Also working on Vitor Gonçalve’s ‘The Owl’s Journey’.
Prolific Portuguese production outfit Rosa Filmes, one of the producers on Albert Serra’s Un Certain Regard selection Liberté, is preparing a raft of new features, including new films with Serra, Filipino filmmaker Lav Diaz (also a Cannes regular) and The Inbetweeners producer Christopher Young.
This activity comes as Portugal’s production incentive (a cash rebate system worth up to 30%) is making the country significantly more attractive as a coproduction partner. Since the start of 2018, the new rebate has made €36m available for production.
The Diaz project, which has the working title Magellan,...
Prolific Portuguese production outfit Rosa Filmes, one of the producers on Albert Serra’s Un Certain Regard selection Liberté, is preparing a raft of new features, including new films with Serra, Filipino filmmaker Lav Diaz (also a Cannes regular) and The Inbetweeners producer Christopher Young.
This activity comes as Portugal’s production incentive (a cash rebate system worth up to 30%) is making the country significantly more attractive as a coproduction partner. Since the start of 2018, the new rebate has made €36m available for production.
The Diaz project, which has the working title Magellan,...
- 5/14/2019
- by Geoffrey Macnab
- ScreenDaily
The fifth edition of First Look, "a festival for eye-opening and mind-expanding international cinema," opens tonight at the Museum of the Moving Image in New York with Alexander Sokurov's Francofonia and runs on through three consecutive weekends. We're gathering reviews and overviews, with the Village Voice on Jonathan Perel's Toponymy, "a disquieting glimpse at four eerily similar Argentinian towns established in the mid-1970s," Artforum on Dominic Gagnon’s controversial Of the North, and Reverse Shot on Manuel Mozos’s "elegiac essay-portrait" João Bénard da Costa: Others Will Love the Things I Have Loved, focusing on the legendary film scholar, programmer, and longtime head of Cinemateca Portuguesa. » - David Hudson...
- 1/8/2016
- Keyframe
The fifth edition of First Look, "a festival for eye-opening and mind-expanding international cinema," opens tonight at the Museum of the Moving Image in New York with Alexander Sokurov's Francofonia and runs on through three consecutive weekends. We're gathering reviews and overviews, with the Village Voice on Jonathan Perel's Toponymy, "a disquieting glimpse at four eerily similar Argentinian towns established in the mid-1970s," Artforum on Dominic Gagnon’s controversial Of the North, and Reverse Shot on Manuel Mozos’s "elegiac essay-portrait" João Bénard da Costa: Others Will Love the Things I Have Loved, focusing on the legendary film scholar, programmer, and longtime head of Cinemateca Portuguesa. » - David Hudson...
- 1/8/2016
- Fandor: Keyframe
New York's Museum of the Moving Image has announced the lineup for the fifth edition of its annual First Look Festival, running from January 8 through 24 and featuring a slew of Us and NYC premieres. Opening with Aleksandr Sokurov’s Francofonia, highlights also include Manuel Mozos’s portrait of João Bénard da Costa, the late director of the Portuguese Film Museum; a playful autobiographical work by the French film critic and filmmaker Louis Skorecki; and a duo of intimate behind-the-scenes films about Jim Jarmusch. Plus films by Margaret Honda, Ken Jacobs, Bjoern Kammerer, and the late Andrew Noren; and formally innovative films such as Jonathan Perel’s structuralist study of oppressive Argentine architecture, and Dominic Gagnon's gonzo YouTube assemblages. » - David Hudson...
- 12/5/2015
- Keyframe
New York's Museum of the Moving Image has announced the lineup for the fifth edition of its annual First Look Festival, running from January 8 through 24 and featuring a slew of Us and NYC premieres. Opening with Aleksandr Sokurov’s Francofonia, highlights also include Manuel Mozos’s portrait of João Bénard da Costa, the late director of the Portuguese Film Museum; a playful autobiographical work by the French film critic and filmmaker Louis Skorecki; and a duo of intimate behind-the-scenes films about Jim Jarmusch. Plus films by Margaret Honda, Ken Jacobs, Bjoern Kammerer, and the late Andrew Noren; and formally innovative films such as Jonathan Perel’s structuralist study of oppressive Argentine architecture, and Dominic Gagnon's gonzo YouTube assemblages. » - David Hudson...
- 12/5/2015
- Fandor: Keyframe
"The Glory of Filmmaking in Portugal" is the title of Manuel Mozos' new film, which recently competed for the main prize at Doclisboa, Portugal's largest documentary film festival. But it's also an apt summation of documentary's current state in the country. Settled like a lowered fog over the city, with movies showing throughout the day in four of the local cinemas and cinematheques, the festival offers an array of diverse programs, each in their own way about as bold as it gets: an international competition of startling breadth and quality; several retrospectives encompassing a vast array of archival treasures known and unknown, largely presented on celluloid; contemporary sections embracing multifarious strands of documentary film, from cult music to populist politics and vice-versa; and a rich national section of new movies, attended by scores of interested citizens. Collectively, these ingredients speak to a thriving community for non-fiction filmmaking in the.
- 11/6/2015
- by Christopher Small
- Indiewire
Hong Sang-soo's Right Now, Wrong Then.The lineup for the 2015 festival has been revealed, including new films by Hong Sang-soo, Andrzej Zulawski, Chantal Akerman, Athina Rachel Tsangari, and others, alongside retrospectives and tributes dedicated to Sam Peckinpah, Michael Cimino, Bulle Ogier, and much more.Piazza GRANDERicki and the Flash (Jonathan Demme, USA)La belle saison (Catherine Corsini, France)Le dernier passage (Pascal Magontier, France)Der staat gegen Fritz Bauer (Lars Kraume, Germany)Southpaw (Antoine Fuqua, USA)Trainwreck (Judd Apatow, USA)Jack (Elisabeth Scharang, Austria)Floride (Philippe Le Guay, France)The Deer Hunter (Michael Cimino, UK/USA)Erlkönig (Georges Schwizgebel, Switzerland)Guibord s'en va-t-en guerre (Philippe Falardeau, Canada)Bombay Velvet (Anurag Kashyap, India)Pastorale cilentana (Mario Martone, Italy)La vanite (Lionel Baier, Switzerland/France)The Laundryman (Lee Chung, Taiwan)Me and Earl and the Dying Girl (Alfonso Gomez-Rejon, USA) I pugni ni tasca (Marco Bellocchio, Italy)Heliopolis (Sérgio Machado, Brazil)Amnesia (Barbet Schroeder,...
- 7/20/2015
- by Notebook
- MUBI
5. Cinema in a Minor Key Weekend 5 - Feb.14-16th“minor key noun 1: a musical key or tonality in the minor mode; 2: a mood of melancholy or pathos; 3: a restrained manner: a small or limited scale.” in Merriam-Webster DictionaryThe fifth Harvard-Gulbenkian program focuses upon a trio of artists- Manuel Mozos, Argentine filmmaker Martín Rejtman and Quebec-based Canadian director Denis Côté - who similarly embrace a refreshingly alternate idea(l) of cinema - a deliberately "minor" mode of cinema grounded in the specificity of the resolutely local places explored by their films and in the delicate balance achieved by their greatest work between melancholy and wry humor, realism and fantasy. Offering nuanced, muted and minor reinventions of traditional genres, the deadpan screwball comedy of Rejtman’s Silvia Prieto and the minimalist melodramas of Mozos’ Xavier and Côté’s Curling are charged with profound political nuance and a lasting...
- 3/27/2015
- by Cinema Dialogues: Harvard at the Gulbenkian
- MUBI
João Bénard da Costa—Others will Love the Things I Loved
Directed by Manuel Mozos
Portugal, 2014
João Bénard da Costa (1935-2009) was the director of the Portuguese Film Museum in Lisbon for 18 years, and he is responsible for what it is today. He was also a writer, poet, critic and actor. The biographical documentary about his life and work made by his fellow countryman Manuel Mozos is one of those films that defies film criticism in its conventional form. If film criticism is deficient in general for trying to speak about a medium that entails several tracks—image, dialogue, music and so on—by using a single-track medium, i.e., words, then the conventional form of film criticism can be deficient, as it is in this specific case. The history of da Costa’s life work is what it is, however poetically presented it may be—it is literally a...
Directed by Manuel Mozos
Portugal, 2014
João Bénard da Costa (1935-2009) was the director of the Portuguese Film Museum in Lisbon for 18 years, and he is responsible for what it is today. He was also a writer, poet, critic and actor. The biographical documentary about his life and work made by his fellow countryman Manuel Mozos is one of those films that defies film criticism in its conventional form. If film criticism is deficient in general for trying to speak about a medium that entails several tracks—image, dialogue, music and so on—by using a single-track medium, i.e., words, then the conventional form of film criticism can be deficient, as it is in this specific case. The history of da Costa’s life work is what it is, however poetically presented it may be—it is literally a...
- 2/25/2015
- by Tina Poglajen
- SoundOnSight
This year's poster for the Vienna International Film Festival is of a flame, and while around the world in other cinema-loving cities and at other cinema-loving festivals one might that that as a cue for a celluloid immolation and a move forever to digital, here in Austria cinema and film as film aren't burning up but rather are burning brightly.
The tributes and special programs in artistic director Hans Hurch's 2014 edition make this position clear: John Ford, Harun Farocki and 16mm, with new films by Tariq Teguia, Jean-Luc Godard, and Jean-Marie Straub accompanying older ones by the same directors. These aren't just retrospectives, they are revitalizing redoubts, inexhaustible fountains of flame, of sensitivity, of consciousness, and of intervention. With such a profound retrospective program, I hope you'll forgive me telling you very little of anything new at the festival; unless, that is, you like me count cinema revived as something always new.
The tributes and special programs in artistic director Hans Hurch's 2014 edition make this position clear: John Ford, Harun Farocki and 16mm, with new films by Tariq Teguia, Jean-Luc Godard, and Jean-Marie Straub accompanying older ones by the same directors. These aren't just retrospectives, they are revitalizing redoubts, inexhaustible fountains of flame, of sensitivity, of consciousness, and of intervention. With such a profound retrospective program, I hope you'll forgive me telling you very little of anything new at the festival; unless, that is, you like me count cinema revived as something always new.
- 11/12/2014
- by Daniel Kasman
- MUBI
Mubi is proud to present work produced for Harvard at the Gulbenkian, a collaboration between the Calouste Gulbenkian Foundation and the Harvard Film Archive. Curated by Haden Guest and Joaquim Sapinho, and produced by Pedro Fernandes Duarte, Harvard at the Gulbenkian organizes a series of dialogues about Portuguese film and world cinema. The series consists of 12 weekends, between November 2013 and July 2014, in which a Portuguese filmmaker and one, two or three international filmmakers, and one or more important film critics or scholars of many nationalities are brought together for a series of screenings and public discussions. We will be hosting the articles and video conversations produced for the series, and this index will be updated as events take place in Lisbon.
"The inaugural weekend of the Harvard-Gulbenkian collaboration makes clear the central ambition and idea of our program: a radical rethinking and recontextualization of Portuguese cinema within the broader realm of world cinema.
"The inaugural weekend of the Harvard-Gulbenkian collaboration makes clear the central ambition and idea of our program: a radical rethinking and recontextualization of Portuguese cinema within the broader realm of world cinema.
- 3/6/2014
- by Cinema Dialogues: Harvard at the Gulbenkian
- MUBI
Entering its second year, the Museum of the Moving Image’s First Look series provides a strong, welcome antidote to the generally anemic cinematic landscape that is January. Its eclectic selection of undistributed features and shorts, programmed by Dennis Lim, Rachael Rakes, and David Schwartz, occasions an invigorating mixture of moods and approaches from established as well as emerging directors. It’s indicative of the series’ dedication to distinctive, often divisive cinematic voices that Bruno Dumont’s decidedly non-crowd-pleasing Hors Satan was chosen as the opening night film nearly two years following its Cannes premiere.
Whereas earlier films like Twentynine Palms or Hadewijch pushed the French director’s worldview in new directions, Hors Satan sits solidly in Dumont’s comfort zone, down to the cryptically religious title that links it to his debut, The Life of Jesus. His protagonist is a drifter with a scruffy, narrow face like Pasolini’s proletarian Christ,...
Whereas earlier films like Twentynine Palms or Hadewijch pushed the French director’s worldview in new directions, Hors Satan sits solidly in Dumont’s comfort zone, down to the cryptically religious title that links it to his debut, The Life of Jesus. His protagonist is a drifter with a scruffy, narrow face like Pasolini’s proletarian Christ,...
- 1/11/2013
- by Fernando F. Croce
- MUBI
News.
Lola, one of our favorite film journals, has released some content from their third issue. The articles include a piece by Dana Linssen on the film Nadine, among others, and the nature of feminist cinephilia. Also, you shouldn't miss this collective approach (part one of two) to Holy Motors. More cinephilic delight: the full version of the Flemish film journal Photogénie is now online, featuring Tom Paulus on Olivier Assayas, Sarah Keller on Jean Epstein, and an interview with Girish Shambu. Birthdays: Hayao Miyazaki turned 72 on the 5th (speaking of which, check this out) and Jean-Marie Straub turned 80 yesterday (David Hudson has collected some related material).
Finds.
"Happy New Years", Apichatpong-style: a brief short entitled 2013. Above: new images from Hong Sang-soo's new film, Nobody's Daughter Haewon, set to debut in Berlin next month. Via Moving Image Source, filmmaker Miguel Gomes writes on Manuel Mozos and the film Xavier:
"As I see it,...
Lola, one of our favorite film journals, has released some content from their third issue. The articles include a piece by Dana Linssen on the film Nadine, among others, and the nature of feminist cinephilia. Also, you shouldn't miss this collective approach (part one of two) to Holy Motors. More cinephilic delight: the full version of the Flemish film journal Photogénie is now online, featuring Tom Paulus on Olivier Assayas, Sarah Keller on Jean Epstein, and an interview with Girish Shambu. Birthdays: Hayao Miyazaki turned 72 on the 5th (speaking of which, check this out) and Jean-Marie Straub turned 80 yesterday (David Hudson has collected some related material).
Finds.
"Happy New Years", Apichatpong-style: a brief short entitled 2013. Above: new images from Hong Sang-soo's new film, Nobody's Daughter Haewon, set to debut in Berlin next month. Via Moving Image Source, filmmaker Miguel Gomes writes on Manuel Mozos and the film Xavier:
"As I see it,...
- 1/9/2013
- by Adam Cook
- MUBI
Like a lot of late (oft-fetish) objects of cinephilia (cf. Django Unchained, Holy Motors, You Ain't Seen Nothin' Yet, the films of Gabriel Abrantes, even, or perhaps most of all, This Is Not a Film), Miguel Gomes' Tabu is a sutured fantasy, that is, with the seams showing: all calculating formal frameworks for cute fantasy only end up referring back to their production history (as documentary), as well as the same national history the self-contained storyline was supposed to shield against. Of course the point is simple: stories are cultural products, and as in the African documentaries of Salzar's chief propagandist, António Lopes Ribeiro, Gomes' stories end up revealing everything they're designed to evade. Until its late swerve into unremitting pastiche, the point when cultural history collapses into a Forrest Gump crime scene, Tabu, like so many Portuguese films with their cheap resources and love letter narrators, straddles the...
- 12/28/2012
- by David Phelps
- MUBI
Jornal de Notícias is among the Portuguese news outlets reporting today that Pedro Hestnes, the actor best known internationally for his performances in Pedro Costa's Blood and Casa de Lava and Manuel Mozos's Xavier, has succumbed to cancer at the age of 49. His funeral will be held this afternoon at the Camarate cemetery in Loures. Hestnes had just completed work on Catarina Ruivo's Em segunda mão, currently in post-production, and was first diagnosed just two months ago.
- 6/21/2011
- MUBI
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