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Nisimazine cannes issue3


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Nisimazine cannes issue3

  1. 1. Nisimazine SUNDAY 15 MAY 2011 Cannes #3 A Magazine by Nisi Masa, European Network Of Young CinemA 17 fillescast from 17 Filles, photo by Martina Lang Footnote Sundance Institute
  2. 2. NISIMAZINE CANNES Sunday 15 May 2011/# 3 A magazine published by the NISI MASA in the framework of a film journalism workshop for young Europeans with the support of the ‘Youth in Action’ programme of the EU EDITORIAL STAFFEditorial Director of Publication Matthieu Darras Editor-in-Chief/Layout Maartje Alders Editor Jude Lister Tutor Paolo Bertolin by Ľuboš Bišto (Slovakia) Contributors to this issue Ľuboš Bišto, Levente CzehelszkiLet’s imagine that the Cannes Film Festival all co-create is actually made out of personal Andris Feldmanisis a film. It is not a film featuring the stars, impressions captured by the eyes. They are Anne-Sophie Meusburger, Martina Langnor a documentary about what happens in the best cameras you can get anywhere. In Elisabeth Renault-GeslinCannes. It is a multi-genre piece that can this way you are the director of photography Miklós Vargha, Patrícia Veszpremionly be seen once in a lifetime. No reruns as well. But let’s not forget that you are the Coordinators Jass Seljamaa, Merli Antsmaaare possible. Everyone involved with the screenwriter, editor, and costume designer Eva Ujlakyová, Jana Dandárováfestival is a star in this movie. The old star as well. If you thought you were not busysystem has to make way to the new rising enough, then maybe you should reconsider. NISI MASA 99 rue du Faubourg Saint-Denis,stars of Cannes. We all have our parts and we 75010, Paris, France.all have to stage something during the course Anything is possible here. So there is just Phone: +33 (0)9 60 39 63 38of the festival. Sooner or later, we all explore one thing to keep in mind. There would be in Cannes: +33 (0) 6 32 61 70 26what it means to be an actor in Cannes. May- no festival and no film if it weren’t for you. europe@nisimasa.combe now, when realizing it, we can walk the That is the reason why you should care about www.nisimasa.comred carpet better than the celebrities. the looks of your own movie. And even if I am not sure what my part of the film willWe are also the directors of this film. We can look like, I know I will try to make it as fullmake decisions and change the course of ac- as I can.tions. Some of us are having our directorialdebuts; others are enjoying the routine of the64th Cannes film directing. The film that we BY MARTINA LANG (AUSTRIA) , picture of the day
  3. 3. film of the day 17 Filles© ARCHIPEL 35 Delphine et Muriel Coulin (France) Critics’ Week Inspired by real events, 17 Filles, the the audience is very close to the cha- film, the last travelling shot accompa- first feature film from sisters Muriel racters. The strong presence of lands- nying it, the girls motionless on their and Delphine Coulin, tells the story of capes – the beach, the sea and the cliffs bed, looking to sleep with any average a group of high school girls falling pre- – opposed with the geometry of the city boy to evade their intransigent parents, gnant one after the other. The narration drives the girls from the oppressive the mystery of their acts… The directors focuses on five of them, the inseparable cage of their buildings to the promise of seem to take their inspiration from The hard core and its leader, the first to get change and infinity. The accuracy of the Virgin Suicides, adding their own perso- pregnant. In a little French town by the five young main actresses adds to the nal takes on the theme. Between Sofia sea, life is narrow and the girls are in emotion of their so-felt captivity and Coppola and Céline Sciamma (Water conflict with their families. To find a the urgent need to escape their fate. Lilies, Un Certain Regard, 2007), 17 way out, they decide to become pre- Filles continues the tradition of young gnant all together. The film of course evokes the memory girls in distress in their not-so-golden of a certain teenage movie with five cage, with grace and great talent. The mise en scène expresses a true and young sisters committing suicide one pure sensitivity towards the teenage after the other in order to escape their By Elisabeth Renault-Geslin (France) years. Close-ups of skin and sounds of family and their depressing future: the breathing bring the senses forward and voiceover beginning and ending the Trabalhar Cansa Marco Dutra, Juliana Rojas (Brazil) - UCR (Hard Labour) review Even though Juliana Rojas and Marco Dutra’s Trabalhar Cansa competes for © DEZENOVE SOM E IMAGENS the Camera d’Or open to first features only, this is not the directors’ first time in Cannes. Their shorts O Lençol Branco and Um Ramo were screened respecti- vely at the Cinefondation in 2004 and at the Critics’ Week in 2007. Mixing the social chronicle and the fan- tastic genre, Trabalhar Cansa portrays a family of three that is struggling with money. The husband Otávio has lost There is literally a skeleton in the clo- Brazil is witnessing for some years now his job, whereas his wife Helena opens set. Still the skeleton is not actually in a rapid growth of its GDP, Rojas and a grocery store that is not doing quite a closet, but behind a crumbling wall in Dutra clearly and cleverly state that the well. Helena hires a new maid, Paula, the grocery store. Once the monster is country’s middle class is still suffering. who similarly has a money problem. out, Trabalhar Cansa concludes with a More importantly, all the characters bewildering shout of Otávio amongst by Ľuboš Bišto (Slovakia) keep their resentments hidden and that a large assembly of unemployed shou- is what matters the most in the end. ting thirty something men. Whereas
  4. 4. reviews © RECTANGLE PRODUCTIONSLa Guerre est déclaréeValérie Donzelli (France) - Critics’ WeekLa guerre est déclarée truly begins with moments of magic and esprit.A young woman and a young man meet in a club and fall for eachother. The perfect matching even shows in the pleasurable coincidenceof their names as they are called Romeo and Juliette. Valérie Donzelli´ssecond feature then rapidly progresses with images full of vitality andjoy until the day they learn about their son´s brain cancer. This could bethe decisive moment for the plot to turn toward pain and resentfulness.But Donzelli manages to treat the subject in a non-dramatic, almostlight-hearted way. A fact indeed impressing since Donzelli and herco-scriptwriter and actor Jérémie Elkaim are actually transferring theirown stories onto the screen.What makes La guerre est déclarée exceptional and exhilarant is itsmixture of authenticity and playful storytelling. The film comprisesseveral years and shows how the Parisian couple adjusts to the seriousillness of their child. But in the same way as Romeo and Juliette try tomake the best out of the situation, Valérie Donzelli attaches to other as-pects and outlines the importance of personal happiness, family bondsand love. Suffering and laughter naturally blend into each other andby the end a whole rollercoaster of emotions has been presented. Laguerre est déclarée takes an often comical and strongly life-affirmingperspective on how to cope with inevitable strokes of Anne-Sophie Meusburger (Austria) Footnote (Hearat Shulayim) Joseph Cedar (Israel) - Official Competition The leading UK R CALLSFOONS gateway to the world’s most I SI – SUBMPRIL There is no way a movie about Dealing with the unpleasant topic prestigious short two researchers dedicating their of rivalry inside a family, and 4 A UNE film awards including 30 J lives to the Talmud, and competing how this disturbance destroys with each other all the time, could relationships, Footnote succeeds Academy Awards®, be worth watching. This is exactly in providing enough twist and BAFTAs, Cartoon what I thought, before I went to emotion, maybe even some laugh- D’Or & European the screening of Footnote. Luckily ter. The intuitive editing by Einat Film Awards Joseph Sedar’s film belied my usual Glaser-Zarhin strengthens the script All films under pessimism. The main conflict is that fast-paced rhythm. Writer-director 30 minutes are eligible the two rivaling university profes- Joseph Sedar always carefully sors happen to be father and son. chooses where to put his camera, The elder Eliezer Scholnik, whose so the story is told through beautiful ALL FILMS UNDER 90 SECONDS work was never really appreciated, compositions, making its visual (Deadline 5 Sept) is quite jealous about his descen- style appealing. Definitely an outs- A Project dant’s success. Eventually it seems tanding film. like Eliezer is about to receive the Submit at highest award from the Ministry of Education, but it turns out to be a by Levente Czehelszki (Hungary) Submissions powered by tremendously stupid administration mistake; the jury actually dedicated the award to the son.
  5. 5. interview interviewSundance InstituteAlesia WestonCelebrating its 30th birthday, the SundanceInstitute is strongly represented this yearin Cannes with five films that benefitedits Feature Film Program selected.Nisimazine met the Program’s associatedirector Alesia Weston. Photo by Miklós Vargha (HUNGARY)How does the Sundance Institute Feature Film Program work?The year-round Feature Film Program is designed to support emer-ging filmmakers working on their first or second features throughScreenwriters Lab, Directors Lab, a Creative Producing Lab, aswell as Awards or Grants (the Sundance Institute/NHK Filmma-kers Award, the Sundance Institute l Mahindra Global Filmma-kers Award). Beyond these, the support of the Sundance Institutecontinues throughout the life of the film from inception throughcompletion. In the Screenwriters Lab, the fellows are mentored byveteran screenwriters. The month long Directors Lab provides anopportunity to work with a professional cast and crew on four, fivescenes from the script under the guidance of creative mentors.The Sundance Institute is celebrating its 30th birthday. Howhave your operations changed since the beginning, three de-cades ago?The program has evolved a great deal since it began with the Direc-tors and Screenwriters Labs. Over the years, under the leadershipof Michelle Satter, it has become increasingly comprehensive, ex-tending the support throughout the life of a project at key stages ofthe process. We have seen that our ongoing presence can make thedifference between a film getting made or not, or encourage it to Five films of the Cannes film festival were supported by Sun-find its best form. So, we are always thinking of new ways to help dance Institute’s Feature Film Program: Porfirio, Marthathe filmmakers move forward. Marcy May Marlene, Elena, The Slut, Return. Can you tell us something about them?What are the criteria for entering your feature film programme? They are all so different and individual to the filmmakers. But inThe typical point of entry is the Screenwriters lab. We look for all cases, there is an originality to the ideas or a new perspectiveoriginal voices, stories we haven’t seen before or, in some cases, on something we may already know. The filmmakers have beenfamiliar stories told in new ways. Filmmakers working on their first stubborn (in the best sense) about honoring their vision, which isor second feature from the US and international ‘regions of focus’ increasingly difficult, given the collaborative nature of the mediumare considered based on full length screenplays and their previous and pressures facing them nowadays. The films are disquieting,work (i.e short films, theatre pieces, visual art or other writing). thought provoking and risky and we are always proud to stand behind that.Sundance is focused on independent films. Are they still ‘inde-pendent’? Does cinema matter?The term independent has obviously evolved and morphed over I think it does matter, more and more, given its reach and potentialthe years, and represents films made in a variety of ways. In almost to broaden what we know and understand about the world. There isall the cases of filmmakers we work with, there is very little real still nothing quite like the intimate access it gives us into the mostinfrastructure to support them – their vision is their own (whether unlikely places – be it to worlds away or the bedroom in the houseit is an original story, or requires them to forge a new technique, next door or the mind of a teenager. And as pure entertainment ornon traditional structure, or tone) while working within certain an art form, I can’t imagine a world without it.parameters of the form – and the producers are piecing it togetherin entrepreneurial ways. Even though there is a larger ‘independent By Ľuboš Bišto (Slovakia)film industry’, I don’t think there is any question that it is poweredby an independent spirit and independently constructed films.
  6. 6. photos by Andris Feldmanis, Martina Lang and Miklós Vargha
  7. 7. in focus // from top to bottom: Augustine, Khibula, The Train Station l’Atelier As Wide as the WebAmongst film profes- ple living far away become inhabitants of a giant global village. But has the internetsionals, the expression got the potential to connect movies with the audiences just as movie theatres used‘new media’ tends to to do?become the new life- The media consumption of the youngerline –after the 3D- for generations is radically different from thatattracting audiences. of the older filmgoers. They watch videos and films on YouTube, they blog, face-Nisimazine investigated book or tweet their preferences. Could these platforms become a new channelon how the projects at between movies and the audiences? Pro-this year’s L’Atelier ducers, filmmakers all seem to be aware of the influence and impact of new media,face –and embrace- the yet the success at prestigious festivals still enjoys utmost priority. However, the sparkchallenges of online is there; some projects are in full swing on Online casting & gloomy prophecymarketing. the Internet. Online castings, aid campai- gns, short films available in VOD: global A newcomer, Alice Winocour, posted marketing online is now fully available online the call for casting for her first“Auteur cinema became disconnected with feature Augustine, thus opening up the and more cost-effective.wide audiences”, so the disillusioned sta- world of acting to the less celebratedtement goes. Art house films are targeted circles looking for talents still undisco-at prestigious festivals and at the circles An Iraqi multimedia campaign vered. Among Cannes’ recurrent parti-of professionals in order to win support cipants is David Verbeek, who premie- The selection of L’Atelier stretches fromfor upcoming projects; just as most of the red R U There last year in Un Certain one end of the globe to the other: 15directors and producers selected in L’Ate- Regard. His new project Full Contact projects, 15 countries, 15 patterns of alier where they look for funding for their further highlights his obsession of dis- rich tapestry of themes and genres. Fromsubsequent films. It is also common sense connectedness through technology as existentialist fantasies (Of Our Economicto say that internet connects people. Peo- a gloomy prophecy for the new media. Situation), through the dissolution of identity in a virtual reality (Full Contact) Certainly, using this mere technology for to the violent immobility of youth (Lu- promoting the film is part of the whole ton); from a political thriller (El Mudo) project. Yet, many projects still rely on to a coming-of-age youth drama (Il Sud the prestige of festivals, which remain è Niente), from suicide bombers (The the most reliable ways of connecting Train Station) to quixotic patriarchs (Mr with potential audiences. This is the Kaplan). case for example of Georgian filmmaker George Ovashvili, who comes to Cannes National identity is marketable in itself. to develop his second feature, Khibula, Mohamed Al-Daradji, a rising Iraqi direc- after the success of The Other Bank. tor - as his producer Isabelle Stead states - “resurrects Iraqi film industry from the Of course, websites and other new media brink of extinction”. He did it through a have long become channels of promotion multimedia campaign exploiting all pos- for filmmakers. It is a widespread saying Follow our coverage online on sible platforms, from social networking today that “if you do not have a profile through radio and television to the wide on Facebook, it is as if you did not even screen, in order to bring relief and aid exist”. Although there is no proof or New videoblog of to the people of a shattered country. His guarantee that more people will turn up film-to-be The Train Station will show a on cinema screenings, yet, it is already Indian independent cinema different side to the stereotypes connected building a solid relationship with new to Iraq as a war-torn country, just like Al audiences. This is one possible future of Photo Gallery Daradji’s previous films did. Meanwhile, cinema. his production team showcases a new mo- Extra reviews del of “engaging with audiences beyond By Patricia Veszprémi (Hungary) the cinema”.