Today’s grid also includes Ildiko Enyedi’s ’The Story Of My Wife’.
Jacques Audiard’s Paris, 13th District and Sean Baker’s Red Rocket achieved middling scores on Screen‘s Cannes jury grid, whilst Ildiko Enyedi’s The Story Of My Wife failed to impress the majority of our jurors.
The latest film from Jacques Audiard – a Palme d’Or winner in 2015 with Dheepan – came out on top of the new arrivals with a score of 2.5, placing it fifth on the grid - just behind Asghar Farhadi’s A Hero. Helping the average were scores of four (excellent) from...
Jacques Audiard’s Paris, 13th District and Sean Baker’s Red Rocket achieved middling scores on Screen‘s Cannes jury grid, whilst Ildiko Enyedi’s The Story Of My Wife failed to impress the majority of our jurors.
The latest film from Jacques Audiard – a Palme d’Or winner in 2015 with Dheepan – came out on top of the new arrivals with a score of 2.5, placing it fifth on the grid - just behind Asghar Farhadi’s A Hero. Helping the average were scores of four (excellent) from...
- 7/15/2021
- by Melissa Kasule
- ScreenDaily
Julia Ducournau’s title lands behind ‘Lingui, The Scared Bonds’ on the jury grid.
Julia Ducournau’s Titane landed with a thud on Screen’s Cannes 2021 jury grid, scoring an average of just 1.6 with our critics.
That places it fourth from last on the grid to date, only ahead of Sean Penn’s Flag Day (1.1), Catherine Corsini’s The Divide (1.4) and Nanni Moretti’s Three Floors (1.5).
Starring Agathe Rousselle and Vincent Lindon, Titane is Ducournau’s much-discussed follow-up to her feature debut Raw, which debuted in Critics’ Week in 2016.
Liberation’s critics Julien Gester and Didier Péron were not impressed,...
Julia Ducournau’s Titane landed with a thud on Screen’s Cannes 2021 jury grid, scoring an average of just 1.6 with our critics.
That places it fourth from last on the grid to date, only ahead of Sean Penn’s Flag Day (1.1), Catherine Corsini’s The Divide (1.4) and Nanni Moretti’s Three Floors (1.5).
Starring Agathe Rousselle and Vincent Lindon, Titane is Ducournau’s much-discussed follow-up to her feature debut Raw, which debuted in Critics’ Week in 2016.
Liberation’s critics Julien Gester and Didier Péron were not impressed,...
- 7/14/2021
- by Melissa Kasule
- ScreenDaily
Julia Ducournau’s title lands behind ‘Lingui, The Scared Bonds’ on the jury grid.
Julia Ducournau’s Titane landed with a thud on Screen’s Cannes 2021 jury grid, scoring an average of just 1.6 with our critics.
That places it fourth from last on the grid to date, only ahead of Sean Penn’s Flag Day (1.1), Catherine Corsini’s The Divide (1.4) and Nanni Moretti’s Three Floors (1.5).
Starring Agathe Rousselle and Vincent Lindon, Titane is Ducournau’s much-discussed follow-up to her feature debut Raw, which debuted in Critics’ Week in 2016.
Liberation’s critics Julien Gester and Didier Péron were not impressed,...
Julia Ducournau’s Titane landed with a thud on Screen’s Cannes 2021 jury grid, scoring an average of just 1.6 with our critics.
That places it fourth from last on the grid to date, only ahead of Sean Penn’s Flag Day (1.1), Catherine Corsini’s The Divide (1.4) and Nanni Moretti’s Three Floors (1.5).
Starring Agathe Rousselle and Vincent Lindon, Titane is Ducournau’s much-discussed follow-up to her feature debut Raw, which debuted in Critics’ Week in 2016.
Liberation’s critics Julien Gester and Didier Péron were not impressed,...
- 7/14/2021
- by Melissa Kasule
- ScreenDaily
Wes Anderson’s ’The French Dispatch’ and Kirill Serebrennikov’s ’Petrov’s Flu’ both received middling average scores on the grid.
Wes Anderson’s The French Dispatch and Kirill Serebrennikov’s Petrov’s Flu both received middling average scores on Screen’s 2021 Cannes jury grid, with more than half of the competition titles now seen by critics.
Six of our ten critics awarded Anderson’s latest a score of two (average), with it receiving a mean score of 2.3 overall. Only The Telegraph (Robbie Collin and Tim Robey) gave it a four (good), with Liberation’s critics Julien Gester and Didier Péron scoring...
Wes Anderson’s The French Dispatch and Kirill Serebrennikov’s Petrov’s Flu both received middling average scores on Screen’s 2021 Cannes jury grid, with more than half of the competition titles now seen by critics.
Six of our ten critics awarded Anderson’s latest a score of two (average), with it receiving a mean score of 2.3 overall. Only The Telegraph (Robbie Collin and Tim Robey) gave it a four (good), with Liberation’s critics Julien Gester and Didier Péron scoring...
- 7/13/2021
- by Melissa Kasule
- ScreenDaily
‘Compartment No. 6’, ‘Bergman Island’ also land on the grid, which is halfway done.
Ryusuke Hamaguchi’s Drive My Car has motored to the top on Screen’s 2021 Cannes Jury Grid, whilst Sean Penn’s Flag Day has received the lowest score so far this year.
With a mean score of 3.5 from jurors, Drive My Car – an adaptation of Haruki Murakami’s short story – moved ahead of previous grid leader Annette. The film scored at least a three (good) from all our critics, with five scores of four (excellent).
It was not a happy return for Sean Penn on the grid,...
Ryusuke Hamaguchi’s Drive My Car has motored to the top on Screen’s 2021 Cannes Jury Grid, whilst Sean Penn’s Flag Day has received the lowest score so far this year.
With a mean score of 3.5 from jurors, Drive My Car – an adaptation of Haruki Murakami’s short story – moved ahead of previous grid leader Annette. The film scored at least a three (good) from all our critics, with five scores of four (excellent).
It was not a happy return for Sean Penn on the grid,...
- 7/12/2021
- by Melissa Kasule
- ScreenDaily
Joachim Trier’s comedy-drama received two scores of four but three ones.
Joachim Trier’s The Worst Person In The World has divided the opinions of Screen’s Cannes jury critics, receiving an average score of 2.4, enough for second place currently.
The comedy-drama about a young woman’s attempts to navigate her troubled love life scored two fours (excellent) from UK-based critics Peter Bradshaw (The Guardian) and Robbie Collin and Tim Robey (The Telegraph), as well as a trio of threes (good). However, threes scores of one (poor) – from Liberation’s Julien Gester and Didier Peron, Le Monde’s Mathieu Macheret...
Joachim Trier’s The Worst Person In The World has divided the opinions of Screen’s Cannes jury critics, receiving an average score of 2.4, enough for second place currently.
The comedy-drama about a young woman’s attempts to navigate her troubled love life scored two fours (excellent) from UK-based critics Peter Bradshaw (The Guardian) and Robbie Collin and Tim Robey (The Telegraph), as well as a trio of threes (good). However, threes scores of one (poor) – from Liberation’s Julien Gester and Didier Peron, Le Monde’s Mathieu Macheret...
- 7/10/2021
- by Melissa Kasule
- ScreenDaily
Leos Carax’s ‘Annette’ leads Nadav Lapid’s ’Ahed’s Knee’ and Francois Ozon’s ’Everything Went Fine’.
Leos Carax’s opening-night film Annette has taken the early lead on Screen’s 2021 Cannes jury grid, with three films seen so far by our jurors.
The film, which stars Adam Driver and Marion Cotillard, has an average of three stars, scoring three or four stars from more than half of the critics. However, Screen International’s critic and Positif’s Michel Ciment were the exceptions, both giving the film a less impressive two.
The romantic musical set in Los Angeles is about...
Leos Carax’s opening-night film Annette has taken the early lead on Screen’s 2021 Cannes jury grid, with three films seen so far by our jurors.
The film, which stars Adam Driver and Marion Cotillard, has an average of three stars, scoring three or four stars from more than half of the critics. However, Screen International’s critic and Positif’s Michel Ciment were the exceptions, both giving the film a less impressive two.
The romantic musical set in Los Angeles is about...
- 7/8/2021
- by Melissa Kasule
- ScreenDaily
Critics will score the 24 titles in Competition at Cannes
Screen can reveal its critics for the jury grid that will run throughout Cannes 2021 (July 6-17).
There will be 10 submitting entries, comprising 12 different critics including Screen’s own team. Each member will review the 24 titles in Competition and assign a score ranging from zero (bad) up to four stars (excellent).The scores will be aggregated to crown an overall winner.
The results will be published in Screen’s daily magazines at Cannes as well as here on Screendaily.com.
The participating critics are:
Tim Robey/Robbie Collin, The Telegraph, UK Peter Bradshaw,...
Screen can reveal its critics for the jury grid that will run throughout Cannes 2021 (July 6-17).
There will be 10 submitting entries, comprising 12 different critics including Screen’s own team. Each member will review the 24 titles in Competition and assign a score ranging from zero (bad) up to four stars (excellent).The scores will be aggregated to crown an overall winner.
The results will be published in Screen’s daily magazines at Cannes as well as here on Screendaily.com.
The participating critics are:
Tim Robey/Robbie Collin, The Telegraph, UK Peter Bradshaw,...
- 7/7/2021
- by Melissa Kasule
- ScreenDaily
The Korean black comedy was well-received by all ten critics.
Bong Joon Ho’s black comedy Parasite has finished top of the Screen Cannes 2019 jury grid, with an average score of 3.5 from 10 critics.
The film, which premiered on Wednesday (May 22), was not matched by either of the final two films to take their spots on the grid.
Elia Suleiman’s It Must Be Heaven received decent scores from all 10 critics, becoming the only film this year to receive solely twos (average) and threes (good), for a mean score of 2.6.
The film explores life in exile, with Suleiman playing a man...
Bong Joon Ho’s black comedy Parasite has finished top of the Screen Cannes 2019 jury grid, with an average score of 3.5 from 10 critics.
The film, which premiered on Wednesday (May 22), was not matched by either of the final two films to take their spots on the grid.
Elia Suleiman’s It Must Be Heaven received decent scores from all 10 critics, becoming the only film this year to receive solely twos (average) and threes (good), for a mean score of 2.6.
The film explores life in exile, with Suleiman playing a man...
- 5/25/2019
- by Ben Dalton
- ScreenDaily
Marco Bellocchio’s ’The Traitor’ scores above mid-range.
Abdellatif Kechiche’s sequel title Mektoub, My Love: Intermezzo has failed to impress the critics on Screen’s Cannes jury grid, recording the lowest score so far this year of 1.5.
The film, a sequel to Kechiche’s 2017 Mektoub, My Love: Canto Uno, took two scores of zero (bad) from Time’s Stephanie Zacharek and the La Times’ Justin Chang, as well as five scores of one (poor).
The only critics to give a more favourable impression were Julien Gester and Didier Peron of Libération, who scored it four (excellent); plus Meduza’s...
Abdellatif Kechiche’s sequel title Mektoub, My Love: Intermezzo has failed to impress the critics on Screen’s Cannes jury grid, recording the lowest score so far this year of 1.5.
The film, a sequel to Kechiche’s 2017 Mektoub, My Love: Canto Uno, took two scores of zero (bad) from Time’s Stephanie Zacharek and the La Times’ Justin Chang, as well as five scores of one (poor).
The only critics to give a more favourable impression were Julien Gester and Didier Peron of Libération, who scored it four (excellent); plus Meduza’s...
- 5/24/2019
- by Ben Dalton
- ScreenDaily
‘Oh Mercy!’ scores mid-range; ‘Matthias And Maxime’ flounders.
Bong Joon Ho’s Parasite has taken the number one spot on Screen’s Cannes jury grid, with an average of 3.4 from our ten critics.
The black comedy received four scores of four (excellent) – a joint-high on this year’s grid, with Céline Sciamma’s Portrait Of A Lady On Fire and Quentin Tarantino’s Once Upon A Time… In Hollywood. The La Times’ Justin Chang, The Paper’s Wang Muyan, Positif’s Michel Ciment, Meduza’s Anton Dolin and Screen’s own critic all awarded it top marks, with its lowest...
Bong Joon Ho’s Parasite has taken the number one spot on Screen’s Cannes jury grid, with an average of 3.4 from our ten critics.
The black comedy received four scores of four (excellent) – a joint-high on this year’s grid, with Céline Sciamma’s Portrait Of A Lady On Fire and Quentin Tarantino’s Once Upon A Time… In Hollywood. The La Times’ Justin Chang, The Paper’s Wang Muyan, Positif’s Michel Ciment, Meduza’s Anton Dolin and Screen’s own critic all awarded it top marks, with its lowest...
- 5/23/2019
- by Ben Dalton
- ScreenDaily
It received both fours (excellent) and a zero (bad).
Quentin Tarantino’s highly-anticipated Once Upon A Time… In Hollywood has divided the opinions of Screen’s Cannes jury grid critics, receiving an average score of 3.0 for third place as it stands.
The 1969-set movie business story took five scores of four (excellent), more than any other title on the grid so far this year, from Time’s Stephanie Zacharek, The Guardian’s Peter Bradshaw, Sight & Sound’s Nick James, Meduza’s Anton Dolin and Screen’s own critic.
However a zero (bad) – only the third awarded so far on this...
Quentin Tarantino’s highly-anticipated Once Upon A Time… In Hollywood has divided the opinions of Screen’s Cannes jury grid critics, receiving an average score of 3.0 for third place as it stands.
The 1969-set movie business story took five scores of four (excellent), more than any other title on the grid so far this year, from Time’s Stephanie Zacharek, The Guardian’s Peter Bradshaw, Sight & Sound’s Nick James, Meduza’s Anton Dolin and Screen’s own critic.
However a zero (bad) – only the third awarded so far on this...
- 5/22/2019
- ScreenDaily
Both titles recorded an average of 2.5.
Corneliu Porumboiu’s The Whistlers and Terrence Malick’s A Hidden Life are the latest titles to bed down on Screen’s Cannes 2019 jury grid, with both films receiving the same average of 2.5.
Porumboiu recorded consistent scores across his 10 marks, with four threes (good) and four twos (average) broken only by a four (excellent) from Meduza’s Anton Dolin and a one (poor) from Sight And Sound’s Nick James.
The Whistlers stars Vlad Ivanov as a corrupt cop who gets involved in a high-stakes heist, using the secret whistling language spoken on the Spanish island of La Gomera.
Corneliu Porumboiu’s The Whistlers and Terrence Malick’s A Hidden Life are the latest titles to bed down on Screen’s Cannes 2019 jury grid, with both films receiving the same average of 2.5.
Porumboiu recorded consistent scores across his 10 marks, with four threes (good) and four twos (average) broken only by a four (excellent) from Meduza’s Anton Dolin and a one (poor) from Sight And Sound’s Nick James.
The Whistlers stars Vlad Ivanov as a corrupt cop who gets involved in a high-stakes heist, using the secret whistling language spoken on the Spanish island of La Gomera.
- 5/20/2019
- by Ben Dalton
- ScreenDaily
’Sorry We Missed You’ and ’Little Joe’ both split opinion.
Cannes veteran Pedro Almodóvar has stormed to the top of the Screen Cannes jury grid with his latest film Pain And Glory, starring Antonio Banderas and Penélope Cruz.
Appearing in Competition at the festival for the sixth time, Almodóvar’s film took a 3.4 average, with two critics still to score. It achieved as many scores of four (excellent) as all the other titles so far put together, with four critics – Time’s Stephanie Zacharek, the La Times’ Justin Chang, Die Zeit’s Katja Nicodemus and Positif’s Michel Ciment – all giving it top marks.
Cannes veteran Pedro Almodóvar has stormed to the top of the Screen Cannes jury grid with his latest film Pain And Glory, starring Antonio Banderas and Penélope Cruz.
Appearing in Competition at the festival for the sixth time, Almodóvar’s film took a 3.4 average, with two critics still to score. It achieved as many scores of four (excellent) as all the other titles so far put together, with four critics – Time’s Stephanie Zacharek, the La Times’ Justin Chang, Die Zeit’s Katja Nicodemus and Positif’s Michel Ciment – all giving it top marks.
- 5/18/2019
- by Ben Dalton
- ScreenDaily
Brazilian film ’Bacurau’ moves into second place.
Mati Diop’s Atlantics, and Bacurau by Kleber Mendonça Filho and Julia Dornelles are the latest two films to take their spots on Screen’s Cannes 2019 jury grid, which has seen an increase from each of the four titles so far.
Diop, who is the first black woman to have a film in Competition at the festival, scored well with her debut feature, with a 2.8 average. This included the first two ‘four’ scores (excellent) on this year’s grid, from Julien Gester and Didier Peron of Libération, and Anton Dolin of Meduza.
Only...
Mati Diop’s Atlantics, and Bacurau by Kleber Mendonça Filho and Julia Dornelles are the latest two films to take their spots on Screen’s Cannes 2019 jury grid, which has seen an increase from each of the four titles so far.
Diop, who is the first black woman to have a film in Competition at the festival, scored well with her debut feature, with a 2.8 average. This included the first two ‘four’ scores (excellent) on this year’s grid, from Julien Gester and Didier Peron of Libération, and Anton Dolin of Meduza.
Only...
- 5/17/2019
- by Ben Dalton
- ScreenDaily
For the first time this year there’s a fill-in-the-scores version in Screen’s print edition (May 14).
Screen is launching its jury grid for the 2019 Cannes Film Festival, and for the first time has included a print version of the jury grid in its day one Cannes magazine for readers to fill in themselves.
The print grid, which can be found at the back of the first daily, is intended to be removed from the magazine and affixed to a wall, and then filled with the scores given by our critics throughout the festival.
There is also space to add your own scores,...
Screen is launching its jury grid for the 2019 Cannes Film Festival, and for the first time has included a print version of the jury grid in its day one Cannes magazine for readers to fill in themselves.
The print grid, which can be found at the back of the first daily, is intended to be removed from the magazine and affixed to a wall, and then filled with the scores given by our critics throughout the festival.
There is also space to add your own scores,...
- 5/14/2019
- by Ben Dalton
- ScreenDaily
Lee Chang-dong’s Burning set a new record score of 3.8.
Matteo Garrone’s Dogman and Nadine Labaki’s Capernaum are the latest titles to take their places on Screen’s Cannes 2018 jury grid, achieving mid-range scores from most critics. Yesterday, Lee Chang-dong’s Burning set a new record score in jury grid history.
Garrone’s Dogman achieved an average score of 2.3 from the ten critics. The film follows an everyman figure who runs a dog-grooming parlour and dog hotel in a seaside town.
Tim Robey and Robbie Collin from The Telegraph and Meduza’s Anton Dolin awarded it 3 stars, with...
Matteo Garrone’s Dogman and Nadine Labaki’s Capernaum are the latest titles to take their places on Screen’s Cannes 2018 jury grid, achieving mid-range scores from most critics. Yesterday, Lee Chang-dong’s Burning set a new record score in jury grid history.
Garrone’s Dogman achieved an average score of 2.3 from the ten critics. The film follows an everyman figure who runs a dog-grooming parlour and dog hotel in a seaside town.
Tim Robey and Robbie Collin from The Telegraph and Meduza’s Anton Dolin awarded it 3 stars, with...
- 5/18/2018
- by Ben Dalton
- ScreenDaily
The film takes over from Jean-Luc Godard’s ‘The Image Book’ in the number one spot.
Hirokazu Kore-eda’s Shoplifters has taken the lead in the latest edition of Screen’s Cannes 2018 jury grid, which sees four more Competition films take their place.
The ensemble piece, about an alternative family forced to live on its wits, took top spot with an average of 3.2. It received no lower than a 2 from any critic, with top marks from Tim Robey and Robbie Collin of The Daily Telegraph, Justin Chang of the La Times and Screen’s own critic.
Alice Rohrwacher’s Happy As Lazzaro...
Hirokazu Kore-eda’s Shoplifters has taken the lead in the latest edition of Screen’s Cannes 2018 jury grid, which sees four more Competition films take their place.
The ensemble piece, about an alternative family forced to live on its wits, took top spot with an average of 3.2. It received no lower than a 2 from any critic, with top marks from Tim Robey and Robbie Collin of The Daily Telegraph, Justin Chang of the La Times and Screen’s own critic.
Alice Rohrwacher’s Happy As Lazzaro...
- 5/15/2018
- by Ben Dalton
- ScreenDaily
The director, 87, achieved top marks from two critics.
Esteemed French-Swiss director Jean-Luc Godard has hit the heights on Screen’s Cannes 2018 jury grid, with his latest film The Image Book going into first place.
The film, which uses a montage of film and TV clips, spoken and on-screen texts, achieved an average of 3.0, with top marks from Libération’s Julien Gester and Didier Péron and Bangkok Post’s Kong Rithdee balanced out by one star from Michel Ciment of Positif and France Culture.
Also appearing on the grid is Jia Zhangke’s latest Cannes entry, Ash Is Purest White. Exploring...
Esteemed French-Swiss director Jean-Luc Godard has hit the heights on Screen’s Cannes 2018 jury grid, with his latest film The Image Book going into first place.
The film, which uses a montage of film and TV clips, spoken and on-screen texts, achieved an average of 3.0, with top marks from Libération’s Julien Gester and Didier Péron and Bangkok Post’s Kong Rithdee balanced out by one star from Michel Ciment of Positif and France Culture.
Also appearing on the grid is Jia Zhangke’s latest Cannes entry, Ash Is Purest White. Exploring...
- 5/13/2018
- by Ben Dalton
- ScreenDaily
Pawel Pawlikowski’s 1950s love story Cold War has become the new leader on Screen’s Cannes 2018 jury grid, with five films declared so far.
The film, which depicts a romance between Wiktor and Zula that starts in post-war Poland then moves to Paris, achieved an average of 2.9, including three 4s from Sight & Sound’s Nick James, Meduza’s Anton Dolin and Screen’s own critic. Julien Gester and Didier Péron of Libération were less impressed, awarding it 1 star.
Christophe Honoré’s Sorry Angel, his first Competition title since 2007, achieved mid-range scores,...
The film, which depicts a romance between Wiktor and Zula that starts in post-war Poland then moves to Paris, achieved an average of 2.9, including three 4s from Sight & Sound’s Nick James, Meduza’s Anton Dolin and Screen’s own critic. Julien Gester and Didier Péron of Libération were less impressed, awarding it 1 star.
Christophe Honoré’s Sorry Angel, his first Competition title since 2007, achieved mid-range scores,...
- 5/12/2018
- by Ben Dalton
- ScreenDaily
Abu Bakr Shawky’s Yomeddine also added; achieves same score as opener Everybody Knows.
Abu Bakr Shawky’s Yomeddine and Kirill Serebrennikov’s Leto are the next two titles to bed down on Screen’s Cannes 2018 jury grid.
Show Fullscreen
Yomeddine achieves the same average score as festival opener Everybody Knows of 1.8, with mainly 2s awarded but 1s from Libération’s Julien Gester and Didier Péron, Die Zeit’s Katja Nicodemus and Michel Ciment of Positif and France Culture. The film follows a group of outcasts, including one who is an ex-leper, as they travel across the Egyptian countryside in search of family.
Abu Bakr Shawky’s Yomeddine and Kirill Serebrennikov’s Leto are the next two titles to bed down on Screen’s Cannes 2018 jury grid.
Show Fullscreen
Yomeddine achieves the same average score as festival opener Everybody Knows of 1.8, with mainly 2s awarded but 1s from Libération’s Julien Gester and Didier Péron, Die Zeit’s Katja Nicodemus and Michel Ciment of Positif and France Culture. The film follows a group of outcasts, including one who is an ex-leper, as they travel across the Egyptian countryside in search of family.
- 5/11/2018
- by Ben Dalton
- ScreenDaily
Critics this year include La Times’ Justin Chang, Positif’s Michel Ciment and Sight And Sound’s Nick James.
Screen can reveal its critics for the jury grid that will run throughout Cannes 2018 (May 8-19).
There will be nine submitting entries, composed of ten different critics plus Screen’s own team.
Each member will review the 21 titles in Competition and assign a score of up to four stars, which are aggregated to crown an overall winner. The results will be published in Screen’s Cannes daily magazines as well as here on screendaily.com.
A new addition to the grid...
Screen can reveal its critics for the jury grid that will run throughout Cannes 2018 (May 8-19).
There will be nine submitting entries, composed of ten different critics plus Screen’s own team.
Each member will review the 21 titles in Competition and assign a score of up to four stars, which are aggregated to crown an overall winner. The results will be published in Screen’s Cannes daily magazines as well as here on screendaily.com.
A new addition to the grid...
- 5/3/2018
- by Ben Dalton
- ScreenDaily
Mubi is proud to present work produced for Harvard at the Gulbenkian, a collaboration between the Calouste Gulbenkian Foundation and the Harvard Film Archive. Curated by Haden Guest and Joaquim Sapinho, and produced by Pedro Fernandes Duarte, Harvard at the Gulbenkian organizes a series of dialogues about Portuguese film and world cinema. The series consists of 12 weekends, between November 2013 and July 2014, in which a Portuguese filmmaker and one, two or three international filmmakers, and one or more important film critics or scholars of many nationalities are brought together for a series of screenings and public discussions. We will be hosting the articles and video conversations produced for the series, and this index will be updated as events take place in Lisbon.
"The inaugural weekend of the Harvard-Gulbenkian collaboration makes clear the central ambition and idea of our program: a radical rethinking and recontextualization of Portuguese cinema within the broader realm of world cinema.
"The inaugural weekend of the Harvard-Gulbenkian collaboration makes clear the central ambition and idea of our program: a radical rethinking and recontextualization of Portuguese cinema within the broader realm of world cinema.
- 3/6/2014
- by Cinema Dialogues: Harvard at the Gulbenkian
- MUBI
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