Copenhagen International Documentary Film Festival (Cph:Dox) has unveiled the line-ups for its five competitive sections for its 2024 edition. All films in the main Dox:Award competition are world premieres for the second successive year.
Scroll down for the full list of competition titles
Titles in that section include Alessandra Celesia’s The Flats, a France-uk-Ireland-Belgium co-production about Belfast youngsters accessing their memories of the Troubles. Belfast-based Italian filmmaker Celesia has previously made documentaries including 2017’s Anatomy Of A Miracle, which played at Locarno.
The 12-strong Dox:Award competition also includes Manon Ouimet and Jacob Perlmutter’s UK title Two Strangers Trying Not To Kill Each Other,...
Scroll down for the full list of competition titles
Titles in that section include Alessandra Celesia’s The Flats, a France-uk-Ireland-Belgium co-production about Belfast youngsters accessing their memories of the Troubles. Belfast-based Italian filmmaker Celesia has previously made documentaries including 2017’s Anatomy Of A Miracle, which played at Locarno.
The 12-strong Dox:Award competition also includes Manon Ouimet and Jacob Perlmutter’s UK title Two Strangers Trying Not To Kill Each Other,...
- 2/15/2024
- ScreenDaily
Paris-based sales agency and production company Luxbox has picked up the rights to “Pornomelancholia,” the latest documentary feature from award-winning director Manuel Abramovich.
“Pornomelancholia” follows Lalo, a sex influencer living in a mountainous region of Southern Mexico. On screen Lalo is charismatic, posting naked photos of himself and homemade porn videos which are seen by thousands of followers. When the camera is off though, Lalo drifts through life in a constant state of melancholy.
When a person’s sex life is commodified and sold off, what happens to desire? Using pornography as a starting point, the film examines the sex work industry, the consequences of broadcasting one’s private life publicly and how we create the characters we present to the world.
According to Abramovich the film is a reflection on “the limits of intimacy in an era where the day-to-day and subjectivity have become a show for the gaze of others.
“Pornomelancholia” follows Lalo, a sex influencer living in a mountainous region of Southern Mexico. On screen Lalo is charismatic, posting naked photos of himself and homemade porn videos which are seen by thousands of followers. When the camera is off though, Lalo drifts through life in a constant state of melancholy.
When a person’s sex life is commodified and sold off, what happens to desire? Using pornography as a starting point, the film examines the sex work industry, the consequences of broadcasting one’s private life publicly and how we create the characters we present to the world.
According to Abramovich the film is a reflection on “the limits of intimacy in an era where the day-to-day and subjectivity have become a show for the gaze of others.
- 10/8/2021
- by Jamie Lang
- Variety Film + TV
Argentina’s Manuel Abramovich, Ecuador’s Ana Cristina Barragán and the Ukraine-born Oksana Bychkova, all big fest winners, will introduce their latest films to an industry audience at San Sebastian’s pix-in-post strands, Wip Latam and Wip Europa, over Sept. 20-22.
The sections promise discoveries. They also underscore a reality. As art film pre-sales have plunged, public-sector equity financing has escalated, with producers tapping film funds around the world via international co-production. Wip Latam’s six films average four production partners a piece. Sales, which the films now seek in San Sebastian, is increasingly icing on the cake.
A drill down on titles:
Wip Latam
“Daughter of Rage,” (“La Hija de Todas las Rabias,” Laura Baumeister, Nicaragua, Mexico, Nederland, Germany, France, Norway)
Nicaraguan Laura Baumeister’s stirring feature debut which swept three of the four prizes on offer at San Sebastian’s 2019 Europe-Latin America Co-production Forum. Since then it...
The sections promise discoveries. They also underscore a reality. As art film pre-sales have plunged, public-sector equity financing has escalated, with producers tapping film funds around the world via international co-production. Wip Latam’s six films average four production partners a piece. Sales, which the films now seek in San Sebastian, is increasingly icing on the cake.
A drill down on titles:
Wip Latam
“Daughter of Rage,” (“La Hija de Todas las Rabias,” Laura Baumeister, Nicaragua, Mexico, Nederland, Germany, France, Norway)
Nicaraguan Laura Baumeister’s stirring feature debut which swept three of the four prizes on offer at San Sebastian’s 2019 Europe-Latin America Co-production Forum. Since then it...
- 9/20/2021
- by John Hopewell
- Variety Film + TV
The Europe-Latin America Co-Production Forum has previously yielded ‘The Mole Agent’ and ’La Llorona’.
San Sebastian is hosting the 10th Europe-Latin America Co-Production Forum from September 20-22, showcasing projects from Argentina, Chile, Colombia, Mexico, Uruguay, France and Spain.
Fourteen fiction and non-fiction works are being pitched this year, both at industry sessions and one-to-ones, with prizes including the best project award; the Dale! award (Development Latin America-Europe) and the ArteKino international prize.
Organised as an extension to the San Sebastian Forum, some 148 projects have previously been selected, with 70 of those being completed and 40 selected for festivals including the Berlinale, Cannes,...
San Sebastian is hosting the 10th Europe-Latin America Co-Production Forum from September 20-22, showcasing projects from Argentina, Chile, Colombia, Mexico, Uruguay, France and Spain.
Fourteen fiction and non-fiction works are being pitched this year, both at industry sessions and one-to-ones, with prizes including the best project award; the Dale! award (Development Latin America-Europe) and the ArteKino international prize.
Organised as an extension to the San Sebastian Forum, some 148 projects have previously been selected, with 70 of those being completed and 40 selected for festivals including the Berlinale, Cannes,...
- 9/20/2021
- by Jeremy Kay
- ScreenDaily
The 10th edition of the Europe-Latin America Co-Production Forum includes projects from Cristian Leighton and Johnny Ma.
San Sebastian will host the 10th Europe-Latin America Co-Production Forum from September 20-22, showcasing projects from Argentina, Chile, Colombia, Mexico, Uruguay, France and Spain.
A total of 14 fiction and non-fiction works will be pitched this year, both at industry sessions and one-to-ones, with prizes including the Best Project Award; the Dale! Award (Development Latin America-Europe) and the ArteKino International Prize.
Organised as an extension to the San Sebastian Forum, some 148 projects have previously been selected, with 70 of those being completed and 40 selected for festivals including the Berlinale,...
San Sebastian will host the 10th Europe-Latin America Co-Production Forum from September 20-22, showcasing projects from Argentina, Chile, Colombia, Mexico, Uruguay, France and Spain.
A total of 14 fiction and non-fiction works will be pitched this year, both at industry sessions and one-to-ones, with prizes including the Best Project Award; the Dale! Award (Development Latin America-Europe) and the ArteKino International Prize.
Organised as an extension to the San Sebastian Forum, some 148 projects have previously been selected, with 70 of those being completed and 40 selected for festivals including the Berlinale,...
- 9/20/2021
- by Jeremy Kay
- ScreenDaily
Mexico’s Sin Sitio Cine is joining forces with Brazilian company Desvia Produções and Canada’s Notable Content to co-produce Johnny Ma’s project “Chin-Gone.”
A major up and coming Chinese-Canadian helmer, Ma’s directorial debut, “Old Stone,” world-premiered at the 2016 Berlin Film Festival and won the Canadian First Feature Award at the Toronto Film Festival. His most recent film, 2019’s Chinese drama “To Live to Sing,” played at Cannes’ Directors’ Fortnight.
The project “Chin-Gone” will be pitched on Monday Sept. 20 at the San Sebastian Festival’s 10th Europe-Latin America Co-Production Forum.
The Mexican producer is Bruna Haddad at Sin Sitio Cine, a young company whose latest film “Dos Estaciones,” directed by Juan Pablo González, plays at the San Sebastian Wip Latam pix in post sidebar this year.
Ricardo Lovera (“Homemade”) and Ma both play acting roles in the film, which is scheduled to shoot in San Sebastián del Oeste,...
A major up and coming Chinese-Canadian helmer, Ma’s directorial debut, “Old Stone,” world-premiered at the 2016 Berlin Film Festival and won the Canadian First Feature Award at the Toronto Film Festival. His most recent film, 2019’s Chinese drama “To Live to Sing,” played at Cannes’ Directors’ Fortnight.
The project “Chin-Gone” will be pitched on Monday Sept. 20 at the San Sebastian Festival’s 10th Europe-Latin America Co-Production Forum.
The Mexican producer is Bruna Haddad at Sin Sitio Cine, a young company whose latest film “Dos Estaciones,” directed by Juan Pablo González, plays at the San Sebastian Wip Latam pix in post sidebar this year.
Ricardo Lovera (“Homemade”) and Ma both play acting roles in the film, which is scheduled to shoot in San Sebastián del Oeste,...
- 9/20/2021
- by Emiliano De Pablos
- Variety Film + TV
Divine Love (Divino Amor) Outsider Pictures & Strand Releasing Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten Director: Gabriel Mascaro Writer: Gabriel Mascaro, Rachel Daisy Ellis, Esdras Bezerra Cast: Dira Paes, Juliio Machado, Antonio Pastich, Rubens Santos, Clayton Mariano Screened at: Critics’ link, NYC, 10/21/20 Opens: November 13, 2020 Maybe it’s […]
The post Divine Love Movie Review appeared first on Shockya.com.
The post Divine Love Movie Review appeared first on Shockya.com.
- 11/1/2020
- by Harvey Karten
- ShockYa
Tribeca Film Institute announced on Thursday the 43 projects that will participate in this year’s Tfi Network film market, to be held virtually due to the coronavirus pandemic.
A traditional Tfi Network three-day event would see emerging filmmakers and creators from across the globe coming together in New York City to embark on a day of pitch prep and industry roundtables, along with two days of individual meetings with professionals during the Tribeca Film Festival, which has also moved some of its programming online. This year, Tfi Network, presented by AT&T, will move online from April 27 through May 1. Prior to Tfi Network, filmmakers will attend “Prep Week” from April 21 through April 23, which includes online pitch training sessions with mentors. This year’s 43 winners include scripted projects, documentaries and interactive projects.
“Tfi remains dedicated to creating opportunities for independent artists without compromising their health or safety,” Tribeca Film Institute executive director...
A traditional Tfi Network three-day event would see emerging filmmakers and creators from across the globe coming together in New York City to embark on a day of pitch prep and industry roundtables, along with two days of individual meetings with professionals during the Tribeca Film Festival, which has also moved some of its programming online. This year, Tfi Network, presented by AT&T, will move online from April 27 through May 1. Prior to Tfi Network, filmmakers will attend “Prep Week” from April 21 through April 23, which includes online pitch training sessions with mentors. This year’s 43 winners include scripted projects, documentaries and interactive projects.
“Tfi remains dedicated to creating opportunities for independent artists without compromising their health or safety,” Tribeca Film Institute executive director...
- 4/16/2020
- by Mackenzie Nichols
- Variety Film + TV
A new apocalypse now haunts Brazilian cinema. It’s one in a string of such upheavals over the past year including an envisaged 43% cut to the 2020 budget of Ancine, Brazil’s huge film-tv agency and motor of movie funding, which is already grinding almost to a halt.
Producers are still waiting to receive approved incentives.
“There are several producers, including ourselves, who have projects that won support from the [Pernambuco] regional fund in 2017 and 2018, but never received it,” says Desvia producer Rachel Daisy Ellis (“Divine Love”).
Independent productions are being strangled by the freeze. “It’s bleeding cinema, it’s bleeding culture. There is a sense of doom, an anemia regarding culture and cinema,” says Karim Aïnouz, director of “Invisible Life of Euridice Gusmão.”
Now, Ancine is under threat of disappearing altogether.
On Feb. 19, a proposal will be voted on in congress that extinguishes existing public funds not ratified by the...
Producers are still waiting to receive approved incentives.
“There are several producers, including ourselves, who have projects that won support from the [Pernambuco] regional fund in 2017 and 2018, but never received it,” says Desvia producer Rachel Daisy Ellis (“Divine Love”).
Independent productions are being strangled by the freeze. “It’s bleeding cinema, it’s bleeding culture. There is a sense of doom, an anemia regarding culture and cinema,” says Karim Aïnouz, director of “Invisible Life of Euridice Gusmão.”
Now, Ancine is under threat of disappearing altogether.
On Feb. 19, a proposal will be voted on in congress that extinguishes existing public funds not ratified by the...
- 2/21/2020
- by John Hopewell and Jamie Lang
- Variety Film + TV
Mexico City — Argentina’s Manuel Abramovich, a 2019 Berlinale Silver Bear winner for “Blue Boy,” has tapped French funding for its follow-up, “Pornomelancholia,” one of the highest-profile projects at Mexico’s Los Cabos Film Festival, which kicks off today with a gala screening of “The Irishman,”
Financing from the Region Nouvelle-Aquitaine, a building film-tv hub in South West France, has been secured by the film’s French co-producer, David Hurst at Dublin Films, which is based out of Bordeaux.
As equity finance from production partners has come to dominate over pre-sales in art film financing, and bring far more funding to the table, the number of producers involved on a project is often a good sign of not only its scale but excitement and perceived potential.
Lead produced by Gema Juárez Allen at Argentina’s Gema Films, “Pornomelanholia” is also co-produced by Rachel Daisy Ellis at Brazil’s Desvia, co-writer and...
Financing from the Region Nouvelle-Aquitaine, a building film-tv hub in South West France, has been secured by the film’s French co-producer, David Hurst at Dublin Films, which is based out of Bordeaux.
As equity finance from production partners has come to dominate over pre-sales in art film financing, and bring far more funding to the table, the number of producers involved on a project is often a good sign of not only its scale but excitement and perceived potential.
Lead produced by Gema Juárez Allen at Argentina’s Gema Films, “Pornomelanholia” is also co-produced by Rachel Daisy Ellis at Brazil’s Desvia, co-writer and...
- 11/13/2019
- by John Hopewell
- Variety Film + TV
Paul Hudson’s Outsider Pictures has acquired North American rights excluding Quebec to “Divine Love,” Brazilian Gabriel Mascaro’s Sundance hit which paints a prescient picture of a near-future faith dominated Brazil.
Outsider is planning a Spring 2020 release for the film. Set in a supposedly near-future brazil, the relevance of the film was felt with force just a few weeks ago when far-right President Jair Bolsonaro announced that he wanted Brazil’s Ancine state film-tv agency to be headed by someone who is “terribly Evangelical.”
Suggesting a major talent in the making, Mascaro’s follow-up to his Venice winner “Neon Bull” world premiered at the Sundance Film Festival to critical acclaim. Guy Lodge predicted “The film’s blend of on-the-button politics and seductive aesthetics should make it hot festival property,” in his Variety review.
Set in 2027, the film follows Joana (Dira Paes), a bureaucrat who uses her job as a...
Outsider is planning a Spring 2020 release for the film. Set in a supposedly near-future brazil, the relevance of the film was felt with force just a few weeks ago when far-right President Jair Bolsonaro announced that he wanted Brazil’s Ancine state film-tv agency to be headed by someone who is “terribly Evangelical.”
Suggesting a major talent in the making, Mascaro’s follow-up to his Venice winner “Neon Bull” world premiered at the Sundance Film Festival to critical acclaim. Guy Lodge predicted “The film’s blend of on-the-button politics and seductive aesthetics should make it hot festival property,” in his Variety review.
Set in 2027, the film follows Joana (Dira Paes), a bureaucrat who uses her job as a...
- 9/27/2019
- by John Hopewell and Jamie Lang
- Variety Film + TV
Brazilian director Gabriel Mascaro excels at digging inside distinctive worlds and transforming them into poetry. His first two narrative features, “Neon Bull” and “August Wind” are lyrically transcendent works that blur the lines between reality and fiction. That makes the premise of his latest effort a welcome surprise: While “Neon Bull” depicted nomadic rodeo performers and “August Winds” reveled in the romance of a remote fishing village, “Divine Love” is an allegorical sci-fi story set in the near future.
Nevertheless, Mascaro and cinematographer Diego García have crafted a lush, intricate sociopolitical commentary that builds on the filmmaker’s inquisitive approach even as it sometimes overextends its ambition.
The movie takes its time developing its setup. At its center is Joana (Dira Paes), a devout Evangelical woman who works in Brazil’s notary office in 2027. Keen on talking would-be divorced couples into salvaging their crumbling marriages, she often coaxes them into...
Nevertheless, Mascaro and cinematographer Diego García have crafted a lush, intricate sociopolitical commentary that builds on the filmmaker’s inquisitive approach even as it sometimes overextends its ambition.
The movie takes its time developing its setup. At its center is Joana (Dira Paes), a devout Evangelical woman who works in Brazil’s notary office in 2027. Keen on talking would-be divorced couples into salvaging their crumbling marriages, she often coaxes them into...
- 1/26/2019
- by Eric Kohn
- Indiewire
’Mitra’, ’Electrocute’, ’A White, White Day’, ‘Disco Afrika’ scoop prizes.
Source: Iffr
The winners of the 35th edition of CineMart, International Film Festival Rotterdam’s storied co-production market, have been revealed.
Of the 16 selected projects, there were four winners: Kaweh Modiri’s Dutch feature Mitra took the Eurimages Co-Production Development Award of €20,000; Gastón Solnicki’s Argentine feature Electrocute won the Filmmore Post-Production Award of €7,500; Hlynur Pálmason’s A White, White Day took the Arte International Prize of €6,000; and Luck Razanajaona’s Disco Afrika won the Wouter Barendrecht Award, given to a director under 35-years-old, of €5,000.
The winners were presented their prizes at a ceremony in Rotterdam on Wednesday evening (Jan 31).
The 2018 edition of CineMart featured a revamped and streamlined format of presentations and meetings, changes that have been welcomed by attending industry that Screen spoke to during the festival.
The jury for the Eurimages Co-Production Development Award, which was comprised of Arben Zharku, Dorien van de Pas and [link=nm...
Source: Iffr
The winners of the 35th edition of CineMart, International Film Festival Rotterdam’s storied co-production market, have been revealed.
Of the 16 selected projects, there were four winners: Kaweh Modiri’s Dutch feature Mitra took the Eurimages Co-Production Development Award of €20,000; Gastón Solnicki’s Argentine feature Electrocute won the Filmmore Post-Production Award of €7,500; Hlynur Pálmason’s A White, White Day took the Arte International Prize of €6,000; and Luck Razanajaona’s Disco Afrika won the Wouter Barendrecht Award, given to a director under 35-years-old, of €5,000.
The winners were presented their prizes at a ceremony in Rotterdam on Wednesday evening (Jan 31).
The 2018 edition of CineMart featured a revamped and streamlined format of presentations and meetings, changes that have been welcomed by attending industry that Screen spoke to during the festival.
The jury for the Eurimages Co-Production Development Award, which was comprised of Arben Zharku, Dorien van de Pas and [link=nm...
- 1/31/2018
- by Tom Grater
- ScreenDaily
Mina, Electrocute, A White, White Day, Disco Afrika scoop prizes.
Source: Iffr
The winners of the 35th edition of CineMart, International Film Festival Rotterdam’s storied co-production market, have been revealed.
Of the 16 selected projects, there were four winners: Kaweh Modiri’s Dutch feature Mitra took the Eurimages Co-Production Development Award of €20,000; Gastón Solnicki’s Argentine feature Electrocute won the Filmmore Post-Production Award of €7,500; Hlynur Pálmason’s A White, White Day took the Arte International Prize of €6,000; and Luck Razanajaona’s Disco Afrika won the Wouter Barendrecht Award, given to a director under 35-years-old, of €5,000.
The winners were presented their prizes at a ceremony in Rotterdam on Wednesday evening (Jan 31).
The 2018 edition of CineMart featured a revamped and streamlined format of presentations and meetings, changes that have been welcomed by attending industry that Screen spoke to during the festival.
The jury for the Eurimages Co-Production Development Award, which was comprised of Arben Zharku, Dorien van de Pas and [link=nm...
Source: Iffr
The winners of the 35th edition of CineMart, International Film Festival Rotterdam’s storied co-production market, have been revealed.
Of the 16 selected projects, there were four winners: Kaweh Modiri’s Dutch feature Mitra took the Eurimages Co-Production Development Award of €20,000; Gastón Solnicki’s Argentine feature Electrocute won the Filmmore Post-Production Award of €7,500; Hlynur Pálmason’s A White, White Day took the Arte International Prize of €6,000; and Luck Razanajaona’s Disco Afrika won the Wouter Barendrecht Award, given to a director under 35-years-old, of €5,000.
The winners were presented their prizes at a ceremony in Rotterdam on Wednesday evening (Jan 31).
The 2018 edition of CineMart featured a revamped and streamlined format of presentations and meetings, changes that have been welcomed by attending industry that Screen spoke to during the festival.
The jury for the Eurimages Co-Production Development Award, which was comprised of Arben Zharku, Dorien van de Pas and [link=nm...
- 1/31/2018
- by Tom Grater
- ScreenDaily
Project is directed by Joao Miller Guerra and Felipa Reis.
Source: Still Moving
‘Djon Africa’
Paris-based sales and production company Still Moving has boarded world sales on Portuguese directors Joao Miller Guerra and Felipa Reis’s Cape Verde-set identity quest drama Djon Africa ahead of its premiere at the International Film Festival Rotterdam (Iffr) this week.
The feature is among eight films due to compete in Iffr’s 2018 Hivos Tiger Competition this year.
It stars Miguel Moreira as the titular Djon Africa, a good-natured, young, Portuguese Rastafarian who heads to the Cape Verde islands off the West Coast of Africa in search of his paternal roots and a father he never knew.
The trip does not go as planned and the young man finds himself caught up in a strange personal odyssey, oscillating between Cape Verde’s vibrant night-life and the solitude of its countryside, in which he probes his identity, where he belongs...
Source: Still Moving
‘Djon Africa’
Paris-based sales and production company Still Moving has boarded world sales on Portuguese directors Joao Miller Guerra and Felipa Reis’s Cape Verde-set identity quest drama Djon Africa ahead of its premiere at the International Film Festival Rotterdam (Iffr) this week.
The feature is among eight films due to compete in Iffr’s 2018 Hivos Tiger Competition this year.
It stars Miguel Moreira as the titular Djon Africa, a good-natured, young, Portuguese Rastafarian who heads to the Cape Verde islands off the West Coast of Africa in search of his paternal roots and a father he never knew.
The trip does not go as planned and the young man finds himself caught up in a strange personal odyssey, oscillating between Cape Verde’s vibrant night-life and the solitude of its countryside, in which he probes his identity, where he belongs...
- 1/23/2018
- by Melanie Goodfellow
- ScreenDaily
Having canceled out on Master Class folk roundtable sit-downs, I would have been peeved to miss out on speaking to the talents behind a film that I discovered at Tiff and counts as one of my favorite discoveries of 2015. A Venice winner, and ranking number one on our 2015 Tiff Top 10 New Voices, Gabriel Mascaro‘s Neon Bull is cinema in its purest form and it employs what I call the Dardenneian way to show people in their work space. While I didn’t get a sit-down with Mascaro (and I wouldn’t later down the round either) I did speak to a close collaborator of his in producer Rachel Ellis. Interview coming soon.
My highlight of the day was participating in a sit-down with jury person Anton Corbijn whose work before becoming a filmmaker was highly influential during my teenagedom (Barrel of a Gun is in reference to his shot...
My highlight of the day was participating in a sit-down with jury person Anton Corbijn whose work before becoming a filmmaker was highly influential during my teenagedom (Barrel of a Gun is in reference to his shot...
- 12/15/2015
- by Eric Lavallee
- IONCINEMA.com
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