Turin-based script development organisation TorinoFilmLab (Tfl) has unveiled the first projects and participants for ComedyLab, its new annual programme for developing feature film comedies.
ComedyLab pairs directors and scriptwriters with comedians to help develop comedy feature film projects. From 89 applications, ComedyLab has selected four projects and will pair them with four writers/comedians.
The four projects are: Bootleg by writer/director Reem Morsi (Egypt); Honeyjoon by writer/director Lilian T. Mehrel (USA); The Last Queen by writer/director Stefano La Rosa (Italy) together with the co-writer/director Luca Renucci (Italy); and Midlife by writer/director Alex Sobolev (Ukraine).
They will...
ComedyLab pairs directors and scriptwriters with comedians to help develop comedy feature film projects. From 89 applications, ComedyLab has selected four projects and will pair them with four writers/comedians.
The four projects are: Bootleg by writer/director Reem Morsi (Egypt); Honeyjoon by writer/director Lilian T. Mehrel (USA); The Last Queen by writer/director Stefano La Rosa (Italy) together with the co-writer/director Luca Renucci (Italy); and Midlife by writer/director Alex Sobolev (Ukraine).
They will...
- 3/28/2024
- ScreenDaily
There are instances in director Carey Williams’ boldly experimental yet wearisome “R#J” that genuinely grasp the essence of romance, identity and existence in the age of social media. Those fleeting but relatable moments feel like major triumphs in Williams’ Gen Z-centric adaptation of “Romeo and Juliet,” a movie that unfolds almost entirely on electronic screens. And you get a taste of them enough times to wish for a film that achieves a similar level of insight on the whole, something with purpose that went beyond the contrived quest, “What if we do Shakespeare, but solely in the virtual world?”
It’s not that the work of the Bard is necessarily sacrosanct or untouchable. Every era has a right to process his timeless texts from its own point of view, either in original form or through the fresh perspectives of present-day artists. It is, after all, exactly that license that...
It’s not that the work of the Bard is necessarily sacrosanct or untouchable. Every era has a right to process his timeless texts from its own point of view, either in original form or through the fresh perspectives of present-day artists. It is, after all, exactly that license that...
- 1/31/2021
- by Tomris Laffly
- Variety Film + TV
William Shakespeare’s “Romeo and Juliet” has long endured as one of the written word’s greatest love stories, but what’s often forgotten among the “star-crossed lovers” and the dumb rage of familial feuds is just how nutty hormone-addled teenagers can be. It was true in the 16th century when The Bard committed its story to paper — based on a number of earlier tales — and then the stage; it was true when Franco Zeffirelli made his 1968 film, and when Baz Luhrmann updated it in 1996; and it’s certainly true in 2021.
For the latest — and, given the ways teenagers interact these days, wholly inevitable — adaptation, filmmaker Williams’ “R#J” joins a growing cadre of “screen films,” this one bolstered by the producing and technological talents of Timur Bekmambetov and Igor Tsay’s Screenlife platform, which aims to build the best screen-set films in a market beset by them.
The screen elements of “R#J,...
For the latest — and, given the ways teenagers interact these days, wholly inevitable — adaptation, filmmaker Williams’ “R#J” joins a growing cadre of “screen films,” this one bolstered by the producing and technological talents of Timur Bekmambetov and Igor Tsay’s Screenlife platform, which aims to build the best screen-set films in a market beset by them.
The screen elements of “R#J,...
- 1/31/2021
- by Kate Erbland
- Indiewire
If every generation gets the “Romeo and Juliet” it deserves, well, Gen Z may need to wait a little longer for theirs. It probably won’t be Sundance entry “R#J,” which is so intently of-the-moment it almost feels dated before the credits roll.
For his first feature, director Carey Williams uses Screenlife — in which the entire story unfolds on devices — to retell Shakespeare’s timeless tale, with a few notable twists. This time, Romeo and Juliet fall in love while DMing each other emojis and gifs from “The Office.” Purists need not apply, of course, but that’s Ok: the Bard can stand up to interpretations from any era. Then again, where’s the dignity in Dwight Schrute? And can we really consider nearly-nude selfies (So. Many. Selfies.) a worthy upgrade?
What “R#J” does have going for it is a diverse cast that reflects a wider range of adolescence than most adaptations.
For his first feature, director Carey Williams uses Screenlife — in which the entire story unfolds on devices — to retell Shakespeare’s timeless tale, with a few notable twists. This time, Romeo and Juliet fall in love while DMing each other emojis and gifs from “The Office.” Purists need not apply, of course, but that’s Ok: the Bard can stand up to interpretations from any era. Then again, where’s the dignity in Dwight Schrute? And can we really consider nearly-nude selfies (So. Many. Selfies.) a worthy upgrade?
What “R#J” does have going for it is a diverse cast that reflects a wider range of adolescence than most adaptations.
- 1/31/2021
- by Elizabeth Weitzman
- The Wrap
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