By Ray Pride Pride@moviecitynews.com

2013 TRIBECA FILM FESTIVAL ANNOUNCES AWARDS

THE ROCKETTHE KILL TEAMWHITEWASH AND OXYANA WIN TOP AWARDS IN JURIED WORLD COMPETITIONS

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SANDY STORYLINES WINS FIRST-EVER BOMBAY SAPPHIRE AWARD FOR TRANSMEDIA

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FESTIVAL AWARDS $155,000 IN CASH PRIZES

[April 25, 2013 – New York, NY] – The 12th annual Tribeca Film Festival, co-founded by Robert De Niro, Jane Rosenthal and Craig Hatkoff, and presented by founding sponsor American Express, announced the winners of its competition categories tonight at a ceremony hosted at the Conrad New York in New York City. The Festival runs through April 28, 2013.

 

The world competition winners for narrative and documentary films were chosen from 12 narrative and 12 documentary features from 14 countries. Best New Director prizes were awarded to a first-time director for both narrative and documentary films, selected from a pool of 24 feature films throughout the program. Awards were also given for the best narrative short, best documentary short and student visionary films in the short film competitions. This year’s Festival included 89 features and 60 short films from 38 countries, programmed by a team led by Tribeca’s Chief Creative Officer Geoff Gilmore, Artistic Director Frederic Boyer, Director of Programming Genna Terranova, and Programmer Cara Cusumano.

 

This year the Festival introduced a new award, the Bombay Sapphire Award for Transmedia, for the new juried Storyscapes section, created in collaboration with BOMBAY SAPPHIRE® gin. Also announced at the awards were the Tribeca Online Festival feature and short film winners selected by the online audience. The winners of the Heineken Audience Awards, determined by audience votes throughout the Festival, will be announced on April 27.

 

“It is a pleasure to share a diverse range films with our audiences at Tribeca and to introduce new storytellers from every corner of the globe,” said Jane Rosenthal, co-founder, Tribeca Film Festival. “We are grateful to the incredible group of talented filmmakers who shared their work with us and with the New York and film communities.”

 

“With such a wonderful and diverse selection of films in our competition sections, the jury has had quite the challenge in awarding just one per category,” said Frederic Boyer, TFF Artistic Director. “Their selection recognizes films depicting worlds that are seldom seen on screen and to which we are given the rare opportunity to experience through unforgettable characters and remarkable subjects.

 

Screenings of all winning films will take place throughout the final day of the Festival, Sunday, April 28, at various venues. Specific times and ticketing information are available on the Festival website, www.tribecafilm.com.

 

In addition to cash awards and in-kind services provided by sponsors including American Express,

AKA, Bombay Sapphire, Citizens of Humanity, Company 3, Kodak, Persol, and Sony Electronics, the Festival presented the winners with original pieces of artcreated by acclaimed artists, including Joyce Pensato, Dustin Yellin, William Wegman among others.

 

Following are the winners, awards and details on the jury who selected the recipients:

 

WORLD NARRATIVE COMPETITION CATEGORIES:

 

The jurors for the 2013 World Narrative Competition were Bryce Dallas-Howard, Blythe Danner, Paul Haggis, Kenneth Lonergan, and Jessica Winter.

 

·         The Founders Award for Best Narrative Feature – The Rocket, directed by Kim Mordaunt (Australia). Winner receives $25,000, sponsored by AKA, and the art award “Two Voices #1” by Angelina Nasso. The award was given by Robert De Niro and Jane Rosenthal.

 

Jury Comments:  “The Rocket is a spectacular achievement that is powerful and delightful in equal measures. Artfully structured and gorgeously shot, it chronicles the struggles of a displaced family while steering well clear of either sentimentality or despair. Complex in its tone and characterizations, the film takes an unflinching – and edifying – look at the suffering caused both by a legacy of war and the new status quo of economic globalization. And yet, while never losing sight of those grim realities, it also offers us a transcendent tale of hope and perseverance in a world that few Westerners ever have the chance to see.”

 

Special Jury Mention — Stand Clear of the Closing Doors, directed by Sam Fleischner. The announcement was made by Kenneth Lonergan.

 

·         Best Actor in a Narrative Feature Film – Sitthiphon Disamoe as Ahlo inThe Rocket, directed by Kim Mordaunt (Australia). Winner receives $2,500. The award was given by Blythe Danner.

 

Jury Comments: “One of the great pleasures this year was the discovery of this young, non-professional actor, who plays his role with an irresistible blend of pluck, stoic determination and vulnerability. Sitthiphon Disamoe carried a big, ambitious production on his small shoulders, with charm and grace to spare.”

 

·         Best Actress in a Narrative Feature Film – Veerle Baetens as Elise Vandevelde in The Broken Circle Breakdown, directed by Felix van Groeningen (Netherlands, Belgium). Winner receives $2,500. The award was given by Bryce Dallas Howard.

 

Jury Comments: “We’ve selected a woman who shows herself to be a totally committed and fiercely versatile actress. Veerle Baetens’ character goes from a sunny free spirit to grieving wife and mother, and no matter where we are in the course of that journey, this actress shows us the light burning inside her character, one that both sustains and destroys. She is the heart and soul of the movie, and her performance is nothing short of a tour de force.”

 

·         Best Cinematography in a Narrative Feature Film – Cinematography by Marius Matzow Gulbrandsen, for Before Snowfall, directed by HishamZaman (Germany, Norway). Winner receives $5,000, sponsored by Sony Electronics; a Sony Alpha A99 Full Frame Camera and a Sony NEX-VG900 Full Frame Camcorder; and $50,000 in post-production services provided by Company 3. The award was given by Blythe Danner and Alec Shapiro, President, Sony Professional Solutions of America.

 

Jury Comments: “Before Snowfall packs a visual punch to match the force and ambition of its story about a teenage boy who pursues the honor killing of his own sister. Shot in four countries and capturing everything from a rural village to multiple European cities, from intimate domestic scenes to teeming street life, from a harrowing border crossing to a bleakly beautiful Nordic landscape in winter, it invites us into many vivid worlds and fulfills many possibilities for cinematography as an art form.”

 

·         Best Screenplay for a Narrative Feature Film – The Broken Circle Breakdown, written by Carl Joos and Felix van Groeningen and directed by Felix van Groeningen (Netherlands, Belgium). Winner receives $5,000. The award was given by Paul Haggis.

 

Jury Comments: “The Broken Circle Breakdown is a true original, starting with the eclectic ingredients in its dynamic screenplay: a romance of opposites, a battle between spiritual faith and secular humanism, triggered by unthinkable tragedy, a Flemish bluegrass band. With dialogue that spans the sweetly flirtatious and the operatically confrontational — and with dollops of humor and a pure, deep love of music – the film leaps nimbly back and forth in time to conjure vivid characters who face down literal life-or-death issues. They win both our rapt interest and our greatest empathy; they make us both think and feel.”

 

BEST NEW NARRATIVE DIRECTOR:

 

The jurors for the 2013 Best New Narrative Director Competition were Naomi Foner, Tony Gilroy, Ari Graynor, Radha Mitchell, and Stu Zicherman.

 

§  Best New Narrative Director – Emanuel Hoss-Desmarais, director ofWhitewash  (Canada). Winner receives $25,000, presented by American Express; $50,000 in post-production services provided by Company 3; and the art award “New Elands Bay” by Erik Parker. The award was given by Tony Gilroy, Radha Mitchell and Deborah Curtis from American Express, Vice President, Entertainment Marketing & Sponsorships.

 

Jury Comments: “Whitewash is funny, strange, emotionally honest, tense, pathetic, and ultimately haunting — a broad canvas for even the most experienced director to paint. It quickly became clear that we were in the hands of a filmmaker with the intelligence, imagination and bravery to carry off this very tricky piece of material. The ability to mix tones and the guts to stage odd, random moments and make them inevitable is one of the least-appreciated tools in a filmmaker’s skill set. The taste and attention to detail required to deliver a story this unsettled and delicate is the work of a director — and a team — that this jury hopes will continue for many movies. Their story is so credibly and invisibly constructed — and the filmmakers have such control of the material and trust in the audience — that the film reaches for metaphor without ever having had to ask for the privilege. It is a remarkable first feature, and we extend our congratulations to all involved, including two spectacular lead actors in Thomas Haden Church and Marc Labrèche.”

 

Special Jury MentionHarmony Lessons, directed by Emir Baigazin (Germany, France). The announcement was made by Naomi Foner and Ari Graynor.

 

WORLD DOCUMENTARY COMPETITION CATEGORIES:

 

The jurors for the 2013 World Documentary Competition were Joe Berlinger, Sandi DuBowski, Whoopi Goldberg, Mira Sorvino, and Evan Rachel Wood.

 

·         Best Documentary Feature – The Kill Team, directed by Dan Krauss(USA). Winner receives $25,000, sponsored by Citizens of Humanity, and the art award “Harley Before the White Prom” by Gillian Laub. The award was given by Mira Sorvino and Gareth Baxendale from Citizens of Humanity.

 

Jury Comments: “The Kill Team examines the fundamental flaw in the preparation of young soldiers for war that allows them to see people as targets without humanity, a culture of killing that looks to express itself even in times of peace. It masterfully combines verite’ footage, talking head interviews and a private look into one family’s desperate fight in a seamless cinematic undertaking.  As the drama unfolds we are faced with issues of both institutionalized responsibility and culpabilty within the military itself, the extreme importance of individual acts of courage, cowardice or allegiance to authority, and an expiation of guilt of one tormented soldier’s decision to blow the whistle, too late.  We feel it raises questions that demand to be answered by our military and society at large, so that these ever enumerating acts of senseless violence cease.”

 

Special Jury MentionOxyanadirected by Sean Dunne (USA). The announcement was made by Joe Berlinger.

 

·         Best Editing in a Documentary Feature – Let the Fire Burn, edited byNels Bangerterdirected by Jason Osder (USA). Winner receives $5,000. The award was given by Whoopi Goldberg and Sandi DuBowski.

 

Jury Comments: “Let the Fire Burn tells a story we were stunned to realize we didn’t know. It offers a time capsule, taking us to a horrific moment in our nation’s history with a masterfully structured edit that vividly mines a trove of blistering period archive images without voiceover narration. The film ensures that a criminal and senseless destruction that cost eleven deaths — five children, six adults — shakes us to our core and is remembered with utter visceral power.”

 

BEST NEW DOCUMENTARY DIRECTOR COMPETITION:

 

The jurors for the 2013 Best New Documentary Director Competition were Jared Cohen, Taraji P. Henson, Riley Keough, Jason O’Mara, and Josh Radnor.

 

·         Best New Documentary Director – Sean Dunne for Oxyana (USA).Winner receives $25,000, presented by American Express; and the art award “Untitled (#5), from the Men in the Cities Photo Portfolio” by Robert Longo, courtesy of the artist and Metro Pictures. The award was given by Taraji P. Henson and Deborah Curtis from American Express.

 

Jury Comments: “Sean Dunne’s Oxyana is a major accomplishment, deeply sad without being sentimental, fearless, unblinking and deft in the filmmaker’s ability to coax harrowing stories from his subjects. It is not an easy film to watch. It could be read as hopeless, but by the end, something of the light of each person shone through. It presents an acute awareness of the severity of their situation mixed with an inner battle to not let this film be the final story of them or their once-proud town. We will never forget the faces of these people, their stories and their struggles.”

 

Special Jury Mention — Let the Fire Burn, directed by Jason Osder. The announcement was made by Riley Keough and Jason O’Mara.

 

SHORT FILM COMPETITION CATEGORIES:

 

The 2013 Best Narrative Short Competition jurors were Christine Baranski, Kassem Garaibeh, Jessica Hecht, Chris Milk, and Sheila Nevins.

 

·         Best Narrative Short – The Nightshift Belongs to the Stars, directed byEdoardo Ponti (Italy). Winner receives $5,000, sponsored by Persol; 10,000 feet of film stock donated by Kodak; and the art award “Study: Northern City Renaissance, Mauve Dawn (Mass MoCA #79-R)” by Stephen Hannock. The award was given by Christine Baranksi and Andrea Dorigo, President of Luxottica, North America.

 

Jury Comments: “The Nightshift Belongs to the Stars expresses love in its many dimensions and literally gets to the heart of the matter.”

 

Special Jury MentionYardbirddirected by Michael Spiccia (Australia). The announcement was made by Christine Baranski.

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch