American indie filmmaker Crystal Moselle has been on both sides of the scripted/non-scripted aisle of storytelling. Her 2015 documentary “The Wolfpack,” about six Angulo brothers confined to a Lower East Side New York housing project apartment while passing their days reenacting scenes from their favorite movies, won the Grand Jury Prize for Documentary at Sundance that year. Her Gotham-nominated feature “Skate Kitchen” took a scripted narrative approach to rolling back the ins and outs of a chaotic subculture of female skateboarders, all coming of age, in New York City. Her latest feature “The Black Sea,” co-directed by the film’s star Derrick B. Harden, takes an entirely unscripted approach to the drama of a Brooklyn barista, Khalid (also played by Harden), with dreams of his own left stranded in Bulgaria, passport stolen, after a catfishing scheme implodes before his eyes.
With Moselle and Harden behind the camera and Harden also in front of it,...
With Moselle and Harden behind the camera and Harden also in front of it,...
- 3/15/2024
- by Ryan Lattanzio
- Indiewire
A young woman plots her escape from behind the Iron Curtain until a baby ruins her plans in this 2014 debut from Maya Vitkova
Maya Vitkova’s eloquent, ambitious, emotionally committed drama Viktoria premiered at Sundance 10 years ago and more than deserves its UK streaming release now. This excellent film would be a striking accomplishment from anyone – and this was actually Vitkova’s debut. It feels fierce and urgent: tremendously designed, acted and shot. Viktoria is an intergenerational women’s story from Bulgaria both before and after the 1989 revolutions, a film that maybe in its absurdism, scepticism and slow-burn passion shows the influences of Romanian director Radu Jude, with whom Vitkova worked on short films. On TV, Vitkova produced an episode of Michael Palin’s BBC TV New Europe travel series, heading across the Balkans; Viktoria, interestingly, has an image of someone walking across the snow, only to be flicked over...
Maya Vitkova’s eloquent, ambitious, emotionally committed drama Viktoria premiered at Sundance 10 years ago and more than deserves its UK streaming release now. This excellent film would be a striking accomplishment from anyone – and this was actually Vitkova’s debut. It feels fierce and urgent: tremendously designed, acted and shot. Viktoria is an intergenerational women’s story from Bulgaria both before and after the 1989 revolutions, a film that maybe in its absurdism, scepticism and slow-burn passion shows the influences of Romanian director Radu Jude, with whom Vitkova worked on short films. On TV, Vitkova produced an episode of Michael Palin’s BBC TV New Europe travel series, heading across the Balkans; Viktoria, interestingly, has an image of someone walking across the snow, only to be flicked over...
- 2/13/2024
- by Peter Bradshaw
- The Guardian - Film News
The SXSW Film & TV Festival said Wednesday that Universal’s The Fall Guy starring Ryan Gosling will serve as the 2024 edition’s Centerpiece film, and Netflix’s 3 Body Problem from David Benioff, D. B. Weiss and Alexander Woo will open the fest’s opening-night TV premiere.
The news comes as the festival, whose 31st edition runs March 8-16 in Austin, unveiled first titles in its Feature and Short Competitions, Midnighters, Global and Xr Experience categories. See the list below, which includes berths for the world premiere of Pamela Adlon’s Babes, the Daisy Ridley-starring Magpie, Prentice Penny’s docuseries Black Twitter, Season 3 of Hacks and the final season of Star Trek: Discovery.
Organizers said today that more titles, including the opening- and closing-night films, will be announced early next month across Headliner, Narrative Feature Competition, Documentary Feature Competition, Narrative Spotlight, Documentary Spotlight, Visions, Midnighter, Global, 24 Beats Per Second,...
The news comes as the festival, whose 31st edition runs March 8-16 in Austin, unveiled first titles in its Feature and Short Competitions, Midnighters, Global and Xr Experience categories. See the list below, which includes berths for the world premiere of Pamela Adlon’s Babes, the Daisy Ridley-starring Magpie, Prentice Penny’s docuseries Black Twitter, Season 3 of Hacks and the final season of Star Trek: Discovery.
Organizers said today that more titles, including the opening- and closing-night films, will be announced early next month across Headliner, Narrative Feature Competition, Documentary Feature Competition, Narrative Spotlight, Documentary Spotlight, Visions, Midnighter, Global, 24 Beats Per Second,...
- 1/10/2024
- by Valerie Complex
- Deadline Film + TV
The 2024 SXSW Film and TV Festival has announced its lineup, with Netflix’s splashy sci-fi series 3 Body Problem opening the fest and the Ryan Gosling and Emily Bunt action comedy The Fall Guy acting as a centerpiece screening.
David Benioff and Dan Weiss are behind 3 Body Problem, based on the book of the same name. David Leitch directed the Universal feature about a Hollywood stuntman (Gosling) who is tasked with tracking down the star of the latest movie he is working on.
The Pamela Adlon movie Babes will also act as a centerpiece screening. The narrative competition features include Crystal Moselle’s latest, The Black Sea, and Barbie Ferreira starrer Bob Trevino Likes It. Elsewhere in the lineup are a Cheech and Chong doc, Tommy Dorfman’s directorial debut, Lilly Singh comedy Doin’ It, and My Dead Friend Zoe, exec produced by NFL star Travis Kelce.
The film...
David Benioff and Dan Weiss are behind 3 Body Problem, based on the book of the same name. David Leitch directed the Universal feature about a Hollywood stuntman (Gosling) who is tasked with tracking down the star of the latest movie he is working on.
The Pamela Adlon movie Babes will also act as a centerpiece screening. The narrative competition features include Crystal Moselle’s latest, The Black Sea, and Barbie Ferreira starrer Bob Trevino Likes It. Elsewhere in the lineup are a Cheech and Chong doc, Tommy Dorfman’s directorial debut, Lilly Singh comedy Doin’ It, and My Dead Friend Zoe, exec produced by NFL star Travis Kelce.
The film...
- 1/10/2024
- by Mia Galuppo
- The Hollywood Reporter - Movie News
Films features ensemble cast that mixes actors and non-professionals - including Laura Benson, Tomas Lemarquis and Irmena Chichikova.
Source: Manekino Film
‘Touch Me Not’
Paris-based Doc & Film International has boarded world sales on Romanian director Adina Pintilie’s hybrid study of intimacy Touch Me Not ahead of its world premiere in competition at the Berlin Film Festival.
“This debut feature has completely overwhelmed us,” commented Doc & Film CEO Daniela Elstner.
“On the fluid border between reality and fiction, Touch Me Not is a film about how human beings can find intimacy in the most unexpected ways, about how to love another without losing ourselves.”
The film is a co-production between Bucharest-based Manekino Film, German film company Rohfilm Productions, Prague-based Pink Productions, Budapest Agitprop and French production company Les Films de L’Etranger.
It features an equally cosmopolitan, ensemble cast - mixing actors and non-professionals - including Paris-based British actress Laura Benson, Icelandic actor Tomas Lemarquis...
Source: Manekino Film
‘Touch Me Not’
Paris-based Doc & Film International has boarded world sales on Romanian director Adina Pintilie’s hybrid study of intimacy Touch Me Not ahead of its world premiere in competition at the Berlin Film Festival.
“This debut feature has completely overwhelmed us,” commented Doc & Film CEO Daniela Elstner.
“On the fluid border between reality and fiction, Touch Me Not is a film about how human beings can find intimacy in the most unexpected ways, about how to love another without losing ourselves.”
The film is a co-production between Bucharest-based Manekino Film, German film company Rohfilm Productions, Prague-based Pink Productions, Budapest Agitprop and French production company Les Films de L’Etranger.
It features an equally cosmopolitan, ensemble cast - mixing actors and non-professionals - including Paris-based British actress Laura Benson, Icelandic actor Tomas Lemarquis...
- 1/30/2018
- by Melanie Goodfellow
- ScreenDaily
Christian Petzold, Emily Atef, Lance Daly join Berlinale.
Source: Great Point Media
‘Damsel’
Another ten films have joined the Competition of the 68th edition of the Berlin International Film Festival (Feb 15 - 25). Three more have also been selected for the programme of the Berlinale Special.
Joining the eight Competition films and two Berlinale Special titles are 13 productions from Argentina, Australia, Austria, Brazil, Bulgaria, Czech Republic, France, Germany, Hong Kong - China, Iran, Ireland, Luxembourg, Norway, Paraguay, People’s Republic of China, Romania, Sweden, Switzerland, the United Kingdom, Uruguay, and the USA.
Joining the main competition are Barbara and Phoenix director Christian Petzold’s new drama Transit, a contemporary reworking of Anna Seghers’ 1944 novel about refugees attempting to flee through Marseille after the Nazi invasion of France in 1940. The film stars Frantz breakout Paula Beer.
Also new to competition is David and Nathan Zellner’s Damsel, the western about a Us businessman who travels to join his fiancée...
Source: Great Point Media
‘Damsel’
Another ten films have joined the Competition of the 68th edition of the Berlin International Film Festival (Feb 15 - 25). Three more have also been selected for the programme of the Berlinale Special.
Joining the eight Competition films and two Berlinale Special titles are 13 productions from Argentina, Australia, Austria, Brazil, Bulgaria, Czech Republic, France, Germany, Hong Kong - China, Iran, Ireland, Luxembourg, Norway, Paraguay, People’s Republic of China, Romania, Sweden, Switzerland, the United Kingdom, Uruguay, and the USA.
Joining the main competition are Barbara and Phoenix director Christian Petzold’s new drama Transit, a contemporary reworking of Anna Seghers’ 1944 novel about refugees attempting to flee through Marseille after the Nazi invasion of France in 1940. The film stars Frantz breakout Paula Beer.
Also new to competition is David and Nathan Zellner’s Damsel, the western about a Us businessman who travels to join his fiancée...
- 1/15/2018
- by Andreas Wiseman
- ScreenDaily
Christian Petzold, Emily Atef, Lance Daly join Berlinale.
Source: Great Point Media
‘Damsel’
Another ten films have joined the Competition of the 68th edition of the Berlin International Film Festival. Three more have also been selected for the programme of the Berlinale Special.
Joining the eight Competition films and two Berlinale Special titles are 13 productions from Argentina, Australia, Austria, Brazil, Bulgaria, Czech Republic, France, Germany, Hong Kong - China, Iran, Ireland, Luxembourg, Norway, Paraguay, People’s Republic of China, Romania, Sweden, Switzerland, the United Kingdom, Uruguay, and the USA.
Additional films for both categories are due to be revealed soon. Films announced today are:
Competition
3 Tage in Quiberon (3 Days in Quiberon)
Germany / Austria / France
By Emily Atef (Molly’s Way, The Stranger In Me)
With Marie Bäumer, Birgit Minichmayr, Charly Hübner, Robert Gwisdek, Denis Lavant
World premiere
Black 47
Ireland / Luxembourg
By Lance Daly (Kisses, The Good Doctor)
With Hugo Weaving, James Frecheville, Stephen Rea, [link...
Source: Great Point Media
‘Damsel’
Another ten films have joined the Competition of the 68th edition of the Berlin International Film Festival. Three more have also been selected for the programme of the Berlinale Special.
Joining the eight Competition films and two Berlinale Special titles are 13 productions from Argentina, Australia, Austria, Brazil, Bulgaria, Czech Republic, France, Germany, Hong Kong - China, Iran, Ireland, Luxembourg, Norway, Paraguay, People’s Republic of China, Romania, Sweden, Switzerland, the United Kingdom, Uruguay, and the USA.
Additional films for both categories are due to be revealed soon. Films announced today are:
Competition
3 Tage in Quiberon (3 Days in Quiberon)
Germany / Austria / France
By Emily Atef (Molly’s Way, The Stranger In Me)
With Marie Bäumer, Birgit Minichmayr, Charly Hübner, Robert Gwisdek, Denis Lavant
World premiere
Black 47
Ireland / Luxembourg
By Lance Daly (Kisses, The Good Doctor)
With Hugo Weaving, James Frecheville, Stephen Rea, [link...
- 1/15/2018
- by Andreas Wiseman
- ScreenDaily
Clocking in at 155 minutes, Viktoria is as narratively ambitious as debut feature films come. The first picture from director Maya Vitkova, Viktoria is a lengthy and admittedly dense drama, but one that is both audacious in its length, and also decidedly boundary pushing in its subject matter.
Set in Bulgaria during the fall of the communist regime and birth of its democratic system, Viktova’s film at first introduces us to a woman named Boryana (played by the brazenly magnetic Irmena Chichikova) who, through sparse dialogue and even more sparse direction, reveals that she is at once both politically antagonistic towards her ruling government and also pregnant with a child she doesn’t want to have. With dreams of leaving her sterile life in the arms of a country she despises and a husband who is nothing but a crony for that very government, she tries everything in her power to end the pregnancy, only to birth a child of absolute wonder. Born without a belly button, her daughter Viktoria becomes the “Child of the Century,” and ultimately a piece of propaganda for the government, receiving gift after gift from the country.
Throughout this portion of the narrative, and ultimately the film as a whole, Vitkova intersperses both archival footage timestamping the narrative as well as bursts of stark surrealism into what is an almost Dardenne-esque bit of neo-realism. Very much rooted in the type of cinema coming out of Bulgaria’s neighbor to the north, Romania, Vitkova’s direction is dry and static, making these brief punches of surrealism create a world that is at once naturalistic and lived in at yet oozing satirical otherworldliness. A nightmarish segment like the moment in which Viktoria is named Child of the Century, set in a blindingly white hospital room with groups of doctors and government stooges splitting the frame, make the film seem almost Lynchian when paired up against the quiet realism of the previous segments.
When Boryana’s mother arrives on the scene, played wonderfully by Mariana Krumova, the film evolves from strict political satire into something much more ambitious. This picture is as much about a nation on the brink as it is the place of women in Bulgarian society and ultimately the film becomes a familial drama about deep-seeded pains. The lengthy runtime here ultimately hints the viewer into what is a scatterbrained meditation on life in Bulgaria, but with Vitkova’s eyes squarely on the feminine experience this is a singular piece of work. And thankfully, the performances help elevate the material as well.
Chichikova holds much of the film’s weight upon her shoulders, and is more than capable. As the film evolves we begin to unravel layer after layer of Boryana, and discover that she’s more than just a political dissident. Deeply troubled by a less than stellar upbringing as the film goes into length about, Boryana is a character full of nuance and Chichikova’s performance feels completely lived in and coming out of a place of truth and emotional texture. Daria Vitkova is great as Viktoria, and Krumova is a real revelation as Dima, with her moments with Chichikova’s Boryana being really stand out sequences. Vitkova’s turn as Viktoria is a powerfully nuanced turn for such a young actress, and there’s something to her characterization of Viktoria that feels entirely real and raw.
While the film’s run time will absolutely leave some viewers at a pause, this is just the type of quiet, emotionally resonant bit of world cinema counter programming that people will be craving as we head into the summer film season. Marking the debut of a new and singular voice on the world cinema stage (aided by Krum Rodriguez’s brilliant, award-worthy cinematography), Viktoria is an audacious, admittedly scattershot, drama about everything from Bulgaria politics to the female body. While it might not all work, the world would be a far better place if more young directors were this ambitious.
Set in Bulgaria during the fall of the communist regime and birth of its democratic system, Viktova’s film at first introduces us to a woman named Boryana (played by the brazenly magnetic Irmena Chichikova) who, through sparse dialogue and even more sparse direction, reveals that she is at once both politically antagonistic towards her ruling government and also pregnant with a child she doesn’t want to have. With dreams of leaving her sterile life in the arms of a country she despises and a husband who is nothing but a crony for that very government, she tries everything in her power to end the pregnancy, only to birth a child of absolute wonder. Born without a belly button, her daughter Viktoria becomes the “Child of the Century,” and ultimately a piece of propaganda for the government, receiving gift after gift from the country.
Throughout this portion of the narrative, and ultimately the film as a whole, Vitkova intersperses both archival footage timestamping the narrative as well as bursts of stark surrealism into what is an almost Dardenne-esque bit of neo-realism. Very much rooted in the type of cinema coming out of Bulgaria’s neighbor to the north, Romania, Vitkova’s direction is dry and static, making these brief punches of surrealism create a world that is at once naturalistic and lived in at yet oozing satirical otherworldliness. A nightmarish segment like the moment in which Viktoria is named Child of the Century, set in a blindingly white hospital room with groups of doctors and government stooges splitting the frame, make the film seem almost Lynchian when paired up against the quiet realism of the previous segments.
When Boryana’s mother arrives on the scene, played wonderfully by Mariana Krumova, the film evolves from strict political satire into something much more ambitious. This picture is as much about a nation on the brink as it is the place of women in Bulgarian society and ultimately the film becomes a familial drama about deep-seeded pains. The lengthy runtime here ultimately hints the viewer into what is a scatterbrained meditation on life in Bulgaria, but with Vitkova’s eyes squarely on the feminine experience this is a singular piece of work. And thankfully, the performances help elevate the material as well.
Chichikova holds much of the film’s weight upon her shoulders, and is more than capable. As the film evolves we begin to unravel layer after layer of Boryana, and discover that she’s more than just a political dissident. Deeply troubled by a less than stellar upbringing as the film goes into length about, Boryana is a character full of nuance and Chichikova’s performance feels completely lived in and coming out of a place of truth and emotional texture. Daria Vitkova is great as Viktoria, and Krumova is a real revelation as Dima, with her moments with Chichikova’s Boryana being really stand out sequences. Vitkova’s turn as Viktoria is a powerfully nuanced turn for such a young actress, and there’s something to her characterization of Viktoria that feels entirely real and raw.
While the film’s run time will absolutely leave some viewers at a pause, this is just the type of quiet, emotionally resonant bit of world cinema counter programming that people will be craving as we head into the summer film season. Marking the debut of a new and singular voice on the world cinema stage (aided by Krum Rodriguez’s brilliant, award-worthy cinematography), Viktoria is an audacious, admittedly scattershot, drama about everything from Bulgaria politics to the female body. While it might not all work, the world would be a far better place if more young directors were this ambitious.
- 4/29/2016
- by Joshua Brunsting
- CriterionCast
Loosely based on a stranger than fiction story of a Bulgarian baby born without a belly button and umbilical cord, the expansive Viktoria is part-political allegory, part-coming of age psychodrama, and part-graphically sensual ode to the experiences of women. Set in the decade before the impending collapse of the socialist regime and the ensuing decade after, Maya Vitkova’s debut looks at the internal effects of an oppressive environment on the lives of three generations of women.
In one of many enigmatic storytelling touches, Viktoria painstakingly marks the time periods, opening with a long sequence establishing the political status quo through archival footage, but it belies the true intentions of the movie, which are less engaged with the intimate details of these periods of government and more interested in probing how these fluid governments influence individuals on a psychological level.
For nearly the first forty five minutes, Viktoria centers only...
In one of many enigmatic storytelling touches, Viktoria painstakingly marks the time periods, opening with a long sequence establishing the political status quo through archival footage, but it belies the true intentions of the movie, which are less engaged with the intimate details of these periods of government and more interested in probing how these fluid governments influence individuals on a psychological level.
For nearly the first forty five minutes, Viktoria centers only...
- 4/27/2016
- by Michael Snydel
- The Film Stage
The first Bulgarian film ever to screen at Sundance, Maya Vitkova’s “Viktoria” manages to say a lot in very few words. “I think words are useless,” the director offered following the film’s premiere, “the emotion is in the image.” Unfolding against the backdrop of the fall of communism, Vitkova’s lyrical imagery elevates her semi-autobiographical debut to poetic heights. Born without an umbilical chord, baby Viktoria’s relationship with her mother (Irmena Chichikova) is severed before it even begins. Hailed as a living symbol of the communist party, the love Viktoria knows growing up is more gubernatorial than it is maternal. Acerbic and absurdist in equal measure, the film forges a powerful metaphorical link between the physical body and the body politic. It’s November 10, 1979, ten years before the fall of communism and Boranya (Chichikova) and her husband Ivan (Dimo Divov) are quietly writhing beneath a set of...
- 1/27/2014
- by Emma Myers
- Indiewire
The 2014 Sundance Film Festival is right around the corner, and the Sundance Institute has released the full line-up for the competition films that will be premiering!
This year there were 12,218 total submissions, and 117 films were accepted from 37 countries around the world. It looks like there's a lot of good selection of films this year.
The Sundance Film Festival 2014 runs from January 16th to the 26th, and the GeekTyrant team will be there to cover as many movies as we possibly can.
U.S. Dramatic Competition
The 16 films in this section are world premieres and, unless otherwise noted, are from the U.S.
“Camp X-Ray” — Directed and written by Peter Sattler. A young female guard at Guantanamo Bay forms an unlikely friendship with one of the detainees. Cast: Kristen Stewart, Payman Maadi, Lane Garrison, J.J. Soria, John Carroll Lynch.
“Cold in July” — Directed by Jim Mickle, written by Nick Damici.
This year there were 12,218 total submissions, and 117 films were accepted from 37 countries around the world. It looks like there's a lot of good selection of films this year.
The Sundance Film Festival 2014 runs from January 16th to the 26th, and the GeekTyrant team will be there to cover as many movies as we possibly can.
U.S. Dramatic Competition
The 16 films in this section are world premieres and, unless otherwise noted, are from the U.S.
“Camp X-Ray” — Directed and written by Peter Sattler. A young female guard at Guantanamo Bay forms an unlikely friendship with one of the detainees. Cast: Kristen Stewart, Payman Maadi, Lane Garrison, J.J. Soria, John Carroll Lynch.
“Cold in July” — Directed by Jim Mickle, written by Nick Damici.
- 12/5/2013
- by Joey Paur
- GeekTyrant
Sundance Film Festival continues to be one of the most popular, and arguably one of the most important, events on the industry calendar, launching as it does some of the most prominent independent films at the start of each year.
This year will be no different, with Sundance announcing last night the initial line-up of films screening in competition, led by Song One, starring Anne Hathaway; Camp X-Ray, starring Kristen Stewart; Infinitely Polar Bear, with Mark Ruffalo and Zoe Saldana; Joe Swanberg’s Happy Christmas, starring Anna Kendrick, Melanie Lynskey, Mark Webber, Lena Dunham, and Swanberg himself; The Skeleton Twins, with Bill Hader, Kristen Wiig, Luke Wilson, and Ty Burrell; Life After Beth, with Aubrey Plaza, Dane DeHaan, and John C. Reilly; Listen Up Philip, with Jason Schwartzman and Elisabeth Moss; Whiplash, starring Miles Teller and J.K. Simmons; and many, many more.
U.S. Dramatic Competition
Presenting the world premieres of 16 narrative feature films,...
This year will be no different, with Sundance announcing last night the initial line-up of films screening in competition, led by Song One, starring Anne Hathaway; Camp X-Ray, starring Kristen Stewart; Infinitely Polar Bear, with Mark Ruffalo and Zoe Saldana; Joe Swanberg’s Happy Christmas, starring Anna Kendrick, Melanie Lynskey, Mark Webber, Lena Dunham, and Swanberg himself; The Skeleton Twins, with Bill Hader, Kristen Wiig, Luke Wilson, and Ty Burrell; Life After Beth, with Aubrey Plaza, Dane DeHaan, and John C. Reilly; Listen Up Philip, with Jason Schwartzman and Elisabeth Moss; Whiplash, starring Miles Teller and J.K. Simmons; and many, many more.
U.S. Dramatic Competition
Presenting the world premieres of 16 narrative feature films,...
- 12/5/2013
- by Kenji Lloyd
- HeyUGuys.co.uk
God’S Pocket
Sundance Institute announced today the films selected for the U.S. and World Cinema Dramatic and Documentary Competitions and the out-of-competition section of the 2014 Sundance Film Festival, January 16-26 in Park City, Salt Lake City, Ogden and Sundance, Utah.
Robert Redford, President & Founder of Sundance Institute said, “That the Festival has evolved and grown as it has over the past 30 years is a credit to both our audiences and our artists, who continue to find ways to take risks and open our minds to the power of story. This year’s films and artists promise to do the same.”
For the 2014 Sundance Film Festival, 118 feature-length films were selected, representing 37 countries and 54 first-time filmmakers, including 34 in competition. These films were selected from 12,218 submissions (72 more than for 2013), including 4,057 feature-length films and 8,161 short films. Of the feature film submissions, 2,014 were from the U.S. and 2,043 were international. 97 feature films at...
Sundance Institute announced today the films selected for the U.S. and World Cinema Dramatic and Documentary Competitions and the out-of-competition section of the 2014 Sundance Film Festival, January 16-26 in Park City, Salt Lake City, Ogden and Sundance, Utah.
Robert Redford, President & Founder of Sundance Institute said, “That the Festival has evolved and grown as it has over the past 30 years is a credit to both our audiences and our artists, who continue to find ways to take risks and open our minds to the power of story. This year’s films and artists promise to do the same.”
For the 2014 Sundance Film Festival, 118 feature-length films were selected, representing 37 countries and 54 first-time filmmakers, including 34 in competition. These films were selected from 12,218 submissions (72 more than for 2013), including 4,057 feature-length films and 8,161 short films. Of the feature film submissions, 2,014 were from the U.S. and 2,043 were international. 97 feature films at...
- 12/5/2013
- by Michelle McCue
- WeAreMovieGeeks.com
It’s among the two sections that we usually don’t put much focus on (yes, we love subtitles, but we’re more concerned, naturally more inclined to cover the deluge of American Indie film offerings) but among the dozen film selections in the World Cinema Dramatic Comp section we find the latest from Argentinean director Natalia Smirnoff (she gave us the Berlin Film Fest winner The Puzzle) who returns with Lock Charmer, we find the highly anticipated film from Hong Khaou (Lilting) and a title which we start speculating on last year in Stuart Murdoch’s God Help the Girl which stars Emily Browning, Olly Alexander and Hannah Murray (see pic above). Also worth the mention is the directing debut from writer Eskil Vogt – who co-wrote Reprise and Oslo, August 31st for Joachim Trier. Here are the dozen selected.
“52 Tuesdays” (Australia) — Directed by Sophie Hyde, written by Matthew Cormack.
“52 Tuesdays” (Australia) — Directed by Sophie Hyde, written by Matthew Cormack.
- 12/4/2013
- by Eric Lavallee
- IONCINEMA.com
The U.S. and World Cinema Dramatic and Documentary Competition lineups for the 2014 Sundance Film Festival were announced today and just below I have featured pictures from the 16 films that will be competing in the U.S. Dramatic competition and they feature a lot of names you're going to recognize. The titles begin with Camp X-Ray, which stars Kristen Stewart as a guard in Guantanamo Bay, where she forms an unlikely friendship with one of the detainees. Jim Mickle made an impact earlier this year with We Are What We Are and he returns with Michael C. Hall with Cold in July. Fishing Without Nets looks to tell a story similar to that of Captain Phillips, only this time from the Somali side of things; God's Pocket is "Mad Men" star John Slattery's writing and directorial debut and he's lined up an impressive cast including Philip Seymour Hoffman, Richard Jenkins,...
- 12/4/2013
- by Brad Brevet
- Rope of Silicon
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