Stamped with an April 20th release date via the Focus Features folks (they picked it up last May), there is no reason to premiere early, but while we normally associate him with Tiff, Jason Reitman has been an off and on regular at Sundance since debuting his short, Operation in 98.
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- 11/17/2017
- by Eric Lavallée
- IONCINEMA.com
I had the good fortune of spending some time speaking with the CEO of the Doha Film Institute, Fatma Al Remahi, whom I had met previously at the Toronto Film Festival. She is a woman of rare talents and I intend to devote a "Women to Watch" feature on her when I return to Los Angeles. With her this day in Cannes were Khalil Benkirane, Head of Grants and Elia Suleiman, the Palestinian filmmaker known for his wry comedies/ commentaries of the current state of affairs around the Mideast, like "Divine Intervention", "The Time That Remains", "Chronicle of a Disappearance", winner of five major awards, and a segment in the 2012 omnibus, "7 Days in Havana".
They are here to celebrate being in Cannes with five films that they have invested in and which have won slots in the festival, thus proving how well their grants have worked. Even this past fall in Venice two of their films won prizes, one, "Sivas" from Turkey and Germany won the Special Jury Prize and Best Actor Award, and "Theeb" from Jordan UAE, Qatar and UK.
Before going into the films the Doha Film Institute is granting not only money to, but greater support from the filmmaking community in the Mideast and the larger world, I asked Suleiman how he envisaged his role. His answer was that, "with age, as strong passions wind down a bit, one has time and the wish to give back to the young, fresh filmmakers. In the process, you learn from their experience, and your own passion is rekindled by theirs. We all felt the same way at the same time, and the new grants program started very quickly with a wholeness to it.
It offers a way to stay connected and alert. Personally, it gives us a community, helping others and in doing this, we help ourselves. That is why we are here."
CEO Fatma Al Ramahi added that after five years of curating projects, granting financial aid and co-financing projects, they had come full circle and Dfi was now offering filmmakers more in what resembles an ecosystem.
I pointedly asked about the place of women in this "ecosystem" to which Khalil Benkirane replied, it depends upon the submissions. They preselect some and others are chosen; the decisions are based upon the combination of merit, narrative story, content, relevance and a direction toward a cinema for tomorrow, bringing in a new voice. The last three sessions before this one included more projects by women than men. This last session had less than 50% by women, more like 30%. But they have no quota which they must fill. They are conscious, but the chose by merit. Women may be in greater numbers because they offer fresh, new voices. In five years we will see more features by women.
I asked about the presence of USA projects their selection, having noticed a little known incident dramatized in "Houston, We Have a Problem!" by Ziga Virc (Slovenia, Germany, Croatia, Qatar) which occurred in March, 1961 when Yugoslavia sold its secret space program to the USA. Two months later, President Kennedy announced that Americans would travel to the Moon.
They pointed out the USA coproduction, "Liyana" by Aaron and Amanda Kopp (USA, Swaziland, Qatar), a feature doc about some talented orphaned children in Swaziland who create a fictional heroine and send her on a dangerous quest.
In their first year, 30 projects from the Us were submitted by Sundance and none made the cut. Last year saw some strong Us docs. This year they saw some real USA indies which were submitted by individuals who heard the call. These were indies not influenced by Us commercial concerns, wanting to fill TV slots or other such systemic strictures.
I agree with them that Us filmmakers need to look abroad for more originality and cannot remain Us-centric if they want to break the constraints of TV and Hollywood imposed styles.
Since those early years, Sundance itself has changed its direction and expanded its international slate, and Us itself has become more multi cultural.
Submissions for the Fall 2015 grants session will open July 18 and close August 1, so act now!
By and large however, topical themes of exile, the aftermath of war, coming of age and the importance of family feature figure prominently in the Institute’s Spring 2015 session of its grants program whose recipients were announced today at the Cannes Film Festival.
Twenty-five projects – comprising 14 narrative feature films, 5 feature documentaries, 1 feature experimental film and 5 short films – will receive funding for development, production or post-production.
This round’s selection also highlights the strength of submissions from first- and second-time feature filmmakers from the Mena region along with a strong group of short films receiving grants, reflecting the Doha Film Institute’s dedication to supporting emerging new talent.
After expanding the grants criteria to include established filmmakers from the Mena region for the category of post-production, this cycle also sees Mai Masri (Palestine) and Merzak Allouache (Algeria) awarded funding for their respective new projects – Masri’s ‘"3000 Nights," a narrative feature about a newlywed Palestinian schoolteacher who gives birth to her son in an Israeli prison and Allouache’s "Madame Courage," a narrative feature about an unstable and lonely teenager, living in a slum in the suburbs of Mostaganem, Algeria.
Former grantees Leila Hotait Salas ("Crayons of Askalan") and Nejib Belkadhi (‘Bastardo’) are also returning with new projects. Hotait Salas’ narrative feature "Stolen Skies," is set against the demonstrations in Cairo in 2011 about a women who remembers her Lebanese lover from 30 years ago and Belkadhi’s narrative feature ‘Retina’, is about a Tunisian immigrant forced to return to his country to take care of his autistic son.
Gulf representation in the short films includes Fahad Al Kuwari’s "One of Them’ from Qatar" and Amal Al-Agroobi’s "Under The Hat" from the UAE. Qatari feature film, "Sahaab" by Khalifa Abdullah Al Muraikhi marks the first Qatari feature awarded for a production grant and is a project which recently participated in Qumra – the first edition of the Institute’s new industry platform dedicated to the development of first- and second-time filmmakers.
In the feature documentary category, stories from or about Syria and its ongoing civil war and set against a backdrop of political, social and emotional turmoil form the subject matter of several projects selected for grants including Boutheyna Bouslama’s "Seeking The Man With the Camera" (Tunisia, Switzerland, France, Qatar), Ziad Kalthoum’s "Beirut Rooster" (Syria, Lebanon, Qatar) and Noura Kevorkian’s "Batata" (Lebanon, Qatar).
In the feature narrative category, regional projects from Algeria, Lebanon and Palestine span a variety of genres and cover a range of subject matter such as modern-day life in the Middle East, lost love and immigration; projects include Muhannad Lamin’s "Tin Hinan," Lidia Terki’s "Paris The White," Firas Khoury’s "Alam, The Flag" and Mir-Jean Bou Chaaya’s innovative genre film "Film Kteer Kbeer."
Five projects from outside the Mena region have received funding, including grants for filmmakers from Singapore (‘Apprentice’ by Junfeng Boo) and Slovenia (‘Houston, We Have a Problem’ by Ziga Virc) for the first time.
The new-wave of filmmaking coming out of Argentina, a story of familial secrets between sisters and a moving documentary about orphan children in Swaziland form an eclectic selection of projects chosen from the rest of the world by filmmakers Francisco Varone ("Road To La Paz"), Manu Gerosa ("Between Sisters") and Aaron and Amanda Kopp ("Liyana").
Fatma Al Remaihi, CEO of the Doha Film Institute, said: “Our Spring grantees demonstrate the strength of new work coming from emerging filmmakers with 23 projects awarded to first- and second-time directors and a strong selection of short films by new talents to watch.”
“These grants give support to projects with diverse regional perspectives and genres, underlining the Doha Film Institute’s commitment to the development of innovative new voices in cinema which is also echoed in our recently launched development platform, Qumra.”
What is Qumra? I asked and they showed me the recent Screen International Cannes supplement about it. Those of you in Cannes can get it off the trade stands or in the Screen offices. It is no red carpet event, nor is it a series of matter lasses. It is a regional conference aimed at deepening the conversations of experienced experts and emerging filmmakers. No masterclass or labs replace the personal conversations though there are workshops and grants involved. The grants are not merely monetary; they are grants of support, mentorships and approval which open the way for the filmmakers to optimize their chances to move ahead with their projects toward their intended goals.
It is a question of control often for filmmakers who may be forced to fit an organization's requirements when they receive funding. In Qumra, they have their own space without an authoritarian producer, although the producer is also invited and is treated well. Because the projects and producers themselves are curated, the producers are committed to committing themselves as it were to the projects. They are not forced to take on projects if they don't find the one that fits, but they are only invited if they intend to consider the projects seriously for their own portfolio. That filmmakers and producers both come out of Qumra contented is crucial.
“We have funded more than 220 projects through the grants programme since it was established and I am pleased to welcome back some of our grantee alumni who are returning this session with their new films. I am also pleased to introduce in this funding round a new avenue of support for established Mena directors, which reflects an integral part of our mission to support voices from the Arab world.”
Films supported in previous sessions of the grants programme are strongly represented in the Festival de Cannes this year with five grantees making their world premiere in various sections. They are: "Waves ’98" by Elie Dagher (Lebanon, Qatar) competing in the Official Short Film Competition; "Dégradé" by Tarzan and Arab Abunasser (Palestine, France, Qatar) and "Mediterranea" by Jonas Carpignano (Italy, France, Germany, Qatar) in the Critics’ Week sidebar which is dedicated to showcasing innovative works by new filmmakers; ‘"Lamb" by Yared Zeleke (Ethiopia, France, Qatar) in the main world cinema showcase, Un Certain Regard; and "Mustang" by Deniz Gamze Ergüven (Turkey, France, Germany, Qatar) selected for the Directors’ Fortnight.
Submissions for the Fall 2015 grants session will open July 18 and close August 1, so act now!
The fund is primarily for first and second-time filmmakers with the exception of the category of Post-Production which is available to established filmmakers from the Mena region.
For more information about eligibility and submission process visit:
http://www.dohafilminstitute.com/financing/grants/guidelines
A full directory of past grant recipients is available to view online at:
http://www.dohafilminstitute.com/financing/projects/grants
Doha Film Institute grantees for the Spring 2015 session are:
Development
Feature Narrative
"Seeking the Man with the Camera" by Boutheyna Bouslama (Tunisia, Switzerland, France, Qatar)
An investigative documentary that follows the narrator as she seeks out Seymo, a childhood friend with whom she used to play in the streets of Homs.
"Stolen Skies" by Laila Hotait Salas (Lebanon, Qatar)
Against the backdrop of the demonstrations in Cairo in 2011, a woman wants to remember the Lebanese lover she had 30 years ago – but first she will need to forgive herself.
"Tin Hinan" by Muhannad Lamin (Libya, Qatar)
A mythical coming-of-age tale in which a young girl is forced to travel into the Sahara to find a new home, ‘Tin Hinan’ depicts the struggle for identity in the midst of a revolution.
Production
Feature Narrative
"1982" by Oualid Mouaness (Lebanon, Qatar)
When 11-year-old Wissam decides to tell a classmate that he loves her, his will is challenged, his courage falters and an impending war threatens to separate them permanently.
"Alam, The Flag" by Firas Khoury (Palestine, France, Qatar)
Tamer, a young Palestinian high-school student, takes part in the mysterious Operation Flag mission on the eve of Israel’s Independence Day celebrations – a day of mourning for Palestinians.
"Paris the White" by Lidia Terki (Algeria, France, Qatar)
Aicha, a woman of 70, leaves her village in Algeria for the first time to go to Paris in search of her husband, who has not contacted her in years.
"Retina" by Nejib Belkadhi (Tunisia, Qatar)
Lotfi, a Tunisian immigrant who lives in France, is forced to return to his homeland to take care of his autistic child.
"Sahaab" by Khalifa Abdullah Al Muraikhi (Qatar)
When Nasser and his friends are lost in the desert, struggling to retrieve their falcon, their search turns out to be a deadly journey.
Short Narrative
"Aya" by Moufida Fedhila (Tunisia, France, Qatar)
‘Aya’ is a story about faith in God and in humanity, and of making changes and sacrifices in order to save one’s soul.
"The Boss" by Rzgar Huseein Ahmed (Iraq, Qatar)
A group of boys decides to select a boss from among themselves. Then the boss becomes the group’s dictator.
"One of Them" by Fahad Al Kuwari (Qatar)
Khalid finds himself in an enigmatic situation when he suddenly develops immunity to religious advocacy.
"Under the Hat" by Amal Al-Agroobi (United Arab Emirates, Qatar)
A mosque’s mu’athen loses his voice and looks for a replacement in his neighbor – the young vocalist in a heavy metal band.
Feature Documentary
"Batata" by Noura Kevorkian (Lebanon, Qatar)
While war rages back home, a family of Syrian potato farmers works the fields in neighboring Lebanon.
"Ghosts Hunting" by Raed Andoni (Palestine, France, Qatar)
Director Raed Andoni assembles an eclectic group of Palestinian ex-prisoners to rebuild the Israeli investigation centre in which they were imprisoned – a place they never in fact saw, because they were always blindfolded.
Short Experimental or Essay
"The Most Pretty Dudes" by Mohammad Dibo (Syria, Qatar)
In Homs, a city destroyed by war, two embattled groups negotiate to ensure their safe escape from the building they are both trapped in.
Post-production
Feature Narrative
"3000 Nights" by Mai Masri (Palestine, France, Jordan, Lebanon, UAE, Qatar)
A recently wed Palestinian schoolteacher gives birth in an Israeli prison, where she fights to protect her son, survive and maintain hope.
"Apprentice" by Junfeng Boo (Singapore, Germany, France, Hong Kong, Qatar)
Aiman, a corrections officer, is transferred to a high-security prison. There, he befriends Rahim, who, it turns out, is chief executioner. Can Aiman overcome his conscience and become Rahim's apprentice?
"Film Kteer Kbeer" by Mir-Jean Bou Chaaya (Lebanon, Qatar)
Intending to smuggle the amphetamine Captagon to Iraq in film canisters, a small-time Lebanese drug-dealer transforms himself into a film producer and, with the help of an underrated filmmaker, slyly manipulates public opinion.
"Houston, We Have a Problem!" by Ziga Virc (Slovenia, Germany, Croatia, Qatar)
In March, 1961, Yugoslavia sold its secret space programme to the USA. Two months later, President Kennedy announced that Americans would travel to the Moon.
"Madame Courage" by Merzak Allouache (Algeria, France, Qatar)
Omar, an unstable and lonely teenager, lives in a slum in the suburbs of Mostaganem.
"Road to La Paz" by Francisco Varone (Argentina, The Netherlands, Germany, Qatar)
Sebastián is hired to take Jahlil, a Muslim retiree, on the most important mission of his life. What begins as an inconvenient trip turns out to be a life-changing adventure.
Feature Documentary
"Beirut Rooster" by Ziad Kalthoum (Syria, Lebanon, Qatar)
While Syrian workers rebuild Lebanon, a country ruined by a lengthy civil war, their hometowns in Syria are destroyed during the brutal conflict there. Who will rebuild their houses?
"Between Sisters" by Manu Gerosa (Italy, Qatar)
Before life runs out, Ornella decides to confront her aging sister Teresa with a painful untold story – one that might change their close bond forever.
"Liyana" by Aaron and Amanda Kopp (USA, Swaziland, Qatar)
In Swaziland, some talented orphaned children create a fictional heroine and send her on a dangerous quest.
Feature Experimental or Essay
"In My Head, A Roundabout" by Lahcene Ferhani (Algeria, France, Qatar)
In the Ruisseau District of Algiers, workers and animals come together for a last dance of death: the city’s main slaughterhouse is about to close forever.
They are here to celebrate being in Cannes with five films that they have invested in and which have won slots in the festival, thus proving how well their grants have worked. Even this past fall in Venice two of their films won prizes, one, "Sivas" from Turkey and Germany won the Special Jury Prize and Best Actor Award, and "Theeb" from Jordan UAE, Qatar and UK.
Before going into the films the Doha Film Institute is granting not only money to, but greater support from the filmmaking community in the Mideast and the larger world, I asked Suleiman how he envisaged his role. His answer was that, "with age, as strong passions wind down a bit, one has time and the wish to give back to the young, fresh filmmakers. In the process, you learn from their experience, and your own passion is rekindled by theirs. We all felt the same way at the same time, and the new grants program started very quickly with a wholeness to it.
It offers a way to stay connected and alert. Personally, it gives us a community, helping others and in doing this, we help ourselves. That is why we are here."
CEO Fatma Al Ramahi added that after five years of curating projects, granting financial aid and co-financing projects, they had come full circle and Dfi was now offering filmmakers more in what resembles an ecosystem.
I pointedly asked about the place of women in this "ecosystem" to which Khalil Benkirane replied, it depends upon the submissions. They preselect some and others are chosen; the decisions are based upon the combination of merit, narrative story, content, relevance and a direction toward a cinema for tomorrow, bringing in a new voice. The last three sessions before this one included more projects by women than men. This last session had less than 50% by women, more like 30%. But they have no quota which they must fill. They are conscious, but the chose by merit. Women may be in greater numbers because they offer fresh, new voices. In five years we will see more features by women.
I asked about the presence of USA projects their selection, having noticed a little known incident dramatized in "Houston, We Have a Problem!" by Ziga Virc (Slovenia, Germany, Croatia, Qatar) which occurred in March, 1961 when Yugoslavia sold its secret space program to the USA. Two months later, President Kennedy announced that Americans would travel to the Moon.
They pointed out the USA coproduction, "Liyana" by Aaron and Amanda Kopp (USA, Swaziland, Qatar), a feature doc about some talented orphaned children in Swaziland who create a fictional heroine and send her on a dangerous quest.
In their first year, 30 projects from the Us were submitted by Sundance and none made the cut. Last year saw some strong Us docs. This year they saw some real USA indies which were submitted by individuals who heard the call. These were indies not influenced by Us commercial concerns, wanting to fill TV slots or other such systemic strictures.
I agree with them that Us filmmakers need to look abroad for more originality and cannot remain Us-centric if they want to break the constraints of TV and Hollywood imposed styles.
Since those early years, Sundance itself has changed its direction and expanded its international slate, and Us itself has become more multi cultural.
Submissions for the Fall 2015 grants session will open July 18 and close August 1, so act now!
By and large however, topical themes of exile, the aftermath of war, coming of age and the importance of family feature figure prominently in the Institute’s Spring 2015 session of its grants program whose recipients were announced today at the Cannes Film Festival.
Twenty-five projects – comprising 14 narrative feature films, 5 feature documentaries, 1 feature experimental film and 5 short films – will receive funding for development, production or post-production.
This round’s selection also highlights the strength of submissions from first- and second-time feature filmmakers from the Mena region along with a strong group of short films receiving grants, reflecting the Doha Film Institute’s dedication to supporting emerging new talent.
After expanding the grants criteria to include established filmmakers from the Mena region for the category of post-production, this cycle also sees Mai Masri (Palestine) and Merzak Allouache (Algeria) awarded funding for their respective new projects – Masri’s ‘"3000 Nights," a narrative feature about a newlywed Palestinian schoolteacher who gives birth to her son in an Israeli prison and Allouache’s "Madame Courage," a narrative feature about an unstable and lonely teenager, living in a slum in the suburbs of Mostaganem, Algeria.
Former grantees Leila Hotait Salas ("Crayons of Askalan") and Nejib Belkadhi (‘Bastardo’) are also returning with new projects. Hotait Salas’ narrative feature "Stolen Skies," is set against the demonstrations in Cairo in 2011 about a women who remembers her Lebanese lover from 30 years ago and Belkadhi’s narrative feature ‘Retina’, is about a Tunisian immigrant forced to return to his country to take care of his autistic son.
Gulf representation in the short films includes Fahad Al Kuwari’s "One of Them’ from Qatar" and Amal Al-Agroobi’s "Under The Hat" from the UAE. Qatari feature film, "Sahaab" by Khalifa Abdullah Al Muraikhi marks the first Qatari feature awarded for a production grant and is a project which recently participated in Qumra – the first edition of the Institute’s new industry platform dedicated to the development of first- and second-time filmmakers.
In the feature documentary category, stories from or about Syria and its ongoing civil war and set against a backdrop of political, social and emotional turmoil form the subject matter of several projects selected for grants including Boutheyna Bouslama’s "Seeking The Man With the Camera" (Tunisia, Switzerland, France, Qatar), Ziad Kalthoum’s "Beirut Rooster" (Syria, Lebanon, Qatar) and Noura Kevorkian’s "Batata" (Lebanon, Qatar).
In the feature narrative category, regional projects from Algeria, Lebanon and Palestine span a variety of genres and cover a range of subject matter such as modern-day life in the Middle East, lost love and immigration; projects include Muhannad Lamin’s "Tin Hinan," Lidia Terki’s "Paris The White," Firas Khoury’s "Alam, The Flag" and Mir-Jean Bou Chaaya’s innovative genre film "Film Kteer Kbeer."
Five projects from outside the Mena region have received funding, including grants for filmmakers from Singapore (‘Apprentice’ by Junfeng Boo) and Slovenia (‘Houston, We Have a Problem’ by Ziga Virc) for the first time.
The new-wave of filmmaking coming out of Argentina, a story of familial secrets between sisters and a moving documentary about orphan children in Swaziland form an eclectic selection of projects chosen from the rest of the world by filmmakers Francisco Varone ("Road To La Paz"), Manu Gerosa ("Between Sisters") and Aaron and Amanda Kopp ("Liyana").
Fatma Al Remaihi, CEO of the Doha Film Institute, said: “Our Spring grantees demonstrate the strength of new work coming from emerging filmmakers with 23 projects awarded to first- and second-time directors and a strong selection of short films by new talents to watch.”
“These grants give support to projects with diverse regional perspectives and genres, underlining the Doha Film Institute’s commitment to the development of innovative new voices in cinema which is also echoed in our recently launched development platform, Qumra.”
What is Qumra? I asked and they showed me the recent Screen International Cannes supplement about it. Those of you in Cannes can get it off the trade stands or in the Screen offices. It is no red carpet event, nor is it a series of matter lasses. It is a regional conference aimed at deepening the conversations of experienced experts and emerging filmmakers. No masterclass or labs replace the personal conversations though there are workshops and grants involved. The grants are not merely monetary; they are grants of support, mentorships and approval which open the way for the filmmakers to optimize their chances to move ahead with their projects toward their intended goals.
It is a question of control often for filmmakers who may be forced to fit an organization's requirements when they receive funding. In Qumra, they have their own space without an authoritarian producer, although the producer is also invited and is treated well. Because the projects and producers themselves are curated, the producers are committed to committing themselves as it were to the projects. They are not forced to take on projects if they don't find the one that fits, but they are only invited if they intend to consider the projects seriously for their own portfolio. That filmmakers and producers both come out of Qumra contented is crucial.
“We have funded more than 220 projects through the grants programme since it was established and I am pleased to welcome back some of our grantee alumni who are returning this session with their new films. I am also pleased to introduce in this funding round a new avenue of support for established Mena directors, which reflects an integral part of our mission to support voices from the Arab world.”
Films supported in previous sessions of the grants programme are strongly represented in the Festival de Cannes this year with five grantees making their world premiere in various sections. They are: "Waves ’98" by Elie Dagher (Lebanon, Qatar) competing in the Official Short Film Competition; "Dégradé" by Tarzan and Arab Abunasser (Palestine, France, Qatar) and "Mediterranea" by Jonas Carpignano (Italy, France, Germany, Qatar) in the Critics’ Week sidebar which is dedicated to showcasing innovative works by new filmmakers; ‘"Lamb" by Yared Zeleke (Ethiopia, France, Qatar) in the main world cinema showcase, Un Certain Regard; and "Mustang" by Deniz Gamze Ergüven (Turkey, France, Germany, Qatar) selected for the Directors’ Fortnight.
Submissions for the Fall 2015 grants session will open July 18 and close August 1, so act now!
The fund is primarily for first and second-time filmmakers with the exception of the category of Post-Production which is available to established filmmakers from the Mena region.
For more information about eligibility and submission process visit:
http://www.dohafilminstitute.com/financing/grants/guidelines
A full directory of past grant recipients is available to view online at:
http://www.dohafilminstitute.com/financing/projects/grants
Doha Film Institute grantees for the Spring 2015 session are:
Development
Feature Narrative
"Seeking the Man with the Camera" by Boutheyna Bouslama (Tunisia, Switzerland, France, Qatar)
An investigative documentary that follows the narrator as she seeks out Seymo, a childhood friend with whom she used to play in the streets of Homs.
"Stolen Skies" by Laila Hotait Salas (Lebanon, Qatar)
Against the backdrop of the demonstrations in Cairo in 2011, a woman wants to remember the Lebanese lover she had 30 years ago – but first she will need to forgive herself.
"Tin Hinan" by Muhannad Lamin (Libya, Qatar)
A mythical coming-of-age tale in which a young girl is forced to travel into the Sahara to find a new home, ‘Tin Hinan’ depicts the struggle for identity in the midst of a revolution.
Production
Feature Narrative
"1982" by Oualid Mouaness (Lebanon, Qatar)
When 11-year-old Wissam decides to tell a classmate that he loves her, his will is challenged, his courage falters and an impending war threatens to separate them permanently.
"Alam, The Flag" by Firas Khoury (Palestine, France, Qatar)
Tamer, a young Palestinian high-school student, takes part in the mysterious Operation Flag mission on the eve of Israel’s Independence Day celebrations – a day of mourning for Palestinians.
"Paris the White" by Lidia Terki (Algeria, France, Qatar)
Aicha, a woman of 70, leaves her village in Algeria for the first time to go to Paris in search of her husband, who has not contacted her in years.
"Retina" by Nejib Belkadhi (Tunisia, Qatar)
Lotfi, a Tunisian immigrant who lives in France, is forced to return to his homeland to take care of his autistic child.
"Sahaab" by Khalifa Abdullah Al Muraikhi (Qatar)
When Nasser and his friends are lost in the desert, struggling to retrieve their falcon, their search turns out to be a deadly journey.
Short Narrative
"Aya" by Moufida Fedhila (Tunisia, France, Qatar)
‘Aya’ is a story about faith in God and in humanity, and of making changes and sacrifices in order to save one’s soul.
"The Boss" by Rzgar Huseein Ahmed (Iraq, Qatar)
A group of boys decides to select a boss from among themselves. Then the boss becomes the group’s dictator.
"One of Them" by Fahad Al Kuwari (Qatar)
Khalid finds himself in an enigmatic situation when he suddenly develops immunity to religious advocacy.
"Under the Hat" by Amal Al-Agroobi (United Arab Emirates, Qatar)
A mosque’s mu’athen loses his voice and looks for a replacement in his neighbor – the young vocalist in a heavy metal band.
Feature Documentary
"Batata" by Noura Kevorkian (Lebanon, Qatar)
While war rages back home, a family of Syrian potato farmers works the fields in neighboring Lebanon.
"Ghosts Hunting" by Raed Andoni (Palestine, France, Qatar)
Director Raed Andoni assembles an eclectic group of Palestinian ex-prisoners to rebuild the Israeli investigation centre in which they were imprisoned – a place they never in fact saw, because they were always blindfolded.
Short Experimental or Essay
"The Most Pretty Dudes" by Mohammad Dibo (Syria, Qatar)
In Homs, a city destroyed by war, two embattled groups negotiate to ensure their safe escape from the building they are both trapped in.
Post-production
Feature Narrative
"3000 Nights" by Mai Masri (Palestine, France, Jordan, Lebanon, UAE, Qatar)
A recently wed Palestinian schoolteacher gives birth in an Israeli prison, where she fights to protect her son, survive and maintain hope.
"Apprentice" by Junfeng Boo (Singapore, Germany, France, Hong Kong, Qatar)
Aiman, a corrections officer, is transferred to a high-security prison. There, he befriends Rahim, who, it turns out, is chief executioner. Can Aiman overcome his conscience and become Rahim's apprentice?
"Film Kteer Kbeer" by Mir-Jean Bou Chaaya (Lebanon, Qatar)
Intending to smuggle the amphetamine Captagon to Iraq in film canisters, a small-time Lebanese drug-dealer transforms himself into a film producer and, with the help of an underrated filmmaker, slyly manipulates public opinion.
"Houston, We Have a Problem!" by Ziga Virc (Slovenia, Germany, Croatia, Qatar)
In March, 1961, Yugoslavia sold its secret space programme to the USA. Two months later, President Kennedy announced that Americans would travel to the Moon.
"Madame Courage" by Merzak Allouache (Algeria, France, Qatar)
Omar, an unstable and lonely teenager, lives in a slum in the suburbs of Mostaganem.
"Road to La Paz" by Francisco Varone (Argentina, The Netherlands, Germany, Qatar)
Sebastián is hired to take Jahlil, a Muslim retiree, on the most important mission of his life. What begins as an inconvenient trip turns out to be a life-changing adventure.
Feature Documentary
"Beirut Rooster" by Ziad Kalthoum (Syria, Lebanon, Qatar)
While Syrian workers rebuild Lebanon, a country ruined by a lengthy civil war, their hometowns in Syria are destroyed during the brutal conflict there. Who will rebuild their houses?
"Between Sisters" by Manu Gerosa (Italy, Qatar)
Before life runs out, Ornella decides to confront her aging sister Teresa with a painful untold story – one that might change their close bond forever.
"Liyana" by Aaron and Amanda Kopp (USA, Swaziland, Qatar)
In Swaziland, some talented orphaned children create a fictional heroine and send her on a dangerous quest.
Feature Experimental or Essay
"In My Head, A Roundabout" by Lahcene Ferhani (Algeria, France, Qatar)
In the Ruisseau District of Algiers, workers and animals come together for a last dance of death: the city’s main slaughterhouse is about to close forever.
- 5/16/2015
- by Sydney Levine
- Sydney's Buzz
The Israeli Defense Forces launched Operation Protective Edge on Tuesday, and while the escalating military actions have not yet impacted American television productions in the region, they are allegedly under threat of rocket attacks. Israel's highest-rated show, “Big Brother Israel,” which films near Jerusalem, evacuated its contestants into a safe room during Tuesday's broadcast. Also read: ‘Omar’ Review: Palestinians Chafe Under Israeli Occupation in Oscar-Nominated Drama The FX series “Tyrant,” by “Homeland” creator Gideon Raff, is in production outside of Tel Aviv. While it has been the target of rocket attacks by the Hamas-controlled Gaza Strip, those rockets have all been successfully intercepted.
- 7/10/2014
- by Jason Hughes
- The Wrap
From starring in Juice with a young Tupac Shakur to dancing behind Queen Latifah, Omar Epps has had an illustrious and diverse career. In the new ABC series Resurrection he plays J. Martin Bellamy, an American federal agent who finds himself inexplicably involved in a case of deceased family members coming back from the dead. Omar was careful not to spill the beans on the intricacies of the show’s central mystery during a recent visit to VH1, but he was completely down to show off his Kanye West impression. Yes, we all have one.
It might be easy for the Brooklyn native to choose New York City over Los Angeles, but it’s clear deciding between Bey and Jay and Kimye comes at a price. In honor of the many pairs of doctor scrubs he’s worn on the air, we tested his Operation skills in the latest edition of Your Move,...
It might be easy for the Brooklyn native to choose New York City over Los Angeles, but it’s clear deciding between Bey and Jay and Kimye comes at a price. In honor of the many pairs of doctor scrubs he’s worn on the air, we tested his Operation skills in the latest edition of Your Move,...
- 3/10/2014
- by Emily Exton
- TheFabLife - Movies
When "Scandal" first premiered, Mellie Grant, as played by Bellamy Young, was nothing more than a Machiavellian Lady MacBeth -- the cold, villainous obstacle standing between our hero Olivia Pope (Kerry Washington) and the love of her life, President Fitzgerald Grant (Tony Goldwyn). But as the series has progressed, and as Thursday's (Nov. 14) episode made abundantly clear, Mellie has morphed into the tragic center of the hit ABC show; a woman who, if you're not rooting for yet, you ought to be.
Viewers have always had an idea of the sacrifices Mellie has made in her life so that Fitz could become, remain and succeed as President of the United States. We've heard about how she gave up her career as a lawyer, watched as she stood by a man who threw his love for another in her face; but it wasn't until tonight's episode that the series seemed to...
Viewers have always had an idea of the sacrifices Mellie has made in her life so that Fitz could become, remain and succeed as President of the United States. We've heard about how she gave up her career as a lawyer, watched as she stood by a man who threw his love for another in her face; but it wasn't until tonight's episode that the series seemed to...
- 11/15/2013
- by editorial@zap2it.com
- Zap2It - From Inside the Box
If you’re an aspiring filmmaker, sometimes the best thing you can do is sell yourself short.
Most of the talk at the Sundance Film Festival is about feature-length movies, but the shorts program is actually where many aspiring directors take their first steps into the storytelling business.
EW spoke with two such filmmakers — one a veteran, one a newcomer — about starting out this way at Sundance.
Fifteen years ago, Jason Reitman brought his student film Operation to the indie festival’s shorts program, long before he would become an Oscar nominee for Juno and Up in the Air. This year,...
Most of the talk at the Sundance Film Festival is about feature-length movies, but the shorts program is actually where many aspiring directors take their first steps into the storytelling business.
EW spoke with two such filmmakers — one a veteran, one a newcomer — about starting out this way at Sundance.
Fifteen years ago, Jason Reitman brought his student film Operation to the indie festival’s shorts program, long before he would become an Oscar nominee for Juno and Up in the Air. This year,...
- 1/23/2013
- by Anthony Breznican
- EW - Inside Movies
This week on Operation Kino, we're pulling out our mix tapes and slinking back to our parents' houses as we review the new Jason Reitman and Diablo Cody collaboration, Young Adult. From there we tackle the other big release of the weekend, The Sitter, but talk mostly about its director David Gordon Green as we try to figure out the path his career has taken. Before any of that, though, we've got a lightning round devoted to the worst movies with the best casts, and then for tidbits Da7e is sick of hearing lies about the Star Trek sequel's plot, David is totally sick of Ashton Kutcher, Patches talks about the New York Times documentary Page One, and Katey finally catches up with Rango. We end, as always, with your lightning round answers for dessert. Take a listen below and find your downloading options; for more from all of...
- 12/9/2011
- cinemablend.com
Illustration by Barry Blitt.Vanity Fair contributing editor David Rose reveals for the first time that in 1999 the Taliban had granted license to an American company, Afghan Wireless Communications, to construct a cell-phone, and, Internet system in Afghanistan. Had the secret deal, named Operation Foxden, been completed, the U.S. would have had complete access to al-Qaeda and Taliban calls and e-mails in a matter of months. “The capability we would have had would have been very good,” a former N.S.A. official tells Rose. “Had this network been built with the technology that existed in 2000, it would have been a priceless intelligence asset.” But, as Rose reports, “at the critical moment, the Clinton administration put the project on hold, while rival U.S. agencies—the F.B.I., the N.S.A., and the C.I.A.—bickered over who should control it.” This “was one tool we...
- 8/4/2011
- Vanity Fair
Finding anything worth talking about these days has been like pulling teeth, but there is one story in this batch worth considering as Mimi Leder has decided to direct a new adaptation of All Quiet on the Western Front. I also have more news on The Bourne Legacy and G.I. Joe 2, so have at it...
Joan Allen and Albert Finney are in negotiations to reprise their roles as CIA agent Pamela Landy and Dr. Albert Hirsch, respectively, in Tony Gilroy's The Bourne Legacy, which will add additional continuity beyond just the title to the fourth film in the franchise. Allen starred in both The Bourne Supermacy and The Bourne Ultimatum with Finney making his franchise debut in Ultimatum.
This fourth film won't center on Matt Damon's title character, but will still revolve around the CIA's Operation Treadstone with Jeremy Renner and Oscar Isaac both playing agents trained in the program.
Joan Allen and Albert Finney are in negotiations to reprise their roles as CIA agent Pamela Landy and Dr. Albert Hirsch, respectively, in Tony Gilroy's The Bourne Legacy, which will add additional continuity beyond just the title to the fourth film in the franchise. Allen starred in both The Bourne Supermacy and The Bourne Ultimatum with Finney making his franchise debut in Ultimatum.
This fourth film won't center on Matt Damon's title character, but will still revolve around the CIA's Operation Treadstone with Jeremy Renner and Oscar Isaac both playing agents trained in the program.
- 7/27/2011
- by Brad Brevet
- Rope of Silicon
An American F-15E crashed near Benghazi, Libya overnight, with both pilots successfully ejecting. Babak Dehghanpisheh reports on the condition of one of the pilots and how he was treated by rebels.
The American F-15E went down in eastern Libya after midnight Tuesday about 25 miles east of Benghazi, the de-facto rebel capital. Both pilots ejected before the plane crashed and the Pentagon has confirmed that they are safe. But what exactly downed the plane and the details of the rescue still remain murky.
Related story on The Daily Beast: My Harrowing Libya Escape
Photos: Libya Airstrikes
One of the pilots was picked up by rebel forces near the site of the crash and brought by car to the Fadeel Hotel in Benghazi around 2 a.m., according to a handful of people who said they met with the pilot. It's unclear why the opposition forces brought the pilot to that particular hotel.
The American F-15E went down in eastern Libya after midnight Tuesday about 25 miles east of Benghazi, the de-facto rebel capital. Both pilots ejected before the plane crashed and the Pentagon has confirmed that they are safe. But what exactly downed the plane and the details of the rescue still remain murky.
Related story on The Daily Beast: My Harrowing Libya Escape
Photos: Libya Airstrikes
One of the pilots was picked up by rebel forces near the site of the crash and brought by car to the Fadeel Hotel in Benghazi around 2 a.m., according to a handful of people who said they met with the pilot. It's unclear why the opposition forces brought the pilot to that particular hotel.
- 3/22/2011
- by Babak Dehghanpisheh
- The Daily Beast
Actor Tim Blake Nelson will host the awards ceremony at the Sundance Film Festival, which also announced Tuesday the members of the five juries that will determine the winners. The festival runs from Jan. 20-30; the awards will be handed out the evening of Jan. 29. (The Short Film Awards will be named earlier at a ceremony on Tuesday, Jan. 25, at Park City’s Jupiter Bowl.)
The complete list of jurors follows, with bios provided by the festival.
U.S. Documentary Jury
Jeffrey Blitz
Jeffrey’s film career started in 2002 with the Oscar-nominated, Emmy-winning documentary “Spellbound.” His fiction feature debut, “Rocket Science,” became his first to play the festival (Sundance, 2007; Dramatic Directing Award). He has also directed the documentary “Lucky,” (Sundance, 2010) and multiple episodes of NBC’s “The Office.” In 2009, he won the Emmy for comedy directing.
Matt Groening
Matt Groening created the longest-running comedy in television history, “The Simpsons.” As a cartoonist,...
The complete list of jurors follows, with bios provided by the festival.
U.S. Documentary Jury
Jeffrey Blitz
Jeffrey’s film career started in 2002 with the Oscar-nominated, Emmy-winning documentary “Spellbound.” His fiction feature debut, “Rocket Science,” became his first to play the festival (Sundance, 2007; Dramatic Directing Award). He has also directed the documentary “Lucky,” (Sundance, 2010) and multiple episodes of NBC’s “The Office.” In 2009, he won the Emmy for comedy directing.
Matt Groening
Matt Groening created the longest-running comedy in television history, “The Simpsons.” As a cartoonist,...
- 1/18/2011
- by admin
- Moving Pictures Network
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