Exclusive: How To Disappear Completely and Now Showing included in deal.
UK-based streaming platform FilmDoo has acquired global VoD rights to the back catalogue of Filipino filmmaker Raya Martin.
The non-exclusive deal was negotiated with producer Arleen Cuevas of Manila-based Cinematografica Films. FilmDoo is also in talks with Cuevas about acquiring the back catalogue of Adolfo Alix Jr., another leading indie filmmaker from the Philippines.
Martin titles acquired by FilmDoo include How To Disappear Completely (2013), Next Attraction (2008), Now Showing [pictured] (2008), Autohystoria (2007), A Short Film About The Indio Nacional (2005) and documentary The Island At The End Of The World (2005).
Now Showing premiered in Cannes Director’s Fortnight in 2008 and How To Disappear Completely premiered at Locarno.
FilmDoo has also acquired VoD rights to Martin’s Buenas Noches Espana (2011) for Southeast Asia and for the Philippines only to Independencia (2009), which premiered in Cannes Un Certain Regard in 2013.
Martin said: “I’m excited to partner with FilmDoo to showcase Filipino...
UK-based streaming platform FilmDoo has acquired global VoD rights to the back catalogue of Filipino filmmaker Raya Martin.
The non-exclusive deal was negotiated with producer Arleen Cuevas of Manila-based Cinematografica Films. FilmDoo is also in talks with Cuevas about acquiring the back catalogue of Adolfo Alix Jr., another leading indie filmmaker from the Philippines.
Martin titles acquired by FilmDoo include How To Disappear Completely (2013), Next Attraction (2008), Now Showing [pictured] (2008), Autohystoria (2007), A Short Film About The Indio Nacional (2005) and documentary The Island At The End Of The World (2005).
Now Showing premiered in Cannes Director’s Fortnight in 2008 and How To Disappear Completely premiered at Locarno.
FilmDoo has also acquired VoD rights to Martin’s Buenas Noches Espana (2011) for Southeast Asia and for the Philippines only to Independencia (2009), which premiered in Cannes Un Certain Regard in 2013.
Martin said: “I’m excited to partner with FilmDoo to showcase Filipino...
- 5/24/2017
- by lizshackleton@gmail.com (Liz Shackleton)
- ScreenDaily
Mubi is presenting the exclusive online premiere of Isiah Medina's 88:88 on March 18, 2016. The great Filipino director Raya Martin (La última película, Independencia) has generously offered an introduction to the film. Click here for more information in 88:88, including interviews and a director's statement.There was a time when a virtual flight simulator was rare enough that a minor forgotten program on the early Windows platform became a treasured obsession. It was nothing like your best-selling games today, nor was it some viral experience. The simulator went around through everyone’s mails in Eudora, in an era when executable programs weren’t promptly perceived as destructive. The flight simulator was simple: you are looking out directly from a generic cockpit, navigating through a three-dimensional barren landscape that was neither Mars nor Morocco. In my fragile memory bank, the light-colored hues alternated between aquamarine and pink. There was nothing else...
- 3/18/2016
- by Raya Martin
- MUBI
Mubi is proud to present the exclusive online premiere of Isiah Medina's debut feature film, 88:88. A densely layered montage that is both formally rigorous and emotionally raw, Medina's film explores with ideas about time, love, knowledge, poverty, and poetry. "Where does one start on Isiah Medina’s multiversal debut feature 88:88?," asks Filipino director Raya Martin (La última película, Independencia) in an introduction to the film for the Notebook. "Possibly with darkness, or the birth of an image, or the initial perception of it, or even with the history of cinema quickly rupturing into parts of music, literature, philosophy."Upon its debut at the Locarno Film Festival, where we discovered it ("a kaleidoscopic combination of self-portrait, documentary of Medina's local subculture and friends, and a radical attempt to create an actively thinking film, a film forming thought through the evolution of its imagery and cutting"), festival programming director Mark Peranson wrote:"Preternaturally talented,...
- 3/18/2016
- by Notebook
- MUBI
Starting with the Spanish conquest of the Philippines in the mid-16th century, the country was under the colonial rule of four different foreign powers for nearly 400 years. Independence gave way to two decades of vicious dictatorship and a democracy severely compromised by corruption and extensive external influence. As a nation that encompasses a staggering number of ethnicities and languages, the Philippines’ centuries-long experience of oppression has engendered an enduring identity crisis. It’s this crisis that has brought forth the films of Lav Diaz. They are dedicated to an excavation of his country’s turbulent past in search of its identity; the simultaneously chimeric and vital nature of this endeavor constitutes the emancipatory dialectic that drives his cinema. Having addressed Ferdinand Marcos’ dictatorship from a variety of angles in several earlier features, Diaz turns his attention to the Philippine Revolution of 1896-97 with A Lullaby to the Sorrowful Mystery,...
- 2/22/2016
- by Giovanni Marchini Camia
- The Film Stage
Berlinale director discusses ticket sales, VOD platforms and the spirit of ‘Baumi’.
The 65th Berlinale (Feb 5-15) will be remembered in many respects as a Berlinale in the spirit of ‘Baumi’“, according to festival director Dieter Kosslick with reference to the late producer-distributor Karl ‘Baumi’ Baumgartner.
Speaking to Screen as the festival enters its final days, Kosslick recalled that “many of the films shown this year reflect his philosophy: ‘Baumi’ was the pioneer of those so-called ‘little’ films which make a really big impression, and he was a great inspiration for so many film-makers through his co-productions.“
Indeed, as just one example, Malgorzata Szumowska, whose latest feature Body is showing in the Berlinale’s competition this year, said during the goEast Film Festival that Baumgartner – who died at the age of 65 in March 2014 - had been the guiding inspiration for her career as a film-maker.
It is therefore fitting that this year’s Berlinale edition provided the setting...
The 65th Berlinale (Feb 5-15) will be remembered in many respects as a Berlinale in the spirit of ‘Baumi’“, according to festival director Dieter Kosslick with reference to the late producer-distributor Karl ‘Baumi’ Baumgartner.
Speaking to Screen as the festival enters its final days, Kosslick recalled that “many of the films shown this year reflect his philosophy: ‘Baumi’ was the pioneer of those so-called ‘little’ films which make a really big impression, and he was a great inspiration for so many film-makers through his co-productions.“
Indeed, as just one example, Malgorzata Szumowska, whose latest feature Body is showing in the Berlinale’s competition this year, said during the goEast Film Festival that Baumgartner – who died at the age of 65 in March 2014 - had been the guiding inspiration for her career as a film-maker.
It is therefore fitting that this year’s Berlinale edition provided the setting...
- 2/12/2015
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
★★★★☆Filipino director Raya Martin was only twenty-four years old when he made Independencia (2009), the second film in his ongoing trilogy about the colonial past of his home country. It is a work steeped in history - national, cultural and cinematic - that explores the themes that have been recurrent in the output of the young filmmaker in his career so far. Akin to the previous part in the sequence, A Short Film About the Indio Nacional (2005), Martin once again appropriates the trappings of classic Hollywood concurrent to one of the time periods that his narrative spans. Released on DVD this week by Second Run, it makes for fascinating and ambitious viewing that falls just short of masterpiece status.
- 8/11/2014
- by CineVue UK
- CineVue
Above: The music video for "Suit & Tie".
Justin Timberlake's "Suit & Tie" video—which premiered online way back in February—is part retro menswear fantasy, part razzle-dazzle tech demo. Directed by David Fincher and photographed by Matthew Libatique, "Suit & Tie" was the first widely-seen work to have been shot on Red's Epic Monochrome, a sensor that only images in black & white.
The Monochrome isn't the first dedicated black & white sensor. Sweden's Ikonoskop introduced one—called, no joke, the A-Cam dll Panchromatic Carl Th. Dreyer Edition—last year. The Monochrome does, however, have the distinction of being 5K—about as high-end as you can get. It represents the cutting edge of anachronism.
Last year, the Academy Award for Best Picture went to a black & white film—The Artist. Additionally, at least five major 2012 arthouse releases were in black & white: Hong Sang-soo's The Day He Arrives, Guy Maddin’s Keyhole, Béla Tarr's The Turin Horse,...
Justin Timberlake's "Suit & Tie" video—which premiered online way back in February—is part retro menswear fantasy, part razzle-dazzle tech demo. Directed by David Fincher and photographed by Matthew Libatique, "Suit & Tie" was the first widely-seen work to have been shot on Red's Epic Monochrome, a sensor that only images in black & white.
The Monochrome isn't the first dedicated black & white sensor. Sweden's Ikonoskop introduced one—called, no joke, the A-Cam dll Panchromatic Carl Th. Dreyer Edition—last year. The Monochrome does, however, have the distinction of being 5K—about as high-end as you can get. It represents the cutting edge of anachronism.
Last year, the Academy Award for Best Picture went to a black & white film—The Artist. Additionally, at least five major 2012 arthouse releases were in black & white: Hong Sang-soo's The Day He Arrives, Guy Maddin’s Keyhole, Béla Tarr's The Turin Horse,...
- 11/8/2013
- by Ignatiy Vishnevetsky
- MUBI
This is the fourth and final dispatch on some of the goods offered by the 57th London Film Festival’s ‘Experimenta’ section.
Is it problematic to name a film festival’s programme strand to denote some kind of aesthetic experimentation? Surely, the argument goes, all works of art operate and evolve within and along what Mark Cousins has defined as a “schema + variation” trajectory. Even the most formulaic film contains a tension between familiarity and originality. Those mainstream films we customarily understand to be genre pieces work within established parameters (aesthetic, narrative) and are often interpreted accordingly, in relation to how they fit within certain tropes.
To consciously programme a number of works under the umbrella term of ‘Experimenta’ may actually marginalize the films rather than draw new audiences to them. Great for those already inclined toward such works—those who’ll seek out films precisely because they’re unlikely...
Is it problematic to name a film festival’s programme strand to denote some kind of aesthetic experimentation? Surely, the argument goes, all works of art operate and evolve within and along what Mark Cousins has defined as a “schema + variation” trajectory. Even the most formulaic film contains a tension between familiarity and originality. Those mainstream films we customarily understand to be genre pieces work within established parameters (aesthetic, narrative) and are often interpreted accordingly, in relation to how they fit within certain tropes.
To consciously programme a number of works under the umbrella term of ‘Experimenta’ may actually marginalize the films rather than draw new audiences to them. Great for those already inclined toward such works—those who’ll seek out films precisely because they’re unlikely...
- 10/21/2013
- by Michael Pattison
- MUBI
Appearing in the Wavelengths section of the 2013 Toronto International Film Festival is La última película, an experimental comedy about filmmaking and the apocalypse by two directors joined in collaboration by Cph:dox’s Dox:lab program. Filipino director Raya Martin (Independencia) collaborates with Canadian critic and filmmaker Mark Peranson on a crazily cinephilic conceit: remaking Dennis Hopper’s The Last Movie as, literally, the last movie. The Color Wheel‘s Alex Ross Perry stars as a “disillusioned and delusional” filmmaker traveling to the Yucatan to make a psychedelic Western in the days leading up to the Mayan Apocalypse. Nicolás Pereda star Gabino Rodriguez plays […]...
- 9/11/2013
- by Scott Macaulay
- Filmmaker Magazine-Director Interviews
Appearing in the Wavelengths section of the 2013 Toronto International Film Festival is La última película, an experimental comedy about filmmaking and the apocalypse by two directors joined in collaboration by Cph:dox’s Dox:lab program. Filipino director Raya Martin (Independencia) collaborates with Canadian critic and filmmaker Mark Peranson on a crazily cinephilic conceit: remaking Dennis Hopper’s The Last Movie as, literally, the last movie. The Color Wheel‘s Alex Ross Perry stars as a “disillusioned and delusional” filmmaker traveling to the Yucatan to make a psychedelic Western in the days leading up to the Mayan Apocalypse. Nicolás Pereda star Gabino Rodriguez plays […]...
- 9/11/2013
- by Scott Macaulay
- Filmmaker Magazine - Blog
The Museum of the Moving Image in Queens is hosting a retrospective on Raya Martin, running October 19 - 27, 2012.
Above: Raya Martin. Photo by Buccino de Ocampo.
Raya Martin’s multiplicity as a key filmmaker in experimental cinema in the Philippines remains a complex subject to undertake. His radical and polarizing films earned him not only a reputation as a visionary of the film form, but also a mask of an aesthete, an art-for-art’s sake director detached from the social paradigm of Philippine cinema. These assertions led me to reassess Raya Martin’s career path to look into his films in terms of his varied style, his appropriations as a result of his post-colonial inquiries; and to position him within the ideological paradigm of Philippine cinema.
Raya Martin’s filmography can be divided into three modes based on style: documentary (Island at the End of the World [2004], Autohystoria [2007], Next Attraction...
Above: Raya Martin. Photo by Buccino de Ocampo.
Raya Martin’s multiplicity as a key filmmaker in experimental cinema in the Philippines remains a complex subject to undertake. His radical and polarizing films earned him not only a reputation as a visionary of the film form, but also a mask of an aesthete, an art-for-art’s sake director detached from the social paradigm of Philippine cinema. These assertions led me to reassess Raya Martin’s career path to look into his films in terms of his varied style, his appropriations as a result of his post-colonial inquiries; and to position him within the ideological paradigm of Philippine cinema.
Raya Martin’s filmography can be divided into three modes based on style: documentary (Island at the End of the World [2004], Autohystoria [2007], Next Attraction...
- 10/26/2012
- by Adrian Mendizabal
- MUBI
Berlinale Residency, Berlin International Film Festival’s new international fellowship programme, is inviting six filmmakers with their latest projects to Berlin for four months, beginning in September 2012.
The selected participants can finalize their scripts, and develop production and distribution strategies at the Residency. Mentors will advise participants on developing and revising their scripts. In a “Script to Market” seminar with market experts, the producers and directors will explore the audience potential of their works.
The selected projects will be presented at the Berlinale Co-Production Market (February 10-12, 2013) and/or at the Guadalajara Ibero-American Co-production Meeting in March 2013.
Selected projects
Matías Bize, Chile: The Memory of Water
Screenwriters: Matías Bize and Julio Rojas
Producers: Adrian Solar, Ceneca Producciones, Chile, and Nicole Gerhards, NiKo Film, Germany
Born in 1979, this director and screenwriter first attracted international attention in 2003 with his feature film debut, Sábado, una película en tiempo real. In 2005 his drama En la cama,...
The selected participants can finalize their scripts, and develop production and distribution strategies at the Residency. Mentors will advise participants on developing and revising their scripts. In a “Script to Market” seminar with market experts, the producers and directors will explore the audience potential of their works.
The selected projects will be presented at the Berlinale Co-Production Market (February 10-12, 2013) and/or at the Guadalajara Ibero-American Co-production Meeting in March 2013.
Selected projects
Matías Bize, Chile: The Memory of Water
Screenwriters: Matías Bize and Julio Rojas
Producers: Adrian Solar, Ceneca Producciones, Chile, and Nicole Gerhards, NiKo Film, Germany
Born in 1979, this director and screenwriter first attracted international attention in 2003 with his feature film debut, Sábado, una película en tiempo real. In 2005 his drama En la cama,...
- 6/12/2012
- by NewsDesk
- DearCinema.com
Among those they have tapped for the fest they have a premium Midnight Screening for Gilles Marchand's Black Heaven and they are closing the festival with Julie Bertuccelli's The Tree. - The Sales/Distribution/Production company continually pluck from a batch of interesting U.S independent film auteurs (they are back on board with So Yong Kim for her to be released in the Fall title, For Ellen), grabbing select Euro titles Natalia Smirnoff's Puzzle (a Berlin) along with French films which we've been talking non-stop for the better half of year. Among those they have tapped for the fest they have a premium Midnight Screening for Gilles Marchand's Black Heaven and they are closing the festival with Julie Bertuccelli's The Tree. (see Charlotte Gainsbourg in pic above). On the sales side of things, they are working with Marchand's partner in crime Dominik Moll...
- 5/13/2010
- IONCINEMA.com
The Sales/Distribution/Production company continually pluck from a batch of interesting U.S independent film auteurs (they are back on board with So Yong Kim for her to be released in the Fall title, For Ellen), grabbing select Euro titles Natalia Smirnoff's Puzzle (a Berlin) along with French films which we've been talking non-stop for the better half of year. Among those they have tapped for the fest they have a premium Midnight Screening for Gilles Marchand's Black Heaven and they are closing the festival with Julie Bertuccelli's The Tree. (see Charlotte Gainsbourg in pic above). On the sales side of things, they are working with Marchand's partner in crime Dominik Moll's filmed in Spain fantasy pic and are onboard Pawel Pawlikowski's new project – a helmer who's sabbatical has lasted a tad too long. Black Heaven (L'autre Monde) by Gilles Marchand - Completed The Monk...
- 5/12/2010
- IONCINEMA.com
Cannes's 6th Cinefondation Atelier has a lineup of directors which this year includes more known auteurs than previously. It has also joined with Mexico's Expresion den Corto for a summer residence program in Guanajuato, Mexico. Both programs include a dozen of the best young filmmakers in the world, offering them a platform designed to propel their careers with master's classes, workshops and meetings with public and private organizaitons to help obtain financing for their film projects.
The Cannes lineup of 15 films this year includes 4 films by first time directors one of whom is a woman and 2 Latino filmmakers.
Debuting directors:
Taiwan based former actress Show-Chun Lee from France, a protege of Claude Miller with Shanghai-Belleville
Karoly Ujj Meszaros from Hungary with Liza, the Fox-Fairy, a comedic serial killer nurse romp
Diego Quemada-Diez from Mexico with La Jaula de oro
Ruben Sierra Salles from Venezuela with Lucia
A third Latino filmmaker...
The Cannes lineup of 15 films this year includes 4 films by first time directors one of whom is a woman and 2 Latino filmmakers.
Debuting directors:
Taiwan based former actress Show-Chun Lee from France, a protege of Claude Miller with Shanghai-Belleville
Karoly Ujj Meszaros from Hungary with Liza, the Fox-Fairy, a comedic serial killer nurse romp
Diego Quemada-Diez from Mexico with La Jaula de oro
Ruben Sierra Salles from Venezuela with Lucia
A third Latino filmmaker...
- 4/15/2010
- by Sydney
- Sydney's Buzz
Josef von Sternberg's The Saga of Anahatan announces itself as "a postscript" to the Asian portion of World War II, and for many years the film itself has been regarded as a footnote in Sternberg's own career. This has to do at least in part with its rarity. It isn't so rare that it's been entirely possible to see. At the press conference for the 2009 New York Film Festival's screening of Independencia, director Raya Martin's proclamation that Anatahan had been a major influence on his film had a lot of the Bright Young Things of film writing scratching their heads. Point being, you know, that the not-yet-30-year-old Martin has been able to actually see the film. Although one gathers that he did so in an academic context, which now and then provides opportunities that our local repertory cinema doesn't. In any event, a recent French DVD release...
- 2/23/2010
- MUBI
Updated through 10/7.
"Although it occasionally gets carried away by its own reflexive spirit, Independencia is far more than the cute formal exercise its premise suggests," writes Andrew Schenker in the L Magazine. "As he spins his myth-like tale of three generations of Filipino villagers hiding out in the forest from the threat of occupying Yankees, director Raya Martin fits his colonialist story with a colonized aesthetic to match.... [H]e steeps the picture in the look of early Hollywood silents, an appropriate framework through which to process the experience of the colonized Filipinos who were likely exposed to these very movies."...
"Although it occasionally gets carried away by its own reflexive spirit, Independencia is far more than the cute formal exercise its premise suggests," writes Andrew Schenker in the L Magazine. "As he spins his myth-like tale of three generations of Filipino villagers hiding out in the forest from the threat of occupying Yankees, director Raya Martin fits his colonialist story with a colonized aesthetic to match.... [H]e steeps the picture in the look of early Hollywood silents, an appropriate framework through which to process the experience of the colonized Filipinos who were likely exposed to these very movies."...
- 10/7/2009
- MUBI
By Eric Kohn
If the audience for the New York Film Festival is defined as a standard American bunch, there are a number of entries this year to which one could apply the dubious label of "obscure": African melodrama "Min Yè…," sheep-herding documentary "Sweetgrass" and Filipino director Raya Martin's stylish colonialist indictment "Independencia" all fit in there.
There are short films that might seem more "accessible" to casual arthouse audiences, such as Ramin Bahrani's Werner Herzog-narrated "Plastic Bag" and Albert Maysles' R...
If the audience for the New York Film Festival is defined as a standard American bunch, there are a number of entries this year to which one could apply the dubious label of "obscure": African melodrama "Min Yè…," sheep-herding documentary "Sweetgrass" and Filipino director Raya Martin's stylish colonialist indictment "Independencia" all fit in there.
There are short films that might seem more "accessible" to casual arthouse audiences, such as Ramin Bahrani's Werner Herzog-narrated "Plastic Bag" and Albert Maysles' R...
- 10/7/2009
- by Lisa Horowitz
- The Wrap
The 30th anniversary of Fangoria magazine will be honored at a special panel to be held at the 42nd edition of Spain’s prestigious Sitges International Fantastic Film Festival of Catalonia, to be held October 1-12. Longtime Fango editor Tony Timpone will be attending, joined by British correspondents Alan Jones, Calum Waddell and Axelle Carolyn, as well as Italian correspondent Roberto D’Onofrio. The Fango salute will take place on Sunday, Oct. 4 at 5 p.m. in the Tramuntana Room at the Meliá Hotel.
“For the last 30 years, Fangoria has been the cornerstone of the Sitges program’s diet,” says festival director Angel Sala, “the number-one source of information to feed the bowels of the beast. Fango has been the written witness of the horror scene around the world for over three decades. Sitges can only bow and pay due respect with a celebration for the fans.”
“The panel will be...
“For the last 30 years, Fangoria has been the cornerstone of the Sitges program’s diet,” says festival director Angel Sala, “the number-one source of information to feed the bowels of the beast. Fango has been the written witness of the horror scene around the world for over three decades. Sitges can only bow and pay due respect with a celebration for the fans.”
“The panel will be...
- 9/25/2009
- by no-reply@fangoria.com (Fangoria.com)
- Fangoria
The Sitges International Fantastic Film Festival of Catalonia announces its complete program. There are still a few surprises to be confirmed, like the closing gala, but they have already put together the final list of films that will be screened at Sitges 09. Below you’ll find the titles of each film and their sections as well as links for the films that we have already reviewed here on Sound On Sight. Opening Film [Rec]2. Paco Plaza and Jaume Balagueró. 2009. Official FANTÀSTIC In Competition Section Accident. Soi Cheang. 2009. Accidents Happen. Andrew Lancaster. 2009. The Children. Tom Shankland. 2008. [1] Cold Souls. Sophie Bartes. 2009. The Countess. Julie Delpy. 2009. Les Derniers Jours Du Monde. Jean-Marie and Arnaud Larrieu. 2009. Dogtooth (Kynodontas). Yorgos Lanthimos. 2009. Dorian Gray. Oliver Parker. 2009. Enter The Void. Gaspar Noé. 2009. Grace. Paul Solet. 2009. [2] Heartless. Philip Ridley. 2009. Hierro. Gabe Ibáñez. 2009. La Horde. Yannick Dahan and Benjamin Rocher. 2009. Ingrid. Eduard Cortés. 2009. Kinatay. Brillante Mendoza. 2009. Metropia. Tarik Saleh. 2009. Moon.
- 9/19/2009
- by Ricky
- SoundOnSight
The full lineup has been announced, and among the load of genre fare that's been running the fest circuit are the world premiers of:
Vincenzo Natali's latest, Splice, which we're all excited about.
Simon Fellows twisted adaptation Malice in Wonderland (trailer)
Along some of our personal favorites:
Black Dynamite (friggin awesome)
Swiss scifi flick Cargo (trailer)
Pater Sparrow's incredible Stanislaw Lem adaptation 1 (review)
The Mo Brothers Indonesian slasher Macabre (review)
Atm (get it?) horror-comedy The Human Centipede (review)
Full list after the break.
Opening Film
[Rec]2. Paco Plaza and Jaume Balagueró. 2009.
Official FANTÀSTIC In Competition Section
Accident. Soi Cheang. 2009.
Accidents Happen. Andrew Lancaster. 2009.
The Children. Tom Shankland. 2008.
Cold Souls. Sophie Bartes. 2009.
The Countess. Julie Delpy. 2009.
Les Derniers Jours Du Monde. Jean-Marie and Arnaud Larrieu. 2009.
Dogtooth (Kynodontas). Yorgos Lanthimos. 2009.
Dorian Gray. Oliver Parker. 2009.
Enter The Void. Gaspar Noé. 2009.
Grace. Paul Solet. 2009.
Heartless. Philip Ridley. 2009.
Hierro. Gabe Ibáñez. 2009.
La Horde. Yannick Dahan and Benjamin Rocher.
Vincenzo Natali's latest, Splice, which we're all excited about.
Simon Fellows twisted adaptation Malice in Wonderland (trailer)
Along some of our personal favorites:
Black Dynamite (friggin awesome)
Swiss scifi flick Cargo (trailer)
Pater Sparrow's incredible Stanislaw Lem adaptation 1 (review)
The Mo Brothers Indonesian slasher Macabre (review)
Atm (get it?) horror-comedy The Human Centipede (review)
Full list after the break.
Opening Film
[Rec]2. Paco Plaza and Jaume Balagueró. 2009.
Official FANTÀSTIC In Competition Section
Accident. Soi Cheang. 2009.
Accidents Happen. Andrew Lancaster. 2009.
The Children. Tom Shankland. 2008.
Cold Souls. Sophie Bartes. 2009.
The Countess. Julie Delpy. 2009.
Les Derniers Jours Du Monde. Jean-Marie and Arnaud Larrieu. 2009.
Dogtooth (Kynodontas). Yorgos Lanthimos. 2009.
Dorian Gray. Oliver Parker. 2009.
Enter The Void. Gaspar Noé. 2009.
Grace. Paul Solet. 2009.
Heartless. Philip Ridley. 2009.
Hierro. Gabe Ibáñez. 2009.
La Horde. Yannick Dahan and Benjamin Rocher.
- 9/12/2009
- QuietEarth.us
The greatest genre film festival in the world has just announced it's partial 2009 lineup and so far it's a doozy.
The festival's "Discovery" section has always been its signature and this year is no exception with three Quiet Earth favorites topping the list. Pater Sparrow's hypnotic Steinslaw Lem adaption, 1 (review) is playing (which we actually knew but weren't allowed to report) along with micro-budget zombie stunner Colin (review), and the experimental French film Amer.
Full list after the break!
The in-competition Nv Ficció Section:
- Independencia by Raya Martin
- Nymph by Pen-ek Ratanaruang
- Morphia by Sergei Balabanov
- The Forbidden Door by Joko Anwar
- Bronson by Nicolas Refn
- White Lightnin' by Dominic Murphy
- The House of the Devil by Ti West
- Pontypool by Bruce MacDonald
- Van Diemen's land by Jonathan Auf Der Heide
The Nv No Ficció Section:
- Son & Moon. Diario...
The festival's "Discovery" section has always been its signature and this year is no exception with three Quiet Earth favorites topping the list. Pater Sparrow's hypnotic Steinslaw Lem adaption, 1 (review) is playing (which we actually knew but weren't allowed to report) along with micro-budget zombie stunner Colin (review), and the experimental French film Amer.
Full list after the break!
The in-competition Nv Ficció Section:
- Independencia by Raya Martin
- Nymph by Pen-ek Ratanaruang
- Morphia by Sergei Balabanov
- The Forbidden Door by Joko Anwar
- Bronson by Nicolas Refn
- White Lightnin' by Dominic Murphy
- The House of the Devil by Ti West
- Pontypool by Bruce MacDonald
- Van Diemen's land by Jonathan Auf Der Heide
The Nv No Ficció Section:
- Son & Moon. Diario...
- 9/1/2009
- QuietEarth.us
[The Toronto International Film Festival’s south-east Asia programmer Raymond Phathanavirangoon has been giving us a guided tour of his selections for the big festival and today he checks in with some thoughts on Independencia.]
Hi all, after my brief explanation on the director’s cut of Nymph, the next one I’d like to introduce is Raya Martin’s Independencia, a critical darling when it screened in Cannes earlier this year. Apart from being selected for Tiff, the film has also recently been invited to the New York Film Festival. It’s a title that will surely be popular among festivals and cineastes.
Fans of Guy Maddin will find lots to like here, from the clever use of early silent film techniques and hand-painted backdrops to the gorgeous black-and-white cinematography and lush score. But this ain’t My Winnipeg (or My Manila); the genius of this film comes from the rich evocation of Filipino traditional folklore and melodrama, using visual tricks as well as a hilarious American propaganda piece to make its point. It’s also a rare glimpse of the colony back in...
Hi all, after my brief explanation on the director’s cut of Nymph, the next one I’d like to introduce is Raya Martin’s Independencia, a critical darling when it screened in Cannes earlier this year. Apart from being selected for Tiff, the film has also recently been invited to the New York Film Festival. It’s a title that will surely be popular among festivals and cineastes.
Fans of Guy Maddin will find lots to like here, from the clever use of early silent film techniques and hand-painted backdrops to the gorgeous black-and-white cinematography and lush score. But this ain’t My Winnipeg (or My Manila); the genius of this film comes from the rich evocation of Filipino traditional folklore and melodrama, using visual tricks as well as a hilarious American propaganda piece to make its point. It’s also a rare glimpse of the colony back in...
- 8/25/2009
- by Todd Brown
- Screen Anarchy
New York -- The New York Film Festival on Tuesday announced its slate, and it skews a lot more foreign than domestic.
The festival is heavy on such European filmmakers as Michael Haneke ("The White Ribbon"), Alain Resnais (who will open the fest with his "Wild Grass"), Pedro Almodovar ("Broken Embraces") and Claire Denis ("White Material"). Only two U.S. directors have scripted features in the lineup, a recent low for the prestige festival.
"Two years ago, we had the Coen brothers and Wes Anderson and Julian Schnabel and Noah Baumbach and Sidney Lumet," said Richard Pena, programming director and selection committee chair for the Film Society of Lincoln Center. "Last year, there was less, and this year there is much less."
Although that's at least partly a function of the diminishing specialty business -- which in turn has led to a dwindling amount of U.S. auteur fare --...
The festival is heavy on such European filmmakers as Michael Haneke ("The White Ribbon"), Alain Resnais (who will open the fest with his "Wild Grass"), Pedro Almodovar ("Broken Embraces") and Claire Denis ("White Material"). Only two U.S. directors have scripted features in the lineup, a recent low for the prestige festival.
"Two years ago, we had the Coen brothers and Wes Anderson and Julian Schnabel and Noah Baumbach and Sidney Lumet," said Richard Pena, programming director and selection committee chair for the Film Society of Lincoln Center. "Last year, there was less, and this year there is much less."
Although that's at least partly a function of the diminishing specialty business -- which in turn has led to a dwindling amount of U.S. auteur fare --...
- 8/11/2009
- by By Steven Zeitchik
- The Hollywood Reporter - Movie News
Toronto -- The Toronto International Film Festival on Tuesday unveiled a slew of premieres, mostly out of Cannes and Berlin, including the latest films from veterans Manoel de Oliveira, Alain Resnais and Hirokazu Kore-eda.
De Oliveira's "Eccentricities of a Blonde-Haired Girl" will unspool as part of the Masters sidebar, as will Resnais' "Les Herbes Folles" and "Air Doll," Japanese director Kore-eda's drama about a blow-up doll that becomes a real person that stars Korean actress Bae Doo-na.
And the high-profile Contemporary World Cinema program booked Israeli director Haim Tabakman's "Eyes Wide Open," a gay love story set in a religious Jewish community, "Huacho," from Chilean director Alejandro Fernandez Almendras, Korea's "Like You Know It All," by Hong Sang-soo, and Jessica Hausner's "Lourdes."
Other Cwc titles include Asli Ozge's "Men on the Bridge," set in Istanbul, Australian director Sarah Watt's "My Year Without Sex" and from Romania "Police, Adjective," by Corneliu Porumboiu.
Toronto each year unveils titles chosen from earlier international film festivals before it rolls out its own world premieres.
De Oliveira's "Eccentricities of a Blonde-Haired Girl" will unspool as part of the Masters sidebar, as will Resnais' "Les Herbes Folles" and "Air Doll," Japanese director Kore-eda's drama about a blow-up doll that becomes a real person that stars Korean actress Bae Doo-na.
And the high-profile Contemporary World Cinema program booked Israeli director Haim Tabakman's "Eyes Wide Open," a gay love story set in a religious Jewish community, "Huacho," from Chilean director Alejandro Fernandez Almendras, Korea's "Like You Know It All," by Hong Sang-soo, and Jessica Hausner's "Lourdes."
Other Cwc titles include Asli Ozge's "Men on the Bridge," set in Istanbul, Australian director Sarah Watt's "My Year Without Sex" and from Romania "Police, Adjective," by Corneliu Porumboiu.
Toronto each year unveils titles chosen from earlier international film festivals before it rolls out its own world premieres.
- 6/24/2009
- by By Etan Vlessing
- The Hollywood Reporter - Movie News
With a total of 26 pics, we've got some real good looking ones, and our very own Dr. Nathan is tentatively planned to be there to bring us reviews.
How about Air Doll? Check.
Samson & Delilah? Nice.
Fish Tank? Awesome. Our review here.
Check em out after the break.
Masters
Eccentricities of a Blonde-Haired Girl Manoel de Oliveira, France/Portugal/Spain
North American Premiere
Famed filmmaker Oliveira, who celebrates his 101st birthday this year, tells the tale of Macario's obsession with the enticing blond he spies from his window. Little does he know that she will end up stealing much more than his heart.
Les Herbes Folles Alain Resnais, France
North American Premiere
From modernist master Alain Resnais comes a romantic adventure based around the simple act of losing a wallet.
Air Doll Hirokazu Kore-eda, Japan
North American Premiere
This compelling tale of a blow-up doll that becomes a real person...
How about Air Doll? Check.
Samson & Delilah? Nice.
Fish Tank? Awesome. Our review here.
Check em out after the break.
Masters
Eccentricities of a Blonde-Haired Girl Manoel de Oliveira, France/Portugal/Spain
North American Premiere
Famed filmmaker Oliveira, who celebrates his 101st birthday this year, tells the tale of Macario's obsession with the enticing blond he spies from his window. Little does he know that she will end up stealing much more than his heart.
Les Herbes Folles Alain Resnais, France
North American Premiere
From modernist master Alain Resnais comes a romantic adventure based around the simple act of losing a wallet.
Air Doll Hirokazu Kore-eda, Japan
North American Premiere
This compelling tale of a blow-up doll that becomes a real person...
- 6/23/2009
- QuietEarth.us
- Traditionally among Tiff's first wave of announcements are titles that premiered at Cannes and Berlin and are solid enough to merit a North American preem in Toronto. Of the first 26 titles announced, nineteen of them were first shown on the Croisette. Tiff's busy Asian, South American and European curators selected Eyes Wide Open (Haim Tabakman), Huacho (Alejandro Fernandez Almendras), Like You Know It All (Hong Sang-Soo), Lourdes (Jessica Hausner), Men on the Bridge (Asli Özge), My Year without Sex (Sarah Watt), Police, Adjective (Corneliu Porumboiu), The Time that Remains (Elia Suleiman), and The Wind Journeys (Ciro Guerra) for the Contemporary World Cinema section, chose Face (Tsai Ming-Liang), Independencia (Raya Martin), Irène (Alain Cavalier), Karaoke (Chris Chong Chan Fui), Nymph (Pen-ek Ratanaruang) and To Die Like a Man (Joäo Pedro Rodrigues) to populate the Visions sidebar. The "Masters" section will see Air Doll (Hirokazu Kore-eda), Eccentricities of a Blonde-Haired Girl
- 6/23/2009
- IONCINEMA.com
- Former UCLA graduate Kisztina Goda's audience favorite Chameleon becomes Hungary's 2010 entry for the Academy Awards' foreign-language film category and in the same measure, becomes the first film to be added to the annual derby that usually sees sixty plus countries compete for five nomination slots. Since we're on the topic, I thought we'd look at some of the almost guaranteed and highly probable submissions from some of the others countries. North of the Oscar land, Canada should be represented by Denis Villeneuve's gripping drama Polytechnique, while Latin America has some pretty solid contenders in Chile Sebastian Silva's The Maid (a multiple film festival award). Chile's neighbour to the North (Peru) has got a Berlin Film Festival Golden Bear winner in Claudia Llosa's The Milk of Sorrow (her first film Madeinusa got a nom couple of years back) and its neighbour to the East (Argentina) has a
- 6/19/2009
- IONCINEMA.com
- Ioncinema.com Schedule: Today I won't be touching the main comp offerings: I've programmed Looking for Eric for this coming Sunday (day where they replay all the films in comp). Today, I'll venture into the sidebars and catch two Spanish language films and one Quebecois offering from Xavier Dolan (we had a quick interview before coming down to Cannes). Main Comp: Ken Loach's Looking for Eric and Lars von Trier's long awaited Antichrist. Un Certain Regard: Three films scheduled for Ucr include: Irene from Alain Cavalier, Raya Martin's Independencia and Yorgos Lanthimos' Dogtooth - an offering from Greece. Director's Fortnight: Alain Guiraudie's Le Roi de l’évasion, Xavier Dolan's J’ai tué ma mère and Daniel y Ana from Michel Franco. Critic's Week: Uruguay/Spanish production (Bad Day to Go Fishing) from Álvaro Brechner and a special screening from the godfather's of the critic's week: Hierro by Gabe Ibáñez.
- 5/19/2009
- IONCINEMA.com
- Memento Films have a mandate to work in a grassroots manner – when they take on a project they don't take half a dozen others to pay the bills. Last year's films included an esteemed batch of autuer films in: Goodbye Solo, Wendy & Lucy, The Class, Wonderful Town, Under the Bombs and Grown Ups. This year they get to showcase Kamen Kalev's Eastern Plays (Director's Fortnight) and Raya Martin's Independencia (Un Certain Regard) in the comps. For buyers there is the Larrieu pic in post pro as well (see Mathieu Amalric pic below). Eastern Plays by Kamen Kalev - Completed Independencia by Raya Martin – Completed North (Nord) by Rune Denstad Langlo - CompletedTHIS Is The End (Les Derniers Jours Du Monde) by Arnaud Larrieu – Post-Production The Exploding Girl by Bradley Rust Gray – Completed Treeless Mountain by So-Yong Kim – Completed ...
- 5/12/2009
- IONCINEMA.com
Germany seems to already be the winner for having the most coproductions represented in the Cannes Film Festival and its sidebars.
The Berlin production company X-Filme Creative Pool has Competition film The White Ribbon (Das Weisse Band) by the Munich-born director Michael Haneke (a German-Austrian-French-Italian coproduction).
Zehnte Babelsberg Film, a division of Studio Babelsberg AG, is the German producer of the competition entry from Quentin Tarantino's Inglourious Basterds (a US-German coproduction).
Also screening in this year's Competition is Lars von Trier's Antichrist (a Danish-German-French-Swedish-Italian coproduction). The film's German co-producer is Zentropa International, with Heimatfilm as service producer.
The Israeli-French-German coproduction Jaffa by Keren Yedaya will be shown in the Official Program's Special Screenings . The German producer is Rohfilm.
The co-production Eyes Wide Open by Haim Tabakman (Israeli-German-French) will be presented in the Official Program's Un Certain Regard . Riva Film is the German co-producer of the film.
Independencia by Raya Martin (a French-German-Philippine coproduction) and The Wind Journeys (Los Viajes del Viento) by Ciro Guerra (a Colombia-German-Dutch coproduction) can also be seen in this section, both co-produced by Germany's Razor Film Produktion.
27 Films Production, is the German producer of Un Certain Regard entry, Le pere de mes enfants, by Mia Hansen-Løve (a French-German coproduction).
The Critics’ Week will be presenting Cologne-based Pandora Film's co-production Huacho by Alejandro Fernández Almendras (a French-Chilean-German coproduction).
Altiplano, the first breakout film of Helen Loveridge's new international sales agency Meridiana by Peter Brosens and Jessica Woodworth (a Belgian-German-Dutch coproduction), co-produced by ma.ja.de fiction, will also be screened in The Critics' Week.
Another co-production in the Critics’ Week is Lost Persons Area by Caroline Strubbe (a Belgian-Dutch-Hungarian-German coproduction), ZDF/Arte and Network Movie are the German partners.
Also screening in this section is the short Together by Eicke Bettinga (a German-UK coproduction), Piggott-Bettinga Filmproduktion.
This year will also see the Critics’ Week presenting the results of the workshop for European filmmakers CINETRAIN. Filmmakers from different countries worked together on six shorts on a specific subject. Florian Krebs from Germany is one of the three directors of the short McRussia.
The Directors’ Fortnight is showing the Israeli-German coproduction Ajami by Scandar Copti and Yaron Shani. German coproducer is Berlin based Twenty Twenty Vision Filmproduktion.
The Berlin production company X-Filme Creative Pool has Competition film The White Ribbon (Das Weisse Band) by the Munich-born director Michael Haneke (a German-Austrian-French-Italian coproduction).
Zehnte Babelsberg Film, a division of Studio Babelsberg AG, is the German producer of the competition entry from Quentin Tarantino's Inglourious Basterds (a US-German coproduction).
Also screening in this year's Competition is Lars von Trier's Antichrist (a Danish-German-French-Swedish-Italian coproduction). The film's German co-producer is Zentropa International, with Heimatfilm as service producer.
The Israeli-French-German coproduction Jaffa by Keren Yedaya will be shown in the Official Program's Special Screenings . The German producer is Rohfilm.
The co-production Eyes Wide Open by Haim Tabakman (Israeli-German-French) will be presented in the Official Program's Un Certain Regard . Riva Film is the German co-producer of the film.
Independencia by Raya Martin (a French-German-Philippine coproduction) and The Wind Journeys (Los Viajes del Viento) by Ciro Guerra (a Colombia-German-Dutch coproduction) can also be seen in this section, both co-produced by Germany's Razor Film Produktion.
27 Films Production, is the German producer of Un Certain Regard entry, Le pere de mes enfants, by Mia Hansen-Løve (a French-German coproduction).
The Critics’ Week will be presenting Cologne-based Pandora Film's co-production Huacho by Alejandro Fernández Almendras (a French-Chilean-German coproduction).
Altiplano, the first breakout film of Helen Loveridge's new international sales agency Meridiana by Peter Brosens and Jessica Woodworth (a Belgian-German-Dutch coproduction), co-produced by ma.ja.de fiction, will also be screened in The Critics' Week.
Another co-production in the Critics’ Week is Lost Persons Area by Caroline Strubbe (a Belgian-Dutch-Hungarian-German coproduction), ZDF/Arte and Network Movie are the German partners.
Also screening in this section is the short Together by Eicke Bettinga (a German-UK coproduction), Piggott-Bettinga Filmproduktion.
This year will also see the Critics’ Week presenting the results of the workshop for European filmmakers CINETRAIN. Filmmakers from different countries worked together on six shorts on a specific subject. Florian Krebs from Germany is one of the three directors of the short McRussia.
The Directors’ Fortnight is showing the Israeli-German coproduction Ajami by Scandar Copti and Yaron Shani. German coproducer is Berlin based Twenty Twenty Vision Filmproduktion.
- 5/7/2009
- Sydney's Buzz
Direct from Cineuropa:
It’s an impressive feat for Franco-German TV network Arte, which backed 16 features selected in the different sections of the 62nd Cannes Film Festival (May 13-24).
In the Official Selection, Arte is represented by nine features, including two co-productions by Arte France Cinéma in competition: Danish director Lars von Trier’s Antichrist [trailer] (also supported by Arte/Zdf) and Taiwanese filmmaker Tsaï Ming-Liang’s Face.
The Un Certain Regard section includes three films backed by Arte France Cinéma (Father of My Children by France’s Mia Hansen-Love, Irène by fellow French director Alain Cavalier and Independencia by Philippine filmmaker Raya Martin) and two by Arte/Zdf (Eyes Wide Open by Israel’s Haim Tabakman and The Wind Journeys by Colombia’s Ciro Guerra).
In the Official Selection, there will be Special Screenings of Chinese director Zhao Liang’s Petition (co-produced by Arte France) and Israeli filmmaker Keren Yedaya...
It’s an impressive feat for Franco-German TV network Arte, which backed 16 features selected in the different sections of the 62nd Cannes Film Festival (May 13-24).
In the Official Selection, Arte is represented by nine features, including two co-productions by Arte France Cinéma in competition: Danish director Lars von Trier’s Antichrist [trailer] (also supported by Arte/Zdf) and Taiwanese filmmaker Tsaï Ming-Liang’s Face.
The Un Certain Regard section includes three films backed by Arte France Cinéma (Father of My Children by France’s Mia Hansen-Love, Irène by fellow French director Alain Cavalier and Independencia by Philippine filmmaker Raya Martin) and two by Arte/Zdf (Eyes Wide Open by Israel’s Haim Tabakman and The Wind Journeys by Colombia’s Ciro Guerra).
In the Official Selection, there will be Special Screenings of Chinese director Zhao Liang’s Petition (co-produced by Arte France) and Israeli filmmaker Keren Yedaya...
- 5/3/2009
- by Sydney@SydneysBuzz.com (Sydney)
- Sydney's Buzz
Direct from German Film
Germany seems to already be the winner for having the most coproductions represented in the Cannes Film Festival and its sidebars.
Cannes Film Festival director Thierry Frémaux has announced this year's selection for the Official Program. The Berlin production company X-Filme Creative Pool is pleased about the invitation to the Competition for The White Ribbon (Das Weisse Band) by the Munich-born director Michael Haneke (a German-Austrian-French-Italian coproduction). The film tells the story of a school and church choir led by the local teacher in a village in Germany's Protestant North on the eve of the First World War. Strange accidents occur and increasingly assume the character of ritual punishments.
Zehnte Babelsberg Film, a division of Studio Babelsberg Ag, is the German producer of the competition entry from Quentin Tarantino Inglourious Basterds (a Us-German coproduction). The film combines the story of the young Shosanna, whose family are...
Germany seems to already be the winner for having the most coproductions represented in the Cannes Film Festival and its sidebars.
Cannes Film Festival director Thierry Frémaux has announced this year's selection for the Official Program. The Berlin production company X-Filme Creative Pool is pleased about the invitation to the Competition for The White Ribbon (Das Weisse Band) by the Munich-born director Michael Haneke (a German-Austrian-French-Italian coproduction). The film tells the story of a school and church choir led by the local teacher in a village in Germany's Protestant North on the eve of the First World War. Strange accidents occur and increasingly assume the character of ritual punishments.
Zehnte Babelsberg Film, a division of Studio Babelsberg Ag, is the German producer of the competition entry from Quentin Tarantino Inglourious Basterds (a Us-German coproduction). The film combines the story of the young Shosanna, whose family are...
- 5/3/2009
- by Sydney@SydneysBuzz.com (Sydney)
- Sydney's Buzz
- So the inflatable doll magically coming to life tale was perhaps too “out there” for a main comp acceptance, but Hirokazu Kore-eda's Air Doll came on over to Un Certain Regard section along with expect works from Romanian filmmakers Cristian Mungiu (Tales From The Golden Age) and Corneliu Porumboiu (Police, Adjective), France's Denis Dercourt (Demain Des L'aube), Pen-ek Ratanaruang (Nymph) and Cannes regular (The Host, Tokyo!) Bong Joon-Ho and his latest film, Mother. Lee Daniels' Sundance fave is going to Cannes with a buzz worthy, shorter titled Push – this great news explains why the film was pulled out of the New Directors/New Films 2009 fest. Iranian filmmaker Bahman Ghobadi who gave us the devastating Turtles Can Fly a couple of year back comes to the Ucr section with another oddly titled film in Nobody Knows About The Persian Cats. And speaking of Sundance, Cannes' own Atelier de
- 4/23/2009
- IONCINEMA.com
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.