Five Israeli projects won Pitch Point awards at the ceremony.
Zetjune, the upcoming second feature from Luzzu director Alex Camilleri, has won the Sam Spiegel International Film Lab Grand Prize on Saturday (July 23), at a joint ceremony in which Jerusalem Industry Days announced its Pitch Point winners.
Featuring real artists from the Maltese folk scene, musical Zejtune follows a 30-year-old woman whose life is reinvigorated by an encounter with an elderly troubadour.
Scroll down for the full list of winners
The 50,000 award was given to Maltese-us filmmaker Camilleri and his producers Rebecca Anastasi from Malta and Ramin Bahrami from the US.
Zetjune, the upcoming second feature from Luzzu director Alex Camilleri, has won the Sam Spiegel International Film Lab Grand Prize on Saturday (July 23), at a joint ceremony in which Jerusalem Industry Days announced its Pitch Point winners.
Featuring real artists from the Maltese folk scene, musical Zejtune follows a 30-year-old woman whose life is reinvigorated by an encounter with an elderly troubadour.
Scroll down for the full list of winners
The 50,000 award was given to Maltese-us filmmaker Camilleri and his producers Rebecca Anastasi from Malta and Ramin Bahrami from the US.
- 7/25/2022
- by Ben Dalton
- ScreenDaily
Haj’s first film ’Personal Affairs’ also screened in Cannes Un Certain Regard in 2016.
Paris-based sales company Luxbox has boarded sales on Palestinian director Maha Haj’s second film Mediterranean Fever, which was announced as a fresh addition to Cannes Un Certain Regard section on Thursday (April 21).
At the same time, Dulac Distribution has also announced its acquisition of French rights for the film.
Haj’s debut feature Personal Affairs also world premiered in Un Certain Regard in 2016.
The new drama revolves around an aspiring but depressed writer living in Haifa who befriends his small-time crook neighbour in the hope...
Paris-based sales company Luxbox has boarded sales on Palestinian director Maha Haj’s second film Mediterranean Fever, which was announced as a fresh addition to Cannes Un Certain Regard section on Thursday (April 21).
At the same time, Dulac Distribution has also announced its acquisition of French rights for the film.
Haj’s debut feature Personal Affairs also world premiered in Un Certain Regard in 2016.
The new drama revolves around an aspiring but depressed writer living in Haifa who befriends his small-time crook neighbour in the hope...
- 4/22/2022
- by Melanie Goodfellow
- ScreenDaily
Wise Hassan, Asia take top prizes.
The winners from the 12th edition of Jerusalem Pitch Point have been unveiled at the Jerusalem Film Festival.
The initiative’s top prize, dubbed the Van Leer Award and worth $5,500 (20,000 Nis), went to Palestinian filmmaker Tawfik Abu Wael’s Wise Hassan.
A Tel Aviv-set thriller, the film marks the director’s third feature after Thirst (Atash), which premiered in Cannes Critics’ Week in 2004, and Last Days In Jerusalem.
It is being produced by Baher Agbariya at Haifa-based Majdal Films, who presented the project alongside Abu Wael at the Jerusalem Pitch Point event on Sunday (July 16).
The Db & Opus Award, which comes with post-production services in the value of $15,000 (55,000 Nis), was presented to Ruthy Pribar’s Asia.
The project was presented by Yoav Roeh and Aurit Zamir of Tel-Aviv based Gum Films. It is currently completing financing ahead of production. The story will follow a 35-year-old mother who must face the death...
The winners from the 12th edition of Jerusalem Pitch Point have been unveiled at the Jerusalem Film Festival.
The initiative’s top prize, dubbed the Van Leer Award and worth $5,500 (20,000 Nis), went to Palestinian filmmaker Tawfik Abu Wael’s Wise Hassan.
A Tel Aviv-set thriller, the film marks the director’s third feature after Thirst (Atash), which premiered in Cannes Critics’ Week in 2004, and Last Days In Jerusalem.
It is being produced by Baher Agbariya at Haifa-based Majdal Films, who presented the project alongside Abu Wael at the Jerusalem Pitch Point event on Sunday (July 16).
The Db & Opus Award, which comes with post-production services in the value of $15,000 (55,000 Nis), was presented to Ruthy Pribar’s Asia.
The project was presented by Yoav Roeh and Aurit Zamir of Tel-Aviv based Gum Films. It is currently completing financing ahead of production. The story will follow a 35-year-old mother who must face the death...
- 7/17/2017
- by tom.grater@screendaily.com (Tom Grater)
- ScreenDaily
Thirst and Last Days In Jerusalem director plots next project.
Palestinian filmmaker Tawfik Abu Wael is developing a Tel Aviv-set thriller spinning off the love story between a young man from the Arab town of Umm al-Fahm and a transgender prostitute he is sent to kill for collaborating with the Israeli secret services.
It will be Abu Wael’s third feature after Thirst (Atash), which premiered in Cannes Critics’ Week in 2004, and Last Days In Jerusalem [pictured], which debuted in competition at the Locarno Film Festival in 2011.
Abu Wael and his long-time producer Baher Agbariya at Haifa-based Majdal Films presented the project at the Jerusalem Pitch Point event on Sunday aimed at connecting Israeli-funded productions with international partners.
“After two hardcore arthouse films, I’m trying to make a thriller,” he told the participants, who included top industry figures such as Protagonist Pictures CEO Michael Goodridge and Tanja Meissner, sales chief at Paris-based Memento Films International (Mfi).
The...
Palestinian filmmaker Tawfik Abu Wael is developing a Tel Aviv-set thriller spinning off the love story between a young man from the Arab town of Umm al-Fahm and a transgender prostitute he is sent to kill for collaborating with the Israeli secret services.
It will be Abu Wael’s third feature after Thirst (Atash), which premiered in Cannes Critics’ Week in 2004, and Last Days In Jerusalem [pictured], which debuted in competition at the Locarno Film Festival in 2011.
Abu Wael and his long-time producer Baher Agbariya at Haifa-based Majdal Films presented the project at the Jerusalem Pitch Point event on Sunday aimed at connecting Israeli-funded productions with international partners.
“After two hardcore arthouse films, I’m trying to make a thriller,” he told the participants, who included top industry figures such as Protagonist Pictures CEO Michael Goodridge and Tanja Meissner, sales chief at Paris-based Memento Films International (Mfi).
The...
- 7/17/2017
- ScreenDaily
Thirst and Last Days In Jerusalem director plots next project.
Palestinian filmmaker Tawfik Abu Wael is developing a Tel Aviv-set thriller spinning off the love story between a young man from the Arab town of Umm al-Fahm and a transgender prostitute he is sent to kill for collaborating with the Israeli secret services.
It will be Abu Wael’s third feature after Thirst (Atash), which premiered in Cannes Critics’ Week in 2004, and Last Days In Jerusalem [pictured], which debuted in competition at the Locarno Film Festival in 2011.
Abu Wael and his long-time producer Baher Agbariya at Haifa-based Majdal Films presented the project at the Jerusalem Pitch Point event on Sunday aimed at connecting Israeli-funded productions with international partners.
“After two hardcore arthouse films, I’m trying to make a thriller,” he told the participants, who included top industry figures such as Protagonist Pictures CEO Michael Goodridge and Tanja Meissner, sales chief at Paris-based Memento Films International (Mfi).
The...
Palestinian filmmaker Tawfik Abu Wael is developing a Tel Aviv-set thriller spinning off the love story between a young man from the Arab town of Umm al-Fahm and a transgender prostitute he is sent to kill for collaborating with the Israeli secret services.
It will be Abu Wael’s third feature after Thirst (Atash), which premiered in Cannes Critics’ Week in 2004, and Last Days In Jerusalem [pictured], which debuted in competition at the Locarno Film Festival in 2011.
Abu Wael and his long-time producer Baher Agbariya at Haifa-based Majdal Films presented the project at the Jerusalem Pitch Point event on Sunday aimed at connecting Israeli-funded productions with international partners.
“After two hardcore arthouse films, I’m trying to make a thriller,” he told the participants, who included top industry figures such as Protagonist Pictures CEO Michael Goodridge and Tanja Meissner, sales chief at Paris-based Memento Films International (Mfi).
The...
- 7/17/2017
- ScreenDaily
Doha Film Institute flew me in via Istanbul to attend the Ajyal Youth Film Festival. My first time in Doha Qatar, I am stunned by the luxury of it all. The area is filled with large buildings, modern and yet very Arabic in style, from the huge gleaming glass and steel airport with its marble floors and empty, at least at 1:30 Am. Awaiting in the posh Al Mira Lounge for my drive to take me to the St. Regis Hotel -- again -- huge, with its arches and arabesque style towers, to the people, elegantly enshrouded women in black and men in gleaming white.
After a day to recuperate from my 24 hour flight, we, the press, had a welcome dinner and the next day was devoted to “The Idol” Opening Night Film’s press screening and press conference and to Opening Night itself with a lovely party and a band playing American movie tunes.
"Designed to inspire, and it works!" This Palestine/ UK/ Qatar/ Dubai/ Abu Dhabi/ Netherlands coproduction "The Idol" premiered at Toronto’s Tiff this September. After Doha, it won Antalya's Best Director Award before going on to Dubai Film Festival. This is a feel-good movie which gives a human voice to the Palestinian dilemma without being political or religious. It’s pure heart.
Read my interview with Hany Abu-Assad during Tiff.
“The Idol” was coproduced by Image Nation of Abu Dhabi, Enjaaz -- a Dubai Film Market initiative -- Doha Film institute with support from the Netherlands Film Fund. Mbc (Middle East Broadcasting Company) also coproduced and is handling the film’s release in the Middle East and North Africa. September’s Hans de Wolf was the Dutch coproducer and is distributing it in Benelux.
Speaking in Doha with producers Ali Jaafar, Amira Diab in the patio of Al Jazeera Press Center I was given an in-depth look at the origin of this production which will be seen across the Arab lands both theatrically and through Mbc. Mbc was the first to come on board when producer Ali pitched them the idea of making a movie of the phenomenal success story of Mohammed Assaf, a Palestinian who grew up in Gaza and whose voice became the voice of the nation when he won the Arab Idol contest in 2013.
Sydney Levine: Where did you come from? IMDb only lists one credit for you and that’s for “The Idol”.
Ali Jaafar: I was executive director of Tarak Ben Ammar’s Quinta Communications' film division for five years. The company co-produced Rachid Bouchareb’s Oscar Nominated “Outside The Law’”; Julian Schnabel’s “Miral”; Jean-Jacques Annaud’s “Black Gold” aka “Day of the Falcon” starring Antonio Banderas, Tahar Rahim and Freida Pinto, which was distributed by Warner Bros and Universal Pictures and was Doha Film Institute’s first film investment and the first major film to shoot in Qatar. It was an attempt to tell an epic Arabian story for the international audience. Filming took place in Tunisia during the Jasmine Revolution that led to the overthrow of President Zine El Abidine Ben Ali. Filming finished on schedule and on budget with no interference, but it was a very difficult time for such a film to break out.
Quinta also co-produced “Where Do We Go Now” by Nadine Labaki known first for Caramel (2007) and more recently for Rio, I Love You(2014). “Where Do We Go Now” was the first Arabic film to win the prestigious Audience Award at the Toronto International Film Festival.
Sl: How did you hook up with “The Idol”?
Ali: When the major pop TV show Arab Idol awarded its top prize to Mohammed Assaf, the next morning the media went wild. It was during the toughest time yet in the Arab world, with Tunisia’s Revolution igniting insurgencies in Libya, Egypt, Palestine. It was a great story. I spoke to Mbc suggesting they make a movie about it. They said yes and were onboard from the very beginning.
This was my first movie as a producer. I learned so much from Tarak. One of the things I learned was to have the best partners and Mbc was just that. They offered critical support, PR support all the way through filming, support in releasing and guidance in what works in the Middle East region.
Mbc helped with script development. Sameh Zoabi wrote the first two drafts of the film. With the Number One Media (Mbc) company on board, I was able to enlist others to help as well.
Sl: How did you get Hany on board as director?
Ali: Hany was my number one choice as director, but during my first year working on “The Idol”, he was busy promoting “Omar” and lining up a project with a big U.S. studio. He was a friend and I was hoping he might at least co-produce; he read the script and gradually, one year later we met in London. He said that the American movie had been pushed back one year so he was available, but he needed to start in January – which gave me three months to put it together.
Sl: Amira, so you’re Hany’s wife…where were you working before this film?
Amira: I had been living in London but we’re now living in L.A. My background is in financing.
Ali: Yes she brought in a major part of the financing on the film too.
Amira: I met Hany who said we need more women producers and the timing was right. When Ali called Hany, Hany brought me in to meet Ali. I spent a lot of time on the set with the line producer Baher Agbariya who became a coproducer. I also worked on the rewrite and worked with the kids.
Sl: And is it true that TV does not usually show movies? That is what I heard someone say during the Q&A.
Ali: This film is an important bridge in a very crowded marketplace. Cinema is more challenging for breaking out of borders. Usually what is Lebanese stays in Lebanon, what is Jordanian stays in Jordan, etc. Films do not easily cross borders – except for Egyptian films. And usually independent films are more arthouse rather than commercial. “The Idol” about a big pop star has breakout potential.
Sl: When Hany came on board, what did he do first?
Ali: He worked on the script, strengthening the relationship between the sister and brother, adding some elements.
Hany insisted on shooting on location in both Beirut and Cairo for the exterior scenes set in those cities so that the film would look and feel real. He was only given a three day permit to film in Gaza. Set in the devastated landscapes of a Gaza still reeling from the month-long bombardment in 2014, Abu-Assad and his crew were still able to find great moments of beauty and surprise. The Gaza Parkour Team, for example, supplies its amazing acrobatic display in the most surprising way in one moment, proving that art can thrive in even the most challenging of situations.
That desire for authenticity is also why Hany insisted on finding and employing real kids from Gaza to act in the film. The crew did a Gaza-wide search, holding casting sessions and rehearsals in schools across the area. Ultimately, the production was blessed to find four amazing Gazan children to star in the film, all first time actors, and all incredible natural performers.
The first half of the film takes place in a war-torn Gaza city which, for Mohammed Assaf, his sister Nour and their best friends Ahmad and Omar. is a playground where they freely ride their bikes, play music, football and dare to dream big. Their band might play on second hand, beat-up instruments but their ambitions are sky-high. Their ambition is to play at the world famous Cairo Opera Hall.
The world around Mohammed shatters. Through it all, however, he retains the hope that his voice will somehow deliver him from the pain that surrounds him and bring joy to others. He sings at weddings, he drives a taxi to pay for his university studies. Even as the siege around Gaza intensifies, the prison around them ever more forbidding, Mohammed knows he has a rare gift, the ability to make people smile and forget their anxieties about day to day living.
Sl: How did eOne become your international sales agent?
Ali: The international sales agent was critical for us as filmmakers. We had interest from a number of established European sales agents who would’ve done a good job but when EOne expressed their strong passion for the project it provided us with a great opportunity to position the film in a more commercial space in the marketplace.
EOne’s arthouse arm Seville took it to Afm and they presold almost all the territories, even China and Australia based on the powerful package of the script, Mbc, Hany and a great story.
Sl: I know international sales by Seville were made before Tiff to some 20 territories including Benelux (September Films -- the former Wild Bunch Benelux), France (TF1), Germany (Koch), Japan (New Select), Hong Kong (Edko), Hungary (Mtva), Australia (Umbrella), Latin America (California Filmes), Portugal (Outsider Films), South Africa (Times Media) Switzerland (Praesens), China (Beijing Xiangjiang YiHua Films), India (PVR), Indonesia, Malaysia, Singapore (Red Pictures), Taiwan (Spring International), Former Yugoslavia (Discovery Films), Romania (Independenta), South Korea (Kaon Contents & Media) and Airlines (Captive). eOne will directly release the film in Spain. Mbc will distribute throughout the Middle East, including Palestine and North Africa.
Ali: We filmed “The Idol” with no advance publicity outside of the Middle East. When it premiered at Tiff, we announced the sales. After it premiered in Toronto we sealed the American deal with Adopt Films which had released Hany’s film “Omar” and a U.K. deal. That concluded world sales to every territory.
Sl: Where will it play next?
Ali: After Toronto it played London, Warsaw and Torino Film Festivals. It will go on to play in Turkey and Dubai Film Festivals. Eagle will release the film on December 24th in the Gulf states (Gcc) and on January 14th in the Levant (Lebanon, Palestine and Jordan). On the 21st it opens in Egypt. Mbc will release on its pan-Arab television network.
Also in January Rotterdam Film Festival will screen it Its U.S. release by Adopt will be sometime between spring and summer.
After a day to recuperate from my 24 hour flight, we, the press, had a welcome dinner and the next day was devoted to “The Idol” Opening Night Film’s press screening and press conference and to Opening Night itself with a lovely party and a band playing American movie tunes.
"Designed to inspire, and it works!" This Palestine/ UK/ Qatar/ Dubai/ Abu Dhabi/ Netherlands coproduction "The Idol" premiered at Toronto’s Tiff this September. After Doha, it won Antalya's Best Director Award before going on to Dubai Film Festival. This is a feel-good movie which gives a human voice to the Palestinian dilemma without being political or religious. It’s pure heart.
Read my interview with Hany Abu-Assad during Tiff.
“The Idol” was coproduced by Image Nation of Abu Dhabi, Enjaaz -- a Dubai Film Market initiative -- Doha Film institute with support from the Netherlands Film Fund. Mbc (Middle East Broadcasting Company) also coproduced and is handling the film’s release in the Middle East and North Africa. September’s Hans de Wolf was the Dutch coproducer and is distributing it in Benelux.
Speaking in Doha with producers Ali Jaafar, Amira Diab in the patio of Al Jazeera Press Center I was given an in-depth look at the origin of this production which will be seen across the Arab lands both theatrically and through Mbc. Mbc was the first to come on board when producer Ali pitched them the idea of making a movie of the phenomenal success story of Mohammed Assaf, a Palestinian who grew up in Gaza and whose voice became the voice of the nation when he won the Arab Idol contest in 2013.
Sydney Levine: Where did you come from? IMDb only lists one credit for you and that’s for “The Idol”.
Ali Jaafar: I was executive director of Tarak Ben Ammar’s Quinta Communications' film division for five years. The company co-produced Rachid Bouchareb’s Oscar Nominated “Outside The Law’”; Julian Schnabel’s “Miral”; Jean-Jacques Annaud’s “Black Gold” aka “Day of the Falcon” starring Antonio Banderas, Tahar Rahim and Freida Pinto, which was distributed by Warner Bros and Universal Pictures and was Doha Film Institute’s first film investment and the first major film to shoot in Qatar. It was an attempt to tell an epic Arabian story for the international audience. Filming took place in Tunisia during the Jasmine Revolution that led to the overthrow of President Zine El Abidine Ben Ali. Filming finished on schedule and on budget with no interference, but it was a very difficult time for such a film to break out.
Quinta also co-produced “Where Do We Go Now” by Nadine Labaki known first for Caramel (2007) and more recently for Rio, I Love You(2014). “Where Do We Go Now” was the first Arabic film to win the prestigious Audience Award at the Toronto International Film Festival.
Sl: How did you hook up with “The Idol”?
Ali: When the major pop TV show Arab Idol awarded its top prize to Mohammed Assaf, the next morning the media went wild. It was during the toughest time yet in the Arab world, with Tunisia’s Revolution igniting insurgencies in Libya, Egypt, Palestine. It was a great story. I spoke to Mbc suggesting they make a movie about it. They said yes and were onboard from the very beginning.
This was my first movie as a producer. I learned so much from Tarak. One of the things I learned was to have the best partners and Mbc was just that. They offered critical support, PR support all the way through filming, support in releasing and guidance in what works in the Middle East region.
Mbc helped with script development. Sameh Zoabi wrote the first two drafts of the film. With the Number One Media (Mbc) company on board, I was able to enlist others to help as well.
Sl: How did you get Hany on board as director?
Ali: Hany was my number one choice as director, but during my first year working on “The Idol”, he was busy promoting “Omar” and lining up a project with a big U.S. studio. He was a friend and I was hoping he might at least co-produce; he read the script and gradually, one year later we met in London. He said that the American movie had been pushed back one year so he was available, but he needed to start in January – which gave me three months to put it together.
Sl: Amira, so you’re Hany’s wife…where were you working before this film?
Amira: I had been living in London but we’re now living in L.A. My background is in financing.
Ali: Yes she brought in a major part of the financing on the film too.
Amira: I met Hany who said we need more women producers and the timing was right. When Ali called Hany, Hany brought me in to meet Ali. I spent a lot of time on the set with the line producer Baher Agbariya who became a coproducer. I also worked on the rewrite and worked with the kids.
Sl: And is it true that TV does not usually show movies? That is what I heard someone say during the Q&A.
Ali: This film is an important bridge in a very crowded marketplace. Cinema is more challenging for breaking out of borders. Usually what is Lebanese stays in Lebanon, what is Jordanian stays in Jordan, etc. Films do not easily cross borders – except for Egyptian films. And usually independent films are more arthouse rather than commercial. “The Idol” about a big pop star has breakout potential.
Sl: When Hany came on board, what did he do first?
Ali: He worked on the script, strengthening the relationship between the sister and brother, adding some elements.
Hany insisted on shooting on location in both Beirut and Cairo for the exterior scenes set in those cities so that the film would look and feel real. He was only given a three day permit to film in Gaza. Set in the devastated landscapes of a Gaza still reeling from the month-long bombardment in 2014, Abu-Assad and his crew were still able to find great moments of beauty and surprise. The Gaza Parkour Team, for example, supplies its amazing acrobatic display in the most surprising way in one moment, proving that art can thrive in even the most challenging of situations.
That desire for authenticity is also why Hany insisted on finding and employing real kids from Gaza to act in the film. The crew did a Gaza-wide search, holding casting sessions and rehearsals in schools across the area. Ultimately, the production was blessed to find four amazing Gazan children to star in the film, all first time actors, and all incredible natural performers.
The first half of the film takes place in a war-torn Gaza city which, for Mohammed Assaf, his sister Nour and their best friends Ahmad and Omar. is a playground where they freely ride their bikes, play music, football and dare to dream big. Their band might play on second hand, beat-up instruments but their ambitions are sky-high. Their ambition is to play at the world famous Cairo Opera Hall.
The world around Mohammed shatters. Through it all, however, he retains the hope that his voice will somehow deliver him from the pain that surrounds him and bring joy to others. He sings at weddings, he drives a taxi to pay for his university studies. Even as the siege around Gaza intensifies, the prison around them ever more forbidding, Mohammed knows he has a rare gift, the ability to make people smile and forget their anxieties about day to day living.
Sl: How did eOne become your international sales agent?
Ali: The international sales agent was critical for us as filmmakers. We had interest from a number of established European sales agents who would’ve done a good job but when EOne expressed their strong passion for the project it provided us with a great opportunity to position the film in a more commercial space in the marketplace.
EOne’s arthouse arm Seville took it to Afm and they presold almost all the territories, even China and Australia based on the powerful package of the script, Mbc, Hany and a great story.
Sl: I know international sales by Seville were made before Tiff to some 20 territories including Benelux (September Films -- the former Wild Bunch Benelux), France (TF1), Germany (Koch), Japan (New Select), Hong Kong (Edko), Hungary (Mtva), Australia (Umbrella), Latin America (California Filmes), Portugal (Outsider Films), South Africa (Times Media) Switzerland (Praesens), China (Beijing Xiangjiang YiHua Films), India (PVR), Indonesia, Malaysia, Singapore (Red Pictures), Taiwan (Spring International), Former Yugoslavia (Discovery Films), Romania (Independenta), South Korea (Kaon Contents & Media) and Airlines (Captive). eOne will directly release the film in Spain. Mbc will distribute throughout the Middle East, including Palestine and North Africa.
Ali: We filmed “The Idol” with no advance publicity outside of the Middle East. When it premiered at Tiff, we announced the sales. After it premiered in Toronto we sealed the American deal with Adopt Films which had released Hany’s film “Omar” and a U.K. deal. That concluded world sales to every territory.
Sl: Where will it play next?
Ali: After Toronto it played London, Warsaw and Torino Film Festivals. It will go on to play in Turkey and Dubai Film Festivals. Eagle will release the film on December 24th in the Gulf states (Gcc) and on January 14th in the Levant (Lebanon, Palestine and Jordan). On the 21st it opens in Egypt. Mbc will release on its pan-Arab television network.
Also in January Rotterdam Film Festival will screen it Its U.S. release by Adopt will be sometime between spring and summer.
- 12/3/2015
- by Sydney Levine
- Sydney's Buzz
Stephen Page.s innovative debut Spear is one of five nominees for the Unesco award in the 9th Asia Pacific Screen Awards. Adapted from Page.s original work, Spear tells a contemporary Aboriginal story through movement and dance as it follows young Aboriginal man Djali as he journeys through his community to understand what it means to be a man with ancient traditions in a modern world.
The producer is John Harvey, co-produced with Page.s Bangarra Dance Theatre and supported by he Adelaide Film Festival.s Hive Fund. The film had its world premiere in the discovery program at the Toronto International Film Festival.
Determined by the Apsa international jury, the Unesco award recognises outstanding contribution to the promotion and preservation of the cultural diversity through the medium of film.
In previous years the prize-winner was selected from all Apsa-nominated films. For the first time this year, five films...
The producer is John Harvey, co-produced with Page.s Bangarra Dance Theatre and supported by he Adelaide Film Festival.s Hive Fund. The film had its world premiere in the discovery program at the Toronto International Film Festival.
Determined by the Apsa international jury, the Unesco award recognises outstanding contribution to the promotion and preservation of the cultural diversity through the medium of film.
In previous years the prize-winner was selected from all Apsa-nominated films. For the first time this year, five films...
- 10/5/2015
- by Don Groves
- IF.com.au
Biff co-founder and honorary director Kim Dong-ho has been appointed as president of the international jury for this year’s Asia Pacific Screen Awards (Apsa).
Kim will be joined on the jury by award-winning Bangladeshi filmmaker Mostofa Sarwar Farooki; director/writer/curator and Beijing Film Academy Professor, Zhang Xianmin; Malaysian writer-director U-Wei Bin Hajisaari; Russian writer-director Alexei Popogrebsky; and Iranian actress Negar Javaherian.
Attending a joint Apsa, Unesco, Mpa reception in Busan, Kim announced the nominations for the Apsa Unesco Award, presented annually for outstanding contribution to the promotion and preservation of cultural diversity through the medium of film.
In previous years, all Apsa-nominated films were eligible for the award, while this year a shortlist of five films has been nominated.
The five nominated films are:
Miaoyan Zhang for A Corner Of Heaven (China, France) – produced by Miaoyan Zhang, Guillaume de Seille.
Ella Manzheeva for The Gulls (Russia) – produced by Elena Glikman, Yaroslav Zhivov...
Kim will be joined on the jury by award-winning Bangladeshi filmmaker Mostofa Sarwar Farooki; director/writer/curator and Beijing Film Academy Professor, Zhang Xianmin; Malaysian writer-director U-Wei Bin Hajisaari; Russian writer-director Alexei Popogrebsky; and Iranian actress Negar Javaherian.
Attending a joint Apsa, Unesco, Mpa reception in Busan, Kim announced the nominations for the Apsa Unesco Award, presented annually for outstanding contribution to the promotion and preservation of cultural diversity through the medium of film.
In previous years, all Apsa-nominated films were eligible for the award, while this year a shortlist of five films has been nominated.
The five nominated films are:
Miaoyan Zhang for A Corner Of Heaven (China, France) – produced by Miaoyan Zhang, Guillaume de Seille.
Ella Manzheeva for The Gulls (Russia) – produced by Elena Glikman, Yaroslav Zhivov...
- 10/4/2015
- by lizshackleton@gmail.com (Liz Shackleton)
- ScreenDaily
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