Olivér Rudolf’s “My Mother, the Monster” has won the Eurimages Co-Production Development Award at Sarajevo Film Festival’s CineLink, its industry section that featured projects from Southeast Europe, the Middle East and North Africa.
The Hungarian feature film project, which is produced by Genovéva Petrovits at Kino Alfa, received a cash prize of €20,000.
The film focuses on Éva, a mother in her forties who is disappointed with her life and tired of feeling insignificant. She finds a new identity behind a scary monster mask which liberates her.
The Post Republic Award, in the CineLink Work in Progress section, went to “One of Those Days Where Hemme Dies,” directed by Murat Fıratoğlu. The project, which is produced by Nefes Polat at Turkey’s Nefes Films, receives post-production services worth €30,000.
The film shows one day in the life of Eyüp, a poor guy in the city, working hard drying and salting tomatoes under the summer sun.
The Hungarian feature film project, which is produced by Genovéva Petrovits at Kino Alfa, received a cash prize of €20,000.
The film focuses on Éva, a mother in her forties who is disappointed with her life and tired of feeling insignificant. She finds a new identity behind a scary monster mask which liberates her.
The Post Republic Award, in the CineLink Work in Progress section, went to “One of Those Days Where Hemme Dies,” directed by Murat Fıratoğlu. The project, which is produced by Nefes Polat at Turkey’s Nefes Films, receives post-production services worth €30,000.
The film shows one day in the life of Eyüp, a poor guy in the city, working hard drying and salting tomatoes under the summer sun.
- 8/17/2023
- by Leo Barraclough
- Variety Film + TV
International sellers talked about how they work to engage critics, buyers and then audiences.
The clock is always ticking and sales agents representing indie films at major festivals have as little as two days to close the key deals before the opportunity vanishes. This was one of the insights provided at Sarajevo’s Cinelink Industry Days panel ‘Perspectives on Independent Cinema and Global Content’ this week.
Sébastien Chesneau, founder of Dubai-based sales outfit Cercamon, emphasised the need to act quickly at film markets. “There is a window of maybe two days when the distributors are still at the festival and...
The clock is always ticking and sales agents representing indie films at major festivals have as little as two days to close the key deals before the opportunity vanishes. This was one of the insights provided at Sarajevo’s Cinelink Industry Days panel ‘Perspectives on Independent Cinema and Global Content’ this week.
Sébastien Chesneau, founder of Dubai-based sales outfit Cercamon, emphasised the need to act quickly at film markets. “There is a window of maybe two days when the distributors are still at the festival and...
- 8/17/2023
- by Geoffrey Macnab
- ScreenDaily
The deadline for applications to take over from Tuttle is today (January 16).
Outgoing director of festivals at the British Film Institute (BFI) Tricia Tuttle has revealed she is taking on the role of acting head of department, directing fiction, at the UK’s National Film and Television School (Nfts), while the deadline for applications to take over her role at the BFI is today (January 16).
Tuttle has already taken up the Nfts role and will be in the position until September. It is an interim post, in which Tuttle reports directly into Nfts director Jon Wardle, with the Nfts advertising...
Outgoing director of festivals at the British Film Institute (BFI) Tricia Tuttle has revealed she is taking on the role of acting head of department, directing fiction, at the UK’s National Film and Television School (Nfts), while the deadline for applications to take over her role at the BFI is today (January 16).
Tuttle has already taken up the Nfts role and will be in the position until September. It is an interim post, in which Tuttle reports directly into Nfts director Jon Wardle, with the Nfts advertising...
- 1/16/2023
- by Mona Tabbara
- ScreenDaily
The deadline for applications to take over from Tuttle is today (January 16).
Outgoing director of festivals at the British Film Institute (BFI) Tricia Tuttle has revealed she is taking on the role of acting head of department, directing fiction, at the UK’s National Film and Television School (Nfts), while the deadline for applications to take over her role at the BFI hits today (November 16).
It is understood that Tuttle has already taken up the Nfts role and will be in the position until September. The directing fiction Ma at Nfts is a two-year course, that costs £14,800 per year.
Tuttle,...
Outgoing director of festivals at the British Film Institute (BFI) Tricia Tuttle has revealed she is taking on the role of acting head of department, directing fiction, at the UK’s National Film and Television School (Nfts), while the deadline for applications to take over her role at the BFI hits today (November 16).
It is understood that Tuttle has already taken up the Nfts role and will be in the position until September. The directing fiction Ma at Nfts is a two-year course, that costs £14,800 per year.
Tuttle,...
- 1/16/2023
- by Mona Tabbara
- ScreenDaily
Who does the industry believe would be a good fit to take over from Tricia Tuttle?
The British Film Institute (BFI) has formally begun its search for a new festivals director to take over from Tricia Tuttle.
Tuttle is moving on after officially taking on the role in 2018, having previously held the post of interim festival director for a year and deputy head of festivals for five years.
The role, which comes with an annual salary of £85,000, will include festival director of the flagship BFI London Film Festival (BFI Lff) and also Lgbtqia+ festival BFI Flare, which next takes place...
The British Film Institute (BFI) has formally begun its search for a new festivals director to take over from Tricia Tuttle.
Tuttle is moving on after officially taking on the role in 2018, having previously held the post of interim festival director for a year and deputy head of festivals for five years.
The role, which comes with an annual salary of £85,000, will include festival director of the flagship BFI London Film Festival (BFI Lff) and also Lgbtqia+ festival BFI Flare, which next takes place...
- 12/14/2022
- by Mona Tabbara
- ScreenDaily
Who does the industry believe would be a good fit to take over from Tricia Tuttle?
The British Film Institute (BFI) has formally begun its search for a new festivals director to take over from Tricia Tuttle.
Tuttle is moving on after officially taking on the role in 2018, having previously held the post of interim festival director for a year and deputy head of festivals for five years.
The role, which comes with an annual salary of £85,000, will include festival director of the flagship BFI London Film Festival (BFI Lff) and also Lgbtqia+ festival BFI Flare, which next takes place...
The British Film Institute (BFI) has formally begun its search for a new festivals director to take over from Tricia Tuttle.
Tuttle is moving on after officially taking on the role in 2018, having previously held the post of interim festival director for a year and deputy head of festivals for five years.
The role, which comes with an annual salary of £85,000, will include festival director of the flagship BFI London Film Festival (BFI Lff) and also Lgbtqia+ festival BFI Flare, which next takes place...
- 12/14/2022
- by Mona Tabbara
- ScreenDaily
The nonfiction organization Cinema Eye and its nominations committee of top international documentary film programmers, curators, and filmmakers has picked their annual list of “Unforgettables” who helped to define documentary cinema in 2017. They selected 30 individuals from 15 different films to be in the running for this year’s Cinema Eye awards. Like the Doc NYC shortlist, many of the films on this curated list are in the running for the year’s top awards, including the Oscar. “Jane,” “Faces Places,” “City of Ghosts,” and “Strong Island” continue to lead the documentary awards pack.
The full slate of Cinema Eye nominations for nonfiction feature, short, and broadcast films/series will be be announced on Friday, November 3 in San Francisco at Sffilm’s Doc Stories event. Awards will be presented in New York City at the Museum of the Moving Image on Thursday, January 11, 2018.
Read More:doc NYC Announces Its Awards Short List, Including ‘Icarus,...
The full slate of Cinema Eye nominations for nonfiction feature, short, and broadcast films/series will be be announced on Friday, November 3 in San Francisco at Sffilm’s Doc Stories event. Awards will be presented in New York City at the Museum of the Moving Image on Thursday, January 11, 2018.
Read More:doc NYC Announces Its Awards Short List, Including ‘Icarus,...
- 10/18/2017
- by Anne Thompson
- Thompson on Hollywood
The nonfiction organization Cinema Eye and its nominations committee of top international documentary film programmers, curators, and filmmakers has picked their annual list of “Unforgettables” who helped to define documentary cinema in 2017. They selected 30 individuals from 15 different films to be in the running for this year’s Cinema Eye awards. Like the Doc NYC shortlist, many of the films on this curated list are in the running for the year’s top awards, including the Oscar. “Jane,” “Faces Places,” “City of Ghosts,” and “Strong Island” continue to lead the documentary awards pack.
The full slate of Cinema Eye nominations for nonfiction feature, short, and broadcast films/series will be be announced on Friday, November 3 in San Francisco at Sffilm’s Doc Stories event. Awards will be presented in New York City at the Museum of the Moving Image on Thursday, January 11, 2018.
Read More:doc NYC Announces Its Awards Short List, Including ‘Icarus,...
The full slate of Cinema Eye nominations for nonfiction feature, short, and broadcast films/series will be be announced on Friday, November 3 in San Francisco at Sffilm’s Doc Stories event. Awards will be presented in New York City at the Museum of the Moving Image on Thursday, January 11, 2018.
Read More:doc NYC Announces Its Awards Short List, Including ‘Icarus,...
- 10/18/2017
- by Anne Thompson
- Indiewire
Coureur won the events best project pitch, while Cloduboy triumphed in the Works In Progress strand.
Organisers of the inaugural NeXT event in Ghent, hosted by Flanders Image, intend to re-stage the event in 2017 following positive feedback from industry at this year’s programme.
NeXT welcomed international industry guests – including festival programmers, distributors and sales executives – to meet with Belgian producers and distributors, view finished Flemish films, and listen to pitches of projects in development or presentations of works in progress.
There were eight projects in development pitched, with an international jury selecting Coureur as best pitch. In the Works In Progress, the jury picked Cloudboy as the winner of the 13 films in post-production.
Finished films screening included Fien Troch’s Home, Peter Monsaert’s Le Ciel Flamand, Bavo Defurne’s Souvenir, Christophe Van Rompaey’s Vincent And The End of the World, and Nic Balthazar’s Everybody Happy.
Peter Bouckaert [pictured] of leading Belgian producer Eyeworks pitched...
Organisers of the inaugural NeXT event in Ghent, hosted by Flanders Image, intend to re-stage the event in 2017 following positive feedback from industry at this year’s programme.
NeXT welcomed international industry guests – including festival programmers, distributors and sales executives – to meet with Belgian producers and distributors, view finished Flemish films, and listen to pitches of projects in development or presentations of works in progress.
There were eight projects in development pitched, with an international jury selecting Coureur as best pitch. In the Works In Progress, the jury picked Cloudboy as the winner of the 13 films in post-production.
Finished films screening included Fien Troch’s Home, Peter Monsaert’s Le Ciel Flamand, Bavo Defurne’s Souvenir, Christophe Van Rompaey’s Vincent And The End of the World, and Nic Balthazar’s Everybody Happy.
Peter Bouckaert [pictured] of leading Belgian producer Eyeworks pitched...
- 10/14/2016
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Coureur won the events best project pitch, while Cloduboy triumphed in the Works In Progress strand.
The inaugural NeXT event in Ghent, hosted by Flanders Image, has revealed its best pitch and works in progress winners.
NeXT welcomed international industry guests – including festival programmers, distributors and sales executives – to meet with Belgian producers and distributors, view finished Flemish films, and listen to pitches of projects in development or presentations of works in progress.
There were eight projects in development pitched, with an international jury selecting Coureur as best pitch. In the Works In Progress, the jury picked Cloudboy as the winner of the 13 films in post-production.
Finished films screening included Fien Troch’s Home, Peter Monsaert’s Le Ciel Flamand, Bavo Defurne’s Souvenir, Christophe Van Rompaey’s Vincent And The End of the World, and Nic Balthazar’s Everybody Happy.
Peter Bouckaert [pictured] of leading Belgian producer Eyeworks pitched Stijn Coninx’s Don’t Shoot and presented...
The inaugural NeXT event in Ghent, hosted by Flanders Image, has revealed its best pitch and works in progress winners.
NeXT welcomed international industry guests – including festival programmers, distributors and sales executives – to meet with Belgian producers and distributors, view finished Flemish films, and listen to pitches of projects in development or presentations of works in progress.
There were eight projects in development pitched, with an international jury selecting Coureur as best pitch. In the Works In Progress, the jury picked Cloudboy as the winner of the 13 films in post-production.
Finished films screening included Fien Troch’s Home, Peter Monsaert’s Le Ciel Flamand, Bavo Defurne’s Souvenir, Christophe Van Rompaey’s Vincent And The End of the World, and Nic Balthazar’s Everybody Happy.
Peter Bouckaert [pictured] of leading Belgian producer Eyeworks pitched Stijn Coninx’s Don’t Shoot and presented...
- 10/14/2016
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Industry panellists discussed the changing nature of the international film business during the NeXT Talks conference.
After two days of screening and pitches at its new NeXT event, Flanders Image also offered a day of NeXT Talks, designed to let visiting international experts share knowledge with Belgian attendees.
These talks covered dealing with the press, the position of Flemish cinema in France, the changing nature of film sales, and thoughts from festival programmers.
Clare Crean, head of sales for London-based The Works, advised Belgian producers to chose their sales partners carefully, noting the longevity of that relationship.
“Something that is not always understood is the longevity of the relationship between the producer and the sales company. When we come on board any film, it is usually for a long period of time, 15, 20, 25 years. We talk a lot about being involved at inception and at the financing stage, but also an awful lot of the role is the...
After two days of screening and pitches at its new NeXT event, Flanders Image also offered a day of NeXT Talks, designed to let visiting international experts share knowledge with Belgian attendees.
These talks covered dealing with the press, the position of Flemish cinema in France, the changing nature of film sales, and thoughts from festival programmers.
Clare Crean, head of sales for London-based The Works, advised Belgian producers to chose their sales partners carefully, noting the longevity of that relationship.
“Something that is not always understood is the longevity of the relationship between the producer and the sales company. When we come on board any film, it is usually for a long period of time, 15, 20, 25 years. We talk a lot about being involved at inception and at the financing stage, but also an awful lot of the role is the...
- 10/14/2016
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Roskam’s third feature The Racer And The Jailbird starring Matthias Schoenaerts will be among the line-up.
Flanders Image – a division of the Flanders Audiovisual Fund — is hosting the first NeXT event from Oct 9-12 in Ghent, Belgium.
The event will include a showcase of new films and pitches of future projects, alongside works in progress presentations from both established names and new talents of Belgian cinema made in Flanders. There will also be a day of talks, workshops and panel discussions that bring together local filmmakers and international experts.
Among the high profile Flemish films to be discussed will be Michael R Roskam’s third feature The Racer And The Jailbird, described as a dark romantic drama and starring his Bullhead star Matthias Schoenaerts alongside Adèle Exarchopoulos; and Loft director Erik Van Looy’s new thriller The Prime Minister, which is being sold by The Works. Those are both part of short works in progress presentations...
Flanders Image – a division of the Flanders Audiovisual Fund — is hosting the first NeXT event from Oct 9-12 in Ghent, Belgium.
The event will include a showcase of new films and pitches of future projects, alongside works in progress presentations from both established names and new talents of Belgian cinema made in Flanders. There will also be a day of talks, workshops and panel discussions that bring together local filmmakers and international experts.
Among the high profile Flemish films to be discussed will be Michael R Roskam’s third feature The Racer And The Jailbird, described as a dark romantic drama and starring his Bullhead star Matthias Schoenaerts alongside Adèle Exarchopoulos; and Loft director Erik Van Looy’s new thriller The Prime Minister, which is being sold by The Works. Those are both part of short works in progress presentations...
- 9/30/2016
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Other winners include Among The Believers and The Fear Of 13.Scroll Down For Full List
Cph:dox (Nov 5-15), Copenhagen’s festival of documentary cinema, has revealed its award winners for 2015, with God Bless The Child taking the top prize.
Robert Machoian & Rodrigo Ojeda-Beck’s film, which follows four young boys and their 13-year-old sister who are left to their own devices in their Californian home, was presented with the Dox:award, including a prize of $5400 (€5000).
The prize’s jury was composed of Elena Fortes, director of Ambulante, a non-profit organization working to support and promote a documentary film culture in Mexico; Miguel Valverde, festival director and programmer at IndieLisboa; Jim Kolmar, film Programmer for SXSW; Bernie Krause, professional musician turned soundscape ecologist and author; and Katja Adomeit, producer and freelancer for Corpoduction Office Denmark.
Regarding their decision, they stated: “Establishing an otherworldly tone of extraordinary realism and a near magical evocation of family dynamics, the winning...
Cph:dox (Nov 5-15), Copenhagen’s festival of documentary cinema, has revealed its award winners for 2015, with God Bless The Child taking the top prize.
Robert Machoian & Rodrigo Ojeda-Beck’s film, which follows four young boys and their 13-year-old sister who are left to their own devices in their Californian home, was presented with the Dox:award, including a prize of $5400 (€5000).
The prize’s jury was composed of Elena Fortes, director of Ambulante, a non-profit organization working to support and promote a documentary film culture in Mexico; Miguel Valverde, festival director and programmer at IndieLisboa; Jim Kolmar, film Programmer for SXSW; Bernie Krause, professional musician turned soundscape ecologist and author; and Katja Adomeit, producer and freelancer for Corpoduction Office Denmark.
Regarding their decision, they stated: “Establishing an otherworldly tone of extraordinary realism and a near magical evocation of family dynamics, the winning...
- 11/13/2015
- ScreenDaily
The next Essential Cinema lineup from Austin Film Society starts Tuesday night, with a focus on Welsh cinema. For those of us whose Welsh pop-culture exposure is currently limited to episodes of Gavin & Stacey and Torchwood, this late fall lineup gives us a chance to experience a little more of the country's cinematic culture. SXSW programmer Jim Kolmar is the guest curator for this series.
From November 13 through December 18, the movies in "Music in the Blood, Poetry in the Soul: Wales on Screen" will screen each Tuesday night at Alamo Drafthouse on South Lamar. Tickets are free for Afs members at the Love level, $5 for members at the Watch or Make level, and $8 for general admission.
Here's the lineup:
Patagonia (2010)
Tuesday, Nov. 13, 7 pm
This film pairs the stories of a couple journeying to a Welsh settlement in Argentine Patagonia and an elderly Welsh-Argentine woman traveling to Wales. The movie is...
From November 13 through December 18, the movies in "Music in the Blood, Poetry in the Soul: Wales on Screen" will screen each Tuesday night at Alamo Drafthouse on South Lamar. Tickets are free for Afs members at the Love level, $5 for members at the Watch or Make level, and $8 for general admission.
Here's the lineup:
Patagonia (2010)
Tuesday, Nov. 13, 7 pm
This film pairs the stories of a couple journeying to a Welsh settlement in Argentine Patagonia and an elderly Welsh-Argentine woman traveling to Wales. The movie is...
- 11/12/2012
- by Elizabeth Stoddard
- Slackerwood
Janet Pierson, the producer of the SXSW Film Conference and Festival, will make her first visit to Australia in August, attending a Screen Australia forum where she will talk about the event. In 2012, the influential festival screened 270 films (including 132 features) and attracted an audience of more than 68,000. She told If Magazine about her views on the Australian industry and the changing role of the festival.
If Magazine: How does Australian screen content compare to the Us and other territories? Have you noticed particular strengths or weaknesses that should be addressed, or particular themes?
Janet Pierson: SXSW Film always pays close attention to Australian films. It's hard to reduce "Australian film" to a specific set of themes, but I would say that again and again we see a fearless, uncompromising sensibility.
There's definitely a real wave of fascinating, edgy filmmakers coming from the region. Genre films are incredibly strong, and filmmakers,...
If Magazine: How does Australian screen content compare to the Us and other territories? Have you noticed particular strengths or weaknesses that should be addressed, or particular themes?
Janet Pierson: SXSW Film always pays close attention to Australian films. It's hard to reduce "Australian film" to a specific set of themes, but I would say that again and again we see a fearless, uncompromising sensibility.
There's definitely a real wave of fascinating, edgy filmmakers coming from the region. Genre films are incredibly strong, and filmmakers,...
- 8/2/2012
- by Brendan Swift
- IF.com.au
Sell out crowds, nifty accents and Ipiddles
I’m waiting to board my flight home to the U.K. It’s been an amazing week at SXSW and I am delighted the way my film Sound It Out has been received. I imagined that I would send regular blog updates to Filmmaker but it’s ust not the kind of festival where there is a spare five minutes in the day. Each day we vowed to get bed early and have some decent sleep and each night we’ve ended up at the 24 hour Cafe Magnolia for late night snacking and putting the world to rights.
For our premiere (and other screenings) the Alamo Ritz was sold out, we had the rumored queue around the block and the audience was great. The Alamo Ritz is not like any other cinema I’ve been to. One can order drinks and food...
I’m waiting to board my flight home to the U.K. It’s been an amazing week at SXSW and I am delighted the way my film Sound It Out has been received. I imagined that I would send regular blog updates to Filmmaker but it’s ust not the kind of festival where there is a spare five minutes in the day. Each day we vowed to get bed early and have some decent sleep and each night we’ve ended up at the 24 hour Cafe Magnolia for late night snacking and putting the world to rights.
For our premiere (and other screenings) the Alamo Ritz was sold out, we had the rumored queue around the block and the audience was great. The Alamo Ritz is not like any other cinema I’ve been to. One can order drinks and food...
- 3/22/2011
- by Jeanie Finlay
- Filmmaker Magazine - Blog
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