“You have to change it because you didn’t choose it.” The defiant mantra that evolves over the course of Moroccan director Nabil Ayouch’s scrappy but heartfelt hip-hop street-musical “Casablanca Beats,” his third time in Cannes but first time in competition, could be a rallying cry for any youth activism group, anywhere in the world. But it’s the specificity of the setting, in the music room of an embattled Casablanca arts center, where a motley collection of local adolescents bond, bicker and brag through the medium of hip-hop, that gives Ayouch’s film the buzz of real-life resistance emerging in real time, demonstrating how music builds into a movement.
This is filmmaking as celebration and also intervention — in casting the center’s real attendees as fictionalized versions of themselves, Ayouch is not just telling the story of the notorious Casablanca neighborhood of Sidi Moumen that he, as a longtime resident of the city,...
This is filmmaking as celebration and also intervention — in casting the center’s real attendees as fictionalized versions of themselves, Ayouch is not just telling the story of the notorious Casablanca neighborhood of Sidi Moumen that he, as a longtime resident of the city,...
- 7/16/2021
- by Jessica Kiang
- Variety Film + TV
IndieWire reached out to the directors of photography whose feature films are premiering at the 2021 Cannes Film Festival to find out which cameras and lenses they used and, more importantly, why these were the right tools to create the look and visual language of these highly anticipated films.
Page 1: Competition (Palme d’Or Contenders)
Page 2: Out of Competition, Premieres, and Special Screenings
Page 3: Un Certain Regard and Critics’ Week
Page 4: Directors’ Fortnight
(Films are in alphabetical order by title.)
Competition (Palme d’Or Contenders)
“Annette”
Dir: Leos Carax, DoP: Caroline Champetier
Format: Raw Xocn Xt 4K and 6K
Camera: 2 Sony Venice and 2 Sony Alpha 7Sii
Lens: Zeiss Supreme, Optimo Angenieux 48-76mm, Optimo Angenieux 25-250mm
Champetier: We needed a camera that was good with blacks and colors, and for now the Sony Venice is performing on both of these points. On a Carax movie, each...
Page 1: Competition (Palme d’Or Contenders)
Page 2: Out of Competition, Premieres, and Special Screenings
Page 3: Un Certain Regard and Critics’ Week
Page 4: Directors’ Fortnight
(Films are in alphabetical order by title.)
Competition (Palme d’Or Contenders)
“Annette”
Dir: Leos Carax, DoP: Caroline Champetier
Format: Raw Xocn Xt 4K and 6K
Camera: 2 Sony Venice and 2 Sony Alpha 7Sii
Lens: Zeiss Supreme, Optimo Angenieux 48-76mm, Optimo Angenieux 25-250mm
Champetier: We needed a camera that was good with blacks and colors, and for now the Sony Venice is performing on both of these points. On a Carax movie, each...
- 7/8/2021
- by Chris O'Falt
- Indiewire
Cinema of Saudi Arabia is a small and still quite new, thus undiscovered industry, releasing a modest number of features per year. 2012‘s „Wadjda” by Haifaa al-Mansour, which won accolades on festivals across the world including BAFTA for the best foreign film, was considered the first motion picture with an all-Saudi cast and shot entirely on location in Sa. It was only in 2018 when the country in a series of socio-economic reforms introduced by the ruler lifted its religion-based ban on movie theatres that lasted 35 years. Also, Saudi Film Council (Sfc) was founded. It opened up brand-new opportunities for filmmakers. Abdulmohsen Aldhabaan was among those who decided to benefit from the change of landscape in an emerging industry and applied for a shooting permit. He started watching movies on VHS and DVD and learned about the cinema from an online forum for cinephiles. Since 2006, he worked as a movie critic and journalist,...
- 4/23/2021
- by Joanna Kończak
- AsianMoviePulse
Tunisian director Ala Eddine Slim’s 2016 debut “The Last of Us” garnered a certain cult following after its Venice premiere thanks to the film’s intriguing, at times mesmeric images in which the lead literally fades into his environment. With his followup “Tlamess,” the filmmaker initially appears to be charting new paths until about one-quarter in, when he returns to the idea of a loner becoming one with his surroundings. The concern isn’t the sense of déjà vu — viewers enthralled by the first might be just as happy to re-engage with Slim’s singular vision — so much as his problematic approach to the female character, relegated to being merely a vessel made superfluous once her biological function is over. The conceit is troubling no matter how the opaque scenes are read, making “Tlamess” (the word means an enchantress’ spell as well as something inexplicable) a difficult sell outside avant-garde-leaning festivals.
- 6/2/2019
- by Jay Weissberg
- Variety Film + TV
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