The Rough Cut Presentations section has expanded, including five additional projects from Ukraine.
IDFA Forum (November 12-15), the co-production and co-financing market of International Documentary Festival Amsterdam (IDFA), has selected its 2023 edition titles, with the likes of Aboozar Amini, Asmae El Moudir and Michael Madsen returning with their latest projects to Forum Pitch, while the Rough Cut Presentations section has expanded.
Afghanistan-born, Netherlands-based filmmaker Amini’s Kabul, City In The Wind screened at IDFA in 2018, and is now pitching Kabul, Year Zero, which threads together four vivid coming-of-age stories against the backdrop of war.
After presenting The Postcard at IDFA...
IDFA Forum (November 12-15), the co-production and co-financing market of International Documentary Festival Amsterdam (IDFA), has selected its 2023 edition titles, with the likes of Aboozar Amini, Asmae El Moudir and Michael Madsen returning with their latest projects to Forum Pitch, while the Rough Cut Presentations section has expanded.
Afghanistan-born, Netherlands-based filmmaker Amini’s Kabul, City In The Wind screened at IDFA in 2018, and is now pitching Kabul, Year Zero, which threads together four vivid coming-of-age stories against the backdrop of war.
After presenting The Postcard at IDFA...
- 10/5/2023
- by Mona Tabbara
- ScreenDaily
Hardman’s doc examines workplace inequality 40 years after release of classic comedy ’9 to 5’.
Camille Hardman, the co-director of documentary Still Working 9 To 5, has attacked the “absolutely shocking” and “abhorrent” current conditions for women in low-paid work in the US at a ‘Women in Film, Women at Work’ roundtable event at this week’s Doclisboa festival in Portugal.
“The minimum wage, it’s 7.25 an hour. You can be a single mother with two kids and earn 14,000 a year…it’s a very, very, very low wage,” said Hardman. “Women have to use food stamps. They socially have to get help.
Camille Hardman, the co-director of documentary Still Working 9 To 5, has attacked the “absolutely shocking” and “abhorrent” current conditions for women in low-paid work in the US at a ‘Women in Film, Women at Work’ roundtable event at this week’s Doclisboa festival in Portugal.
“The minimum wage, it’s 7.25 an hour. You can be a single mother with two kids and earn 14,000 a year…it’s a very, very, very low wage,” said Hardman. “Women have to use food stamps. They socially have to get help.
- 10/13/2022
- by Geoffrey Macnab
- ScreenDaily
There are lost-at-sea thrillers that make a virtue of the leanness of their narratives. J.C. Chandor’s “All Is Lost,” Wolfgang Fischer’s “Styx” and Chris Kentis’ legitimately traumatizing “Open Water” (not to mention Alfonso Cuarón’s “Gravity” if we switch in space for ocean) all spun gripping tales of survival — or not — using minimal dialogue and very little character backstory. But the pitfalls of this less-is-more approach are laid bare in and stereotypes. In its familiarity, “Submersible” at least appropriately evokes such a sinking feeling.
We’re engulfed in the action immediately, when the film opens, as the rickety, makeshift sub codenamed “Guadalupe” is already mid-crisis. Its crew of three — secretive pseudo-captain Felix (Leynar Gómez), quiet, older engine maintenance guy Kleber (Carlos Valencia) and jittery, crazy-eyed wild card Aquiles (José Restrepo) — scrabble about the squalid, listing interior and decide in desperation to redistribute the weight on board by shifting their precious cargo around.
We’re engulfed in the action immediately, when the film opens, as the rickety, makeshift sub codenamed “Guadalupe” is already mid-crisis. Its crew of three — secretive pseudo-captain Felix (Leynar Gómez), quiet, older engine maintenance guy Kleber (Carlos Valencia) and jittery, crazy-eyed wild card Aquiles (José Restrepo) — scrabble about the squalid, listing interior and decide in desperation to redistribute the weight on board by shifting their precious cargo around.
- 12/8/2021
- by Jessica Kiang
- Variety Film + TV
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