The programme supports work-in-progress films from Africa and the Middle East
Scandar Copti’s Happy Holidays is among the seven selected projects for the 11th edition of Venice Final Cut, supporting work-in-progress films from Africa and the Middle East.
The programme, which runs as part of Venice Film Festival’s production bridge, has selected four fiction and three documentary projects to be screened to producers, distributors, buyers, post-production companies and programmers during the three-day workshop in Venice (September 3-5).
Happy Holidays follows a student whose double life is exposed when she gets involved in a minor accident. It’s a co-production between Palestine,...
Scandar Copti’s Happy Holidays is among the seven selected projects for the 11th edition of Venice Final Cut, supporting work-in-progress films from Africa and the Middle East.
The programme, which runs as part of Venice Film Festival’s production bridge, has selected four fiction and three documentary projects to be screened to producers, distributors, buyers, post-production companies and programmers during the three-day workshop in Venice (September 3-5).
Happy Holidays follows a student whose double life is exposed when she gets involved in a minor accident. It’s a co-production between Palestine,...
- 7/14/2023
- by Ellie Calnan
- ScreenDaily
Seven films have been selected for the 11th edition of Final Cut in Venice, the works-in-progress section of the 80th Venice Film Festival.
Final Cut in Venice, which runs Sept. 3-5, provides support for the completion of films from Africa and five Middle Eastern countries: Iraq, Jordan, Lebanon, Palestine and Syria. It is one of the programs run by the festival’s industry section, Venice Production Bridge.
Over three days, the working copies of the selected films will be presented to producers, buyers, distributors, post-production companies and film festival programmers. The first two days are devoted to screenings, and then one-to-one meetings between the producers of the projects and the professionals attending the Venice Production Bridge will take place on the third day. The program will conclude with the awarding of prizes in kind or in cash, the purpose of which is to provide support for the films’ post-production.
Within...
Final Cut in Venice, which runs Sept. 3-5, provides support for the completion of films from Africa and five Middle Eastern countries: Iraq, Jordan, Lebanon, Palestine and Syria. It is one of the programs run by the festival’s industry section, Venice Production Bridge.
Over three days, the working copies of the selected films will be presented to producers, buyers, distributors, post-production companies and film festival programmers. The first two days are devoted to screenings, and then one-to-one meetings between the producers of the projects and the professionals attending the Venice Production Bridge will take place on the third day. The program will conclude with the awarding of prizes in kind or in cash, the purpose of which is to provide support for the films’ post-production.
Within...
- 7/14/2023
- by Leo Barraclough
- Variety Film + TV
In “The Siren” (2023), shown in the Berlinale's Panorama section, the director, Sepideh Farsi, shows the violence of 1980's Iran-Iraq war through the perspective of 14-year old Omid. Farsi repurposes the coming-of-age and adventure movie conventions, and juxtaposes them with the grim context of the conflict. The effect is as haunting, as it is surprisingly endearing.
Sirens is screening at Berlinale
This is the first animated film in Farsi's career which spanned from feature-length fiction to documentary works, predominantly focusing on contemporary Iran. With a story inspired by the director's families' experiences, screenplay penned by Javad Djavahery and animation overseen by Zaven Najjar, “The Siren” starts in the pre-lapsarian Abadan, a major Iranian city which will be soon pummelled by Sadam Husein's Iraqi forces. In the opening scene, boys play football. The game, however, is interrupted by a sudden missile strike. This triggers a rapid chain of events: Omid's older brother joins the army; whoever can,...
Sirens is screening at Berlinale
This is the first animated film in Farsi's career which spanned from feature-length fiction to documentary works, predominantly focusing on contemporary Iran. With a story inspired by the director's families' experiences, screenplay penned by Javad Djavahery and animation overseen by Zaven Najjar, “The Siren” starts in the pre-lapsarian Abadan, a major Iranian city which will be soon pummelled by Sadam Husein's Iraqi forces. In the opening scene, boys play football. The game, however, is interrupted by a sudden missile strike. This triggers a rapid chain of events: Omid's older brother joins the army; whoever can,...
- 3/9/2023
- by Olek Młyński
- AsianMoviePulse
Using clean lines, a controlled color palette and a flattened 2D drawing style, Sepidah Farsi’s engrossing Berlin Panorama opener “The Siren” paradoxically creates a story rich with dimensional detail and riven with the tragedy of war. Much like Marjane Satrapi did with 2007’s “Persepolis,” Farsi uses animation as a way to set the acutely painful civilian experience of the Iran-Iraq conflict at enough of a remove to make it bearable: From a distance, like a floating overhead angle or a wide cityscape vista, even smoke clouds and flying rubble can acquire a sort of beauty.
Unlike Satrapi’s film, however, “The Siren” leans into the form’s fictionalizing possibilities until it becomes less an illustrated snapshot of life in post-revolution Iran than a kind of wish-fulfilment fantasy, such as might have been dreamed up by a teenager, in which resourcefulness, resilience and fellowship eventually win out over forces of oppression and violence.
Unlike Satrapi’s film, however, “The Siren” leans into the form’s fictionalizing possibilities until it becomes less an illustrated snapshot of life in post-revolution Iran than a kind of wish-fulfilment fantasy, such as might have been dreamed up by a teenager, in which resourcefulness, resilience and fellowship eventually win out over forces of oppression and violence.
- 2/16/2023
- by Jessica Kiang
- Variety Film + TV
New films from Cristian Mungiu, Abderrahmane Sissako, Bertrand Bonello and Nikolaj Arcel have also receieved funding.
French director Houda Benyamina’s All For One and Austrian Jessica Hausner’s Club Zero are two of the 37 European co-productions set to receive of a share of Eurimage’s latest round of funding, totalling €9.1m ($10.3).
Benyamina’s All For One will receive €500,000, the largest share of funding, The co-production between France and Belgium (Versus Production) is the second feature from from Benyamina, whose debut Divines won the Caméra d’Or in Cannes 2016. Her latest title is a Three Muskateers-style adventure, with a female focus.
French director Houda Benyamina’s All For One and Austrian Jessica Hausner’s Club Zero are two of the 37 European co-productions set to receive of a share of Eurimage’s latest round of funding, totalling €9.1m ($10.3).
Benyamina’s All For One will receive €500,000, the largest share of funding, The co-production between France and Belgium (Versus Production) is the second feature from from Benyamina, whose debut Divines won the Caméra d’Or in Cannes 2016. Her latest title is a Three Muskateers-style adventure, with a female focus.
- 12/10/2021
- by Mona Tabbara
- ScreenDaily
New films from Cristian Mungiu, Abderrahmane Sissako, Bertrand Bonello and Nikolaj Arcel have also receieved funding.
French director Houda Benyamina’s All For One and Austrian Jessica Hausner’s Club Zero are two of the 37 European co-productions set to receive of a share of Eurimage’s latest round of funding, totalling €9.1m ($10.3).
Benyamina’s All For One will receive €500,000, the largest share of funding, The co-production between France and Belgium (Versus Production) is the second feature from from Benyamina, whose debut Divines won the Caméra d’Or in Cannes 2016. Her latest title is a Three Muskateers-style adventure, with a female focus.
French director Houda Benyamina’s All For One and Austrian Jessica Hausner’s Club Zero are two of the 37 European co-productions set to receive of a share of Eurimage’s latest round of funding, totalling €9.1m ($10.3).
Benyamina’s All For One will receive €500,000, the largest share of funding, The co-production between France and Belgium (Versus Production) is the second feature from from Benyamina, whose debut Divines won the Caméra d’Or in Cannes 2016. Her latest title is a Three Muskateers-style adventure, with a female focus.
- 12/10/2021
- by Mona Tabbara
- ScreenDaily
Cannes Titles To Stream Online
A pair of documentaries selected for this year’s Cannes Classics program will screen for free on the festival’s website and on the Cine+ Dailymotion platform as of this evening (July 2) from 7pm local time. The two films, both just shy of one hour in length, are Daphné Baiwir’s The Rebellious Olivia de Havilland, a portrait of the famed actress who was the first female president of the Cannes jury in 1965, and Emmanuel Barnault’s Pieces Of Cannes, a look at the French festival’s 74-year history. The films will be available until July 4 at 10pm local time.
Venice Gap Financing Projects
Venice Film Festival has revealed the 30 projects that will take part in its Gap-Financing Market during this year’s industry-focused Production Bridge, running September 1-11. The event will offer filmmaking teams one-on-one meetings with international decision-makers. Among the selected titles are The Secret Of Places,...
A pair of documentaries selected for this year’s Cannes Classics program will screen for free on the festival’s website and on the Cine+ Dailymotion platform as of this evening (July 2) from 7pm local time. The two films, both just shy of one hour in length, are Daphné Baiwir’s The Rebellious Olivia de Havilland, a portrait of the famed actress who was the first female president of the Cannes jury in 1965, and Emmanuel Barnault’s Pieces Of Cannes, a look at the French festival’s 74-year history. The films will be available until July 4 at 10pm local time.
Venice Gap Financing Projects
Venice Film Festival has revealed the 30 projects that will take part in its Gap-Financing Market during this year’s industry-focused Production Bridge, running September 1-11. The event will offer filmmaking teams one-on-one meetings with international decision-makers. Among the selected titles are The Secret Of Places,...
- 7/2/2021
- by Tom Grater
- Deadline Film + TV
The French film centre will also be backing the feature debuts by Tamara Erde and Zaven Najjar; three projects have been selected, representing fiction, documentary and animation, respectively. Three feature-debut projects have been selected during the fifth and final 2020 session of the Cnc’s second pre-production advance on receipts committee. Standing out among them is Tout le monde aime Jeanne by Céline Devaux, a director who has been festooned with awards with her animated short films Gros chagrin (Golden Lion at Venice in 2017), Sunday Lunch (César Award for Best Animated Short and International Press Award at the MyFrenchFilmFestival in 2016) and Vie et mort de l’illustre Grigori Efimovitch Raspoutine (Best Animated French-language Film Award at Clermont-Ferrand in 2013). This time, the filmmaker will not only be making the leap to feature-length territory, but also to live action, even though her project will also include animation. The director herself also...
Zaven Najjar’s animated road movie will teeter between drama and black comedy, telling an epic tale akin to Kirikou and the Sorceress and oozing Persepolis-like satire. One of the beneficiaries of the Film Fund Luxembourg’s latest round of funding (during which €13 million were split among 29 projects) is the first film adaptation of the Ivorian novel Allah Is Not Obliged. Revolving around a child soldier in Liberia in the 1990s, this critically acclaimed story by Ahmadou Kourouma won the Renaudot Award and the Goncourt High-school Student Award when it was published in 2000. The feature-length animated project, which was presented in 2018 at Cartoon Movie in Bordeaux, at Cee Animation in Trebon and at the Mia 2019 in Rome, today boasts a budget of €4.7 million, financed by three countries: France, Luxembourg and Belgium. France’s Sébastien...
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