRA, which this year number 121,546. The SAG Awards was the first televised awards show to acknowledge the work of union members and the first to present awards to motion picture casts and television ensembles. For more information about the SAG Awards®, SAG-AFTRA, TNT and TBS, visit sagawards.org/about.

(Source: sagawards.org)