This Saturday on Food Network, viewers are in for a festive culinary delight with “Guy’s Ranch Kitchen” Season 7 Episode 4, titled “Farm-to-Table Holiday.” Hosted by the charismatic Guy Fieri, the episode promises a mouthwatering farm-to-table holiday feast that will leave taste buds tingling.
Airing at 12:00 Pm, the episode features renowned chefs showcasing their culinary prowess. Chef Lee Anne Wong takes center stage with a delectable Smoked Pork Cassoulet, while Chef Aarti Sequeira adds an exotic touch with Duck in Fish Sauce Caramel. The culinary journey continues as Chef Adam Sobel presents his tantalizing Braised Short Ribs, and Hunter Fieri brings in the catch of the day with Red Snapper Escovitch.
Get ready for a flavorful celebration as “Guy’s Ranch Kitchen” serves up a holiday menu that combines freshness, creativity, and the warmth of farm-to-table goodness. Don’t miss this episode packed with delicious dishes that are sure to inspire your own holiday cooking adventures.
Airing at 12:00 Pm, the episode features renowned chefs showcasing their culinary prowess. Chef Lee Anne Wong takes center stage with a delectable Smoked Pork Cassoulet, while Chef Aarti Sequeira adds an exotic touch with Duck in Fish Sauce Caramel. The culinary journey continues as Chef Adam Sobel presents his tantalizing Braised Short Ribs, and Hunter Fieri brings in the catch of the day with Red Snapper Escovitch.
Get ready for a flavorful celebration as “Guy’s Ranch Kitchen” serves up a holiday menu that combines freshness, creativity, and the warmth of farm-to-table goodness. Don’t miss this episode packed with delicious dishes that are sure to inspire your own holiday cooking adventures.
- 11/25/2023
- by Jules Byrd
- TV Everyday
By the conclusion of the 22nd Food Network South Beach Food & Wine Festival (Sobewff), 450 chefs had participated in 110-plus events attended by more than 60,000 food and beverage industry professionals, foodie fans, fine-dining fanatics, lovers of burgers, tacos and fried chicken, and the culinary-curious masses on the hunt for tasty bites and sips and a Guy Fieri selfie.
The wizard behind this culinary oz in the sand is Lee Brian Schrager, arguably one of the most influential people in Miami’s food scene as the founder of Sobewff and chief communications officer and senior vice president of social responsibility for Southern Glazer’s Wine and Spirits, the largest liquor distributor in the United States.
Every winter, he makes magic happen in the Magic City as the event has transformed into being as much about culinary television, book and endorsement deals and celebrity chef sightings as it is about wine and food.
The wizard behind this culinary oz in the sand is Lee Brian Schrager, arguably one of the most influential people in Miami’s food scene as the founder of Sobewff and chief communications officer and senior vice president of social responsibility for Southern Glazer’s Wine and Spirits, the largest liquor distributor in the United States.
Every winter, he makes magic happen in the Magic City as the event has transformed into being as much about culinary television, book and endorsement deals and celebrity chef sightings as it is about wine and food.
- 3/11/2023
- by Melinda Sheckells
- The Hollywood Reporter - Movie News
“Tournament of Champions” Season 4 is finally set at Food Network. The new batch of episodes will fire up Sunday, Feb. 19 at 8 p.m.
The fourth season of the Guy Fieri-hosted bracket-style cooking competition will include a “randomizer wild card” twist, which “progressively get harder and harder in each round.” For the “Tournament of Champions” Season 4 finale on April 9, “Guy is pulling out the ultimate wild card by inviting a surprise judge who is one of the most respected and revered chefs in the world.”
After 8 weeks and 31 grueling head-to-head battles, one chef from the 14-person lineup will win the “Tournament of Champions” belt and a 100,000 cash prize.
The chefs representing the East Coast are: Eric Adjepong, Karen Akunowicz, Kelsey Barnard Clark, Maneet Chauhan, Leah Cohen, Madison Cowan, Tobias Dorzon, Graham Elliot, defending Tournament of Champions III winner Tiffani Faison, Darnell Ferguson, Jose Garces, Ilan Hall, Stephanie Izard, Christian Petroni,...
The fourth season of the Guy Fieri-hosted bracket-style cooking competition will include a “randomizer wild card” twist, which “progressively get harder and harder in each round.” For the “Tournament of Champions” Season 4 finale on April 9, “Guy is pulling out the ultimate wild card by inviting a surprise judge who is one of the most respected and revered chefs in the world.”
After 8 weeks and 31 grueling head-to-head battles, one chef from the 14-person lineup will win the “Tournament of Champions” belt and a 100,000 cash prize.
The chefs representing the East Coast are: Eric Adjepong, Karen Akunowicz, Kelsey Barnard Clark, Maneet Chauhan, Leah Cohen, Madison Cowan, Tobias Dorzon, Graham Elliot, defending Tournament of Champions III winner Tiffani Faison, Darnell Ferguson, Jose Garces, Ilan Hall, Stephanie Izard, Christian Petroni,...
- 1/12/2023
- by Jennifer Maas
- Variety Film + TV
Netflix has previewed a selection of upcoming films and shows aimed at the Arab world and hailing from Saudi Arabia, Kuwait, UAE, Egypt, and Jordan.
The global platform has been steadily making inroads into the Middle East and North Africa since 2015, in the face of fierce competition from local players such as Mbc’s Shahid VIP and Starzplay.
The new productions, mainly due to launch in 2023, include Saudi Arabian feature Alkhallat+, a satirical suspense film based on the hit online show Alkhallat, which was first released in 2017 and received more than 1.5 billion views across YouTube and social media.
The feature is one of the first productions to come down the pipeline under an eight-picture deal with burgeoning Saudi Arabian studio Telfaz11, signed in November 2020.
“The film will feature four exciting comeback stories of social deception and trickery in four unlikely places, bringing the best of this beloved Saudi show to life,...
The global platform has been steadily making inroads into the Middle East and North Africa since 2015, in the face of fierce competition from local players such as Mbc’s Shahid VIP and Starzplay.
The new productions, mainly due to launch in 2023, include Saudi Arabian feature Alkhallat+, a satirical suspense film based on the hit online show Alkhallat, which was first released in 2017 and received more than 1.5 billion views across YouTube and social media.
The feature is one of the first productions to come down the pipeline under an eight-picture deal with burgeoning Saudi Arabian studio Telfaz11, signed in November 2020.
“The film will feature four exciting comeback stories of social deception and trickery in four unlikely places, bringing the best of this beloved Saudi show to life,...
- 10/6/2022
- by Melanie Goodfellow
- Deadline Film + TV
Hope is in the DNA of competitive sports. Comes with it a shot at victory, a rush of optimism for what might follow. The sensation only multiplies through unity — not just with one’s team, but also fans cheering on. Through his profoundly humanistic nonfiction feature debut “Captains of Zaatari,” a moving tale of two Syrian teenagers with a deep love for soccer, filmmaker Ali El Arabi captures what that kind of hope can mean to those with bleakly limited options. He does so with stunning cinematic artistry and precision, honoring the lives he portrays with authenticity and respect.
In the oblique footsteps of Jafar Panahi’s masterful “Offsite” and Adam Sobel’s Sundance-hailing documentary “The Workers Cup,” El Arabi demonstrates an acute understanding of the buoyancy that surrounds soccer, the kind of promise it symbolizes to many around the globe, as well as the set of intricate skills required by the game.
In the oblique footsteps of Jafar Panahi’s masterful “Offsite” and Adam Sobel’s Sundance-hailing documentary “The Workers Cup,” El Arabi demonstrates an acute understanding of the buoyancy that surrounds soccer, the kind of promise it symbolizes to many around the globe, as well as the set of intricate skills required by the game.
- 2/1/2021
- by Tomris Laffly
- Variety Film + TV
Jimmy Chin and Elizabeth Chai Vasarhelyi‘s “Free Solo” leads the third annual Critics’ Choice Documentary Awards with six bids, including Best Documentary and Best Director. Also nabbing nominations in those two top categories is Bing Liu‘s “Minding the Gap,” which is also in the running for Best First Time Director, as well as “Won’t You Be My Neighbor?,” “Dark Money,” “Hitler’s Hollywood,” and “Three Identical Strangers.” In all 10 films were nominated for the top prize at these awards bestowed by the Broadcast Film Critics Assn. (Bfca). The other four are “Crime + Punishment,” “Hal,” “Rbg,” and “Wild Wild Country.”
Last year the Bfca nominated 16 films for this award, three of which –“Abacus: Small Enough to Jail,” “Faces Places,” and “Strong Island” — went on to contend at the Oscars. And in 2016 the Bfca shared its Best Documentary winner (“O.J.: Made in America”) with the Academy...
Last year the Bfca nominated 16 films for this award, three of which –“Abacus: Small Enough to Jail,” “Faces Places,” and “Strong Island” — went on to contend at the Oscars. And in 2016 the Bfca shared its Best Documentary winner (“O.J.: Made in America”) with the Academy...
- 10/16/2018
- by John Benutty
- Gold Derby
Jimmy Chin and Elizabeth Chai Vasarhelyi’s “Free Solo,” which captured rock climber Alex Honnold’s hair-raising ascent of Yosemite National Park’s 3,000-foot El Capitan rock formation, led the nominations for the third annual Critics’ Choice Documentary Awards, it was revealed Monday. The film netted six nominations including best documentary and best director.
Close behind with five mentions each were “Minding the Gap” and “Wild Wild Country,” from Hulu and Netflix respectively.
Voted on by the Broadcast Film Critics and Television Journalists Assns., the awards will be presented at a gala event hosted by science educator and television personality Bill Nye on Saturday, Nov. 10 at Bric in Brooklyn, New York.
The nominees are:
Best Documentary
“Crime + Punishment” – Director: Stephen Maing (Hulu)
“Dark Money” – Director: Kimberly Reed (PBS)
“Free Solo” – Directors: Jimmy Chin, Elizabeth Chai Vasarhelyi (National Geographic Documentary Films)
“Hal” – Director: Amy Scott (Oscilloscope)
“Hitler’s Hollywood” – Director: Rüdiger Suchsland...
Close behind with five mentions each were “Minding the Gap” and “Wild Wild Country,” from Hulu and Netflix respectively.
Voted on by the Broadcast Film Critics and Television Journalists Assns., the awards will be presented at a gala event hosted by science educator and television personality Bill Nye on Saturday, Nov. 10 at Bric in Brooklyn, New York.
The nominees are:
Best Documentary
“Crime + Punishment” – Director: Stephen Maing (Hulu)
“Dark Money” – Director: Kimberly Reed (PBS)
“Free Solo” – Directors: Jimmy Chin, Elizabeth Chai Vasarhelyi (National Geographic Documentary Films)
“Hal” – Director: Amy Scott (Oscilloscope)
“Hitler’s Hollywood” – Director: Rüdiger Suchsland...
- 10/15/2018
- by Kristopher Tapley
- Variety Film + TV
The Workers Cup, which initially premiered at the 2017 Sundance Film Festival, now has its first trailer ahead of a fitting theatrical debut timed to the 2018 World Cup. Adam Sobel makes his directorial debut with this moving and insightful documentary that tells the story of the migrant workers in Qatar who are building the necessary facilities for the 2022 World Cup.
While the working and living conditions are inhumane and disheartening, these workers are given the opportunity to participate in their own soccer tournament. This inclusion and participation offers a glimmer of hope – as heard in the trailer: “With a tournament like this maybe scouts will be coming around to pick players, and so I have this hope and courage that maybe I can have a way out.”
After catching The Workers Cup at Sundance, The Film Stage’s John Fink described the film as “a bittersweet portrait of the labor that built the glimmering towers,...
While the working and living conditions are inhumane and disheartening, these workers are given the opportunity to participate in their own soccer tournament. This inclusion and participation offers a glimmer of hope – as heard in the trailer: “With a tournament like this maybe scouts will be coming around to pick players, and so I have this hope and courage that maybe I can have a way out.”
After catching The Workers Cup at Sundance, The Film Stage’s John Fink described the film as “a bittersweet portrait of the labor that built the glimmering towers,...
- 5/29/2018
- by The Film Stage
- The Film Stage
"People come here to fulfill their dreams." Passion River Films has debuted their official Us trailer for a documentary titled The Workers Cup, which premiered at the Sundance Film Festival last year (in 2017) and went on to play at tons of festivals all over the world including Cph:dox and the Zurich Film Festival. From director Adam Sobel, who spent years in Qatar getting footage, the film profiles the construction of the venues that Qatar is building for the World Cup in 2022. "Inside Qatar's labor camps, African and Asian migrant workers building the facilities of the 2022 World Cup compete in a football tournament of their own." What most people don't know, is that these migrant workers are dying by the dozens (source) trying to complete these facilities, living in terrible conditions - but they still strive on in love for the sport and a desire to contribute something to the world through their hard labor.
- 5/25/2018
- by Alex Billington
- firstshowing.net
Exclusive: Pov, American television’s longest-running independent documentary series, has announced their slate for their 31st season.
The series kicks off with Bill Nye: Science Guy, which puts the spotlight on the beloved titular children’s personality in celebration of Earth Day on April 18. Pov will also premiere the Dark Money, a thrilling doc that focuses on the influence of untraceable corporate money on our elections and elected officials.
Also featured on this season of Pov are critically acclaimed docs Whose Streets?, Quest, Brimstone & Glory, and Nowhere to Hide.
Pov films have won numerous Emmy and Peabody awards. To add to the accolades, four of Pov‘s documentaries featured in the 31st season received Peabody nominations yesterday: Last Men in Aleppo, The Islands and the Whales, Motherland, and America ReFramed: Deej.
Read the complete slate of documentaries below.
Pov 2018 Schedule – Season 31
(All programs air at 10 p.m. unless otherwise noted.
The series kicks off with Bill Nye: Science Guy, which puts the spotlight on the beloved titular children’s personality in celebration of Earth Day on April 18. Pov will also premiere the Dark Money, a thrilling doc that focuses on the influence of untraceable corporate money on our elections and elected officials.
Also featured on this season of Pov are critically acclaimed docs Whose Streets?, Quest, Brimstone & Glory, and Nowhere to Hide.
Pov films have won numerous Emmy and Peabody awards. To add to the accolades, four of Pov‘s documentaries featured in the 31st season received Peabody nominations yesterday: Last Men in Aleppo, The Islands and the Whales, Motherland, and America ReFramed: Deej.
Read the complete slate of documentaries below.
Pov 2018 Schedule – Season 31
(All programs air at 10 p.m. unless otherwise noted.
- 4/11/2018
- by Dino-Ray Ramos
- Deadline Film + TV
Last year’s dozen selections included Rahul Jain’s Machines (World Cinema Documentary Special Jury Award), Adam Sobel’s The Workers Cup and Feras Fayyad’s searing World Cinema Grand Jury Prize: Documentary winning Last Men in Aleppo.
Continue reading...
Continue reading...
- 11/30/2017
- by Eric Lavallée
- IONCINEMA.com
'Ali's Wedding'.
Sydney Film Festival.s audience awards were announced today, with Aussie films topping both categories.
Jeffery Walker.s feature debut Ali.s Wedding, a rom-com.based on the life of star and co-writer Osamah Sami, has taken out best narrative feature, while Kate Hickey.s Roller Dreams, which looks at the.the Venice Beach roller dancing scene from 1978 until now,.won best documentary.
Local films Rip Tide and That.s Not Me also made the audience.s top 10 features. Meanwhile Australian docos formed half the documentary category, including The Last Goldfish, The Opposition, Barbecue, and The Pink House.
Sascha Ettinger Epstein.s The Pink House also won the festival.s Documentary Australia Foundation Award for Australian Documentary, a $10,000 cash prize, on Sunday evening.
.The Foxtel Movies Audience Awards are the people's choice awards, and the winners reflect the most popular films at the Festival,. said Sff director Nashen Moodley.
.This year.Ali.s Wedding.and.Roller Dreams, two wonderful films that both take on remarkable true stories, have clearly made a strong impact on audiences..
.The Festival has premiered some fantastic Australian films this year. This result shows the popularity of Australian cinema at the Sydney Film Festival."
The awards were calculated from 20,000 votes.
The full list is below: The Foxtel Movies Audience Awards
Foxtel Movies Audience Award for Best Narrative Feature Top Ten: 1. Ali's Wedding, directed by Jeffrey Walker (Australia) 2. Call Me By Your Name, directed by Luca Guadagnino (Italy, France) 3. Rip Tide, directed by Rhiannon Bannenberg (Australia) 4. That.s Not Me, directed by Gregory Erdstein (Australia) 5. Brigsby Bear, directed by Dave McCary (USA) 6..On Body and Soul, directed by Ildikó Enyedi (Hungary) 7. God's Own Country, directed by Francis Lee (UK) 8. Sami Blood, directed by Amanda Kernell (Sweden, Denmark, Norway) 9. The Woman Who Left, directed by Lav Diaz (Philippines) 10. The Wound, directed by John Trengrove (South Africa, Germany, The Netherlands, France) Foxtel Movies Audience Award for Best Documentary Top Ten: 1. Roller Dreams, directed by Kate Hickey (Australia) 2. The Last Goldfish, directed by Su Goldfish (Australia) 3. Chauka Please Tell Us the Time, directed by Behrouz Boochani and Arash Kamali Sarvestani (The Netherlands, Papua New Guinea) 4. The Opposition, directed by Hollie Fifer (Australia) 5. Barbecue, directed by Matthew Salleh (Australia) 6. The Workers Cup, directed by Adam Sobel (UK) 7. Rumble: The Indians Who Rocked the World, directed by Catherine Bainbridge and Alfonso Maiorana (Canada) 8. The Farthest, directed by Emer Reynolds (Ireland) 9. The Pink House, directed by Sascha Ettinger Epstein (Australia) 10. It's Not Yet Dark, directed by Frankie Fenton (Ireland)...
Sydney Film Festival.s audience awards were announced today, with Aussie films topping both categories.
Jeffery Walker.s feature debut Ali.s Wedding, a rom-com.based on the life of star and co-writer Osamah Sami, has taken out best narrative feature, while Kate Hickey.s Roller Dreams, which looks at the.the Venice Beach roller dancing scene from 1978 until now,.won best documentary.
Local films Rip Tide and That.s Not Me also made the audience.s top 10 features. Meanwhile Australian docos formed half the documentary category, including The Last Goldfish, The Opposition, Barbecue, and The Pink House.
Sascha Ettinger Epstein.s The Pink House also won the festival.s Documentary Australia Foundation Award for Australian Documentary, a $10,000 cash prize, on Sunday evening.
.The Foxtel Movies Audience Awards are the people's choice awards, and the winners reflect the most popular films at the Festival,. said Sff director Nashen Moodley.
.This year.Ali.s Wedding.and.Roller Dreams, two wonderful films that both take on remarkable true stories, have clearly made a strong impact on audiences..
.The Festival has premiered some fantastic Australian films this year. This result shows the popularity of Australian cinema at the Sydney Film Festival."
The awards were calculated from 20,000 votes.
The full list is below: The Foxtel Movies Audience Awards
Foxtel Movies Audience Award for Best Narrative Feature Top Ten: 1. Ali's Wedding, directed by Jeffrey Walker (Australia) 2. Call Me By Your Name, directed by Luca Guadagnino (Italy, France) 3. Rip Tide, directed by Rhiannon Bannenberg (Australia) 4. That.s Not Me, directed by Gregory Erdstein (Australia) 5. Brigsby Bear, directed by Dave McCary (USA) 6..On Body and Soul, directed by Ildikó Enyedi (Hungary) 7. God's Own Country, directed by Francis Lee (UK) 8. Sami Blood, directed by Amanda Kernell (Sweden, Denmark, Norway) 9. The Woman Who Left, directed by Lav Diaz (Philippines) 10. The Wound, directed by John Trengrove (South Africa, Germany, The Netherlands, France) Foxtel Movies Audience Award for Best Documentary Top Ten: 1. Roller Dreams, directed by Kate Hickey (Australia) 2. The Last Goldfish, directed by Su Goldfish (Australia) 3. Chauka Please Tell Us the Time, directed by Behrouz Boochani and Arash Kamali Sarvestani (The Netherlands, Papua New Guinea) 4. The Opposition, directed by Hollie Fifer (Australia) 5. Barbecue, directed by Matthew Salleh (Australia) 6. The Workers Cup, directed by Adam Sobel (UK) 7. Rumble: The Indians Who Rocked the World, directed by Catherine Bainbridge and Alfonso Maiorana (Canada) 8. The Farthest, directed by Emer Reynolds (Ireland) 9. The Pink House, directed by Sascha Ettinger Epstein (Australia) 10. It's Not Yet Dark, directed by Frankie Fenton (Ireland)...
- 6/21/2017
- by Jackie Keast
- IF.com.au
The team in the changing room before a big match. Left to right: Kenneth, David, Binumon, Purna, Umesh, Padam. Adam Sobel: 'It was an escape for everybody. A psychological escape and a literal escape from the camp and the daily routine' Photo: Courtesy of The Workers Cup LLC
The fifth edition of the Qatar Workers Cup – a tournament set up for those who are working to build the stadia for the 2022 World Cup – got under way in the country on Friday, with organisers promising it would be “bigger and better than before”. The contest, which runs across the next six weeks, will see 32 teams of immigrant workers, vie for the title on many of the pitches they have constructed.
Ahead of this year’s event the Supreme Committee for Delivery & Legacy director of communications Fatma Al Nuaimi said: “The Sc is proud to be supporting the Workers Cup for...
The fifth edition of the Qatar Workers Cup – a tournament set up for those who are working to build the stadia for the 2022 World Cup – got under way in the country on Friday, with organisers promising it would be “bigger and better than before”. The contest, which runs across the next six weeks, will see 32 teams of immigrant workers, vie for the title on many of the pitches they have constructed.
Ahead of this year’s event the Supreme Committee for Delivery & Legacy director of communications Fatma Al Nuaimi said: “The Sc is proud to be supporting the Workers Cup for...
- 3/1/2017
- by Amber Wilkinson
- eyeforfilm.co.uk
Relationships between documentary filmmakers and their subjects must balance access and editorial control, which leaves them walking a line between establishing trust and respecting boundaries. It’s a tricky business.
IndieWire recently asked nonfiction filmmakers behind this year’s Sundance documentary features about the understandings they established with their subjects before they started shooting, and if they considered their stars to be collaborators.
Read More: Fox Searchlight Buys Documentary ‘Step’ For More Than $4 Million — Sundance 2017
Amanda Lipitz “Step” The process started with discussing the idea with the families, especially the mothers of the young women on the step team. We set up a meeting after school one day and all the parents/guardians were invited to attend. I explained my vision of the story, with the emphasis on wanting to tell a positive story about Baltimore, these young women, and what they were trying to accomplish. I absolutely consider them collaborators.
IndieWire recently asked nonfiction filmmakers behind this year’s Sundance documentary features about the understandings they established with their subjects before they started shooting, and if they considered their stars to be collaborators.
Read More: Fox Searchlight Buys Documentary ‘Step’ For More Than $4 Million — Sundance 2017
Amanda Lipitz “Step” The process started with discussing the idea with the families, especially the mothers of the young women on the step team. We set up a meeting after school one day and all the parents/guardians were invited to attend. I explained my vision of the story, with the emphasis on wanting to tell a positive story about Baltimore, these young women, and what they were trying to accomplish. I absolutely consider them collaborators.
- 1/28/2017
- by Chris O'Falt
- Indiewire
IndieWire reached out to the filmmakers behind the feature-length narrative and documentary films premiering this week to find out what cameras they used and why they chose them. Here are their responses.
Read More: The 2017 IndieWire Sundance Bible – Every Review, Interview and News Item Posted During the Festival
Dramatic Competition & Next
Cory Finley, “Thoroughbred”
Arri Alexa Mini. Panavision G-Series lenses.
The Dp, Lyle Vincent, was very particular about getting a hold of both. They gave us flexibility in shooting and helped create the very precise, high-contrast, and slightly dreamy look we were going for.
Gillian Robespierre, “Landline”
Arri Alexa with some vintage lenses
“Landline” takes place in 1990’s Manhattan. My Dp Chris Teague and I talked a lot about what shooting a period movie from a recent period would look and feel like. Unfortunately, we were not able to shoot on film, and added a texture of LiveGrain during color...
Read More: The 2017 IndieWire Sundance Bible – Every Review, Interview and News Item Posted During the Festival
Dramatic Competition & Next
Cory Finley, “Thoroughbred”
Arri Alexa Mini. Panavision G-Series lenses.
The Dp, Lyle Vincent, was very particular about getting a hold of both. They gave us flexibility in shooting and helped create the very precise, high-contrast, and slightly dreamy look we were going for.
Gillian Robespierre, “Landline”
Arri Alexa with some vintage lenses
“Landline” takes place in 1990’s Manhattan. My Dp Chris Teague and I talked a lot about what shooting a period movie from a recent period would look and feel like. Unfortunately, we were not able to shoot on film, and added a texture of LiveGrain during color...
- 1/25/2017
- by Annakeara Stinson and Chris O'Falt
- Indiewire
The 2022 edition of the FIFA World Cup, sometimes referred to as “the biggest sporting event in the world,” will be held in Qatar and Adam Sobel’s documentary The Workers Cup tries to give the countless migrant workers in the Gulf state that have been hired for the necessary and pharaonic construction projects a face. Somewhat ironically, the event of the film’s title is a soccer tournament organized by Qatar for the workers who are constructing the stadiums for the World Cup, giving them the possibility to actually practice the sport that their hard work will be glorifying in the future....
- 1/23/2017
- by Boyd van Hoeij
- The Hollywood Reporter - Movie News
Highlighting the economies of migrant workers from Nepal, India, Ghana, and Kenya living and working in Qatar as the country prepares for the 2022 FIFA World Cup, Adam Sobel’s The Workers Cup highlights the ambitions and dreams of men caught in a form of contract slavery. Working twelve-hour days, seven days a week, a select group of men from the Umm Salal labor camp — a prison-like arrangement of temporary housing–– are chosen to play in The Workers Cup, a tournament sponsored by the same committee organizing the 2022 World Cup.
The men, who are often out of sight and out of mind, are given a voice by American filmmaker Sobel. Quite miraculously, he is permitted to have intimate access to the workers, creating an striking portrait of one team, playing for construction firm Gcc (Gulf Contracting Company). The tournament proves to be rather heartbreaking, especially for Kenneth, a 21-year-old Ghanan with dreams of playing professional football.
The men, who are often out of sight and out of mind, are given a voice by American filmmaker Sobel. Quite miraculously, he is permitted to have intimate access to the workers, creating an striking portrait of one team, playing for construction firm Gcc (Gulf Contracting Company). The tournament proves to be rather heartbreaking, especially for Kenneth, a 21-year-old Ghanan with dreams of playing professional football.
- 1/23/2017
- by John Fink
- The Film Stage
Adam Sobel’s documentary joins the crews of men constructing the venues to be used in 2022 and shocks its audience with their tales of modern-day slavery
This feels like a particularly diverse year for the voices being heard in Sundance’s documentary programme, and The Workers Cup fills a welcome niche in being an all too rare documentary about Qatar, with the added bonus of featuring charismatic characters spanning the world. It’s also a very successful film about modern day slavery which avoids pitying or patronising its subjects.
There has been widespread disbelief that Qatar will host the World Cup in 2022, with regular reports of terrible working conditions for the construction staff working on the stadiums, who face potential injury or death in building a footballing infrastructure from scratch. Information coming out of Qatar can be limited and confusing, and the chances for independent journalists or film-makers to report accurately can be slim.
This feels like a particularly diverse year for the voices being heard in Sundance’s documentary programme, and The Workers Cup fills a welcome niche in being an all too rare documentary about Qatar, with the added bonus of featuring charismatic characters spanning the world. It’s also a very successful film about modern day slavery which avoids pitying or patronising its subjects.
There has been widespread disbelief that Qatar will host the World Cup in 2022, with regular reports of terrible working conditions for the construction staff working on the stadiums, who face potential injury or death in building a footballing infrastructure from scratch. Information coming out of Qatar can be limited and confusing, and the chances for independent journalists or film-makers to report accurately can be slim.
- 1/21/2017
- by Charlie Phillips
- The Guardian - Film News
The journey to Sundance is an all-consuming endeavor and most filmmakers don’t lift their heads until they land in Park City with their Dcp in hand.
For some filmmakers, this year was different. The election of Donald Trump, which snapped so many into a new reality they hadn’t imagined, came just two weeks before most Sundance directors received their golden ticket to the festival. So we asked this year’s directors: Did the election change how you thought about your film, and your career as a filmmaker?
Read More: The 2017 IndieWire Sundance Bible – Every Review, Interview and News Item Posted During the Festival
John Trengove, “The Wound:” The Us election was a big reason why we chose to premiere in Sundance. With race and Lgbt rights being such heated issues in the Us, we thought it would be meaningful to bring a queer film from South Africa, together...
For some filmmakers, this year was different. The election of Donald Trump, which snapped so many into a new reality they hadn’t imagined, came just two weeks before most Sundance directors received their golden ticket to the festival. So we asked this year’s directors: Did the election change how you thought about your film, and your career as a filmmaker?
Read More: The 2017 IndieWire Sundance Bible – Every Review, Interview and News Item Posted During the Festival
John Trengove, “The Wound:” The Us election was a big reason why we chose to premiere in Sundance. With race and Lgbt rights being such heated issues in the Us, we thought it would be meaningful to bring a queer film from South Africa, together...
- 1/20/2017
- by Annakeara Stinson and Chris O'Falt
- Indiewire
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