Festival runs October 12-23.
Jafar Panahi’s No Bears, Alice Diop’s Saint Omer, and Sergei Loznitsa’s The Natural History Of Destruction are among the international competitions line-up at the 58th Chicago International Film Festival next month.
This year’s competitions include 10 films receiving their North American premiere and 17 getting their US premiere as the entries vie for the festival’s Gold Hugo award in the categories of international feature, international documentary, and new directors.
The festival runs October 12-23. The full international competition line-ups are below.
Playing in International Feature Competition are: The Beasts (Sp-Fr), Rodrigo Sorogoyen, US premiere; Before,...
Jafar Panahi’s No Bears, Alice Diop’s Saint Omer, and Sergei Loznitsa’s The Natural History Of Destruction are among the international competitions line-up at the 58th Chicago International Film Festival next month.
This year’s competitions include 10 films receiving their North American premiere and 17 getting their US premiere as the entries vie for the festival’s Gold Hugo award in the categories of international feature, international documentary, and new directors.
The festival runs October 12-23. The full international competition line-ups are below.
Playing in International Feature Competition are: The Beasts (Sp-Fr), Rodrigo Sorogoyen, US premiere; Before,...
- 9/16/2022
- by Jeremy Kay
- ScreenDaily
Triangle of Sadness.Below you will find an index of our coverage from the Cannes Film Festival, Directors' Fortnight, and Critics' Week in 2022, as well as our favorite films.Awardstop 101. Pacifiction (Albert Serra)2. Showing Up (Kelly Reichardt)3. Crimes of the Future (David Cronenberg)4. De Humani Corporis Fabrica (Véréna Paravel & Lucien Castaing-Taylor) & One Fine Morning (Mia Hansen-Løve)6. Triangle of Sadness (Ruben Östlund)7. Decision to Leave (Park Chan-wook)8. Stars at Noon (Claire Denis)9. Eo (Jerzy Skolimowski)10. Diary of a Fleeting Affair (Emmanuel Mouret)(Poll contributors: Pedro Emilio Segura Bernal, Jordan Cronk, Flavia Dima, Daniel Fairfax, Lawrence Garcia, Leonardo Goi, Daniel Kasman, Łukasz Mańkowski, Caitlin Quinlan, Savina Petkova)Correspondences#1 Daniel Kasman previews the festival | Read#2 Leonardo Goi on Scarlet (Pietro Marcello), Alma Viva (Cristèle Alves Meira), God's Creatures (Saela Davis & Anna Rose Holmer) | Read#3 Lawrence Garcia on The Mother and the Whore (Jean Eustache), Corsage (Marie Kreutzer), One Fine Morning (Mia Hansen-Løve) | Read...
- 5/31/2022
- MUBI
On Saturday, film and TV funder Medienboard Berlin-Brandenburg celebrated the six films that it funded running in the official program of the Cannes Film Festival.
These were Ruben Östlund’s “Triangle of Sadness,” in Competition, Ali Abbasi’s “Holy Spider,” in Competition, Emily Atef’s “More Than Ever,” in Un Certain Regard, Mia Hansen-Løve’s “Un beau matin,” in Directors’ Fortnight, Sergei Loznitsa’s “The Natural History of Destruction,” in Special Screening, and Mantas Kvedaravicius’ “Mariupolis 2,” in Special Screening.
Commenting on the role Medienboard played in funding the films in Cannes, the organization’s chief Kirsten Niehuus said: “Medienboard Berlin-Brandenburg and other film funds play an important role in sustaining high quality cinema in Europe and in international co-productions around the world.”
Speaking about the type of films Medienboard likes to fund, she said: “Not very original but true – we prefer films that bring something original to an audience.
These were Ruben Östlund’s “Triangle of Sadness,” in Competition, Ali Abbasi’s “Holy Spider,” in Competition, Emily Atef’s “More Than Ever,” in Un Certain Regard, Mia Hansen-Løve’s “Un beau matin,” in Directors’ Fortnight, Sergei Loznitsa’s “The Natural History of Destruction,” in Special Screening, and Mantas Kvedaravicius’ “Mariupolis 2,” in Special Screening.
Commenting on the role Medienboard played in funding the films in Cannes, the organization’s chief Kirsten Niehuus said: “Medienboard Berlin-Brandenburg and other film funds play an important role in sustaining high quality cinema in Europe and in international co-productions around the world.”
Speaking about the type of films Medienboard likes to fund, she said: “Not very original but true – we prefer films that bring something original to an audience.
- 5/25/2022
- by Leo Barraclough
- Variety Film + TV
A documentary with no guardrails, “The Natural History of Destruction” (“Nhd”) lurches through its 105-minute runtime with no concern for its audience’s bearings or balance. Commendable in its own way, eschewing as it does the omnipresent talking head and clip art formula so pervasive on the documentary scene, it is also devoid of context and narrative challenges.
Read More: Cannes Film Festival 2022 Preview: 25 Must-See Films To Watch
Director Sergei Loznitsa deploys archival period footage to exclusive effect, withholding voiceover, expert interviews, on-screen text, or anything that might identify the where/when of what is presented aside from architecture and wardrobe clues.
Continue reading ‘The Natural History Of Destruction’: Sergei Loznitsa Strips Down the Documentary Form to Questionable Effect [Cannes ] at The Playlist.
Read More: Cannes Film Festival 2022 Preview: 25 Must-See Films To Watch
Director Sergei Loznitsa deploys archival period footage to exclusive effect, withholding voiceover, expert interviews, on-screen text, or anything that might identify the where/when of what is presented aside from architecture and wardrobe clues.
Continue reading ‘The Natural History Of Destruction’: Sergei Loznitsa Strips Down the Documentary Form to Questionable Effect [Cannes ] at The Playlist.
- 5/24/2022
- by Warren Cantrell
- The Playlist
Triangle of Sadness stands as the conclusion of what Ruben Östlund has recently deemed a trilogy about “being male in our times.” (It will not be a quartet.) As with the middle entry of said triptych (his 2017 Palme d’Or-winner The Square), Triangle is a movie of set pieces blanketed by a shapeshifting social critique obsessed with the myriad ways in which civilization and morality distort human life. Its initial target is the modeling industry, a chapter dominated by cheap shots at the scene’s stereotypical superficiality and cattiness, especially its particular gender […]
The post Cannes 2022: Triangle of Sadness, Magdala, The Natural History of Destruction first appeared on Filmmaker Magazine.
The post Cannes 2022: Triangle of Sadness, Magdala, The Natural History of Destruction first appeared on Filmmaker Magazine.
- 5/24/2022
- by Blake Williams
- Filmmaker Magazine-Director Interviews
Triangle of Sadness stands as the conclusion of what Ruben Östlund has recently deemed a trilogy about “being male in our times.” (It will not be a quartet.) As with the middle entry of said triptych (his 2017 Palme d’Or-winner The Square), Triangle is a movie of set pieces blanketed by a shapeshifting social critique obsessed with the myriad ways in which civilization and morality distort human life. Its initial target is the modeling industry, a chapter dominated by cheap shots at the scene’s stereotypical superficiality and cattiness, especially its particular gender […]
The post Cannes 2022: Triangle of Sadness, Magdala, The Natural History of Destruction first appeared on Filmmaker Magazine.
The post Cannes 2022: Triangle of Sadness, Magdala, The Natural History of Destruction first appeared on Filmmaker Magazine.
- 5/24/2022
- by Blake Williams
- Filmmaker Magazine - Blog
Ukrainian filmmaker Sergei Loznitsa’s latest documentary, “The Natural History of Destruction,” bows May 23 in the Cannes Premiere section of the Cannes Film Festival. The director returns to the Croisette one year after his last feature, “Babi Yar. Context,” won a Special Jury Prize of the Golden Eye award for best documentary. Variety has been given exclusive access to the film’s trailer.
Inspired by a book by German writer W.G. Sebald, “The Natural History of Destruction” makes use of an unprecedented trove of archive footage to re-examine the strategic bombing campaign of Allied forces in Germany during the Second World War. The unsparing attacks were designed to destroy the country’s war capabilities and break the German people’s morale.
Loznitsa poses the question whether it’s morally acceptable to use civilian populations as a means of war — an urgent question as Russia’s brutal onslaught in Ukraine...
Inspired by a book by German writer W.G. Sebald, “The Natural History of Destruction” makes use of an unprecedented trove of archive footage to re-examine the strategic bombing campaign of Allied forces in Germany during the Second World War. The unsparing attacks were designed to destroy the country’s war capabilities and break the German people’s morale.
Loznitsa poses the question whether it’s morally acceptable to use civilian populations as a means of war — an urgent question as Russia’s brutal onslaught in Ukraine...
- 5/22/2022
- by Christopher Vourlias
- Variety Film + TV
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