BCBG MAX AZRIA Fall 2012 Runway Show at Mercedes Benz Fashion Week New York

avivapress — Fri, 10 Feb 2012 16:22:11 +0100

By Maria Esteves – February 10, 2012

Mercedes-Benz Fashion Week New York BCBG MAX AZRIA Fall/Winter 2012 Runway Show commenced Thursday, February 9, 2012, at the Theatre in Lincoln Center, New York. Founder/designer Max Azria artful and chic collection of Bauhaus style geometric abstraction composed of silks, chiffons, crepe de chine included canvas/leather trench coats, wool/leather jackets, jumpsuits, gowns, and dresses in navy, rust, black, cream, paprika, teal, camel, and macchiato colors.

MBFW BCBG MAX AZRIA Fall/Winter 2012 Collection:
fashion designer Max Azria backstage at Lincoln Center,
New York, Thursday, February 9, 2012.

MBFW BCBG MAX AZRIA Fall/Winter 2012 Runway
Show, at Lincoln Center, New York, Thursday,
February 9, 2012.

MBFW BCBG MAX AZRIA Fall/Winter 2012 Runway Show,
at Lincoln Center, New York, Thursday, February 9, 2012.

MBFW BCBG MAX AZRIA Fall/Winter 2012
Runway Show, at Lincoln Center, New York,
Thursday, February 9, 2012.

MBFW BCBG MAX AZRIA Fall/Winter 2012 Runway
Show, at Lincoln Center, New York, Thursday,
February 9, 2012.

Bajanama: Customs Commissioner in Mumbai studied early Indian Gramophone records

INDIA Rajendra Joshi — Thu, 09 Feb 2012 09:56:52 +0100

Customs
Commissioner in Mumbai studied Indian Music

“Sound is a fifty per cent
partner in film” said A N Sharma, the author of an interesting
masterpiece “Baajanama” which was released by Pandit Rajan Mishra
and Pandit Sajan Mishra in Mumbai. Interacting with media
on the sidelines of Mumbai International Film Festival 2012,
Mr Sharma said his book ‘Bajanaama’ is about the first decade of
commercial recordings in India.”

It was in 1902, that the first recording of Indian music was
made in India by the Gramophone Company of India. The
great sound expedition began with the recording of songs by Kolkata
singers Shohsimukhi and Fanibala of Bengal theatre. Later,
Gauhar Jaan recorded her voice in several languages. “Most of the well
known singers of that time were suspicious of all things foreign and
white and therefore did not oblige the recordists easily” said Mr.
Sharma. The recorded music played a pioneering role in
popularizing music, as it made it available to the larger audience.

Bajanaama is an honest effort to document the social and
political landscape of the Indian subcontinent after the first War of
Independence from British rule and just before the Delhi
Durbar in 1911. At another level, the volume tries to contextualize the
history of Hindustani music at a very crucial juncture.At this point the
major courts of North India had disintegrated and erstwhile court
musicians were forced to become itinerant musicians who occasionally
managed to find favour with smaller principalities and zamindaris.
This phenomenon gave rise to a new trend of mixing of elements
of gharanas.

A N Sharma, a career bureaucrat and serving Customs
Commissioner in Mumbai, got hooked on to this project accidentally.
A chance browsing of junk in a kabadi shop some 20 years ago,
turned a casual music lover to into a keen researcher and an archivist
of the history of sound recording in India.

16th New York Sephardic Jewish Film Festival

avivapress — Tue, 07 Feb 2012 21:15:04 +0100

By Maria Esteves - February 7, 2012

The 16th New York Sephardic Jewish Film Festival 2012 (NYSJFF 2012) will be held in March. The festival presented by the American Sephardi Federation, annually showcase extraordinary films that explores the Sephardic Jewish experience from filmmakers throughout the world.
For more information, please visit http://sephardicfilmfest.org.

TORN! To become whole?

avivapress — Tue, 07 Feb 2012 18:27:52 +0100

By Maria Esteves – February 7, 2012

The 21st New York Jewish Film Festival 2012 (NYJFF2012) presented by the Jewish Museum and the Film Society of Lincoln Center special film screening of TORN, by Israeli filmmaker Ronit Kertsner commenced Tuesday, January 17, 6:00 PM at the Elinor Bunin Munroe Film Center, New York.

TORN is a powerful documentary that follows the life of Jacob Weksler (Romuald Waszkinel) a true Messianic believer, a completed Jew on a spiritual journey to Israel who won’t give up his birth right as a Jew nor his love for Messiah Jesus (Yeshua). A priest from Poland who served the Catholic Church for seventeen years is revealed the truth about his Jewish heritage. In Lublin, Poland, during the Holocaust a Polish Jewish woman Batia Weksler about to be taken to the death pit saves the life of her newborn son by giving him to a Polish family who renamed him Romuald Waszkinel. This profound faith based film reminds me of the biblical stories of the early Christian church founded by Jewish believers and the story of Moses where his mother expressed a deep love for her son. For further study, check Exodus 2 and Isaiah 53.

TORN, directed by Ronit Kertsner | Israel | 2011 | 72 min. | Documentary | Polish, Hebrew, French, English with English subtitles. Best Feature Length Documentary Nominee, at the 2011 Israeli Documentary Forum Awards. Special film screening, at the 21st New York Jewish Film Festival 2012.

Gary Lucas European Solo Tour Re-cap January 2012

Gary Lucas — Mon, 06 Feb 2012 22:44:28 +0100

Played solo acoustic on National Basque Radio Euskadi in Bilbao Spain Jan 14th

Performed Jan. 15th with my Spanish "Dracula" project at Bilbao's Musiketan Festival in Sala BBL-- sold-out show--http://garylucas.com/www/dracula

Sold out my Captain Beefheart Symposium two nights in a row at Liverpool's Philharmonic Hall Jan. 2oth and 21st!!: http://garylucas.com/www/capt

3 reviews from Liverpool Captain Beefheart Symposium:

The Word: http://goo.gl/5A0LI

Seven Streets: http://goo.gl/JCd5b

Audio Apocalypse: http://goo.gl/u0stx

Performed a studio session with Bryan Ferry Jan. 23rd in London's Olympia Studios, recorded 8 tracks including a new song collaboration

Followed by two packed shows in Lisbon and Porto Portugal Jan 27th and 28th

Profiled on the cover of two Portuguese national newspapers:

Metro Portugal: http://goo.gl/tBC7U scroll to page 8 for interview

Diario de Noticias: http://goo.gl/kRxzS

Interview and clip of me playing live in Lisbon from Myspace Portugal: http://goo.gl/H3VFc

Short version: http://goo.gl/j9qfj

Finished in Paris with a great solo show at the New Morning Jan. 31st with special guests Cheyenne Schiavone, Beatrice Demi-Mondaine, Jean-Francois Pauvros and Daniel Yvinec

played surprise set at hip Paris Club La Feline Feb. 1st with special guest Beatrice Demi-Mondaine, including a version of my famous song "Mojo Pin" co-written with Jeff Buckley:

http://www.youtube.com/watch?v=VI9KJ8MiGW8

Interview and profile in French left newspaper POLITIS:

http://goo.gl/3cZbx

photo: Outside Sala BBK in Bilbao before Gary Lucas' Spanish "Dracula" performance Jan 15th 2012

New York Premiere of Dressing America: Tales from the Garment Center Coverage

avivapress — Sun, 05 Feb 2012 23:47:24 +0100

By Maria Esteves – February 5, 2012

The 21st New York Jewish Film Festival 2012 (NYJFF2012) New York Premiere of Dressing America: Tales from the Garment Center directed by Steven Fischler and Joel Sucher was held at the Walter Reade Theater, Monday, January 16, 1:00 PM. A special Q&A session immediately followed with director Steven Fischler and associate producer Phyllis A. Dillon moderated by independent curator Rachel Chanoff, New York Jewish Film Festival. Questions posed to director Steven Fischler and associate producer Phyllis Dillon by moderator Chanoff and the audience included: What were the challenges in making the film? What is the status of the industry today? What is happening to New York's garment center real estate?

Dressing America: Tales from the Garment Center directed by Steven Fischler and Joel Sucher is an outstanding captivating American documentary that depicts the history of New York's garment center also known as the fashion district founded by Jewish immigrants from Eastern Europe in the 1920s. Dressing America explores the twenty blocks square radius with the address 498, 500, and 512 Seventh Avenue (between West 36, 37 Street) that made 80 percent of the clothing in the U.S.A., from fashion designs to manufacturing, to marketing, and selling. Dressing America includes the history of the Singer Sewing Machines, New York Fashion Week with creator Fern Mallis, and legend designers from Jewish immigrant parents such as ADRIAN (Adrian Adolph Greenberg), HARVE BERNARD, HATTIE CARNEGIE (Henrietta Kanengeiser), LESLIE FAY (Fred Pomerantz), SCAASI (Arnold Scaasi) and many others. In addition, Dressing America captures fascinating archival footage from "Uncle Moses (1932)," "The Women (1939)," "In the Middle of the Night (1959)," "A New Kind of Love (1963)," and the current ongoing effort to preserve the garment center of the world for the fashion industry instead of converting the buildings into residential lofts. Dressing America: Tales from the Garment Center will broadcast on PBS Channel 13, visit http://www.pbs.org for TV schedule.

Dressing America: Tales from the Garment Center, directed by Steven Fischler and Joel Sucher | USA | 2011 | 57 m | Documentary Feature. New York Premiere, 21st New York Jewish Film Festival, will broadcast on PBS, date and time TBA.

NYJFF 2012 Premiere of Dressing America: Tales from the Garment Center Photo Coverage

avivapress — Sun, 05 Feb 2012 23:25:14 +0100

By Maria Esteves – February 5, 2012

The 21st New York Jewish Film Festival 2012 (NYJFF2012) New York Premiere of Dressing America: Tales from the Garment Center directed by Steven Fischler and Joel Sucher was held at the Walter Reade Theater, Monday, January 16, 1:00 PM. A special Q&A session immediately followed with director Steven Fischler and associate producer Phyllis A. Dillon moderated by independent curator Rachel Chanoff, New York Jewish Film Festival. Questions posed to director Steven Fischler and associate producer Phyllis Dillon by moderator Chanoff and the audience included: What were the challenges in making the film? What is the status of the industry today? What is happening to New York's garment center real estate?

Dressing America: Tales from the Garment Center cast
member creator of New York Fashion Week, Fern Mallis,
IMG Fashion, at Mercedes Benz Fashion Week, Bryant Park,
New York in February 2010.

NYJFF 2012 New York Premiere of Dressing America: Tales from the Garment Center Q&A session, from r-l, director Steven Fischler, associate producer Phyllis Dillon, and NYJFF moderator Rachel Chanoff.

NYJFF 2012 New York Premiere of Dressing America: Tales from the
Garment Center Q&A session, director Steven Fischler and associate
producer Phyllis Dillon.

NYJFF 2012 New York Premiere of Dressing America: Tales from the Garment Center Q&A session: NYJFF moderator Rachel Chanoff, left, with associate producer Phyllis Dillon.

NYJFF 2012 NY Premiere of Dressing America Video Coverage

avivapress — Sun, 05 Feb 2012 23:11:21 +0100

By Maria Esteves – February 5, 2012

Blade Runner returns to Fantasporto

Fantasporto — Sun, 05 Feb 2012 18:25:22 +0100

Fantasporto’2012 under the sign of

BLADE RUNNER

“...I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhauser gate. All those moments will be lost in time... like tears in rain... Time to die...”

Roy Batty (Rutger Hauer) in Blade Runner

The 32th edition of International Film Festival of Porto emerges under the sign of the Future. Fantasporto had a precious landmark in the first presentation of one of those movies one never forgets. A film that leaves a mark. A film that transformed our idea about the future and was an inovator even on film- "Blade Runner". The film willl be presented closing the special program dedicated to the Future.

There’s much more to it than just the quality in a masterpiece level that makes a brilliant film become a film of cult. It needs to trigger an intense and lasting passion that is a truly rare state of grace. But there are movies that enter our minds and mark the cinematographic memory. "Blade Runner" is one of those rare films: an icon of Fantasporto, a symbol of our conception of cinema and our vision of the fantastic and imaginary.

Perfect symbiosis of an extraordinary novel by Philip K. Dick "Do Androids Dream of Electric Sheep?", not just adapted but recreated for the big screen by such a talented filmmaker as Ridley Scott, "Blade Runner". The film, released in 1982, was first named "Dangerous Days", then known as "Blade Runner: The Final Cut" and now goes by the plain and simple title of "Blade Runner").

In the year 2019, humanity is on the verge of extinction. The androids, or replicants model Nexus 6, are almost as human as the humans themselves, maybe even too human. Four of them escaped from an off-world colony and now roam the earth, mingling in the chaotic futuristic metropolis. A private detective - a robot hunter - is hired to destroy them.

The future that Dick promises us is not bright but Ridley Scott's artistic view, on the other hand, is fabulous. Douglas Trumbull recreates a futuristic and decadent Los Angeles, as a preview of the challenges the architecture of big cities will be facing in the centuries to come. To the sound of Vangelis, Harrison Ford, Sean Young, Rutger Hauer and Daryl Hannah recreate this sci-fi police western, a philosophical and pessimistic essay at the same time.

Top 50 actors ranking

Editor — Sun, 05 Feb 2012 10:07:13 +0100

Here is how the ranking looks according to IMDB star meter

George Clooney
Ryan Gosling
Tom Hardy
Liam Neeson
Johnny Depp
Brad Pitt
James Farentino
Michael Fassbender
Leonardo DiCaprio
Josh Hutcherson
Benedict Cumberbatch
Joseph Gordon-Levitt
Alan Rickman
Channing Tatum
Gary Oldman
Nicolas Cage
Sam Worthington
Tom Cruise
Christian Bale
Jim Carrey
Robert Hegyes
Robert Downey Jr.
Jim Parsons
Jason Statham
Liam Hemsworth
Ryan Reynolds
Jonah Hill
Jean Dujardin
Denzel Washington
Daniel Craig
Bruce Willis
Andy Whitfield
Gerard Butler
Tom Hanks
Eddie Redmayne
Hugh Jackman
Will Smith
Matt Damon
Clint Eastwood
Robert Pattinson
Daniel Radcliffe
Johnny Galecki
Dwayne Johnson
Chris Hemsworth
Elijah Wood
James Franco
Jason O'Mara
Taylor Lautner
Chris Evans
Chris Pine

Wars: Episode 1 The Phantom Menace 3D; Storm Troopers Invade Cinema

Eva Rinaldi — Sun, 05 Feb 2012 05:50:41 +0100

Star Wars: Episode 1 The Phantom Menace 3D; Storm Troopers Invade Cinema

Star Wars fans witnessed storm troopers invade George Street Event Cinema today at around high noon, but fear not - it was a friendly invasion and all part of the global media and publicity machine to help put more bums on seats.

The Star Wars promoter offered up dozens of storm troopers and even a bodypainted 'Phantom Menace'.

A mini orchestra played the Star Wars theme live for fans and media attending, which really helped bring the event to life.

Some lucky fans got photos with laser guns.

20th Century Fox is is hopeful that STAR WARS: EPISODE 1 THE PHANTOM MENACE enjoys success similar to previous Star Wars movies.

STAR WARS: EPISODE 1 THE PHANTOM MENACE 3D is released in cinemas nationally on FEBRUARY 9th 2012

Websites

Star Wars official website

http://www.starwars.com/

Lucas Film

http://www.lucasfilm.com/

Lucas Arts

http://www.lucasarts.com/

Event Cinemas

http://www.eventcinemas.com.au/

The Lantern Group

http://www.lanterngroup.com.au/

Eva Rinaldi Photography Flickr

www.flickr.com/evarinaldiphotography

Eva Rinaldi Photography

www.evarinaldi.com

Music News Australia

www.musicnewsaustralia.com

Any Questions for Ben? Premiere At Sydney's St George OpenAir Cinema

Eva Rinaldi — Fri, 03 Feb 2012 13:08:42 +0100

Any Questions for Ben? Premiere At Sydney's St George OpenAir Cinema

The Sydney premiere of the rom com Any Questions For Ben? enjoyed its premiere in Sydney, Australia tonight.

The weather was wet, but the atmosphere was warm.

St George Open Air Cinema was the venue for the premiere showing, and actress Rachael Taylor did the honours, coming back to Australia especially for the promos.

"Any Questions for Ben?" is a run romantic comedy with sophistication, so if that's your thing, you will love it.

It's the latest feature from Australian tube production company Working Dog, whose previous pictures ("The Castle," "The Dish") were also helmed by co-founder Rob Sitch.

Marketing dude Ben (Lawson), whose going nowhere life is filled with booze and casual sex.

Human-rights lawyer Alex (Rachael Taylor), a former classmate of Ben's, passes through his life from time time time.

The final scenes of the flick are fortunately really well written.

Rom com lovers should put this in their "must see" list. Lots of fun.

Promo

For 27-year-old Ben (Josh Lawson), life couldn’t be better. A well paid job, friends, parties, girls and nothing to tie him down. But when he is invited back to his old school to join several other ex-students including Alex (Rachael Taylor) and Jim (Ed Kavalee) in talking about their personal achievements, something goes wrong. Ben is the only speaker not to be asked a question by the school kids. This triggers a year of soulsearching and looking for answers in all the wrong places.

From his best friend Andy (Christian Clark) whose solution is that they both take another holiday, to his mentor Sam (Lachy Hulme) who loans him a sports car in the belief that there’s nothing like excessive speed to resolve emotional turmoil. Not even Ben’s father (Rob Carlton) or friends Nick (Daniel Henshall) and Em (Felicity Ward) can offer much in the way of meaningful guidance.

Of course, it’s not easy seeking enlightenment in nightclubs, or on the ski fields of New Zealand, and when you start dating a Russian tennis star things can get really complicated. As the poster boy for a generation desperate to tick every box, Ben begins to suspect that the meaning of life may well reside in the things he's already doing - and a girl he used to know.

A Roadshow Films release of a Working Dog production. (International sales: Working Dog, Melbourne.) Produced by Santo Cilauro, Tom Gleisner, Michael Hirsh, Rob Sitch. Directed by Rob Sitch. Screenplay, Santo Cilauro, Tom Gleisner, Sitch.

With: Josh Lawson, Rachael Taylor, Daniel Henshall, Felicity Ward, Christian Clark, Jodi Gordon, David James, Ed Kavalee, Rob Carlton, Tracy Mann, Lachy Hulme, Chantelle Raleigh, Alan Brough, Liliya May, Tom Carmody.

Distributor: Roadshow Films

Cinema Release: 9 Feb 2012

Websites

Village Roadshow Australia

www.village.com.au

St George Open Air Cinema

http://www.stgeorgeopenair.com.au/

Working Dog

http://www.workingdog.com/

Eva Rinaldi Photography Flickr

www.flickr.com/evarinaldiphotography

Eva Rinaldi Photography

www.evarinaldi.com

Music News Australia

www.musicnewsaustralia.com

Two for One Ticket Deal to see "Covariance" in NYC

Dawn Westlake — Thu, 02 Feb 2012 18:03:42 +0100

SCENEPR is offering a special "two for one" ticket deal to their 5th Annual Love Actually Film Festival in NYC on 2/14, Valentine's Day. Featured in the line up of short films is Ron de Cana Productions' 2011 film, "Covariance". The show unspools promptly at 7:30pm.

To take advantage of this special offer, please visit:
http://startshop.scenepr.com/deals/luvfest-2

For more info on "Covariance", please visit: http://www.dawnwestlake.com/dawnwestlake/rondecana/films/covariance/inde...

THéâTRe CaCHé

ECU — Wed, 01 Feb 2012 15:57:08 +0100

by Eleanor Stanford

The French theatre troop THéâTRe CaCHé (‘Hidden Theatre’) certainly lives up to its name, performing in loaned apartments around Paris. One Friday night I was their sole audience member, in an interactive performance designed to show how “life is a journey and a journey can veer off course.”

Instead of being issued a ticket, I was told to meet a stranger at a Metro stop. He gave me his glasses and a false name and a picture of a girl. Having found the girl and delivered the name and glasses, I was told a story about love, loss and conflict before being taken to a tiny and untidy house. Inside, six people screamed, danced, kissed, played pick up sticks and asked my advice. This is truly interactive theatre. In contrast to the Edinburgh Festival model, where an audience member is made vulnerable in front of a crowd, with THéâTRe CaCHé the audience member is the minority. Instead of being ritually humiliated, I felt absorbed into their fictional story and when the characters asked me advice, my disbelief was suspended enough to think seriously and carefully about my reply.

This is not to say, however, that the experience wasn’t an explosion of surreal chaos. During the half an hour I spent in ‘Marie’ and ‘Julius’s house, there were freeze frames, hysterical men, fainting and food fights. I was offered food, wine, cigarettes and one actor painted my portrait. Sometimes the shock tactics were somewhat predictable – opening the front door to a screaming man, for example – but the overall performance was subtly and effectively organised so as to feel spontaneous.

I left the house feeling slightly bewildered, but still tempted to turn round and go back, wanting the chaos to continue. If you can track them down, THéâTRe CaCHé turn out to be pretty unforgettable.

WHAT HAVE WE DONE

Dawn Westlake — Wed, 01 Feb 2012 00:07:25 +0100

Ashley West Leonard's WHAT HAVE WE DONE is now available in hard and digital copy. The collectible magazine features the 2011 fine art photographs of one of Los Angeles' most prolific photographers, along with commentary on them by the city's leading independent filmmakers, writers, painters and poets. Ron de Cana director/producer Dawn Westlake is featured in "photoplay" in the chapters SummerGirl and Unstuck. To order hard or digital copies, please visit: http://bit.ly/weCmDq

For more information on Ashley West Leonard: http://www.ashleywestleonard.com/

The 84th Academy Awards Nominations - Full List

avivapress — Mon, 30 Jan 2012 06:59:36 +0100

By Maria Esteves – January 29, 2012

The 84th Academy Awards Nominations were announced by Academy of Motion Picture Arts and Sciences (AMPAS) President Tom Sherak and 2010 Academy Award nominee Jennifer Lawrence (Winter’s Bone) at the Academy’s Samuel Goldwyn Theater, California on Tuesday, January 24, 2012. Eleven Oscar nominations went to Hugo, directed by Martin Scorsese and The Artist, directed by Michel Hazanavicius received ten Oscar nominations including best picture and best director.

The 84th Academy Awards presented by AMPAS for outstanding film achievements of 2011and hosted by eight time Academy Awards host actor/comedian Billy Crystal commence Sunday, February 26, 2012, 7:00pm ET and 4:00pm PT at the Kodak Theatre, Hollywood, Califor

nia. Live broadcast of the Oscars can be seen in the U.S. on ABC Television Network and in more than 225 countries worldwide. Presenters at the 84th Academy Awards are Halle Berry, Tom Cruise, Cameron Diaz, Tom Hanks, Jennifer Lopez, and many others.

A FREE Oscars App is available for iPad, iPhone, and iPod at the App Store . Oscars App will give fans access to live coverage of the Red Carpet, Governor's Ball, Academy Awards ceremony, and the official Oscar party of the night. This year’s Oscar nominees by category are:

Best Picture

THE ARTIST, produced by Thomas Langmann (The Weinstein Company) THE DESCENDANTS, produced by Jim Burke, Alexander Payne, and Jim Taylor (Fox Searchlight)
EXTREMELY LOUD & INCREDIBLY CLOSE, produced by Scott Rudin (Warner Bros.)
THE HELP, produced by Brunson Green, Chris Columbus, and Michael Barnathan (Touchstone)
HUGO, produced by Graham King and Martin Scorsese (Paramount)
MIDNIGHT IN PARIS, produced by Letty Aronson, and Stephen Tenenbaum (Sony Pictures Classics)
MONEYBALL, produced by Michael De Luca, Rachael Horovitz, and Brad Pitt (Sony Pictures Releasing)
THE TREE OF LIFE, produced by Dede Gardner, Sarah Green, Grant Hill, Brad Pitt, Bill Pohlad
WAR HORSE, produced by Steven Spielberg and Kathleen Kennedy (Touchstone)

Best Documentary Feature

HELL AND BACK AGAIN, Danfung Dennis and Mike Lerner (Docurama Films)
IF A TREE FALLS: A STORY OF THE EARTH LIBERATION FRONT, Marshall Curry and Sam Cullman (Oscilloscope Laboratories)
PARADISE LOST 3: PURGATORY, Joe Berlinger and Bruce Sinofsky, @radical.media Production
PINA, Wim Wenders and Gian-Piero Ringel (Sundance Selects)
UNDEFEATED, TJ Martin, Dan Lindsay and Richard Middlemas (The Weinstein Company)

Best Documentary Short

THE BARBER OF BIRMINGHAM: FOOT SOLDIER OF THE CIVIL RIGHTS MOVEMENT, Robin Fryday and Gail Dolgin, Purposeful Production
GOD IS THE BIGGER ELVIS, Rebecca Cammisa and Julie Anderson, Documentress Films Production
INCIDENT IN NEW BAGHDAD, James Spione, Morninglight Films Production
SAVING FACE, Daniel Junge and Sharmeen Obaid-Chinoy, Milkhaus/Jungefilm Production
THE TSUNAMI AND THE CHERRY BLOSSOM, Lucy Walker and Kira Carstensen, Supply & Demand Integrated Production

Best Foreign Language

BULLHEAD, Savage Film Production, Belgium
FOOTNOTE, Footnote Limited Partnership Production, Israel
IN DARKNESS, Studio Filmowe Zebra Production, Poland
MONSIEUR, micro_scope Production, Canada
A SEPARATION, Dreamlab Films Production, Iran

Best Animated Feature

A CAT IN PARIS, Alain Gagnol and Jean-Loup Felicioli (GKIDS)
CHICO & RITA, Fernando Trueba and Javier Mariscal (GKIDS)
KUNG FU PANDA 2, Jennifer Yuh Nelson (DreamWorks Animation, Distributed by Paramount)
PUSS IN BOOTS, Chris Miller (DreamWorks Animation, Distributed by Paramount)
RANGO, Gore Verbinski (Paramount)

Best Animated Short

DIMANCHE/SUNDAY, Patrick Doyon (National Film Board of Canada)
THE FANTASTIC FLYING BOOKS OF MR. MORRIS LESSMORE, William Joyce, and Brandon Oldenburg
LA LUNA, Enrico Casarosa (Walt Disney)
A MORNING STROLL, Grant Orchard and Sue Goffe (Studio AKA)
WILD LIFE, Amanda Forbis and Wendy Tilby (National Film Board of Canada)

Best Live Action Short

PENTECOST, Peter McDonald and Eimear O'Kane (Network Ireland Television)
RAJU, Max Zähle and Stefan Gieren, Hamburg Media School/Filmwerkstatt Production
THE SHORE, Terry George and Oorlagh George, An All Ashore Production
TIME FREAK, Andrew Bowler and Gigi Causey, Team Toad Production
TUBA ATLANTIC, Hallvar Witzø, Norwegian Film School/Den Norske Filmskolen Production

Best Director

THE ARTIST, Michel Hazanavicius (The Weinstein Company)
THE DESCENDANTS, Alexander Payne (Fox Searchlight)
HUGO, Martin Scorsese (Paramount)
MIDNIGHT IN PARIS, Woody Allen (Sony Pictures Classics)
THE TREE OF LIFE, Terrence Malick (Fox Searchlight)

Best Actor

DEMIAN BICHIR in A Better Life (Summit Entertainment)
GEORGE CLOONEY in The Descendants (Fox Searchlight)
JEAN DUJARDIN in The Artist (The Weinstein Company)
GARY OLDMAN in Tinker Tailor Soldier Spy (Focus Features)
BRAD PITT in Moneyball (Sony Pictures Releasing)

Best Actress

GLENN CLOSE in Albert Nobbs (Roadside Attractions)
VIOLA DAVIS in The Help (Touchstone)
ROONEY MARA in The Girl with the Dragon Tattoo (Sony Pictures Releasing)
MERYL STREEP in The Iron Lady (The Weinstein Company)
MICHELLE WILLIAMS in My Week with Marilyn (The Weinstein Company)

Best Supporting Actor

KENNETH BRANAGH in My Week with Marilyn (The Weinstein Company)
JONAH HILL in Moneyball (Sony Pictures Releasing)
NICK NOLTE in Warrior (Lionsgate)
CHRISTOPHER PLUMMER in Beginners (Focus Features)
MAX VON SYDOW in Extremely Loud & Incredibly Close (Warner Bros.)

Best Supporting Actress

BERENICE BEJO in The Artist (The Weinstein Company)
JESSICA CHASTAIN in The Help (Touchstone)
MELISSA MCCARTHY in Bridesmaids (Universal)
JANET MCTEER in Albert Nobbs (Roadside Attractions)
OCTAVIA SPENCER in The Help (Touchstone)

Best Adapted Screenplay

THE DESCENDANTS, screenplay by Alexander Payne, Nat Faxon, and Jim Rash (Fox Searchlight)
HUGO, screenplay by John Logan (Paramount)
THE IDES OF MARCH, screenplay by George Clooney, Grant Heslov, and Beau Willimon (Sony Pictures Releasing)
MONEYBALL, screenplay by Steven Zaillian and Aaron Sorkin; story by Stan Chervin (Sony Pictures Releasing)
TINKER TAILOR SOLDIER SPY, screenplay by Bridget O'Connor and Peter Straughan (Focus Features)

Best Original Screenplay

THE ARTIST, written by Michel Hazanavicius (The Weinstein Company)
BRIDESMAIDS, written by Annie Mumolo & Kristen Wiig (Universal)
MARGIN CALL, written by J.C. Chandor (Roadside Attractions)
MIDNIGHT IN PARIS, written by Woody Allen (Sony Pictures Classics)
A SEPERATION, written by Asghar Farhadi (Sony Pictures Classics)

Best Film Editing

THE ARTIST, Anne-Sophie Bion and Michel Hazanavicius (The Weinstein Company)
THE DESCENDANTS, Kevin Tent (Fox Searchlight)
THE GIRL WITH THE DRAGON TATTOO, Kirk Baxter and Angus Wall (Sony Pictures Releasing)
HUGO, Thelma Schoonmaker (Paramount)
MONEYBALL, Christopher Tellefsen (Sony Pictures Releasing)

Best Sound Editing

DRIVE, Lon Bender and Victor Ray Ennis (FilmDistrict)
THE GIRL WITH THE DRAGON TATTOO, Ren Klyce (Sony Pictures Releasing)
HUGO, Philip Stockton and Eugene Gearty (Paramount)
TRANSFORMERS: DARK OF THE MOON, Ethan Van der Ryn and Erik Aadahl (Paramount)
WAR HORSE, Richard Hymns and Gary Rydstrom (Touchstone)

Best Sound Mixing

THE GIRL WITH THE DRAGON TATTOO, David Parker, Michael Semanick, Ren Klyce, and Bo Persson
HUGO, Tom Fleischman and John Midgley (Paramount)
MONEYBALL, Deb Adair, Ron Bochar, Dave Giammarco, and Ed Novick (Sony Pictures Releasing)
TRANSFORMERS: DARK OF THE MOON, Greg P. Russell, Gary Summers, Jeffrey J. Haboush, and Peter J. Devlin (Paramount)
WAR HORSE, Gary Rydstrom, Andy Nelson, Tom Johnson, and Stuart Wilson (Touchstone)

Best Original Score

THE ADVENTURES OF TINTIN, John Williams (Paramount)
THE ARTIST, Ludovic Bource (The Weinstein Company)
HUGO, Howard Shore (Paramount)
TINKER TAILOR SOLDIER SPY, Alberto Iglesias (Focus Features)
WAR HORSE, John Williams (Touchstone)

Best Original Song

MAN OR MUPPET from The Muppets, music and lyric by Bret McKenzie (Walt Disney)
REAL IN RIO from Rio, music by Sergio Mendes and Carlinhos Brown; lyric by Siedah Garrett (20th Century Fox)

Best Visual Effects

HARRY POTTER AND THE DEATHLY HALLOWS PART 2, Tim Burke, David Vickery, Greg Butler, and John Richardson
HUGO, Rob Legato, Joss Williams, Ben Grossman, and Alex Henning (Paramount)
REAL STEEL, Erik Nash, John Rosengrant, Dan Taylor, and Swen Gillberg (Touchstone)
RISE OF THE PLANET OF THE APES, Joe Letteri, Dan Lemmon, R. Christopher White, and Daniel Barrett (20th Century Fox)
TRANSFORMERS: DARK OF THE MOON, Scott Farrar, Scott Benza, Matthew Butler, and John Frazier (Paramount)

Best Art Direction

THE ARTIST, production design Laurence Bennett; set decoration Robert Gould
HARRY POTTER AND THE DEATHLY HALLOWS PART 2, production design Stuart Craig; set decoration Stephenie McMillan (Warner Bros.)
HUGO, production design Dante Ferretti; set decoration Francesca Lo Schiavo (Paramount)
MIDNIGHT IN PARIS, production design Anne Seibel; set decoration Hélène Dubreuil (Sony Pictures Classics)
WAR HORSE, production design Rick Carter; set decoration Lee Sandales (Touchstone)

Best Cinematography

THE ARTIST, Guillaume Schiffman (The Weinstein Company)
THE GIRL WITH THE DRAGON TATTOO, Jeff Cronenweth (Sony Pictures Releasing)
HUGO, Robert Richardson (Paramount)
THE TREE OF LIFE, Emmanuel Lubezki (Fox Searchlight)
WAR HORSE, Janusz Kaminski (Touchstone)

Best Costume Design

ANONYMOUS, Lisy Christl (Sony Pictures Releasing)
THE ARTIST, Mark Bridges (The Weinstein Company)
HUGO, Sandy Powell (Paramount)
JANE EYRE, Michael O'Connor (Focus Features)
W.E., Arianne Phillips (The Weinstein Company)

Best Makeup

ALBERT NOBBS, Martial Corneville, Lynn Johnston, and Matthew W. Mungle (Roadside Attractions)
HARRY POTTER AND THE DEATHLY HALLOWS PART 2, Nick Dudman, Amanda Knight, and Lisa Tomblin (Warner Bros.)
THE IRON LADY, Mark Coulier and J. Roy Helland (The Weinstein Company)

21st NY Jewish Film Fest Closing Night World Premiere of Welcome to Kutsher’s: The Last Catskills Resorts

avivapress — Sun, 29 Jan 2012 20:13:46 +0100

By Maria Esteves – January 29, 2012

The 21st New York Jewish Film Festival 2012 (NYJFF2012) closing night world premiere documentary of Welcome to Kutsher’s: The Last Catskills Resorts, directed by Caroline Laskow and Ian Rosenberg was held at the Walter Reade Theater, Thursday, January 26, 2012. Presented by the Jewish Museum and the Film Society of Lincoln Center, the sold out world premiere documentary of Kutsher’s Country Club included entertainer actor/comedian Jerry Stiller (Stiller and Meara), cast members Helen Kutsher, and Celia Duffy. A special Q&A session immediately followed with directors Caroline Laskow and Ian Rosenberg moderated by associate program director Scott Foundas, Film Society of Lincoln Center, and associate curator director, Aviva Weintraub, New York Jewish Film Festival.

Welcome to Kutsher’s: The Last Catskills Resorts, is an extraordinary historical documentary that chronologically depicts the famous Jewish American vacation resort Kutsher’s in Catskills, New York, from 1907 to present day. The film captures Kutsher’s three family generations that brought in top names in entertainment, stand-up comedians, and sports such as Alan King, Billy Crystal, Jerry Steinfeld, Joan Rivers, JoJo Starbuck, Leon Spinks, Muhammad Ali, Ray Charles, Rocky Marciano, Stiller and Meara, Wilt Chamberlain, and many others. Kutsher’s Annual NBA Memorial Basketball Game benefit for Maurice Stokes was a major sell out sports event. Activities at Kutsher’s included Art, Bridge, Bingo, golf, indoor/outdoor pools, ping pong, facial make over spa, lectures on health and nutrition.

In 100 years, millions of people generation after generation have visited and enjoyed Kutsher’s. The Kosher food was elaborate and abundant serving three meals daily including a Chinese and Italian entrée. On Friday night Shabbat, candles were lit, the bracha (blessing) prayer recited, Challah bread and wine served. Their “Champagne Out” Saturday night dance event became a thriving hotspot throughout the Catskills Resort. Today, Kutsher’s annually opens for their Passover (Pesach) event. You may also enjoy the spirit of Kutsher’s at their modern bistro Kutsher’s Tribeca, New York. It is indeed a wonderful family film!

Welcome to Kutsher’s: The Last Catskills Resorts, directed by Caroline Laskow and Ian Rosenberg | USA | 2012 | 73 m | Documentary Feature. World Premiere, 21st New York Jewish Film Festival; 15th CAJE Miami Jewish Film Festival.

Magnificent 7 Documentary Film Festivals 2012

Radmila Djurica — Sun, 29 Jan 2012 15:23:58 +0100

January 25th, 2012 distinguish the opening of the 8th Magnificent 7 Film Festival, one great Belgrade documentary film festival, www.magnificent7festival.org “I am one of those, who never leaves the cinema untouched and who comes to Belgrade once per year for a week of pleasure focused on the finest film genre, some would say the only one that still gives space for the independent film: the documentary, “ stressed Danish film director and the selector of festival Tue Steen Mϋller.

The festival ends today 29th of January and hosts seven film directors from the main program: Tue Steen Mϋller, Danish film director and selector of festival, Stonis Audrius from Lithuania with his film Ramin, Fernando Melgar with a Swiss documentary Special Flight, Gereon Wetzel (Germany) director of El Bulli - Cooking in the process, Marc Weymuller with the French film La Vie Au Loin (Life Somewhere Far Away) director of photography Xavier Arpino, BAFTA nominated British film director of The Prophet Gary Tarn and Miguel Gonçalves Mendes director of José and Pilar.

Festival Magnificent 7 has been founded in 2005. as the first festival in Serbia solely dedicated to documentary cinema, which has set itself the goal that the authors of all films in the program brought to Belgrade to enable direct contact of domestic audiences to biggest names in the world of contemporary documentary. “It seems that this festival, at this point is one of the important points on the map of Europe when it comes to documentary film - from the very beginning of Festival Magnificent 7 existance along with festival director Zoran Popović, Serbian film director. Festival Magnificent 7 is a very clear presentation of the program concept of the seven best documentary films from European production, and this year has opened in a great atmosphere, with an audience that has no problem to take part in the movie alternatives of today’s documentaries”, explained Tue Steen Mϋller.

Two documentaries has opened the festival: The Prophet www.theprophetfilm.com directed by British film director Gary Tarn and Portuguese film José and Pilar, www.joseepilar.com directed by Miguel Gonçalves Mendes. The Prophet is an imaginary comment on the world of today and includes doc material shot in Belgrade from Tarn’s previous visit to Belgrade with his cult film Black Sun. This author is inspired by Chris Marker and Werner Herzog and this time he creates a wonderful visual essay that is a skilful blend of visual documentary narrative and original verses from the book The Prophet, written by Khalil Gibran, American poet, painter and philosopher originally from Lebanon, interpreted by the voice of British actress Thandie Newton. While the second film of the same opening night José And Pilar is a glorious documentary piece that talks about the beauty of relationship between Nobel Prize laureate writer José Saramago and his wife, journalist Pilar del Rio. Film features Saramago, the Nobel Prize winner and tiresome tour travel of an old man who could, according to selector of festival Tue Steen Mϋller “have been tempted to stay in the old world, as it is beautifully conveyed in French director Marc Weymüller’s meditative look at people in the Portuguese Barroso region in ”La vie Au Loin”. Truly wonderful film that mirrors our time, which could be seen as an indirect appeal to us all and it may tell the world to slow down a bit.

The festival closes tonight with Austrian “the most important documentary filmmaker of our time” Michael Glawogger, film director of many controversial films and his film Whores’ Glory www.whoresglory.com

This time Glawoger covers prostitutes on his travel to Thailand, Bangladesh and Mexico. Glawogger in his previous documentary work has, by now, covered globalization in Megacities and Working Man’s Death. The Whores’ Glory has been done with certain sensitivity describes world of prostitutes on a stunning way, in order to offer proper social and artistic experience of the film. Disturbing as much fascinating theme is a revealing triptych about the phenomenon of prostitution in Third World countries. Film has been described as a fascinating theatrical experience “with fantastic murals of impressive colors", which may be seen as a try to build necessary distance from the subjects and sentimentalizing the oldest profession in the world. The music of this documentary piece comes from the different part of the world. The most well known music interpretation would be interpretation performed by indie-alternative music queen P.J. Harvey that, with her piece manages to create “new and unexpected connections” that intensify unique experience of this universal, so many times explored subject and to successfully illustrate problem of a high prostitution rate in III World countries today.

Self-Indulgent Arena

Being poor are in itself a health hazard; but being homeless and poor and a child is much worse. However, twenty-first century and globalization issue brings up the dark realities of the last century with respect to the commercial sexual exploitation of women and children. In addition, regardless of the beautiful colorful presentation of the prostitution raise in poverty problem in Whores' Glory directed by Michael Glawogger there is another question raised here, another side of the medal.

The director of this skillfully craft fantastically produced cinematic documentary Michael Glawogger, on after Belgrade screening press conference showed not enough compassion for the sex exploited young women and children shoot in his film. His mildly personal justification and self-indulgence or rather say white superiority self-assumption rashly clarified with his comment: “This is film about sexuality!” I would rather say that he was talking about his own sexuality here, not about poverty and problem of sex trafficking in III World countries. All this skimmed out on surface after the raising of ethical question of film brought up by journalists, especially relating that fact that his crew stayed over month in Bangladesh brothel in order to shoot film, for a sake of making an art. The reference addressed here is Michael’s indifference for children in Bangladesh brothel, routinely subjected to beatings, displacement, psychological abuse and other trauma, including exposure to the AIDS virus in his film. It remained me on Nazi policy in the concentration camps (death camps) in Poland during the II World War; SS engineers and Guard were organizing Gladiator Game in the camp. The game included prisoners who clubbed each other to death, while the SS Nazi camp holders indulgenced sadistically perverse enjoyment of the show. Alternatively, I would mention Leni Riefenstahl, German filmmaker who shot the extras from a concentration camp, taking some children prisoners out to make a film but returning them back to camp, later on claiming on trial that she haven’t had been informed that prisoners would be sent back to death to the Auschwitz camp.

Worldwide, a huge number of children and young women in III World countries including other countries like Thailand that may not be classified as III World country, are being systematically deprived of their basic human rights, dignity through women and child prostitution and other kind of sexploitation. Children shot in Bangladesh brothel have a life with no future due to their poverty and there are many others in similar position all over the world. This film should examine the current state of international trafficking of women and children and other sexual exploitation, not mirroring racial self-indulgence imperialistic superiority of white filmmakers (or audience) coming from the Western countries. Sex tourism plays a major role in the child sex trade in places like Bangladesh, Mexico or elsewhere as prostituted youths routinely lured or abducted into sexual slavery and sex-for-profit. This is not what unfortunate women or children of this Bangladesh brothel wanted as author of film is suggesting here. Global exploitation of women and children via sex tourism packed in a shine gown of art aesthetic in the poverty-stricken III World countries continues to plague society of not enough aware Western countries. Is this what is globalization all about? There is simply not enough awareness or compassion in this world and we are not Leni Riefenstahl!

If nothing, beside to amaze with extraordinary film cinematic and top world production package, film Whores’ Glory directed by Michael Glawogger should encourage Human Rights and Feminist Organization all over the world to react in favor of poverty stricken population all over the world and stop sex exploitation as much as it is possible. Certainly not to encourage hidden or leftover of modern fascism.

21st NY Jewish Film Fest Closing Night World Premiere of Welcome to Kutsher’s: The Last Catskills Resorts Photo Coverage

avivapress — Sun, 29 Jan 2012 05:19:45 +0100

By Maria Esteves – January 28, 2012

The 21st New York Jewish Film Festival 2012 (NYJFF2012) Closing Night World Premiere of Welcome to Kutsher’s: The Last Catskills Resorts, directed by Caroline Laskow and Ian Rosenberg was held at the Walter Reade Theater, Thursday, January 26, 2012. The sold out world premiere documentary of Kutsher’s Country Club included entertainer actor/comedian Jerry (Gerald Isaac) Stiller, cast members Helen Kutsher, and Celia Duffy. A special Q&A session immediately followed with directors Caroline Laskow and Ian Rosenberg moderated by associate program director Scott Foundas, Film Society of Lincoln Center, and associate curator director, Aviva Weintraub, New York Jewish Film Festival.

NYJFF 2012 Closing Night World Premiere of Welcome to Kutsher’s: The Last Catskills Resorts Q&A session, from r-l, NYJFF moderator associate curator director, Aviva Weintraub, New York Jewish Film Festival, directors Caroline Laskow, Ian Rosenberg, and NYJFF moderator associate program director Scott Foundas, Film Society of Lincoln Center.

NYJFF 2012 Closing Night World Premiere of Welcome to Kutsher’s: The Last Catskills Resorts Q&A session, directors Caroline Laskow and Ian Rosenberg.

NYJFF 2012 Closing Night World Premiere of Welcome to Kutsher’s: The Last Catskills Resorts Q&A session, Kutsher's Country Club entertainer actor/comedian Jerry Stiller (Stiller and Meara), left, and NYJFF moderator associate program director Scott Foundas, Film Society of Lincoln Center.

NYJFF 2012 Closing Night World Premiere of Welcome to Kutsher’s:
The Last Catskills Resorts Q&A session, director Caroline Laskow,
left, and NYJFF moderator associate curator director, Aviva Weintraub,
New York Jewish Film Festival.

NYJFF 2012 Closing Night World Premiere of Welcome to Kutsher’s:
The Last Catskills Resorts, Kutsher's Country Club owner Helen
Kutsher with her daughters.

NYJFF 2012 Closing Night World Premiere of Welcome to Kutsher’s: The Last Catskills Resorts Q&A session Kutsher's Country Club entertainer actor/comedian Jerry Stiller (Stiller and Meara), center, with directors Caroline Laskow and Ian Rosenberg.

NYJFF 2012 Closing Night World Premiere of Welcome to
Kutsher’s: The Last Catskills Resorts, Kutsher's Country
Club owner Helen Kutsher.

NYJFF 2012 Closing Night World Premiere of Welcome to
Kutsher’s: The Last Catskills Resorts, Kutsher's Country
Club ice skating instructor Celia Duffy.

NYJFF 2012 Closing Night World Premiere of Welcome to
Kutsher’s: The Last Catskills Resorts, Kutsher's Country
Club entertainer actor/comedian Jerry Stiller
(Stiller and Meara).

21st NY Jewish Film Fest Closing Night World Premiere of Welcome to Kutsher’s: The Last Catskills Resorts Video Coverage

avivapress — Sun, 29 Jan 2012 05:06:20 +0100

By Maria Esteves – January 28, 2012

The 21st New York Jewish Film Festival 2012 (NYJFF2012) Closing Night World Premiere of Welcome to Kutsher’s: The Last Catskills Resorts, documentary directed by Caroline Laskow and Ian Rosenberg was held at the Walter Reade Theater, Thursday, January 26, 2012. Entertainer actor/comedian Jerry (Gerald Isaac) Stiller and many of the cast members such as Helen Kutsher and Celia Duffy attended the sold out world premiere documentary of Kutsher’s Country Club. A special Q&A session immediately followed with directors Caroline Laskow and Ian Rosenberg moderated by associate program director Scott Foundas, Film Society of Lincoln Center, and associate curator director, Aviva Weintraub, New York Jewish Film Festival.

Questions posed to filmmakers Caroline Laskow and Ian Rosenberg by NYJFF moderators Scott Foundas and Aviva Weintraub included: Did you find in the course making the film that there are young people who are discovering it? The most incredible footage was the Wilt Chamberlain part. It was so amazing! Is there anything you can share about that?

John Cooper: Indie Innovator

Sundance — Thu, 26 Jan 2012 17:54:55 +0100

It is probably safe to say that John Cooper, the Director of the Sundance Film Festival, dreams in 24 frames per second. He has said in various interviews over the years that film has been part of his DNA going way back to childhood, although his first immersion in the arts was in live theater, ranging from performance to design. He spent the obligatory years in New York City, the center of live performing arts, but in 1989, by chance (or fate), he volunteered at the Sundance Institute’s Summer Labs and fell in love with the process, energy and mission of the Institute. He became a member of the Festival’s programming team that same year, beginning an almost 25 year association with the Festival. In 1989, the Sundance Film Festival was quite a different beast and the indie landscape was far more modest. However, in that same year, a small indie film titled SEX, LIVES AND VIDEOTAPE by an unknown director named Steven Soderbergh exploded at the Cannes Film Festival, and its success was about to change all that. Suddenly indie film was white hot and Sundance was well positioned to become the organization that would become the keeper of the holy grail of emerging indie talent.

Cooper (as he known by friends and colleagues) returned to California to become part of the Festival programming team, which at that time consisted of two people. In the Festival’s early years, he created the short film program and quickly transitioned into programming documentaries and feature films. Working under the leadership of Sundance founder Robert Redford and Festival Director Geoffrey Gilmore, he focused on efforts to expand the Festival’s boundaries by helping introduce the New Frontier On Main initiative, where contemporary artists intersect with new technologies, as well as boosting the Festival’s content-rich website and leading the initiative to expand the Festival’s audience via strategic relationships with online platforms such as iTunes, Netflix and Xbox 360. Since 2005, he spearheaded what was then known as the Sundance Institute Art House Project (now known as Sundance USA), a national initiative of 18 art houses from across the country designed to connect regional audiences to the Sundance’s films and filmmakers. He also introduced a new section to the program called Next, focused on low- or no-budget films and ratcheted up the World Cinema competition sections to give them equal footing with the core American Indies program.

John Cooper and Robert Redford

After serving as the Festival’s Director of Programming since 2003, Cooper got the opportunity of a lifetime in 2009, when longtime Festival Director Geoffrey Gilmore accepted a job as chief creative officer of Tribeca Enterprises, which among other things, sponsors the Tribeca Film Festival in New York. Speculation was rampant at the time about who would succeed Gilmore in the high profile role, with fears that a Hollywood studio honcho might be anointed and shift the Festival into a decidedly more commercial direction. Well, the good news is that the Institute, with Redford’s apparent blessing, saw that they had the right person for the job was already in their midst, and elevated Cooper into the position. As Festival Director, he oversees creative direction of the Festival and has final decision on all films and events. The first Festival that he was completely in charge of in January 2010 was viewed as a return to Sundance’s roots, with “less commercial, more independent” serving as his mantra. While the Festival continues to include films that bring out celebrity talents, the films chosen in the past three years (including the class of 2012) seem to bear out his ethos of presenting smaller and tougher films that challenge audiences to think as well as just react.

For this year, he has incorporated the theme of LOOK AGAIN to encourage people to embrace a new generation of filmmakers and storytelling techniques. When asked about the motivation behind this campaign, Cooper shared that “LOOK AGAIN refers to opening yourself up to a new perspective and renewed vitality – to re-examine the power of film as an art form. I love to watch audiences celebrate the new slate each year. I think audiences at this year’s Festival are going to discover a diverse range of exciting stories both in narrative and documentary. As the Rolling Stones sang “you just might find….you get what you need!” This creative approach comes at a time when indie films are facing a crisis in terms of finding distribution and making back their even modest investments. While new distribution platforms are showing promise, the economic crisis and the possible move towards a more conservative government do not harken well for art cinema. “In these challenging economic times, filmmakers have had to be more resourceful and truly independent in their approaches to filmmaking”, Cooper said in the Festival’s announcement press release. “Looking at this year‘s submissions, the result is more fully realized visions and stronger stories; we are proud to see the Festival emerging as a key indicator of the health and creativity of our filmmaking community”.

The onus for the quality of the overall event is now shared between American indie titles and a strong representation of world cinema offerings. In fact, the World Cinema competitions for narrative features and documentaries contain an impressive number of world premieres. In industry terms, that means that more international filmmakers and sales agents are opting to premiere at Sundance instead of Berlin or other non-American venues. “My staff and I have stepped up our commitment to international outreach in the past few years, and our international friends are catching on to the opportunities we have to offer, including networking meetings and social gatherings designed just for them”, Cooper offered. “As with U.S. films, we have a rich history of supporting work that is sometimes overlooked by others….yet when those films find audiences it is magical.”

For the third Festival under his artistic direction, Cooper has settled into his role and can see his personal influences converging with the realities of the marketplace and the continued enthusiasm of film artists who are driven to tell their stories. But even in a “dream job”, the challenges are great and the position requires him to say NO much more than he says YES (the Festival screens less than 10% of the films that are submitted to it…..onerous odds, indeed). “The rejection process is heartbreaking”, Cooper shared. “It is hard to ignore the struggle and dreams that go into making any film. I often tell filmmakers that though our Festival may be a “quick” path for them to achieve their goals, it is not the only one.” However difficult that process may be for a man who is not afraid to show his more tender and emotional side, the rewards of the “dream job” are also great. “It is rewarding knowing that the Festival works – that it is a platform for creating real impact both for films and the independent community.” Cooper concluded. “There’s something special about standing backstage with a filmmaker at their world premiere, both of us knowing their life is going to change and not even having to talk about it.”

Sandy Mandelberger

2011 a record year for France: quite a combination of records if you look back to 2011

Editor — Thu, 26 Jan 2012 10:23:42 +0100

I am simply amazed by the combinations of historical records broken by the french film industry last year AND wanted to take a moment to share the salute with you, and them.

2011 was one of the best Cannes selection in years, in my view, with Awards everyone agreed to be well deserved and well balanced.
215 M admissions, a record (going back to 1966 levels, pre facebook, pre TV, pre world Cup audience...)
Record percentage of cinema attendance 65.6% of French population saw a film: crisis what crisis?. ("Let us go to the movies to forget"...)
Record 41% of Box Office take from local films, "cocorico", Rien à déclarer, Intouchables...16 film scored over a million admissions
18,4 M admissions and counting...for "Intouchables", amazing score for a good comedy with good positive human feelings and attitude (5% of benefits go to a charity!)
28 oscar nominations for film from France including The Artist, 2 animations feature A cat in Paris and a short: Sunday, a documentary (Pina with minority french production) and 2 american films shot in Paris by Woody Allen and Martin Scorsese.
And of course 10 Oscar nominations (6 Golden Globes, 12 Bafta...) a loud salute for a silent film (so creative, but only 1.5M admissions before the french relaunch)

Now if you asked french players how 2011 was, you bet they would complain about, crisis, their unrecognised talent, distribution bottlenecks, reduced subsidies, growing difficulty to sell to TV financiers like Canal+...

In fact you may ask the same question every year and get the same results!

By the way here is the over performing share price for Gaumont (Intouchable is their biggest hit ever), you want to compare with the average CAC 40 trend in orange.

Puzzling isn it?

And the winners are...

SCREENPLAYS. SCREENPLAYS, SCREENPLAYS!

The Los Angeles Fear and Fantasy Film Festival — Wed, 25 Jan 2012 23:49:51 +0100

Yesterday I was talking to a carpenter I know and he was asking me about the FEAR AND FANTASY festival when our conversation turned to the writing of screenplays. "How many scripts have you written?" he asked me. "Four features in the last few years, one of those made it to the screen.. but total some? I don't know, two dozen completed.... and many more who died during the process and whose half written corpses still lie at the bottom of a dresser drawer somewhere".

He told me that he is an aspiring screenwriter and finds himself caught in the limbo of numerous ideas and half written scripts. We discussed the "discipline" of sitting down EVERY day, at the same time and (hell or high water) writing SOMETHING. No, "All work and no play makes Jack a dull boy" does not count.

I told him that our festival actually has a screenplay comp. for un-produced manuscripts. That we don't pick a "winner" but rather we seek out the five screenplays that we feel are the most ready for screen as well as checking structure, originality of ideas, ease of dialogue and (since we are screenwriters.. and Directors) could the thing really get made?? I told him, for instance, if you are aiming at directing or joining up with a new director, the chances are high that your budget will be a bit tight... alright, F'n Tight!

So those battle scenes in your screenplay that involve over one thousand land creatures, three Master ships colliding overhead and an Alien ocean that is busting through an exotic damn... as two main characters exchange a bit of salient dialogue (e.g can't be cut out)... it may be best to get your guys behind an otherworldy rock (that can be build reasonably) to exchange this un-cutable dialogue.

I really started to think about how hard it REALLY is to get someone to read your screenplay. Not your mom, or friends. Other filmmakers who have had to use the screenplay as a real world blueprint for photographing a film. To have people read your work who can actually decode the complex nature of timing, plot points and weather the damn thing really holds water.

So at our fest I made it a priority, ONLY Screenplay writers with experience seeing their work on a screen can read the submissions. No interns. Not to mention that ALL submissions recieve a short liner of notes about structure or what could bump a script that is a-l-m-o-s-t there, into the next level... so that your script will be one of those that "got shot" rather than sleeping inside final draft for years.

See you all at THE LOS ANGELES FEAR AND FANTASY FILM FESTIVAL in May. Submissions are open at Withoutabox or come on by the site.

Write on

Logan Thomas

Festival director

Covariance to screen in NYC in January and February!

Dawn Westlake — Wed, 25 Jan 2012 03:24:23 +0100

SCENEPR in NYC will present "Covariance" in their Love Actually Film Festival on Valentine's Day (February 14, 2012) and will give it a sneak preview at the ShowBiz Cafe in NYC at 19 West 21st Street on January 26th. Click here for more info: http://scenepr.com/events/lovefest2012/

"Covariance" has now been invited to screen in 9 festivals on 5 continents. The film was made with the generous support in the camera dept. by Canon USA, Inc.

For more info, please visit: http://www.dawnwestlake.com

Covariance Gains Fest #7 in Germany!

Dawn Westlake — Wed, 25 Jan 2012 03:18:47 +0100

"Covariance" has been accepted into the 12th Annual Independent Days Film Festival in Karlsruhe, Germany for May 2012.

This is the 7th festival acceptance for the film.

For more info and to see a trailer, please visit: http://www.dawnwestlake.com

Scandinavian Invasion Of Sundance

Sundance — Tue, 24 Jan 2012 19:33:21 +0100

TEDDY BEAR (Denmark)

It is now pretty clear that Vikings made landfall in North America several centuries before Columbus collided with the West Indies. If they had colonized the land, we would all be blonds and speaking Norwegian. Such, my children, are the vagaries of history. Well a new invasion from the Scandinavian nation is about to commence at the Sundance Film Festival, where a strong sampling of films from Norway, Sweden and Denmark are literally making waves.

Denmark is represented with the highest number in the group, with such North American premieres as the narrative feature TEDDY BEAR, directed by Mads Matthiesen, which tells the story of a painfully shy 38-year-old bodybuilder who lives with his mother and sets off to Thailand in search of love; ½ REVOLUTION by co-directors Omar Shargawi and Karim El Hakim, in which the two filmmakers capture the reality of the Egyptian revolution as it occurred out of view from the world’s media in the alleyways and streets away from the square – and in the process were arrested by the secret police; THE AMBASSADOR by documentarian Mads Brügger in which he portrays a very white European man who buys his way into being a diplomat in one of Central Africa’s most failed nations; PUTIN’S KISS by director Lise Birk Pedersen, which profiles 19-year-old Marsha, a model spokesperson in a strongly nationalistic Russian youth movement that aims to protect the country from its enemies; and SEARCHING FOR SUGAR MAN by director Malik Bendjelloul, the true story of a 1970s rock icon who disappeared into oblivion under mysterious circumstances.

From Sweden comes the documentary BIG BOYS GONE BANANAS! From director Fredrik Gertten, which offers a behind-the-scenes story of a full-scale attack on freedom of speech, when the Dole Fruit Company set out to attack a film company that has brought some ugly truths to the screen about the company. Norway is represented by OSLO, AUGUST 31, an intense yet intimate drama of a drug addict’s attempt to go sober, poignantly directed by Festival favorite Joachim Trier. Scandinavian short films are scattered throughout the program, offering further evidence of the continued strength of Scandinavian cinema and the emergence of a new generation of film auteurs.

Sandy Mandelberger

A Tribute To Horowitz: Lola Astanova Piano Debut in Carnegie Hall

avivapress — Tue, 24 Jan 2012 02:38:54 +0100

By Maria Esteves – January 23, 2012

A Tribute To Horowitz sold out concert with piano virtuoso Lola Astanova commenced Thursday, January 19, 2012, 8:00 PM, at the Stern Auditorium/Perelman Stage, Carnegie Hall, New York. Sponsored by Tiffany & Co., the extraordinary enchanting evening to benefit the American Cancer Society presented gala chairman Donald J. Trump and special guest artist host Julie Andrews with the American Cancer Society Lifetime Achievement Awards. The Stonewall Chorale special acapella performance of “Love Changes Everything” “Moscow Nights” and from the Sound of Music “Climb Ev’ry Mountain” preceded Lola Astanova piano debut in Carnegie Hall. She played on the Horowitz Steinway specially prepared by chief concert technician Mr. Franz Mohr, Steinway & Sons. Ms. Astanova dramatic, emotional, and flawless performance included works by the genius Frederic Chopin (1810-1849), Alexander Scriabin (1872-1915), and Sergei Rachmaninoff (1873-1943). Her amazing performance of Chopin’s famous Sonata No. 2, Op.35 (third, final movements) and Rachmaninoff’s Prelude Op. 3, No. 2 was incredible!

The legendary maestro Vladimir Horowitz (1903-1989) made his piano debut in Carnegie Hall, January 12, 1928. His performance was described by the New York Times as a “tornado unleashed from the steppes.” In 1941, Steinway & Sons of New York built a piano model D, serial number CD503 (Horowitz Steinway). In 1943, the piano was presented as a gift to piano virtuoso Vladimir Horowitz and Wanda Toscanini. Chief concert technician Franz Mohr, Steinway & Sons maintained Horowitz’s piano throughout the years. Maestro Horowitz died November 5, 1989, in New York.

A Tribute To Horowitz: Lola Astanova Piano Debut in Carnegie Hall, Lola
Astanova, center, with American Cancer Society Lifetime Achievement
Award recipients gala chairman Donald J. Trump, left, and special
guest artist host Julie Andrews. Photo courtesy of Getty Images.

A Tribute To Horowitz: Lola Astanova Piano
Debut in Carnegie Hall, Lola Astanova.
Photo courtesy of Getty Images.

San Francisco Executive Director Bingham Ray passed away while in Sundance

Editor — Mon, 23 Jan 2012 20:40:08 +0100

The San Francisco Film Society regrets to announce that Executive Director Bingham Ray passed away on January 23 while attending the 2012 Sundance Film Festival in Park City, Utah.

Bingham Ray

Photo by Michael Rauner

"The board of directors and staff of the Film Society are stunned and deeply saddened by the untimely death of our executive director Bingham Ray. We at the Film Society and the entire film community have lost far too early an energetic and visionary impact player who has helped shape the independent film industry for decades in so many important and valuable ways," said Pat McBaine, SFFS board president. "He shall be dearly missed. Our deepest sympathies and condolences go out to Bingham's family and his legions of friends and colleagues all over the world who loved and respected him."

Ray brought his well-developed creative and business acumen to the running, reimagining and reinvigorating of a major nonprofit arts organization. Since taking the helm on November 7, 2011 he oversaw and crafted a cohesive plan to strengthen the Film Society's exhibition, education and filmmakers services programs, including its most successful fall season to date; addressed the strenuous financial concerns facing nonprofit arts organizations today; focused particular attention on the operation of SF Film Society Cinema; connected to the local education community; broadened the outreach and impact of the project development and grants programs; and was well into plans for the 55th San Francisco International Film Festival.

He immediately became a part of the SF film world, hosting a reception at Tosca Café to introduce himself to the community; a special screening of California State of Mind: The Legacy of Pat Brown, attended by Governor Jerry Brown and his wife Anne Gust; and a preview of Pina with his old friend Wim Wenders, attended by Francis and Eleanor Coppola, Les Blank, Phil Kaufman and Tom Luddy.

"When Bingham took the job, we were ecstatic," said SFFS board co-vice president and film producer Jen Chaiken. "It was an enormous vote of confidence for the organization that he was compelled to uproot his life to come run the Film Society. Bingham felt this job honored and tapped into the experience he'd garnered over the past 30 years. Bingham was one of those rare few who everyone knew on a first name only basis. He was one of a kind and will be deeply, deeply missed."

Ray came to the San Francisco Film Society from New York City, where he recently served as the first run programming consultant to the Film Society of Lincoln Center, executive consultant to the digital distribution company SnagFilms and adjunct professor at New York University's Tisch School of the Arts.

Ray cofounded October Films in 1991 and served as its copresident until its sale to USA Networks in 1999. October was one of the foremost independent film companies of the 1990s, winning two Oscars and garnering 13 Oscar nominations and top prizes at the Cannes Film Festival on three occasions. Some of October Films' credits include the internationally acclaimed Secrets & Lies, The Apostle, Cookie's Fortune, The Celebration, Lost Highway, The Last Seduction and Breaking the Waves.

In September 2001, Ray assumed the post of president of United Artists. During his tenure at UA, the company acquired and/or produced many highly acclaimed films such as No Man's Land, winner of the 2001 Academy Award for Best Foreign Language Film, Michael Moore's Bowling for Columbine, winner of the 2002 Academy Award for Best Feature Documentary and the 2004 Academy Award-nominated Hotel Rwanda. Other United Artists films successfully released during Ray's tenure include Jeepers Creepers 1 & 2, Nicholas Nickleby, Ghost World, Igby Goes Down and Pieces of April.

In 2007 Ray joined the Los Angeles-based production company Sidney Kimmel Entertainment and held two posts during his three-year tenure, president of Kimmel Distribution and president of creative affairs. In the first post Ray supervised all marketing and distribution plans for the original Death at a Funeral, Talk to Me, Lars and the Real Girl and Synecdoche, N.Y., among others. In the latter he was responsible for the development and production activities of the remake of Death at a Funeral, as well as supervising the development of a seven-film production slate.

Bingham Ray began his career in 1981 as manager/programmer of the Bleecker Street Cinema. He has been on the juries of the Sundance Film Festival, Rotterdam Film Festival, Edinburgh Film Festival and the Film Independent Spirit Awards. He has lectured on film production and development at the City College of New York's Graduate Film School, Columbia University and New York University.

Ray is survived by his wife Nancy King, their children Nick, Annabel and Becca, and his sisters Susan Clair and Deb Pope.

Route 66 Documentary

filmester — Mon, 23 Jan 2012 20:06:31 +0100

Czech director based in Los Angeles, Ester Brym, has a new film in the works. After her multi-Award winning feature Butterflies that profiled the Internet celebrity, her 2nd feature is much more personal and visually stunning. Autumn of Route 66 documents ones journey through the history, the incredible experience of driving the first American highway, Mother of all roads, the Route 66.

Brym is currently in late post-production stage and raising finishing funds to complete the film. Anyone who donates to the project gets a film credit and other fun perks. Check the campaign and the trailer here: http://www.indiegogo.com/FundRoute6

The World Comes To Sundance

Sundance — Sat, 21 Jan 2012 08:37:00 +0100

The world comes to the Sundance Film Festival from January 19 to 29. In the past several years, the Festival, which first made its reputation with American Indie cinema, has put as much emphasis on its World Cinema competitions, including sections for Dramatic Feature and Documentary Feature. By laying out a red carpet for international filmmakers and industry professionals, Sundance has been able to go mano-a-mano with such prestigious European-based film festivals as Berlin, Cannes and Venice. And since Sundance insists on world or international premieres (as do the three biggie festivals mentioned above), there has been a very interesting shift in the marketing strategies of international sales agents and distributors, who now see Sundance as key to their international promotion efforts. If a film hits it big in Sundance, and secures a U.S. or North American deal, then the stage is set for these companies to hawk the film at the European Film Market at the Berlin Film Festival (which follows just a few weeks later) and also at Cannes in May.

So, Sundance has taken advantage of its January dates to encourage international film sellers and buyers to make their way up to the mountains of Park City as their first stop of the new year. This is quite a sea change in strategy (European films premiering in Utah before they premiere in Europe) but one that has expanded the reach of the Sundance Film Festival and which offers attending professionals and general public a chance to review the cinema output around the globe. Below is the list of dramatic and documentary films competing at Sundance, with descriptions provided by the Festival.

WORLD CINEMA DRAMATIC COMPETITION

4 SUNS (Czech Republic, Director and screenwriter: Bohdan Sláma) — Immature Fogi attempts to straighten up and accept his responsibilities as a new husband and father, as well as role model to his troubled son from a previous relationship, but finds himself unable to change his nature, leaving him to watch haplessly as his family begins to crumble. Cast: Jaroslav Plesl, Aňa Geislerová, Karel Roden, Jiří Mádl, Klára Melíšková. World Premiere
ABOUT THE PINK SKY (Japan, Director and screenwriter: Keiichi Kobayashi) — A high school girl finds a wallet full of money and tracks down its owner, leading to unexpected consequences for the girl and her friends. Cast: Ai Ikeda, Ena Koshino, Reiko Fujiwara, Tsubasa Takayama, Hakusyu Togetsuan. International Premiere
CAN (Turkey, Director and screenwriter: Rasit Celikezer) — A young married couple live happily in Istanbul, but their decision to illegally procure a child threatens their future together. Cast: Selen Ucer, Serdar Orcin, Berkan Demirbag, Erkan Avci. World Premiere
FATHER’S CHAIR (Brazil, Director: Luciano Moura, Screenwriters: Elena Soarez, Luciano Moura) — Following the trail of his runaway teen son, Theo confronts his own identity as a son, a father and a man along the way. Cast: Wagner Moura, Lima Duarte, Mariana Lima. World Premiere
L (Greece, Director: Babis Makridis, Screenwriters: Efthymis Filippou, Babis Makridis) — A man who lives in his car gets caught up in the undeclared war between motorcycle riders and car drivers. Cast: Aris Servetalis, Makis Papadimitriou, Lefteris Mathaios, Nota Tserniafski, Stavros Raptis. World Premiere
THE LAST ELVIS (Argentina, Director: Armando Bo, Screenwriters: Nicolás Giacobone and Armando Bo) — A Buenos Aires Elvis impersonator who believes that he is the reincarnation of the King struggles to shake free from reality and live his musical dream. Cast: John McInerny, Griselda Siciliani, Margarita Lopez. World Premiere
MADRID 1987 (Spain, Director and screenwriter: David Trueba) — The balance of power and desire constantly shifts during the meeting of an older journalist and a young student, of two generations completely foreign to one another. Cast: José Sacristán, María Valverde, Ramon Fontserè. International Premiere
MY BROTHER THE DEVIL (United Kingdom, Director and screenwriter: Sally El Hosaini) — A pair of British Arab brothers trying to get by in gangland London learn the extraordinary courage it takes to be yourself. Cast: James Floyd, Saïd Taghmaoui, Fady Elsayed. World Premiere
TEDDY BEAR (Denmark, Director: Mads Matthiesen, Screenwriters: Mads Matthiesen, Martin Pieter Zandvliet) — Dennis, a painfully shy 38-year-old bodybuilder who lives with his mother, sets off to Thailand in search of love. Cast: Kim Kold, Elsebeth Steentoft, Lamaiporn Sangmanee Hougaard, David Winters, Allan Mogensen. World Premiere
VALLEY OF SAINTS (India, Director and screenwriter: Musa Syeed) — Gulzar plans to run away from the war and poverty surrounding his village in Kashmir with his best friend, but a beautiful young woman researching the dying lake leads him to contemplate a different future Cast: Gulzar Ahmad Bhat, Mohammed Afzal Sofi, Neelofar Hamid. World Premiere
VIOLETA WENT TO HEAVEN (Chile, Argentina, Brazil, Spain, Director: Andrés Wood, Screenwriters: Eliseo Altunaga, Rodrigo Bazaes, Guillermo Calderón, Andrés Wood) — A portrait of famed Chilean singer and folklorist Violeta Parra filled with her musical work, her memories, her loves and her hopes. Cast: Francisca Gavilán, Thomas Durand, Luis Machín, Gabriela Aguilera, Roberto Farías. International Premiere
WISH YOU WERE HERE (Australia, Director: Kieran Darcy-Smith, Screenwriters: Felicity Price, Kieran Darcy-Smith) — Four friends embark on a carefree holiday, but only three return home. Who knows what happened on that fateful night? Cast: Joel Edgerton, Teresa Palmer, Felicity Price, Antony Starr. World Premiere.
WRONG (France, Director and screenwriter: Quentin Dupieux) — Dolph searches for his lost dog, but through encounters with a nympho pizza-delivery girl, a jogging neighbor seeking the absolute, and a mysterious righter of wrongs, he may eventually lose his mind… and his identity. Cast: Jack Plotnick, Eric Judor, Alexis Dziena, Steve Little, William Fichtner. World Premiere
YOUNG & WILD (Chile, Director: Marialy Rivas, Screenwriters: Marialy Rivas, Camila Gutiérrez, Pedro Peirano) — 17-year-old Daniela, raised in the bosom of a strict Evangelical family and recently unmasked as a fornicator by her shocked parents, struggles to find her own path to spiritual harmony. Cast: Alicia Rodríguez, Aline Kuppenheim, María Gracia Omegna, Felipe Pinto. World Premiere

WORLD CINEMA DOCUMENTARY COMPETITION

½ REVOLUTION (Denmark, Directors: Omar Shargawi, Karim El Hakim) — In January 2011, two filmmakers captured the reality of the Egyptian revolution as it occurred out of view from the world’s media in the alleyways and streets away from the square – and in the process were arrested by the secret police. North American Premiere
5 BROKEN CAMERAS (Palestine, Israel, France, Directors: Emad Burnat, Guy Davidi) — A Palestinian journalist chronicles his village’s resistance to a separation barrier being erected on their land and in the process captures his young son’s lens on the world. International Premiere
THE AMBASSADOR (Denmark. Director: Mads Brügger) — What happens when a very white European man buys his way into being a diplomat in one of Central Africa’s most failed nations? Welcome to the bizarre and hidden world of African diplomacy, where gin and tonics flow and diamond hustlers and corrupt politicians run free. North American Premiere
BIG BOYS GONE BANANAS! (Sweden, Director: Fredrik Gertten) — The behind-the-scenes story of a full-scale attack on freedom of speech. When Dole set its sights on the WG Film production Bananas!* in May 2009, confusion was the method, aggression was the tactic and media control was the story. North American Premiere
CHINA HEAVYWEIGHT (Canada, China, Director: Yung Chang) — In central China, where a coach recruits poor rural teenagers and turns them into Western-style boxing champions, the top students face dramatic choices as they graduate – should they fight for the collective good or for themselves? A metaphor for the choices everyone in the New China faces now. World Premiere
GYPSY DAVY (Israel, U.S.A., Spain, Director: Rachel Leah Jones) — How does a white boy with Alabama roots become a Flamenco guitarist in Andalusian boots? A tale of self-invention and the pursuit of happiness, regardless of the cost to others. International Premiere
THE IMPOSTER (United Kingdom, Director: Bart Layton) — In 1994 a 13-year-old boy disappears from his home in San Antonio, Texas. Three and a half years later he is found alive thousands of miles away in Spain with a shocking story of kidnap and torture. But all is not what it seems in this tale that is truly stranger than fiction. World Premiere
INDIE GAME: THE MOVIE (Canada, Directors: Lisanne Pajot, James Swirsky) — Follow the dramatic journeys of indie game developers as they create games and release those works, and themselves, to the world. World Premiere
THE LAW IN THESE PARTS (Israel, Director: Ra’anan Alexandrowicz) — Israel’s 43-year military legal system in the Occupied Palestinian Territories unfolds through provocative interviews with the system’s architects and historical footage showing the enactment of these laws upon the Palestinian population. International Premiere
PAYBACK (Canada, Director: Jennifer Baichwal) — Based on Margaret Atwood’s best-selling book, Payback explores how debt is a central organizing principle in our lives – influencing relationships, societies, governing structures and the very fate of this planet. World Premiere
PUTIN’S KISS (Denmark, Director: Lise Birk Pedersen) — 19-year-old Marsha is a model spokesperson in a strongly nationalistic Russian youth movement that aims to protect the country from its enemies. When she starts recognizing the organization’s flaws, she must take a stand for or against it. North American Premiere
SEARCHING FOR SUGAR MAN (Denmark, United Kingdom, Director: Malik Bendjelloul) — Rodriguez was the greatest ‘70s US rock icon who never was. Hailed as the greatest recording artist of his generation he disappeared into oblivion – rising again from the ashes in a completely different context many miles away. World Premiere.

Sandy Mandelberger