Stéphanie Chuat and Véronique Reymond’s film wins an armful of Quartz awards, while Milo Rau’s work bags Best Documentary. The winners of the 2021 Swiss Film Prize were announced during a ceremony filmed live from the studios of Rts in Geneva. My Little Sister by Stéphanie Chuat and Véronique Reymond dominated the scene, scooping four awards in addition to the most prestigious prize (Best Fiction Film), namely Best Screenplay, Best Supporting Actress for Marthe Keller, Best Photography (Filip Zumbrunn) and Best Editing (Myriam Rachmuth). Following the success of the documentary Ladies (2018), the two Lausanne directors are proving (as if they still needed to), with their new film, just how unique and powerful their artistic world combining realism and poetry truly is. The Quartz for Best Documentary, meanwhile, went to The New Gospel by the (theatre and film) director and writer Milo Rau, who, with the help of Yvan Sagnet,...
Nina Hoss and Lars Eidinger, two of Germany’s preeminent acting talents, play twins coming to terms with a diagnosis of terminal illness in My Little Sister, the second narrative film by Stéphanie Chuat and Véronique Reymond. It’s a film that carries emotional power more in its moments of natural reflexiveness than the weepie genre’s more conventional emotional beats, anchored by two focused lead performances that thankfully don’t succumb to melodrama.
Hoss plays Lisa, a Berlin playwright who’s given up the stage and settled into family life in Switzerland. But her heart remains in the German capital, where her brother Sven (Eidinger) is still a leading figure in the city’s theater scene. Eidinger is basically playing an extension of himself here, as a leading player on the German stage himself, star performer of an adaptation of Hamlet at Berlin’s Schaubühne that’s been playing...
Hoss plays Lisa, a Berlin playwright who’s given up the stage and settled into family life in Switzerland. But her heart remains in the German capital, where her brother Sven (Eidinger) is still a leading figure in the city’s theater scene. Eidinger is basically playing an extension of himself here, as a leading player on the German stage himself, star performer of an adaptation of Hamlet at Berlin’s Schaubühne that’s been playing...
- 2/26/2020
- by Ed Frankl
- The Film Stage
When it comes to stories of adult siblings, cinema tends to remain overwhelmingly gender-divided. Great films about brotherly love and sisterly strife are plentiful, but tender brother-sister studies are a rarer breed. “My Little Sister,” then, is a welcome, warm-hearted addition to the ranks of “You Can Count on Me,” “The Savages” and various films that don’t star Laura Linney: a modestly scaled, intimately observed domestic drama that doesn’t reinvent any wheels in its portrayal of family frictions, midlife ennui and the anguish of terminal illness, but handles all this potentially sticky material with clear-eyed grace. Not that you’d expect cheap sentiment with redoubtable stars Nina Hoss and Lars Eidinger as the siblings in question: In addition to bolstering its European distribution potential, their beautifully matched performances lend this quiet Swiss production a necessary bit of flint throughout.
“My Little Sister” is the second narrative film...
“My Little Sister” is the second narrative film...
- 2/24/2020
- by Guy Lodge
- Variety Film + TV
Schwesterlein
It’s been ten years since the narrative debut of Swiss directing duo Stéphanie Chuat and Véronique Reymond, 2010’s The Little Bedroom (though they’ve worked in documentary and television since then). They’ve managed to lasso a formidable cast for their sophomore narrative Schwesterlein, with Nina Hoss, Lars Eidinger, Marthe Keller, and Jens Albinus in this Swiss-German co-production. Filip Zumbrunn serves as Dp on the title, which is produced by Vega Film. Chaut & Reymond’s 2010 debut The Little Bedroom premiered in competition at Locarno, and was also selected as the submission for Best Foreign Language feature (it took four years to receive a theatrical release in the Us in 2014).…...
It’s been ten years since the narrative debut of Swiss directing duo Stéphanie Chuat and Véronique Reymond, 2010’s The Little Bedroom (though they’ve worked in documentary and television since then). They’ve managed to lasso a formidable cast for their sophomore narrative Schwesterlein, with Nina Hoss, Lars Eidinger, Marthe Keller, and Jens Albinus in this Swiss-German co-production. Filip Zumbrunn serves as Dp on the title, which is produced by Vega Film. Chaut & Reymond’s 2010 debut The Little Bedroom premiered in competition at Locarno, and was also selected as the submission for Best Foreign Language feature (it took four years to receive a theatrical release in the Us in 2014).…...
- 1/1/2020
- by Nicholas Bell
- IONCINEMA.com
Before arriving at its current title, Danish director Bille August’s English-Mandarin WWII film “In Harm’s Way” was released in Britain as “The Hidden Soldier,” and premiered at 2017’s Shanghai Intl. Film Festival as “The Chinese Widow.” Why the film would reject two prosaic yet descriptive English-language titles for an equally prosaic yet randomly applied one — not to mention one that was already used for a 1965 John Wayne film set in the exact same time period and war theater — is a mystery.
It’s a tiny thing in the long run, as plenty of international co-productions go through multiple titles, but then, “In Harm’s Way” is ultimately an inoffensive, well-intentioned film derailed by a dozen little head-scratching decisions. Though toplined by Emile Hirsch, the film is more likely to draw attention for the presence of Chinese costar Liu Yifei (credited here as Crystal Liu), who is poised to...
It’s a tiny thing in the long run, as plenty of international co-productions go through multiple titles, but then, “In Harm’s Way” is ultimately an inoffensive, well-intentioned film derailed by a dozen little head-scratching decisions. Though toplined by Emile Hirsch, the film is more likely to draw attention for the presence of Chinese costar Liu Yifei (credited here as Crystal Liu), who is poised to...
- 11/6/2018
- by Andrew Barker
- Variety Film + TV
IndieWire reached out to the cinematographers whose films are headlining the 2017 Toronto International Film Festival to find out which cameras they used and, more importantly, why they were the right tools to create their projects.
Read More:Cannes 2017: Here Are the Cameras Used To Shoot 29 of This Year’s Films “55 Steps”
Dir: Bille August, Dp: Filip Zumbrunn
Camera: Arri Alexa Mini and Amira
Lens: Cooke Panchros S2/3
Zumbrunn: “Because of the beautiful skin tones, the good latitude of the Arri-log and the reliability of the body — especially when shooting the entire movie handheld — it was clear, that we wanted to shoot on the Arri Alexa Mini. As a B-Camera body we were using an Arri Amira. We chose the vintage Cooke Panchros S2/3 together with the Tiffen Pearlescent filters to give the movie a warm, filmic and not too clean look to transport the feeling of the early eighties. And...
Read More:Cannes 2017: Here Are the Cameras Used To Shoot 29 of This Year’s Films “55 Steps”
Dir: Bille August, Dp: Filip Zumbrunn
Camera: Arri Alexa Mini and Amira
Lens: Cooke Panchros S2/3
Zumbrunn: “Because of the beautiful skin tones, the good latitude of the Arri-log and the reliability of the body — especially when shooting the entire movie handheld — it was clear, that we wanted to shoot on the Arri Alexa Mini. As a B-Camera body we were using an Arri Amira. We chose the vintage Cooke Panchros S2/3 together with the Tiffen Pearlescent filters to give the movie a warm, filmic and not too clean look to transport the feeling of the early eighties. And...
- 9/8/2017
- by Chris O'Falt
- Indiewire
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