Kadosh (1999) - News Poster

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Top 10 game franchises that should be traded to a new publisher

Top 10 game franchises that should be traded to a new publisher
A fascinating news story recently made the rounds. It was reported that Thq Nordic and Koch Media have made an NFL-style trade, swapping the rights to dormant games franchises. The trade saw Thq Nordic acquire the rights to Second Sight, Risen, Sacred, Rush for Berlin and the brilliantly titled Singles: Flirt Up Your Life in exchange for Painkiller and Red Faction.

This may well be a one-off, but then again, every common practice started life as a novel occurrence. Needless to say, this story sent our imaginations into overdrive – What if this does become a regular business practice? Which franchises should be gifted new publishers? Which publisher could make the best use of otherwise wasted IPs?

After much deliberation and careful contemplation, we have found our answers.
See full article at The Cultural Post »

Amos Gitai’s Rabin, The Last Day: The Moment Israeli Society Went Kaboom!

Amos Gitai. If you can recall when Vincent D'Onofrio was sexy, Gitai has that sort of confrontational charm. He turns you on while he sets you on edge, even at age 66.

One of Israel's most prolific directors, this constant provocateur has let loose with over 80 shorts, documentaries and narratives since 1972, many of them exploring Israel in an acutely critical manner, from Orthodox misogyny (Kadosh (1999)) to his war experiences during which he was wounded (Kippur (2000) ), to a story of a residence, from its Arab owners to the Israelis who took ownership (House (1980)). The latter documentary was made for Israeli TV but was deemed inappropriate, and if Gitai hadn't smuggled it out of the station, it would have been destroyed.

But since House, no government would think of messing with Gitai and his work, especially since his oeuvre has been acclaimed at such world-class venues as Cannes and the Venice Film Festival.
See full article at CultureCatch »

Venice Review: Amos Gitai's Shot-In-One-Take 'Ana Arabia'

If there was one stylistic trend at Venice this year, it was bravura, lengthy shots. The festival kicked off with the twenty-minute opening shot of "Gravity," and the rest of the festival sometimes felt like some kind of who-can-hold-a-shot the longest competition, with Steven Knight's "Locke" and Tsai Ming-Liang's "Stray Dogs" also getting in on the real-time act. But if this competition had a winner, it was undoubtedly Amos Gitai, with his latest film "Ana Arabia." Almost uniquely ("Russian Ark" is the obvious forerunner here), the film is made up of a single take, an unbroken 81-minute Steadicam shot without a single cut. It's a bold and ambitious move for the Cannes and Venice favorite, behind films like "Kadosh," "Kippur," "Promised Land" and "Free Zone,"  but while "Ana Arabia" is well-meaning, its central gimmick ultimately proves to be the only really interesting thing about it. Gitai's camera follows Yael
See full article at The Playlist »

Book Review: Mike Goodridge’s FilmCraft: Directing

As the fifth volume of Focal Press’s exceedingly readable and loving exploratory series of the filmmaking process, Mike Goodridge’s FilmCraft: Directing follows the success of its predecessors with expectedly enjoyable results. Featuring discussions with sixteen of the world’s most influential and exciting working directors and five profiles of authentic legends that help shaped cinema as we know it, the brisk 192 page collection manages to touch on a wide range of creative epicenters, their immensely differing ideologies on the medium, and the egotistic, yet somewhat ambiguous job that a film director’s capacity really encompasses. The book serves an intimate peak into the stressful task of helming a feature, whether it be a massive Hollywood extravaganza or a homegrown intimacy.

Broken down by filmmaker, each section is structured around a principal discussion by the director at hand, with a variety of asides that fill out the full color
See full article at IONCINEMA.com »

One Day You'll Understand or Why Did Dad Tell the Nazis About Mom?

One Day You'll Understand, the 2008 French film, is not an unexpected work by Amos Gitai. The Israeli director's past efforts include a searing dissection of Orthodox Jewish society (Kadosh (1999)) plus countless semi-experimental narratives and documentaries such as House (1980), the biography of a home from its original Palestinian owners to its current Israeli inhabitants.

In this recent effort, an adaptation of a novel by Jerome Clement, Gitai once again sidesteps sentimentality, as is his wont, to tell the tale of a Jewish woman, Rivka (Jeanne Moreau), who was married to a Gentile during World War II. They had two children, but only one -- her son, Victor (Hippolyte Girardot), who was born after the war and raised a Catholic -- now wants to know what occurred during those years.

The film begins in France in 1987. Rivka, graceful even with her hair in curlers, is cooking dinner as the eighth day of
See full article at CultureCatch »

Kino's Donald Krim Memorial Service Scheduled

A memorial service for Kino International's former president Donald Krim will be held on Tuesday, Sept. 27, between 10 a.m.-12 noon, at the Film Society of Lincoln Center’s Walter Reade Theater in New York City. The former President of DVD and film distributor Kino International, Krim later became co-President of the recently formed Kino-Lorber. He died last May 20 at his New York home following a year-long battle with cancer. He was 65. During Donald Krim's tenure, among Kino's Us releases were films by Wong Kar Wai (Happy Together; Fallen Angels), Michael Haneke (The Piano Teacher), Amos Gitai (Kippur; Kadosh), Aki Kaurismäki (The Match Factory Girl; Ariel), Yorgos Lanthimos (Dogtooth), Julie Dash (Daughters of the Dust), and Andrei Zvyagintsev (The Return). Kino also distributed independent American productions (e.g., Kelly Reichardt's Old Joy), and both Hollywood and international classics, including numerous silent films, e.g., Fritz Lang's Metropolis,
See full article at Alt Film Guide »

Eyes Wide Open: a G-d -Fearing Romance

Eyes Wide Open

Directed by Haim Tabakman

Written by Merav Doster

Israel | Germany | France – 2010

Showing at Cinéma du Parc in its second run in Montreal following last year’s limited release, Haim Tabakman’s ‘Eyes Wide Open’ is so overwhelmingly a limited-appeal, art-house offering as to seem almost destined for festival success.

This ineffably implausible man-and-man romance tentatively unfolds deep in the heart of Mea Shearim, Jerusalem’s ultra-Orthodox neighbourhood, where Aaron (played by the wistfully bearded Zohar Strauss) a Hassidic father-of-many assumes the stewardship of the familial butcher shop after the recent death of his father and hesitantly hires an assistant in the person of Ezri, a stray, toothsome, puppy-eyed yeshiva dropout with a risky-yet-oh-so-enticing penchant for same-sex friendship.

Ezri, the driving force behind the tortuous romance, is in pious Aaron’s own words a masterpiece of G-d’s creation, crossing righteous men’s paths so as to anneal
See full article at SoundOnSight »

Donald Krim, 1945 – 2011

Sad news today: the passing of veteran independent distributor, Kino’s Donald Krim, who has been responsible for the U.S. release of many of the best films ever made. Throughout his long career, he handpicked excellent world cinema titles as well as the best of the American independents, creating one of the most enviable libraries around. Remarkably, Krim’s taste remained on the cutting edge even in his later years — witness last year’s release of the extraordinary Dogtooth. He will be missed.

Below is the press release we received from Kino.

May 20, 2011 – Donald B. Krim (b. October 5, 1945), the President of Kino International and co-President of Kino Lorber Inc., one of the most prestigious independent film distribution companies in the United States, died at his New York home on May 20, 2011, after a one-year battle with cancer. He was 65. A funeral service is planned for Monday, May 23 (11:45Am) at Riverside Memorial Chapel,
See full article at Filmmaker Magazine »

Kino International President Donald Krim Dies At 65

Kino International president and Kino Lorber co-president Donald Krim died May 20 at his New York home after a year-long battle with cancer. He was 65. Among the directors Krim brought to American audiences were Wong Kar-Wai ("Happy Together"), Michael Haneke ("The Piano Teacher"), Amos Gitai ("Kadosh"), Aki Kaurismäki ("The Match Factory Girl"), Julie Dash ("Daughters of the Dust") and Andrei Zvyagintsev ("The Return"). After receiving undergraduate and law degrees ...
See full article at Indiewire »

R.I.P. Donald Krim

Donald B. Krim, who was head of one of the most prestigious independent film distribution companies in the United States, died at his New York home today after a one-year battle with cancer. He was 65. According to his official bio, Krim, as the president of Kino International, helped introduce some of the world's most revered film directors to U.S. audiences, among them Wong Kar-Wai (Happy Together, Fallen Angels); Michael Haneke (The Piano Teacher); Amos Gitai (Kippur, Kadosh); Aki Kaurismäki (The Match Factory Girl, Ariel); Julie Dash (Daughters of the Dust); and Andrei Zvyagintsev (The Return). After law school, Krim began his career at United Artists, first becoming head of the 16mm non-theatrical film rental division, then working on the formation of United Artists Classics, the first major studio-owned art house division and the model for today's Fox Searchlight and Sony Pictures Classics. Eventually, UA Classics also began to handle
See full article at Deadline Hollywood »

Donald Krim Dies: President of Kino International (Metropolis, Old Joy, The Piano Teacher)

Donald Krim Donald B. Krim, the President of DVD and film distributor Kino International and co-President of the recently formed Kino-Lorber, died today at his New York home following a year-long battle with cancer. He was 65. As head of Kino International since 1977, Krim, who discovered the magic of movies after watching Disney's Cinderella in 1950, helped to introduce some of the world's most respected filmmakers to American audiences. Among those — untouchables, as far as Us majors are concerned — were Wong Kar Wai (Happy Together; Fallen Angels), Michael Haneke (The Piano Teacher), Amos Gitai (Kippur; Kadosh), Aki Kaurismäki (The Match Factory [...]
See full article at Alt Film Guide »

Joseph Cedar, Etgar Keret and Amos Gitai Say 'Jerusalem, I Love You'

As ominous projects for cities such as Rio and Shanghai are being put together, it looks like Jerusalem, I Love You is taking shape with the confirmation of three signed directors in Oscar nominated Joseph Cedar (Beaufort), Cannes Golden Camera winner Etgar Keret (Jellyfish) (pictured above), and renowned director Amos Gitai (Kadosh, Kippur). There is a rumour that Ari Folman might also be a part of the project which is entirely possible as his next project The Congress will necessitate a longer working timeframe than most productions. Following such projects as New York, I Love You, and Paris, Je T'aime, this Cities of Love project promises much more than the previous two, for Jerusalem is a much more complicated setting, containing endless conflicts between religions (the city holds holy places for all three major faiths), between religious Jews and Secular Jews (the percentage of religious people living in Jerusalem is
See full article at IONCINEMA.com »

Ajami

 Reviewer: Jeffrey M. Anderson 

Rating (out of 5): ***

Scandar Copti, a Palestinian, and Yaron Shani, an Israeli Jew, teamed up to direct the crime drama Ajami. It received an Oscar nomination for Best Foreign Language film, which seems more a result of that behind-the-scenes achievement than anything that occurs onscreen. Indeed, comparing it to some of Amos Gitai's better films (Yom YomKadosh, etc.) it feels rather graceless, and compared to something like City of God,Ajami feels practically inert.

And yet the film is still effective in its own, small way. It follows several characters in five overlapping chapters, all set in one multi-ethnic section of Jaffa, near Tel Aviv. It begins as a man working on a car is gunned down in the street. It turns out that the real target was the neighbor who sold him the car, Omar (Shahir Kabaha), an Arab Israeli. Worse, Omar
See full article at GreenCine »

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