Annual Event Welcomed Host Mary Hart and Festival Honorees
PALM SPRINGS, CA – JANUARY 02: Actress Amy Adams attends the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Todd Williamson/Getty Images for Palm Springs International Film Festival)
PALM SPRINGS, CA – JANUARY 02: Actor Mahershala Ali attends the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Todd Williamson/Getty Images for Palm Springs International Film Festival)
PALM SPRINGS, CA – JANUARY 02: Actor Ryan Gosling attends the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Michael Kovac/Getty Images for Palm Springs International Film Festival)
PALM SPRINGS, CA – JANUARY 02: Producers Pharrell Williams and Mimi Valdes attend the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Todd Williamson/Getty Images for Palm Springs International Film Festival)
PALM SPRINGS, CA – JANUARY 02: Actress Natalie Portman attends the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Todd Williamson/Getty Images for Palm Springs International Film Festival)
PALM SPRINGS, CA – JANUARY 02: Actress Ruth Negga attends the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Todd Williamson/Getty Images for Palm Springs International Film Festival)
PALM SPRINGS, CA – JANUARY 02: Actress Amy Adams attends the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Michael Kovac/Getty Images for Palm Springs International Film Festival)
PALM SPRINGS, CA – JANUARY 02: Host Mary Hart onstage at the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Charley Gallay/Getty Images for Palm Springs International Film Festival)
Kicking off Awards Season,the 28th Annual Palm Springs International Film Festival (PSIFF) FilmAwards Gala was held Monday, January 2, 2017 at the Palm Springs Convention Center hosted byMary Hart. Honorees were presented with an original Chihuly Glass Sculpture designed by Dale Chihuly or the John Kennedy “The Entertainer” statue. The presenting sponsor of the Film Awards Gala is Chopard and major sponsors are Entertainment Tonight and Mercedes-Benz.
The Palm Springs International Film Festival Film Awards Gala honors individuals in the entertainment industry with several prestigious awards for acting and directing. The following awards were presented at this year’s Film Awards Gala:
Ruth Negga received the Rising Star Award for Loving presented by her co-star Joel Edgerton and director Jeff Nichols
Mahershala Alireceived the Breakthrough Performance Award for Moonlight presented by co-star Janelle Monáe
Nicole Kidman received the International Star Award for Lion presented by her co-star Dev Patel
Andrew Garfield received the Spotlight Award for Hacksaw Ridge presented by Laura Dern
Hidden Figures (Aldis Hodge, Glen Powell, Janelle Monáe, Jim Parsons, Kimberly Quinn, Kirsten Dunst, Mahershala Ali, Octavia Spencer) received the Ensemble Performance Award presented by the film’s producer Pharrell Williams
Natalie Portman received the Desert Palm Achievement Award, Actress for Jackie presented by Tom Hanks
Casey Affleck received theDesert Palm Achievement Award, Actor forManchester by the Seapresented by Sir Ben Kingsley
Amy Adams received the Chairman’s Award for Arrival presented by Andrew Garfield
Annette Bening received the Career Achievement Award for 20th Century Women presented by the film’s director Mike Mills
La La Land (Damien Chazelle, Justin Hurwitz, Ryan Gosling) received the Vanguard Award presented by Jane Lynch
Tom Hanks received the Icon Award for Sully presented by his co-starLaura Linney
PALM SPRINGS, CA – JANUARY 02: Actress Laura Dern and Andrew Garfield attend the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Charley Gallay/Getty Images for Palm Springs International Film Festival)
PALM SPRINGS, CA – JANUARY 02: Actress Laura Linney attends the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Frazer Harrison/Getty Images )
PALM SPRINGS, CA – JANUARY 02: Host Mary Hart onstage at the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Charley Gallay/Getty Images for Palm Springs International Film Festival)
PALM SPRINGS, CA – JANUARY 02: (L-R) Actresses Kimberly Quinn, Kirsten Dunst, Octavia Spencer and Janelle Monae pose with the Ensemble Performance Award during the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Michael Kovac/Getty Images for Palm Springs International Film Festival)
PALM SPRINGS, CA – JANUARY 02: Actors Octavia Spencer, Janelle Monae, Glen Powell, Mahershala Ali and Jim Parsons onstage at the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Charley Gallay/Getty Images for Palm Springs International Film Festival)
PALM SPRINGS, CA – JANUARY 02: Actor Tom Hanks speaks onstage at the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Todd Williamson/Getty Images for Palm Springs International Film Festival)
PALM SPRINGS, CA – JANUARY 02: Damien Chazelle, Justin Hurwitz, Ryan Gosling and Fred Berger attend the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Frazer Harrison/Getty Images )
PALM SPRINGS, CA – JANUARY 02: Actress Amy Adams speaks onstage at the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Todd Williamson/Getty Images for Palm Springs International Film Festival)
PALM SPRINGS, CA – JANUARY 02: Director Damien Chazelle speaks onstage at the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Charley Gallay/Getty Images for Palm Springs International Film Festival)
PALM SPRINGS, CA – JANUARY 02: Actress Annette Bening speaks onstage at the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Charley Gallay/Getty Images for Palm Springs International Film Festival)
PALM SPRINGS, CA – JANUARY 02: Actor Dev Patel speaks onstage at the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Charley Gallay/Getty Images for Palm Springs International Film Festival)
PALM SPRINGS, CA – JANUARY 02: Actor Casey Affleck speaks onstage at the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Charley Gallay/Getty Images for Palm Springs International Film Festival)
PALM SPRINGS, CA – JANUARY 02: Actress Ruth Negga attends the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Todd Williamson/Getty Images for Palm Springs International Film Festival)
PALM SPRINGS, CA – JANUARY 02: Actors Joel Edgerton, Ruth Negga and filmmaker Jeff Nichols attend the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Frazer Harrison/Getty Images )
Additional guests who attended the event: actress Denise DuBarry (Do It or Die), actor Phillip Keene (Major Crimes), director Ritesh Batra (The Sense of An Ending), actress Suzanne Somers, actor Udo Kier (Old Money), Palm Springs Mayor Robert Moon, along with festival representatives Harold Matzner (Festival Chairman) and Michael Lerman (Artistic Director).
PALM SPRINGS, CA – JANUARY 02: Palm Springs International Film Festival Chairman Harold Matzner attends the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Todd Williamson/Getty Images for Palm Springs International Film Festival)
PALM SPRINGS, CA – JANUARY 02: Actress Denise DuBarry attends the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Frazer Harrison/Getty Images )
PALM SPRINGS, CA – JANUARY 02: Actor Phillip P. Keene attends the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Frazer Harrison/Getty Images )
PALM SPRINGS, CA – JANUARY 02: Actress Suzanne Somers attends the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Frazer Harrison/Getty Images )
PALM SPRINGS, CA – JANUARY 02: Actor Udo Kier attends the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Frazer Harrison/Getty Images )
Following the ceremony an after party was held at the Parker Palm Springs.
PALM SPRINGS, CA – JANUARY 02: Director Mike Mills, actress Annette Bening and actor Warren Beatty attend the after party for the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Frazer Harrison/Getty Images for Palm Springs International Film Festival)
PALM SPRINGS, CA – JANUARY 02: A general view of atmosphere at the after party for the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Frazer Harrison/Getty Images for Palm Springs International Film Festival)
PALM SPRINGS, CA – JANUARY 02: Guests mingle during the after party for the 28th Annual Palm Springs International Film Festival Film Awards Gala at the Palm Springs Convention Center on January 2, 2017 in Palm Springs, California. (Photo by Frazer Harrison/Getty Images for Palm Springs International Film Festival)
The Palm Springs International Film Festival takes place January 5-15, 2017. For additional information on the Festival visit www.psfilmfest.org.
A stand-alone Film Festival Store for the Palm Springs International Film Festival is featuring a complete collection of Film Festival Merchandise at Destination PSP. The Festival Store is now open and will be open every day except New Year’s Day through January 16.
The Festival Store is located in the Regal Cinema Courtyard Plaza, unit 16,
just down from the Regal Cinemas and across the courtyard from the
Festival Ticket and Information Center.
You can also shop online at Destination PSP by clicking HERE.
TALKING PICTURES
VIGGO MORTENSEN – CAPTAIN FANTASTIC
Tuesday, January 3 – 7:45 pm
Annenberg Auditorium
118 Minute Running Time
In CAPTAIN FANTASTIC, Ben Cash (Viggo Mortensen) is raising his six children in the wilds of the Pacific Northwest, putting them through both vigorous physical and intellectual exercises in the mountains’ fresh air. Far away from Snapchat and Snapple, the kids develop a unique sense of themselves and their family identity. But Cash’s tough homeschooling challenges conventional ideas about family and childhood. Ben has given up the outside world and whatever personal ambitions it held for him to devote his life to being the best father he thinks he can be. The question becomes: is he the best father in the world or the worst? Is what he’s doing insane or insanely great?
Viggo Mortensen and Writer/Director Matt Ross will be present for an onstage discussion of the film following the screening. To purchase tickets click HERE.
EYES ON THE PRIZE:
FOREIGN LANGUAGE OSCAR DIRECTORS IN DISCUSSION
Monday, January 9 – 7:30 pm
Mary Pickford Theatre
90 Minute Running Time
It seems like every year there are more and more submissions competing for the handful of spots in the Academy’s Best Film in a Foreign Language category. This year there were 89, of which 85 were accepted. In December that field was shortlisted to nine, and the final five nominees will be announced January 24th.
No audience anywhere will have the chance to see as many of these movies side by side as we here at PSIFF. Over the past three years we have also been delighted to bring together a panel of international filmmakers whose work is being showcased in this forum, to talk about their art, international exposure, awards, audiences, and whatever else is top of mind at this time.
Clips from their films will round out the discussion, moderated by Hollywood Reporter’s Scott Feinberg. All panelists’ films are showcased in the festival’s Awards Buzz program. To purchase tickets click HERE.
THE GAY!LA
WHEN WE RISE
Thursday, January 12 – 6:45 PM – PSHS
U.S. – 2017 – 84 minutes
Director: Gus Van Sant
North American Premiere
Gus van Sant and Dustin Lance Black, who brought us the Academy Award®-winning Milk, have teamed up again for this ambitious, impassioned seven-part docudrama that charts the rise of the Gay Liberation movement from its embattled origins in the 1960s to its 21st-century triumphs. The entire series will be aired on ABC, a breakthrough for network television.
In the first two-hour episode, directed by van Sant, we follow the stories of the young Arizonian Cleve Jones (Guy Pearce), who would become a major LGBT activist working alongside Harvey Milk; the gay, African American, Vietnam vet Ken Jones (Michael Kenneth Williams), who has to contend with both the straight world’s homophobia and racism within the gay community; and the initially closeted women’s right activist from Boston, Roma Guy (Mary-Louise Parker). All their lives are transformed when they arrive in 1960s San Francisco, where the sexual revolution is in full bloom, even as the politicians and police desperately try to purge the city of its “deviant” citizens.
Stirring and uncompromising, this show’s message of protest and inclusion couldn’t come at a better time.
Guest who will be attending the screening include Gus Van Sant, Dustin Lance Black, Guy Pearce, Rachel Griffiths, and Ivory Aquino.
The Gay!La Party at Toucans Tiki Lounge will follow the screening.
To purchase tickets to the screening of WHEN WE RISE, click HERE.
To purchase tickets to the Gay!La Party at Toucans Tiki Lounge click HERE.
TAKE ME HOME HUEY
U.S. * 2016 * 70 minutes
Directors: Alicia Brauns, Christine Steele
TRUE STORIES
World Premiere
Fri, Jan 6 * 10:00 AM * Camelot
Sat, Jan 7 * 12:30 PM * Camelot
This moving documentary traces the evolution of Steve Maloney’s eponymous mixed-media sculpture, in which he took a wrecked
Huey helicopter, restored it and transformed it into a remarkable memorial to the men who served and lost their lives in Vietnam. It’s a salutary reminder of the healing power of art.
The Huey helicopter will be on display at the Camelot Theatres. Directors Alicia Brauns and Christine Steele will be attending the screenings. Tickets are available. Click HERE.
OLD MONEY
Friday, January 6 – 11:30 AM – Regal
Austria – 2015 – 375 minutes
Director: David Schalko
Special Presentation
Dallas for the insane,” per creator David Schalko, this wickedly funny eight-part Austrian TV series is a vicious, grandly grotesque saga about an industrialist (played to the hilt by our own Udo Kier) who needs a new liver, pronto, and the first of his relatives to secure one will inherit the estate… Showing in two sittings.
Guest attending the screening include Director: David Schalko and Actor: Udo Kier
The world-famous PALM SPRINGS INTERNATIONAL FILM FESTIVAL FILM AWARDS GALA is kicking off this year’s festival! This event is sure to be a memorable experience with a stellar line-up of honorees from the greatest of films that Hollywood has to offer this year – Annette Bening, Tom Hanks, Nicole Kidman, Casey Affleck, Amy Adams, Ruth Negga,Andrew Garfield, Natalie Portman, Mahershala Ali, the cast of HIDDEN FIGURES, Taraji P. Henson, Octavia Spencer, Janelle Monáe, Kevin Costner, Kirsten Dunst and Jim Parsons and LA LA LAND with director Damien Chazelle, and stars Emma Stone and Ryan Gosling. Now that’s Hollywood glamour.
FESTIVAL HIGHLIGHTS
Viggo Mortensen highlights Talking Pictures. This series of special programs is devoted to exploring the careers and creative choices of some of the top talents in the world of film. Oscar®-caliber directors, actors, screenwriters and other creative talents engage with leading entertainment journalists and audiences in a conversation about contemporary cinema.
BOOK TO SCREEN
Introduced in 2015 by Barbara Keller and Susan Rosser, Book To Screen is a popular Festival sidebar shining a light on the often complex, always invigorating ways in which the written word informs and inspires motion pictures. More movies than not are sourced from literature: novels, short stories, comic books, biographies, journalism and other forms of non-fiction.
Book To Screen is a two-day event covered by a single pass which provides full access to all symposium panels, discussions, and screenings. Day one consists of film screenings. Day two is a symposium featuring conversations with a remarkable array of writers and screenwriters exploring the push-and-pull between the literary and cinematic worlds. Passes are still available at the Festival Ticket and Information Center. Individual tickets for panels and screenings will not be on sale. For more information about Book To Screen click HERE.
DREAM VACATION PALM SPRINGS
VACATION PALM SPRINGS “DREAM VACATION” WINNER WILL RECEIVE:
* A Four (4) night stay for up to 4 people in a luxury 3-bedroom Palm Springs vacation rental home during the 2018 Palm Springs International Film Festival. Winner will also receive the following:
* Opening -or- Closing Night Screening and Gala Reception – 4 Tickets
* Festival Screening Passes – 4 non-transferable passes, good for all regular screenings
Must be at least 25 years of age to enter this contest.
No purchase necessary.
One entry per person; employees of PSIFF are not eligible.
TAKE ME HOME HUEY
World Premiere
U.S. * 2016 * 70 minutes
Directors: Alicia Brauns, Christine Steele
TRUE STORIES
This moving documentary traces the evolution of Steve Maloney’s eponymous mixed-media sculpture, in which he took a wrecked Huey helicopter, restored it and transformed it into a remarkable memorial to the men who served and lost their lives in Vietnam. It’s a salutary reminder of the healing power of art.
*The Huey helicopter will be on display at the Camelot Theatres.
Directors Alicia Brauns and Christine Steele will be attending the screenings.
Kollywood is looking for a bright and better 2017, as the industry has undergone a sea change in 2016. All aspects of Tamil film making —funding, distribution, marketing, exhibition, promotions and political climate — have gone through a metamorphosis. Demonetisation and the resulting lack of finance is making producers uneasy.
Last week, the single biggest deal was made for a forthcoming festival film’s most lucrative distribution territory. The deal between the distributor and the production house was done through their bank accounts via RTGS (Real Time Gross Settlement) instead of the usual practice of paying cash. The distributor had told theatres willing to pay advance, and in some cases MGs (Minimum Guarantee), for this big hero film, to route it via banks, and made it clear that he will not accept cash payments. The deal went off smoothly, with the distributor bragging that he didn’t even visit the producer’s office to transfer the amount.
A leading financier says, “Demonetisation and the number of raids that followed have ensured that producers settle their financiers in cashless transactions via cheques, RTGS, NEFT etc. Now, financiers are wary of funding films based on its negative rights. We need to know their financial background and if they will be able to pay via banks at the time of settlement before going forward.”
One of the lessons Kollywood learnt in 2016 is the importance of marketing and promotions in the success of a film. Films which were torn apart by critics, like Kabali, Remo and others, went on to become hits, based on their marketing, with influential local distributors getting them wide releases.
Today, top stars visit popular screens in suburbs and small towns at the time of their film’s release. Dhanush’s visit to Tirunelveli Ram Muthuram for Kodi promotions resulted in huge collections for the film at that screen, and it featured at number four among the theatre’s top 10 collecting films of 2016.
The number of shows a screen allocates to a film too has become a barometer. At the same time, more than half the films suffer as theatres don’t give prime slots. The trouble is that theatres in the State have found alternative content, which is far more lucrative than Tamil films. Last year, the Tamil dubbed versions of The Jungle Book, The Conjuring 2, M.S.Dhoni: The Untold Story and Dangal did better business than certain straight Tamil hits. These four dubbed films will easily walk into the top ten collecting films of 2016 from Tamil Nadu theatricals based on ROI.
Last week, some screens in Chengalpet area on Monday cut down the number of shows of new Tamil films released for Christmas on Friday and replaced them with Dangal!
It is clear that Tamil films that don’t open well during the weekend are today dumped, without even informing the distributor. Earlier, even if a film flops, it would survive a week, with the same number of shows given at the time of release. Theatres across Tamil Nadu are now finding it better to go for online ticketing, which brings them extra money via service charges. This has created a situation where online booking, especially in Chennai city and Chengalpet areas, will determine the number of shows allotted for a film.
The myth of so-called “low-class masala entertainers” performing better in B and C markets has also been blown away. 2017 will see a more unified box-office performance market across the State, which means that producers can’t make meaningless potboilers and say it is meant for a particular section of the audience. Non-big hero films are now in a process of cost-cutting, with production managers being pulled up and asked to reduce the number of shooting days. Directors, especially newcomers, have been told to bring down the number of scenes, with the final edited copy not exceeding 140 minutes.
As satellite prices are no longer attractive for small and medium films, producers are trying to explore digital platforms. The new team, which will take over the Tamil Film Producers Council in the first week of February, has their job cut out. A lot has been written about piracy eating into collections as technology improves, with many new films being uploaded on Facebook on the release day itself. Hence, the window between a theatrical and digital release will have to come down drastically this year. Tamil cinema producers and actors should realise that budget is the key to box-office success. The Tamil Nadu government should also implement the High Court order to increase ticket prices, which have not been modified for the last 10 years. Hopefully, Kollywood will see a new beginning this year.
Posted by Larry GleesonBy Sharon Eberson / Pittsburgh Post-GazetteUnfolding memories of all that Debbie Reynolds brought to the stage, screen and celebrity fascination of our lives would read like a chronicle of Hollywood history, starting in 1952. That’s when a 19-year-old went toe-to-toe with Gene Kelly and Donald O’Connor in “Singin’ in the Rain,” the American Film Institute’s No. 1 movie musical of all time.Ms. Reynolds died Wednesday at 84, just one day after the death of her daughter, actress, writer and mental health activist Carrie Fisher.
Film star Debbie Reynolds, who collected movie memorabilia for more than 30 years, opened the Hollywood Motion Picture Museum in Pigeon Forge, Tenn., in 2005. (via Business Wire)
In recent years, Ms. Reynolds appeared on screen mostly as matriarchs, with Albert Brooks in the title role of the 1996 film “Mother” and as Debra Messing’s mom in the sitcom “Will & Grace.” She also provided the voice of the nurturing spider in “Charlotte’s Web,” Nana Possible in the animated TV series “Kim Possible” and Lulu Pickles for “Rugrats.”
The 1973 Broadway musical “Irene” earned her a leading actress Tony nomination and her lone Academy Award nomination was for her favorite role — “The Unsinkable Molly Brown.” Earlier this year, Ms. Reynolds was honored with the Jean Hersholt Humanitarian Award at the Oscars ceremony.
Ms. Reynolds gave us many more memories in seven decades as a public figure, but if she had done nothing else in her career, she would still be remembered simply for being in “Singin’ in the Rain,” Mark Olsen wrote in his Los Angeles Times appreciation.
The actress had four credited movie roles when she was cast opposite Mr. Kelly, a Pittsburgh native, and Mr. O’Connor.
“She noted at the British Film Institute in 2011: ‘I wasn’t sexy, I wasn’t beautiful, I wasn’t cute and I couldn’t dance. Why would they take me?’
“One only has to see her pop out of a cake to dance and sing to ‘All I Do Is Dream of You’ to answer the question. Her exuberance, the sheer attack with which she approached the part, made her undeniable,” Mr. Olsen writes.
“You know, I was so dumb,” she said to the American Film Institute in 2012, “that I didn’t feel you could fail.”
Mr. Kelly’s widow, Patricia Ward Kelly, on Thursday told BBC Radio that Ms. Reynolds, Mr. Kelly and Mr. O’Connor “are like comets that flash through the air once in a lifetime. And we are ever so grateful.”
On Facebook, Mrs. Kelly debunked what she called “a tall tale” about Ms. Reynolds as a young dancer. She quoted NPR’s Neda Ulaby as saying Ms. Reynolds “had studied gymnastics, but for the movie, she practiced tap dancing for up to 14 hours at a time.”
Mrs. Kelly said production records are very clear on the subject. For example, “on April 25, 1951, the report indicates that Gene arrived on set at 10 a.m., had one meal and departed at 5:15 p.m. ‘Debbie Reynolds same.’” She also notes, as Ms. Reynolds has said, that her rehearsal time was three months, “which says a lot about Debbie and the remarkable assistants who taught her to dance.”
There has been much speculation about the cause of the seemingly unsinkable Ms. Reynolds’ death. The entertainer suffered two strokes in 2015 but seemed to make a full recovery.
No cause of death has been disclosed for mother or daughter, but some are blaming Ms. Reynolds’ passing on broken heart syndrome, known medically as stress-induced cardiomyopathy. In the scant space between her daughter’s death and her own, Ms. Reynolds told her son, Todd Fisher, ‘I want to be with Carrie,’” according to the Associated Press.
“A ‘broken heart’ really is an event where the heart ceases to function normally and is prone to heart rhythm abnormalities,” Dr. Mark Creager, past president of the American Heart Association, told the AP. “That term is used to explain a very real phenomenon that does occur in patients who have been exposed to sudden emotional stress or extremely devastating circumstances.”
The documentary “Bright Lights: Starring Carrie Fisher and Debbie Reynolds” will premiere at 8 p.m. Jan. 7 on HBO. The film chronicling the sometimes rocky mother-daughter relationship was shown at the Cannes Film Festival in May and was originally set to air on HBO in March.
The Hollywood Reporter called it “a tender tribute to two iconic women whose Hollywood history spans from ‘Singin’ in the Rain’ through ‘Star Wars’ and whose intimate connection is no less singular.”
In the meantime, viewings of “The Unsinkable Molly Brown” and “Singin’ in the Rain” would seem to be in order.
Women, female relationships and political intrigue were the hallmarks of Korean cinema this year.
A number of films that delved into the world of the occult, driven by unfathomable forces of evil, also stood out in a year that saw the return of some of Korea’s most renowned directors, including Park Chan-wook and Na Hong-jin, who each added significant pieces to their idiosyncratic oeuvre.
Spotlight on women
Arguably the most globally lauded Korean film of the year, Park Chan-wook’s “The Handmaiden” took on the subject of a lesbian thriller romance, featuring two female lovers against a world of demented male figures. Provocative scenes were portrayed against a fairy tale-like backdrop.
“Handmaiden” has nabbed various international accolades since its screening at the Cannes International Film Festival in May. Vogue.com named it among the “10 Most Fashionable Movies of 2016” for its lavish mise-en-scene, while the Los Angeles Film Critics Awards gave it a best production design award.
The New York Times listed Kim Tae-ri, who stars as Japanese lady Hideko’s earthy, unabashed handmaiden Sook-hee, in a September article titled “Four Actresses Everyone will be Talking About this Fall.”
Female romance also featured in Lee Hyun-ju’s indie film “Our Love Story,” a subtle, realistic tale of an encounter between an art student and a stranger.
Antagonistic relationships between women were explored in films like Kim Tae-yong’s “Misbehavior,” which draws on the jealousy and pride between two female teachers fighting for the affections of a male student. Both Kim Ha-neul and Yoo In-young are excellently cast in their roles: One is reticent and downtrodden, while the other is vivacious, young and self-absorbed.
Director Lee Eon-hee’s “Missing,” meanwhile, saw the unlikely reconciliation between two women — a mother and the nanny who kidnapped her daughter, played by Uhm Ji-won and Gong Hyo-jin.
In a mature tale of womanhood, “Bacchus Lady” explored the world of Korea’s elderly prostitutes and the universal solitude of growing old.
Veteran actress Youn Yuh-jung portrayed the feisty protagonist, who, at 65, turns tricks for a living. Directed by E J-yong, the film offers an emotional reflection on life and death as Korea advances into an aging society. It was screened at the 66th Berlin International Film Festival.
Scandalous politics
This year also saw a number of films portraying disasters and authorities’ damnable responses.
Director Park Jung-woo’s “Pandora,” set to be streamed globally on Netflix, depicted a nuclear power plant meltdown and the lack of an emergency response system, resulting in the preventable deaths of nuclear power plant workers and residents of surrounding areas.
Kim Seong-hun’s “Tunnel” saw actor Ha Jung-woo trapped inside a collapsed tunnel for weeks on end, with members of the rescue squad wringing their hands at the ineffectual orders from those higher-up in the government.
Kim Sung-su’s “Asura: The City of Madness” depicted a bloodstained web of criminals and politicians.
The latest political thriller “Master,” helmed by Jo Eui-seok, stars actor Lee Byung-hun as a con artist who amasses astronomical wealth and bribes government officials to exert power in state affairs. The flick which opened last week, rang an eerily familiar bell in Korea, which is currently embroiled in an influence-peddling political scandal surrounding President Park Geun-hye.
Ride into the occult
Two of this year’s most striking films were in the horror genre, ruminating on morality and human nature.
Yeon Sang-ho’s apocalyptic zombie thriller “Train to Busan” showed everyday characters — from students to office workers — fighting for their lives while trapped on a torpedoing train swarming with flesh-hungry zombies. It premiered at the Cannes International Film Festival’s Midnight Screenings section and has been picked up for a US remake by Gaumont, a French film studio.
Na Hong-jin’s occult thriller “The Wailing (Goksung),” which also screened at Cannes’ Out of Competition section, took viewers on a terrifying journey toward unreasoning evil. Fourteen-year-old actress Kim Hwan-hee delivered a chilling performance as a possessed child.
A period in time
A number of period pieces also sought to reinterpret historical events from the Japanese occupation era.
Kim Jee-woon’s “The Age of Shadows” transformed the story of Korean independence fighters smuggling in bombs from Shanghai to Korea into a stylish noir.
In “The Last Princess,” director Hur Jin-ho focused on the early stages of the Japanese occupation of Korea through the eyes of Joseon princess Deok-hye, weaving the historical into a personal tale.
“The Portrait of a Poet” by Lee Joon-ik offered a moving portrait of poet Yun Dong-ju, in colonial Korea where the Korean language was banned.
The 98-minute film, written and directed by Diab, depicts the political turbulence and uncertainty after the ouster of former president Mohamed Morsi in 2013, particularly the conflict between supporters of the Muslim Brotherhood and those backing the military.
The film is set entirely in the back of a police van, into which both Brotherhood and military supporters had been thrown, in the wake of demonstrations following the overthrow of Morsi in July 2013.
Eshtebak was nominated to represent Egypt at the Oscars in 2017. Moreover It was among the opening films at the Cannes Festival’s. The movie was also screened at the Kairali Theatre, one the of the venues of the International Film Festival of Kerala (IFFK), and won three awards at Valladolid Film Festival, Spain’s largest film festival.
Nawara
Through the life of a domestic helper named ‘Nawara’ working for a rich family in Cairo, the film reflects the humanitarian and social conditions of Egyptians before and during the January 25 Revolution that toppled former President Hosni Mubarak. The film is directed by Hala Khalil.
This movie has won several awards, as actress Menna Shalabi who plays the title role of Nawara won the Best Actress Award at Morocco’s Tetouan International Mediterranean Film Festival and Dubai International Film Festival (DIFF).
In June 2016, the movie was screened at the 23rd Munich Film Festival and was also selected among the opening and closing films of the 6th Malmo Arab Film Festival in Sweden.
Hepta
The movie is based on a novel written by Mohammed Sadek in 2014. The story is about a renowned social-psychology specialist, Shukri Mokhtar, who decides to give one last lecture about the very simple question of “How do we love?” Through four different stories, the movie answers this question by showing the seven ‘stages of love’.
Hepta participated in the Festival of Arab Camera in Rotterdam. Moreover it competed for the Golden Award for Feature Films at Annaba Mediterranean Film Festival, where the film grabbed the attention of both critics and audience. The movie was chosen as one of the opening and closing films at the 6th Malmo Arab Film Festival in Sweden, where it was nominated for the Best Feature Film Award.
Meanwhile, the movie won the audience award at the Annual Arabian Sights Film Festival in Washington D.C. In addition, the movie participated in the Anab d’Or in the Feature Film Competition at the 2nd Mediterranean Film Festival of Annaba (FAFM) in Algeria and was screened at the Arab Camera Festival in Rotterdam.
Jeanne d’Arc
Influenced by Carl Dreyer’s 1928 film The Passion of Joan of Arc, the movie is a modern documentary, which through dancing, poetic narrative and mythology, sheds light on women’s circumstances and issues of women’s emancipation in post-2011-uprising Egypt.
Through interviews with several women, including artists and a poetic voiceover, the film draws attention to women’s repression and their suppressed feelings of guilt, especially among Egyptian female artists. The film is directed by Iman Kamel.
Jeanne d’Arc was screened at the 13th Dubai International Film Festival (DIFF) in December 2016.
Jareedy
Directed by Mohamed Hisham, the film highlighted the the story of a Nubian boy named Konnaf who faced his life with fear but in the end overcame it. Konnaf’s challenge was to reach a rock in the middle of the Nile through a traditional boat which is ‘Jareedy’ as he is not a swimmer, which is unusual for one who lives on the banks of the Nile.
During the journey, the Nubian boy is guided by an old boat craftsman who witnessed the displacement from Nubia in 1964. After telling the young boy stories from the past, he succeeds in helping Konnaf to reach his dream.
Jareeedy was shot in Nubia and tells the hidden stories in its own mother language, drawing attention to the marginalization of the Nubian people.
The movie was awarded Best Cinematography at London Film Festival in the UK. It participated in several other festivals, including Jaipur Film Festival in India, Afrika Film Festival in Belguim and the 12 Months Film Festival in Romania.
Mawlana (The Preacher)
Directed by Magdy Ahmed Ali, the film’s poster showcases actor Amr Saad alongside a sentence that reads: “There are more than 120,000 preachers in Egypt’s mosques. This is the story of one of them.” The story is based on a novel by the same name, written by Ibrahim Eissa.
Saad plays the character of Sheikh Hatem, a young preacher who was working in a governmental mosque then became a TV celebrity. Saad earlier told Al-Masry Al-Youm that the movie shows the lives of several sheikhs and calls for the reform of religious discourse. He added that the movie will be shown in several countries, including China, Malaysia and Latin America.
Mawlana was chosen to be screened at the Dubai International Film Festival (DIFF).
Har Gaf Sayfan (Dry Hot Summers)
This 30-minute film depicts the story of two lonely people at opposite chapters of life: the old Shawky and young Doaa accidentally meet on a scorching hot summer day in a Cairo taxi. They are both overcome by their gringing day-to-day routines, but suddenly, their race through the city evolves into a journey of self-discovery that reconnects them to life.
The film was directed by Sherif Elbendary, grabbing widespread attention as it premiered at the DIFF 12th edition in December 2015. While in April 2016, the movie was selected to open the 18th edition of the Ismailia International Film Festival for Documentaries and Shorts.
In February 2016, Har Gaf Sayfan (meaning “Hot and Dry in Summertime”) won the Robert Bosch Stiftung Film Award for International Cooperation at a gala held during the ‘Berlinale Talents’, an annual summit and networking platform of the Berlin International Film Festival for 250 outstandingly creative filmmakers.
Moreover, the film participated at the Carthage International Film Festival in October and was also screened at the Dhofar Arab Film Forum in Oman in August.
Tuk Tuk
The film tells the story of kids who are working as TukTuk drivers in the streets of Cairo, through a camera trip in Egyptian slums. The film is directed by Romani Saad.
Speaking to Al-Wafd newspaper, Saad said that he tried to come closer to the real life of these street children to create a concrete background about their experiences and social conditions, pointing out that he chose two children and asked them to let him into their daily lives without his interference in their actions.
The movie participated in the Tetouan International Mediterranean Film Festival.
In the Last Days of the City
The movie talks about a 35 years old filmmaker ‘ Khalid’ who faces a loss in his life, then he decides to shoot a film that captures the soul of the city but he gets in trouble; Khalid’s friends support him to overcome the struggles and send him footages from Beirut, Baghdad and Berlin which enthuses him to keep going through the difficulty and capture the beautiful atmosphere of Cairo.
The movie is directed by Tamer Al-Saied and it is a co-production between Egypt, Germany, the U.K., and the U.A.E.
The film had its world premiere at the Berlinale talents, where it was awarded the Caligari film prize. However, the film was excluded from the Cairo Film Festival this year. It was the only work by an Egyptian director to take part in the 46th annual Berlinale Forum and win the Grand prize at the MFF T-Mobile Nowe Horyzonty Film Festival in Wroclaw.
Moreover, the film participated at the Pesaro Film Festival in Italy; Olhar Cinema Curitiba Film Festival in Brazil; and Malta’s Valletta Film Festival.
Who Killed the Armenians
The film is the first of its kind produced in Egypt and dedicated to the Armenian Genocide. It was directed by Egyptian satellite TV anchor Myriam Zaki and film director Mohamed Hanafi.
The 70-minute film was shot in Armenia, Egypt, and Lebanon, from where it presents rare documents, testimonies of survivors of the genocide and footages that prove the violent acts by Ottoman Turks against the Armenian nation, beginning with the Hamidian Massacres (1894-1896), the Adana Massacre (1909), and the 1915 genocide. These documents were revealed to Arab audiences for the first time.
The film won the Audience Award at the New York Film Festival and the director was awarded the Vanya Exerjian prize for Empowering Women and Girls.
Um Ghayeb (Mother of the Unborn)
Directed by Nadine Salib, the movie talks about a woman ‘Hanan’ who is yearning for a child for 12 years. She lives in a small village in Upper Egypt where it is common for women who suffer infertility to be called “Um Ghayeb”.
In spite of its international recognition, this extremely humanistic movie was only screened one single time in Egypt by Zawya, according to director Nadine Salib. The movie was screened in IDFA, along with the Thessaloniki Documentary Film Festival, the Sheffield Documentary Film Festival, and Yamagata Film Festival in Japan.
It also participated in Carthage Film Festival and won the Best Documentary Award at Abu Dhabi festival. It also received the Peter Wintonick Special Jury Award for First Appearance at the IDFA 2014. It moreover won the first prize for Best Documentary in Mizna Twin cities, and the award for best documentary in AfryCam Film Festival.
Ali, Mea’za we Ibrahim (Ali, the Goat and Ibrahim)
The film tells the story of Ali who suffers the loss of his beloved fiancé who has died; Ali then falls in love with a goat naming it with the same name of his fiancée ‘Nada’. Ali’s mother insists on visiting a healer. At the healer’s clinic, Ali meets Ibrahim who works at a recording studio and claims that he hears voices frightening him; the healer said that both Ali and Ibrahim are “cursed” and their medication is to throw three “magic” stones in Egypt’s three water bodies.
Ali, Ibrahim and the goat start on a long adventure that takes them to the Mediterranean, the Red Sea and the Nile, building a good friendship along the way.
The movie had its MENA premiere at the DIFF and the actor Ali Sobhy, one of the cast, won the prize of best actor at “Al-Muhr Al-Tawil” competition at DIFF.
Abadan Lam Nakon Atfal (We Have Never Been Children)
The film is about a divorced woman who looks after her four kids. By and by, her life circumstances change gradually. The film is directed by Mahmoud Soliman and it is co-produced by four countries, including Egypt, the UAE, Qatar, and Lebanon.
The movie was premiered at the DIFF where it won the Best Muhr Non-Fiction Feature Award. Moreover, it was awarded the Special Jury Prize in the Documentary Films category. It also participated in the Tetouan International Mediterranean Film Festival in March.
Hayat Tahra (Tahra’s Life)
The movie tells the story of Tahra, a woman from Upper Egypt who worked in all the men-restricted jobs including construction, bricks and cement lifting, metalurgy-related jobs, as well as sewing, all to earn a good life for her five children after her husband’s death. These professions, along with several small projects enable her to raise LE 150,000.
This movie was directed by Mohanad Diab and was premiered at the Shorts Corner at the 68th Cannes International Film Festival. The movie was screened also at Dhofar Arab Film Forum.
Haram El Gasad (Sins of the Flesh)
Directed by Khaled El Hagar, the film was shot in only one location farm in the desert, using only fire and kerosene lamps, no electricity. The film is a drama set against the 25th of January uprising. The story examines love, revenge, passion and the misuse of power of four people who live on a desert farm during the uprising of 2011 and who get their news only via the radio. It shows how what was happing in the farm reflected what was happing in Egypt.
The movie participated in Carthage International Film Festival within the long feature film section, and was selected for screening at the 2016 Vancouver International Film Festival.
Rabie Shetwy (Wintry Spring)
The film is directed by Mohamed Kamel. It tells the story of Nour a schoolgirl who lives alone with her father, and is going through a very critical period in her life, as suddenly she is becoming a woman. She cannot reveal this to her father and keps it as her own secret, so her father cannot understand this change that occurrs in her life, which results in tension between them.
The film won the best short film and best actor awards from the Italian festival Fotogramma d’Oro and the Best Short Film Award at the Sose International Film Festival.
The movie, moreover, was selected for screening at the Shorts Festival which chooses films shorter than 20 minutes that have received more than one award in 2015.
Al-Nossour Al-Saghira (The Small Eagles)
The film tells the story of Mohamed, the son of a simple worker in the city of Alexandria, where he dreams to move to Cairo, to become a filmmaker. He then meets Ali, Salma and Bassam. Mohamed finds that his new friends’ parents were leftists which enthused him to search in his father’s histor, hoping maybe to find something precious.
The film is directed by Mohamed Rashad and had its world premiere at the 13th DIFF.
Al Ma’a Wel Khodra Wel Wagh El Hasan (Water, Greenery, and a Beautiful Face)
Directed by Yousri Nasrallah, this movie depicts the troubles of Egyptian traditional marriage by telling the story of a family in a small Egyptian village preparing for a big wedding celebration.
The film was screened in the Locarno International Film Festival competition that included 17 movies from Greece, Portugal, Germany, Italy and several other European countries.
Withered Green
This indie drama narrates the life of a conservative girl Iman’s who feels stuck in antiquated traditions and norms especially after losing her parents; she attempts to convince any of her uncles to attend her younger sister’s engagement in her deceased father’s place, as is traditional. However, a shocking discovery prompts her to do away with all these withered traditions that she once clung to.
Directed by Mohamed Hammad, the movie won the “Directors of the Present” competition at the Locarno International Film Festival where it premiered.
Moreover, it was also the first Arab movie to ever be screened at the Singapore International Film Festival, in addition to being screened at the Festival International du Film Francophone de Namur (FIFF) in Belgium.
Bara fe El-Share (Outside on the Street)
The film is based on a group of workers of Helwan neighborhood in Egypt. The film showed 10 workers joined in an acting workshop, but during the rehearsals they tell the stories of injustice inside the factory, the violence of the police, of courts that fabricate charges and an endless number of stories of corruption and exploitation by the employers.
The movie is directed by Jasmina Metwaly and Philip Rizk and won the Best Feature Film Award at the 5th Latin-Arab International Film Festival in Buenos Aires. It was screened within the official selection at the 26th edition of the Carthage in Tunisia, in addition to its featuring at the German Pavilion at the Venice.
Coma
The movie takes one on a long journey inside the human-self to restore memories, confront fears, and appreciate the blessings they have in life. As It tackles how we value people and objects from a human-interest perspective.
The movie is directed and produced by the young director Ghada Ali. The movie participated in the Fez International Film festival of Cinema & Education in Morocco, along with OZARK Shorts Film Festival in Missouri in the United States, GATFEST Film Festival in Jamaica.
The film was selected for screening at the Asia International Youth Short-Film Exhibition in Wenzhou, China, The Colour International Film Festival in India, and the International Women’s Film Festival in Kabul.
It has also won many awards including the Official Selection for the Biennial Edition of Ciné Women of America and the Best Cinematography award at FILMSAAZ of India.
Before the Spring
In 2008, the film maker travelled to Egypt to tell the story of metal and rock bands’ struggles in a conservative Muslim country.
“We meet the kids in Cairo’s tight-knit underground music scene who are the film’s main characters, including the sons of the country’s foremost political dissidents and the Muslim World’s first all-female metal band,” the film makers said.
After the 2011 uprising, the film makers shed light on new horizons and presented the main characters with a new set of life-changing dilemmas.
Directed by Jed Rothstein, the movie won the New York Festival’s Grand Prize for Best Narrative Feature Award.
Osbou we Yomen (One Week and Two Days)
The film which is directed by Marwan Zain talks about the love story of a couple who faced some troubles over their decision of giving birth.
The movie made it to the competition in the 13th DIFF Muhr Shorts category.
Julie Dash’s DAUGHTERS OF THE DUST is one of the most important indie films. It was the first film directed by an African American woman to receive a wide release 25 years ago. The film is beautiful, haunting and a true work of art. Beyonce’s groundbreaking feature length music film “Lemonade” pays homage to “Daughters of the Dust”.
Below is an article about the film from the Los Angeles Times. Come check out the 25th Restoration of this masterpiece tonight (Thursday) at 7:30pm at the Riviera Theatre.
See you at the movies!
Roger Durling
‘Daughters of the Dust,’ Julie Dash’s 1991 triumph, makes a welcome return
By Justin Chang
“Daughters of the Dust,” Julie Dash’s magical 1991 debut feature, captures a sad, thrilling moment of transformation for a community of Gullahs, who are the descendants of African slaves who lived on the Sea Islands off the coast of South Carolina and Georgia. On an August day in 1902, several generations of the Peazant family are preparing to move to the U.S. mainland, bidding farewell to their island home and the vibrant, uniquely African-influenced culture they’ve succeeded in keeping alive.
All good period pieces achieve and sustain a sense of immersion in a different time and place. “Daughters of the Dust,” which Dash spent many years researching, producing, writing and directing, goes further than most. Its examination of a bygone way of life is so patient and evocative, so beholden to its own storytelling conventions and rhythms, that watching it is a bit like submitting to a form of time travel. You emerge from the experience feeling slightly dazed and disoriented, but also deeply and thoroughly ravished.
This is partly due to the hypnotic pull of Arthur Jafa’s cinematography (which won a prize at the Sundance Film Festival) and the atmospheric drumbeats of John Barnes’ score, which conspire to establish an enveloping, dreamlike mood at the outset. But it is also because of the strong, vividly detailed personalities of the women at the film’s center, each one representing a different voice in a timeless tug of war between tradition and modernity, assimilation and isolation.
There is the family’s octogenarian matriarch, Nana Peazant (Cora Lee Day), who is determined to remain on the island with her rituals and herbal potions to the chagrin of her embittered granddaughter-in-law, Haagar (Kaycee Moore), who looks forward to the prosperity that she hopes awaits them on the mainland.
Two other women have returned for the Peazants’ final island gathering after leaving home years ago, though their experiences could scarcely have been more different. Viola (Cheryl Lynn Bruce) has become an outspokenly devout Baptist while Yellow Mary (Barbara O.), who returns with her girlfriend (Trula Hoosier) in tow, is ostracized by her family members for being a prostitute.
One of the few who openly embraces Yellow Mary is the spirited Eula (Alva Rogers), who was raped by a white man on the mainland and may be carrying his child, to the horror of her husband, Eli (Adisa Anderson). It is Eula who becomes the film’s wrenching voice of conscience and sanity when she cries, “Let’s live our lives without living in the fold of old wounds!” — a plea that, even for ears unaccustomed to the thick, West African-inflected creole of the region, cuts to the bone.
Viola has brought a photographer (Tommy Redmond Hicks) to the island to document the occasion. He’s something of a stand-in for Dash, whose father was a Gullah, and whose film becomes its own striking act of witness. The manner of that witness — including the use of voice-over narration from the perspective of Eula’s unborn child — shows a remarkable integrity.
Rather than telling her story via clean, linear strokes and manufactured crises, Dash lingers on the sights and sounds of Sea Island life, from the unforgettable images of women on the beach in floor-length white dresses to the close-ups of fresh-cooked prawns, hard-boiled eggs and other dishes served at the Peazants’ feast. These moments are not incidental to the narrative; they are essential to it, as Dash seeks to convey the very look, feel and texture of something that is about to be lost forever.
When “Daughters of the Dust” premiered in the dramatic competition at Sundance in 1991, the field included two other major indie breakthroughs: Todd Haynes’ “Poison” (which won the grand jury prize) and Richard Linklater’s “Slacker.” That their directors have gone on to become prominent auteurs on the independent scene is an undeniable testament to their genius.
But it also speaks to the cultural and gender-based norms that kept a singular talent like Dash from the filmmaking career she deserved — in part because “Daughters of the Dust,” one of the most striking American independent movies ever made, didn’t conform to any studio executive’s ideal of what a “black” movie should look and sound like. (The year 1991 saw a mini-renaissance for African American commercial cinema, including “Boyz n the Hood,” “New Jack City,” “Jungle Fever” and “A Rage in Harlem.”)
Even still, “Daughters of the Dust” hasn’t exactly languished in obscurity. Although it struggled to find a distributor post-Sundance, it did become the first film directed by an African American woman to receive a wide theatrical release (courtesy of Kino International). Its reemergence in theaters is timely for any number of reasons, a widely spotted shout-out in Beyoncé’s “Lemonade” not least among them.
The present-day resonance of a movie about an immigrant community caught between a traumatic past and an uncertain future can largely speak for itself. But it’s especially meaningful in a year marked by a remarkable range of serious new works from black filmmakers, from Barry Jenkins’ “Moonlight” and Nate Parker’s “The Birth of a Nation” to Denzel Washington’s forthcoming “Fences” — each one offering a different vision of African American families trying to rise above a deeply entrenched legacy of oppression.
As an example of how to realize that vision without compromise, “Daughters of the Dust” remains a pioneering work of art — a vibrant dispatch from our historical and cinematic past that continues to look ahead to a more hopeful future.
13 Hours, Arrival, Denial, Genius, The Late Bloomer and Septembers of Shiraz to be Featured
Palm Springs, CA (December 19, 2016) – The 28th annual Palm Springs International Film Festival (PSIFF) will host the 3rd annual two-day symposium “The Power of Words: Book to Screen,” curated by Barbara Keller and Susan Rosser. The event will take place on Wednesday, January 4 at the Hilton Palm Springs. During the event, authors will be joined by screenwriters and producers in sessions moderated by well-known film and literary critics in addition to other distinguished leaders. PSIFF will be held January 2-16, 2017.
Expected “Book to Screen” participants include author Mitchell Zuckoff and screenwriter Chuck Hogan (13 Hours), author Ted Chiang and screenwriter Eric Heisserer (Arrival), author Dr. Deborah E. Lipstadt and producer Gary Foster (Denial), author A. Scott Berg (Genius), author Ken Baker and screenwriter Joe Nussbaum (The Late Bloomer), and screenwriter/producer Hanna Weg (Septembers of Shiraz).
Select films from the “Book to Screen” symposium will screen the day before, on Tuesday, January 3 (full schedule of panels, discussions and screenings will be available by December 20). An all-day $200 pass provides full access to all “Book to Screen” panels, discussions and screenings. Benefactor and Concierge pass holders for the 2017 festival will also have access to the “Book to Screen” program/screenings at no charge, requiring only a confirmed RSVP.
Books will be available for purchase at a Barnes & Noble pop-up store at the venue, and authors will be onsite for a short period of time after each session to sign books. In addition, during the month of December, the Barnes & Noble in Palm Desert will feature a special section of “Book to Screen” authors and films.
About The Palm Springs International Film Festival
The Palm Springs International Film Festival (PSIFF) is one of the largest film festivals in North America, welcoming 135,000 attendees last year for its lineup of new and celebrated international features and documentaries. The Festival is also known for its annual Film Awards Gala, an upscale black-tie event attended by 2,500, honoring the best achievements of the filmic year by a celebrated list of talents who, in recent years, have included Ben Affleck, Javier Bardem, Cate Blanchett, Sandra Bullock, Bradley Cooper, George Clooney, Daniel Day-Lewis, Leonardo DiCaprio, Clint Eastwood, Tom Hanks, Matthew McConaughey, Julianne Moore, Brad Pitt, Eddie Redmayne, Julia Roberts, David O. Russell, Meryl Streep, and Reese Witherspoon.
For more information, call 760-322-2930 or 800-898-7256 or visit www.psfilmfest.org.
The European Film Market (EFM) at the Berlin International Film Festival is considered one of the most important trade platforms for film rights and audiovisual content.
As the first industry gathering of the year, the EFM will open its doors on February 9, 2017, setting the trends for the upcoming year in film. The entire exhibition spaces, in the Martin-Gropius-Bau and the Marriott Hotel, are already fully reserved. More than 9,000 exhibitors, license traders, producers, buyers and investors are expected over the nine market days from February 9 to 17, 2017.
This year, the European Film Market has expanded in both space and content. New initiatives such as the “Berlinale Africa Hub” and “EFM Horizon” provide forward-looking impetuses. The immensely popular “Drama Series Days”, presented by the EFM and the Berlinale Co-Production Market, has been expanded and moved into a new venue. The three-day edition of the segment will run from February 13 to 15 in the Zoo Palast, with panel discussions, market screenings and various networking events. The official partner of the “Drama Series Days” is the Film- und Medienstiftung NRW; it is mounted in cooperation with HBO Europe and the Medienboard Berlin-Brandenburg. And at the 2017 EFM, Mexico will be the first “Country in Focus” – a new EFM initiative that the market plans to follow through with in upcoming years with different countries.
“The European Film Market is one of the most important film markets world-wide and, since it’s at the start of the year, it’s a key seismograph for the year to come. The EFM is a trend-setter that keeps abreast of the radical changes in the industry”, says EFM director Matthijs Wouter Knol.
“There has rarely been as much movement and such a sense of euphoria in the film industry as there is now. We’re responding to that with our broad range of initiatives. At the same time, it’s extremely important that we provide optimal surroundings that offer dependability and stability in terms of infrastructure and content”, adds EFM president Beki Probst.