By Anjelica Oswald
Managing Editor
This year’s Oscar race could make history with two possible best picture nominees directed by women — Ava DuVernay’s Selma and Angelina Jolie’s Unbroken. If both women are nominated for best director, that would also be a historical moment. But though these accomplishments in the narrative field are possible, more women directors are breaking into the documentary categories. Four of the 15 shortlisted documentaries feature women at the helm: Jennifer Grausman (co-directed with Sam Cullman and Mark Becker) with Art and Craft, Tia Lessin (co-directed with Carl Deal) with Citizen Koch, Laura Poitras with Citizenfour and Rory Kennedy with Last Days in Vietnam. Additionally, three of the eight shortlisted documentary shorts feature female directors: Ellen Goosenberg Kent with Crisis Hotline: Veterans Press 1, Aneta Kopacz with Joanna and Lucy Walker with The Lion’s Mouth Opens. More often than not, women directors tend to...
Managing Editor
This year’s Oscar race could make history with two possible best picture nominees directed by women — Ava DuVernay’s Selma and Angelina Jolie’s Unbroken. If both women are nominated for best director, that would also be a historical moment. But though these accomplishments in the narrative field are possible, more women directors are breaking into the documentary categories. Four of the 15 shortlisted documentaries feature women at the helm: Jennifer Grausman (co-directed with Sam Cullman and Mark Becker) with Art and Craft, Tia Lessin (co-directed with Carl Deal) with Citizen Koch, Laura Poitras with Citizenfour and Rory Kennedy with Last Days in Vietnam. Additionally, three of the eight shortlisted documentary shorts feature female directors: Ellen Goosenberg Kent with Crisis Hotline: Veterans Press 1, Aneta Kopacz with Joanna and Lucy Walker with The Lion’s Mouth Opens. More often than not, women directors tend to...
- 12/16/2014
- by Anjelica Oswald
- Scott Feinberg
Mark Webb's "(500) Days of Summer" will serve as opening-night film at the 11th annual RiverRun International Film Festival, which runs April 22-29 in Winston-Salem, N.C. For its closing night, the fest will screen Harold Lloyd's 1928 silent comedy "Speedy," accompanied by the Alloy Orchestra.
The fest will present its inaugural Emerging Master Award to filmmaker Ramin Bahrani following a screening of his latest film, "Goodbye Solo."
RiverRun will screen 37 features and 63 shorts from 26 countries.
"Over the past few years, RiverRun has developed a loyal following and built a reputation as one of the country's most prestigious regional film festivals. I think that's because we place such an emphasis on filmmakers and the power and urgency of new cinematic voices, such as Ramin Bahrani, the recipient of our inaugural Emerging Master Award," executive director Andrew Rodgers said. "As far as what's different this year, we've extended the dates of the...
The fest will present its inaugural Emerging Master Award to filmmaker Ramin Bahrani following a screening of his latest film, "Goodbye Solo."
RiverRun will screen 37 features and 63 shorts from 26 countries.
"Over the past few years, RiverRun has developed a loyal following and built a reputation as one of the country's most prestigious regional film festivals. I think that's because we place such an emphasis on filmmakers and the power and urgency of new cinematic voices, such as Ramin Bahrani, the recipient of our inaugural Emerging Master Award," executive director Andrew Rodgers said. "As far as what's different this year, we've extended the dates of the...
- 3/26/2009
- by By Gregg Kilday
- The Hollywood Reporter - Movie News
Ruben Östlund’s Swedish drama “De Ofrivilliga” (“Involuntary”) took home the Iris Award for best film Sunday at the 6th edition of the Brussels European Film Festival.
Written by Ruben Östlund and Erik Hemmendorff, the film examines several individuals’ behavior in a group. Among the characters are a young man who needs to be the center of attention among his friends, two girls who plan to drink large quantities of alcohol, and a bus driver who wants to show off his authority.
The prize for best performance went to Polina Philonenko, Agnia Kuznetsova and Olga Shuvalova in Valeriya Gai Germanika’s “Everybody Dies But Me,” which also recently won the CineVision Award at the 25th edition of the Munich Film Festival.
Germanika’s coming-of-age drama follows three teenagers as they gear up for a party held at their high school. Alexander Rodionov and Juri Klavdiev wrote the script.
Hany Tamba...
Written by Ruben Östlund and Erik Hemmendorff, the film examines several individuals’ behavior in a group. Among the characters are a young man who needs to be the center of attention among his friends, two girls who plan to drink large quantities of alcohol, and a bus driver who wants to show off his authority.
The prize for best performance went to Polina Philonenko, Agnia Kuznetsova and Olga Shuvalova in Valeriya Gai Germanika’s “Everybody Dies But Me,” which also recently won the CineVision Award at the 25th edition of the Munich Film Festival.
Germanika’s coming-of-age drama follows three teenagers as they gear up for a party held at their high school. Alexander Rodionov and Juri Klavdiev wrote the script.
Hany Tamba...
- 7/9/2008
- by Franck Tabouring
- screeninglog.com
7th Art Releasing has acquired domestic rights to "Heart of Fire", the new film from Luigi Falorni, who helmed the Oscar-nominated "The Story of the Weeping Camel".
"Fire", which premiered at the Berlin Film Festival, will be released theatrically in fall.
"Fire", which premiered at the Berlin Film Festival, will be released theatrically in fall.
- 4/28/2008
- The Hollywood Reporter - Movie News
- Today's nine title announcement for the Berlin Festival’s main competition section (the 58th edition runs between Feb. 7-17.) is an early sign that the 2008 year in film is rich in international film from all corners of the globe and that the upcoming Cannes film festival is going to be loaded once again with heavyweight titles. Out of the titles I'm most looking forward to seeing are the little known Mike Leigh project called Happy-Go-Lucky and Erick Zonca’s French thriller Julia starring Tilda Swinton, and the postponed domestic release of Isabel Coixet’s Elegy. Here is the 9-list:Feuerherz (Heart of Fire) Germany/Austria (adapted from the bestseller by Senait Mehari) by Luigi Falorni (The Story of the Weeping Camel) with Letekidan Micael Julia France by Erick Zonca (The Dreamlife of Angels) with Tilda Swinton, Aidan Gould, Saúl Rubinek Lady Jane France By Robert Guédiguian (Le Promeneur du champ de Mars,
- 1/9/2008
- IONCINEMA.com
Clint Eastwood has become the odds-on favorite to claim the Best Director Oscar next month after beating rival Martin Scorsese again at the Directors Guild Awards (DGA) on Saturday. Eastwood claimed the Best Picture prize over Scorsese, Taylor Hackford, Marc Forster and Alexander Payne for his acclaimed boxing movie Million Dollar Baby. Only six DGA winners in the past 57 years have failed to go on to win Oscar gold. Other directors who were recognized by the Guild jury at this year's awards ceremony were Byambasuren Davaa and Luigi Falorni, whose gripping Story Of The Weeping Camel earned them the Documentary prize; Walter Hill, who claimed the honor of Best Dramatic Series for TV western series Deadwood; and Tim Van Patten, who was honored in the Best Comedy Series category for Sex And The City. Meanwhile, longtime Oscars producer Gil Cates, a former DGA president, became only the third recipient of the DGA Presidents Award at the Beverly Hilton hotel gala.
- 1/31/2005
- WENN
The DGA named the nominees Wednesday for its documentary filmmaker award, a field that includes the most profitable docu ever, Fahrenheit 9/11. The nominees were Byambasuren Davaa and Luigi Falorni for The Story of the Weeping Camel; Ross Kauffman and Zana Briski for Born Into Brothels; Ross McElwee for Bright Leaves; Michael Moore for Fahrenheit 9/11; and Jehane Noujaim for Control Room. All but Noujaim are first-time nominees for this award. It was Noujaim's second nomination; she won the award in 2001 for Startup.com. The winner will be announced Jan. 29 at the 57th annual DGA Awards dinner at the Beverly Hilton in Los Angeles.
- 1/20/2005
- The Hollywood Reporter - Movie News
NEW YORK -- There are few animals on this planet more photogenic than camels, with their big expressive eyes, comically lumbering gait and ungainly humps.
Their visual, not to mention anthropomorphic, qualities are well exploited in this pseudo-documentary, a semi-staged depiction, a la the works of Robert Flaherty, of the enmity of a mother camel toward her newborn white calf. Featuring a supporting human cast of nomadic Mongolian shepherds, "The Story of the Weeping Camel", part of this year's New Directors/New Films series in New York, opens today.
Student filmmakers Byambasuren Davaa and Luigi Falorni took their cameras into the Mongolian desert, where they hoped to capture an ancient musical ritual meant to induce wayward camel mothers to care for their offspring. Lo and behold, they apparently hit pay dirt as the titular character, a stubborn animal named Ingen Temee, gives difficult birth to a white colt, dubbed Botok, which she promptly chooses to ignore despite his pathetic attempts to nurse.
This doesn't sit well with the camel's owners, a lovable family of shepherds encompassing four generations. Despite the obvious differences in their culture, the family is seen going through the sorts of crises all families go through, as when one of the youngest children begs his parents to acquire a television set.
To coax the less-than-motherly camel to pay attention to her youngster, a violinist is brought in to perform the traditional ritual, which, as musicians plying their trade in romantic restaurants all over the world will be relieved to hear, has the desired effect. The resulting happy ending, described in the title, wouldn't be out of place in a Disney movie, and only the most stonehearted of audiences will be able to resist it.
The leisurely narrative is barely able to sustain the film's full-length running time, and some of the obviously staged sequences involving the family of shepherds are annoyingly hokey. Nonetheless, "Weeping Camel" has an undeniable appeal, and the combination of its exotic setting and child-friendly story line should give it a long shelf life.
Their visual, not to mention anthropomorphic, qualities are well exploited in this pseudo-documentary, a semi-staged depiction, a la the works of Robert Flaherty, of the enmity of a mother camel toward her newborn white calf. Featuring a supporting human cast of nomadic Mongolian shepherds, "The Story of the Weeping Camel", part of this year's New Directors/New Films series in New York, opens today.
Student filmmakers Byambasuren Davaa and Luigi Falorni took their cameras into the Mongolian desert, where they hoped to capture an ancient musical ritual meant to induce wayward camel mothers to care for their offspring. Lo and behold, they apparently hit pay dirt as the titular character, a stubborn animal named Ingen Temee, gives difficult birth to a white colt, dubbed Botok, which she promptly chooses to ignore despite his pathetic attempts to nurse.
This doesn't sit well with the camel's owners, a lovable family of shepherds encompassing four generations. Despite the obvious differences in their culture, the family is seen going through the sorts of crises all families go through, as when one of the youngest children begs his parents to acquire a television set.
To coax the less-than-motherly camel to pay attention to her youngster, a violinist is brought in to perform the traditional ritual, which, as musicians plying their trade in romantic restaurants all over the world will be relieved to hear, has the desired effect. The resulting happy ending, described in the title, wouldn't be out of place in a Disney movie, and only the most stonehearted of audiences will be able to resist it.
The leisurely narrative is barely able to sustain the film's full-length running time, and some of the obviously staged sequences involving the family of shepherds are annoyingly hokey. Nonetheless, "Weeping Camel" has an undeniable appeal, and the combination of its exotic setting and child-friendly story line should give it a long shelf life.
NEW YORK -- There are few animals on this planet more photogenic than camels, with their big expressive eyes, comically lumbering gait and ungainly humps.
Their visual, not to mention anthropomorphic, qualities are well exploited in this pseudo-documentary, a semi-staged depiction, a la the works of Robert Flaherty, of the enmity of a mother camel toward her newborn white calf. Featuring a supporting human cast of nomadic Mongolian shepherds, "The Story of the Weeping Camel", part of this year's New Directors/New Films series in New York, opens today.
Student filmmakers Byambasuren Davaa and Luigi Falorni took their cameras into the Mongolian desert, where they hoped to capture an ancient musical ritual meant to induce wayward camel mothers to care for their offspring. Lo and behold, they apparently hit pay dirt as the titular character, a stubborn animal named Ingen Temee, gives difficult birth to a white colt, dubbed Botok, which she promptly chooses to ignore despite his pathetic attempts to nurse.
This doesn't sit well with the camel's owners, a lovable family of shepherds encompassing four generations. Despite the obvious differences in their culture, the family is seen going through the sorts of crises all families go through, as when one of the youngest children begs his parents to acquire a television set.
To coax the less-than-motherly camel to pay attention to her youngster, a violinist is brought in to perform the traditional ritual, which, as musicians plying their trade in romantic restaurants all over the world will be relieved to hear, has the desired effect. The resulting happy ending, described in the title, wouldn't be out of place in a Disney movie, and only the most stonehearted of audiences will be able to resist it.
The leisurely narrative is barely able to sustain the film's full-length running time, and some of the obviously staged sequences involving the family of shepherds are annoyingly hokey. Nonetheless, "Weeping Camel" has an undeniable appeal, and the combination of its exotic setting and child-friendly story line should give it a long shelf life.
Their visual, not to mention anthropomorphic, qualities are well exploited in this pseudo-documentary, a semi-staged depiction, a la the works of Robert Flaherty, of the enmity of a mother camel toward her newborn white calf. Featuring a supporting human cast of nomadic Mongolian shepherds, "The Story of the Weeping Camel", part of this year's New Directors/New Films series in New York, opens today.
Student filmmakers Byambasuren Davaa and Luigi Falorni took their cameras into the Mongolian desert, where they hoped to capture an ancient musical ritual meant to induce wayward camel mothers to care for their offspring. Lo and behold, they apparently hit pay dirt as the titular character, a stubborn animal named Ingen Temee, gives difficult birth to a white colt, dubbed Botok, which she promptly chooses to ignore despite his pathetic attempts to nurse.
This doesn't sit well with the camel's owners, a lovable family of shepherds encompassing four generations. Despite the obvious differences in their culture, the family is seen going through the sorts of crises all families go through, as when one of the youngest children begs his parents to acquire a television set.
To coax the less-than-motherly camel to pay attention to her youngster, a violinist is brought in to perform the traditional ritual, which, as musicians plying their trade in romantic restaurants all over the world will be relieved to hear, has the desired effect. The resulting happy ending, described in the title, wouldn't be out of place in a Disney movie, and only the most stonehearted of audiences will be able to resist it.
The leisurely narrative is barely able to sustain the film's full-length running time, and some of the obviously staged sequences involving the family of shepherds are annoyingly hokey. Nonetheless, "Weeping Camel" has an undeniable appeal, and the combination of its exotic setting and child-friendly story line should give it a long shelf life.
NEW YORK -- "Flabbergast" is not a foreign word -- it's etymology is unknown -- but it certainly can be used to describe some of the likely reactions to choices -- and omissions -- the Academy made this year in the foreign-language film category. Canadian helmer Denys Arcand's The Barbarian Invasions (Miramax Films) and Ondrej Trojan's Zelary (Sony Pictures Classics) from the Czech Republic had been bandied by those following the foreign film race as likely shoo-ins to nab nominations. But Wolfgang Becker's German feature, Good bye, Lenin! was also expected to find a place in the class photo too, but it was nowhere to be found when the noms were unveiled. In fact, a whole host of titles that have begun developing a following were among the missing. Among them, Bent Hamer and IFC Films' Kitchen Stories (Norway); Byambasuren Davaa, Luigi Falorni and ThinkFilm's The Story of the Weeping Camel (Mongolia) and Kim Ki-duk's and SPC's Spring, Summer, Fall, Winter ... and Spring (Korea).
- 1/28/2004
- The Hollywood Reporter - Movie News
COLOGNE, Germany -- Rithy Panh's "S21: The Khmer Rouge Killing Machine," in which the survivors of Pol Pot's genocide confront their tormentors, has won this year's European Film Prize for best documentary, the European Film Academy (EFA) said Tuesday. The three-person jury made up of filmmakers Alfredo Knuchel (Switzerland), Ben Lewis (United Kingdom) and Michael Muschner (Germany) picked the critically acclaimed documentary over high-profile competition that included Byambasuren Davaacq and Luigi Falorni's "The Story of the Weeping Camel" and Lars von Triercq and Jorgen Leth's "The Five Obstructions". The EFA also said that Marco Bellocchio's "Good Morning, Night", a re-enactment of the kidnapping and murder of former Italian Prime Minister Aldo Moro by Red Brigade terrorists in 1978, is this year's winner of the Prix Fipresci, the European film critics' award. Fipresci president Michel Ciment said in a statement that by selecting Bellocchio's film, the critics group wanted "to single out not only a masterwork -- one of the best of its author -- but also (Bellocchio's) outstanding filmography, which goes back to 1965 and comprises more than 20 films." The awards will be presented Dec. 6 at an EFA ceremony in the Arenacq in Berlin.
- 11/18/2003
- The Hollywood Reporter - Movie News
MILAN -- Hong Kong licenser Celestial Pictures has sold Spanish television, home video and DVD rights for its Shaw Brothers collection of classic martial arts films to Spain's Manga Film, the two companies said Tuesday at MIFED. The deal follows a similar agreement inked Monday with South Korea distributor Spectrum DVD at the Milan market (HR 11/10). "Thanks to the huge success of films such as 'Crouching Tiger, Hidden Dragon, ' 'The Matrix' and most recently 'Kill Bill-Vol. 1, ' the world has developed an increasing interest and appetite for Hong Kong cinema," Manga Films vp Xavier Catafal said. ... Australian distributor Dendy has picked up hot indie documentary The Story of the Weeping Camel from Neil Friedman's Menemsha Entertainment, Menemsha said Tuesday at MIFED. The German-Mongolian co-production, directed by Byambasuren Davaa and Luigi Falorni, was a surprise hit in Toronto and has been picked up by THINKFilm for the United States and Canada, ARP for France, UGC for the United Kingdom and ProKino for Germany. Set in southern Mongolia, Camel is an emotional tale of a baby camel whose mother refuses to nurse her. The local herdsmen enlist a violinist to coax the mother to care for her offspring. Mongolia's official Academy Award entry, the picture has also been nominated for best documentary at the European Film Awards. ... Danish sales group Nordisk Film has signed multiple territory deals for Christoffer Boe's Reconstruction and Mikael Hafstrom's Evil, the official foreign-language Oscar entries from Denmark and Sweden, respectively, on Tuesday at MIFED. Reconstruction sold in all-rights deals to A. Film Distribution for the Benelux territories, the Korea Film Arts Center for South Korea, Alfa Film for Argentina and Chile and Cineplex for Mexico and Central America. Cineplex also picked up all Spanish-speaking rights in Latin America for Evil. New Age Entertainment nabbed the dark comedy for Portugal as well as taking all rights in the territory for Nordisk's The Green Butchers, from director Anders Thomas Jensen.
- 11/12/2003
- The Hollywood Reporter - Movie News
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