Press Releases Archive for October, 2015

America pays tribute to Sylvie and Maurice Pialat

Two events will soon shine the spotlight on Maurice Pialat in the USA and inCanada : a retrospective held at the MOMI (Museum of the Moving Image) in New York from October 16 through November 1, 2015; and “Love Exists: The Films of Maurice Pialat” at the TIFF Cinematheque in Toronto fromOctober 22 through December 5, held in the presence…

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Ziggy Kozlowski Receives 2015 Polish Film Festival in America Golden Ciupaga Award

I can hardly imagine more hardworking and humble behind-the-stage PR professional than Ziggy Kozlowski who makes such a colossal difference in introducing foreign language films, including the ones made by Polish directors. His enthusiasm and expertise are simply priceless… Christopher Kamyszew PFFA Founder & Society for Arts/Society Films CEO Ziggy Kozlowski is a partner at…

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Willem Dafoe, Nicolas Cage And Paul Schrader Get Down To DOG EAT DOG

Edgy Contemporary Crime-Thriller Directed by Paul Schrader.

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FSLC Pairs Lynch And Rivette For Dual Retrospective

THE FILM SOCIETY OF LINCOLN CENTER ANNOUNCES DETAILS FOR LYNCH/RIVETTE, DECEMBER 11-22 Dual retrospective pairs seven Lynch and seven Rivette films, including Rivette’s rarely screened Duelle with Lynch’s Lost Highway, L’amour fou with Wild at Heart, and more New York, NY (October 28, 2015) – The Film Society of Lincoln Center announced today the details…

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Par Picks Michael Mann’s Ferrari Pic After Finance Found, Partially From China

Par Picks Michael Mann’s Ferrari Pic After Finance Found from Vendian Entertainment And China’s Yoozoo Bliss.

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Academy Shortlists 10 Doc Shorts

The 10 films are listed below in alphabetical order

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Yet-To-Be-Named Quinn-Janego-League Label Releases Michael Moore Pic December 23

via their new, clandestine and as-yet-unnamed distribution label.

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124 Documentary Features Submitted To Oscar 87

The submitted features, listed in alphabetical order, are…

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TRIBECA AND CHANEL ANNOUNCE THE LAUNCH OF THROUGH HER LENS: THE TRIBECA CHANEL WOMEN’S FILMMAKER PROGRAM TO SUPPORT EMERGING WOMEN WRITERS AND DIRECTORS

*** Inaugural three-day workshop in collaboration with Pulse Films and supported by Tribeca Film Institute® will provide seven female filmmakers with project support, master classes and mentorship, and award $75,000 for project development *** Leadership committee includes Julianne Moore, Catherine Hardwicke, Rebecca Miller, and Donna Gigliotti, among others New York, NY [October 22, 2015] –…

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Chris Rock To Host Oscar 77

“Multi-hyphenate artist and filmmaker Chris Rock will return to host the Oscars for a second time.”

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Academy Lingos 81 Foreign Language Film Entrants

And the 2015 submissions are…

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Shirley Temple Black Family Gifts Academy Museum $5 Million In Money And Artifacts

“Her gift to the Academy Museum ensures her work will continue to inspire future generations of film lovers.”

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“The Black White Love Play (The Story Of Chaz & Roger Ebert)” Debuts In Chicago

PRESS RELEASE RogerEbert.com announces the premiere of THE BLACK WHITE LOVE PLAY (The Story of Chaz & Roger Ebert)   Conceived and produced by Jackie Taylor, founder, CEO of The Black Ensemble Theater September 26 – November 15, 2015   CHICAGO, October 2, 2015 – As film critic Roger Ebert told it, he was smitten with…

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This is probably going to sound petty, but Martin Scorsese insisting that critics see his film in theaters even though it’s going straight to Netflix and then not screening it in most American cities was a watershed moment for me in this theatrical versus streaming debate.

I completely respect when a filmmaker insists that their movie is meant to be seen in the theater, but the thing is, you got to actually make it possible to see it in the theater. Some movies may be too small for that, and that’s totally OK.

When your movie is largely financed by a streaming service and is going to appear on that streaming service instantly, I don’t really see the point of pretending that it’s a theatrical film. It just seems like we are needlessly indulging some kind of personal fantasy.

I don’t think that making a feature film length production that is going to go straight to a video platform is some sort of “step down.“ I really don’t. Theatrical exhibition as we know it is dying off anyway, for a variety of reasons.

I should clarify myself because this thread is already being misconstrued — I’m talking about how the movie is screened in advance. If it’s going straight to Netflix, why the ritual of demanding people see it in the theater?

There used to be a category that everyone recognized called “TV movie” or “made for television movie” and even though a lot of filmmakers considered that déclassé, it seems to me that probably 90% of feature films fit that description now.

Atlantis has mostly sunk into the ocean, only a few tower spires remain above the waterline, and I’m increasingly at peace with that, because it seems to be what the industry and much of the audience wants. We live in an age of convenience and information control.

Only a very elite group of filmmakers is still allowed to make movies “for theaters“ and actually have them seen and judged that way on a wide scale. Even platform releasing seems to be somewhat endangered. It can’t be fought. It has to be accepted.

9. Addendum: I’ve been informed that it wasn’t Scorsese who requested that the Bob Dylan documentary only be screened for critics in theaters, but a Netflix representative indicated the opposite to me, so I just don’t know what to believe.

It’s actually OK if your film is not eligible for an Oscar — we have a thing called the Emmys. A lot of this anxiety is just a holdover from the days when television was considered culturally inferior to theatrical feature films. Everybody needs to just get over it.

In another 10 to 20 years they’re probably going to merge the Emmys in the Oscars into one program anyway, maybe they’ll call it the Contentys.

“One of the fun things about seeing the new Quentin Tarantino film three months early in Cannes (did I mention this?) is that I know exactly why it’s going to make some people furious, and thus I have time to steel myself for the takes.

Back in July 2017, when it was revealed that Tarantino’s next project was connected to the Manson Family murders, it was condemned in some quarters as an insulting and exploitative stunt. We usually require at least a fig-leaf of compassion for the victims in true-crime adaptations, and even Tarantino partisans like myself – I don’t think he’s made a bad film yet – found ourselves wondering how he might square his more outré stylistic impulses with the depiction of a real mass murder in which five people and one unborn child lost their lives.

After all, it’s one thing to slice off with gusto a fictional policeman’s ear; it’s quite another to linger over the gory details of a massacre that took place within living memory, and which still carries a dread historical significance.

In her essay The White Album, Joan Didion wrote: “Many people I know in Los Angeles believe that the Sixties ended abruptly on August 9, 1969, ended at the exact moment when word of the murders on Cielo Drive traveled like brushfire through the community, and in a sense this is true.”

Early in Once Upon a Time in Hollywood, as Leonardo DiCaprio and Brad Pitt’s characters drive up the hill towards Leo’s bachelor pad, the camera cranes up gently to reveal a street sign: Cielo Drive. Tarantino understands how charged that name is; he can hear the Molotov cocktails clinking as he shoulders the crate.

As you may have read in the reviews from Cannes, much of the film is taken up with following DiCaprio and Pitt’s characters – a fading TV actor and his long-serving stunt double – as they amusingly go about their lives in Los Angeles, while Margot Robbie’s Sharon Tate is a relatively minor presence. But the spectre of the murders is just over the horizon, and when the night of the 9th finally arrives, you feel the mood in the cinema shift.

No spoilers whatsoever about what transpires on screen. But in the audience, as it became clear how Tarantino was going to handle this extraordinarily loaded moment, the room soured and split, like a pan of cream left too long on the hob. I craned in, amazed, but felt the person beside me recoil in either dismay or disgust.

Two weeks on, I’m convinced that the scene is the boldest and most graphically violent of Tarantino’s career – I had to shield my eyes at one point, found myself involuntarily groaning “oh no” at another – and a dead cert for the most controversial. People will be outraged by it, and with good reason. But in a strange and brilliant way, it takes Didion’s death-of-the-Sixties observation and pushes it through a hellfire-hot catharsis.

Hollywood summoned up this horror, the film seems to be saying, and now it’s Hollywood’s turn to exorcise it. I can’t wait until the release in August, when we can finally talk about why.

~ Robbie Collin