The European Film Market (EFM) has crossed the 12,000-visitor attendance barrier for the first time, setting a new record for the event.
Over 12,000 visitors from 143 countries attended the 2024 market, up from around 11,500 at the 2023 edition; and ahead of the pre-pandemic record of 11,423. Final figures will be confirmed in the coming days.
The number of exhibiting companies was also up slightly, to 614 from last year’s 612 – staying well ahead of the pre-pandemic mark of 564. The 614 figure includes those exhibiting at both the Gropius Bau and Marriott Hotel sites.
The number of buyers was down slightly, from last year’s record of...
Over 12,000 visitors from 143 countries attended the 2024 market, up from around 11,500 at the 2023 edition; and ahead of the pre-pandemic record of 11,423. Final figures will be confirmed in the coming days.
The number of exhibiting companies was also up slightly, to 614 from last year’s 612 – staying well ahead of the pre-pandemic mark of 564. The 614 figure includes those exhibiting at both the Gropius Bau and Marriott Hotel sites.
The number of buyers was down slightly, from last year’s record of...
- 2/22/2024
- ScreenDaily
Actors Christopher Tierney in his first NYC stage role since departing Broadway's Spider-Man and Louis Butelli Cyclops A Rock Opera Sleep No More step into Jon Fosse's I Am The Wind, replacing the previously announced James Patrick Nelson and Jonathan Tindle. Performances still begin on Thursday, January 9 for a limited engagement through Sunday, January 26. Press opening remains Thursday, January 16 at 730 Pm. The performance schedule is Tuesday - Thursday at 730 Pm Friday - Saturday at 830 Pm and Sunday at 330 Pm. Performances are at 59E59 Theaters 59 East 59th Street, between Park and Madison Avenues. Tickets are 18 12.60 for 59E59 Members. To purchase tickets, call Ticket Central at 212 279-4200 or go to www.59e59.org.
- 12/20/2013
- by BWW News Desk
- BroadwayWorld.com
Film, opera and stage director known for La Reine Margot and his Ring cycle at Bayreuth in 1976
Unusually for a director, Patrice Chéreau, who has died of lung cancer aged 68, had more or less equally prestigious careers in the theatre, cinema and opera. Although he was internationally known from films such as La Reine Margot (1994) and his groundbreaking production of Richard Wagner's Ring cycle at Bayreuth (1976), he was renowned in his native France mostly for his "must-see" stage productions, especially during his long stints as co-director of the Théâtre National Populaire (1971-77) and the Théâtre des Amandiers (1982-90).
At these two subsidised theatres, in Villeurbanne, near Lyons, and Nanterre, in western Paris, respectively, Chéreau was able to introduce modern plays and bring a freshness to bear on the classics, particularly Marivaux, whose La Dispute he directed to acclaim at the Tnp in three different versions in the 1970s. At the Amandiers,...
Unusually for a director, Patrice Chéreau, who has died of lung cancer aged 68, had more or less equally prestigious careers in the theatre, cinema and opera. Although he was internationally known from films such as La Reine Margot (1994) and his groundbreaking production of Richard Wagner's Ring cycle at Bayreuth (1976), he was renowned in his native France mostly for his "must-see" stage productions, especially during his long stints as co-director of the Théâtre National Populaire (1971-77) and the Théâtre des Amandiers (1982-90).
At these two subsidised theatres, in Villeurbanne, near Lyons, and Nanterre, in western Paris, respectively, Chéreau was able to introduce modern plays and bring a freshness to bear on the classics, particularly Marivaux, whose La Dispute he directed to acclaim at the Tnp in three different versions in the 1970s. At the Amandiers,...
- 10/8/2013
- by Ronald Bergan
- The Guardian - Film News
The visionary French director, whose Bayreuth Ring cycle left an indelible mark on modern opera, has died of lung cancer
Patrice Chéreau, the acclaimed French stage and screen director, has died of lung cancer at the age of 68.
The director is perhaps best known for his films, but was widely credited as a theatrical visionary. He arguably changed the face of modern opera with his legendary production of Richard Wagner's Ring cycle at the Bayreuth festival.
Staged over four years from 1976, Chéreau's epic production – set against the industrial revolution – marked the opera's centenary. On its final performance in 1980, the show received a 45-minute ovation.
Appointed as artistic director of the Théâtre de Sartrouville in north Paris at the age of 22, Chéreau went on to become of France's great cultural figures. Several of his productions played at the Avignon festival, with his 1988 Hamlet headlining the festival from the Cour d'honneur.
Patrice Chéreau, the acclaimed French stage and screen director, has died of lung cancer at the age of 68.
The director is perhaps best known for his films, but was widely credited as a theatrical visionary. He arguably changed the face of modern opera with his legendary production of Richard Wagner's Ring cycle at the Bayreuth festival.
Staged over four years from 1976, Chéreau's epic production – set against the industrial revolution – marked the opera's centenary. On its final performance in 1980, the show received a 45-minute ovation.
Appointed as artistic director of the Théâtre de Sartrouville in north Paris at the age of 22, Chéreau went on to become of France's great cultural figures. Several of his productions played at the Avignon festival, with his 1988 Hamlet headlining the festival from the Cour d'honneur.
- 10/8/2013
- by Matt Trueman
- The Guardian - Film News
With British theatre looking backwards, even the one new play that almost everyone enjoyed was a skilful reworking of an 18th-century classic
The British theatre is living off its past. Just think of the plays that left a strong impression in 2011: Caryl Churchill's Top Girls (1982), Harold Pinter's Betrayal (1978), Edward Bond's Saved (1965), Arnold Wesker's The Kitchen (1959) and his Chicken Soup With Barley (1958), and Terence Rattigan's Flare Path (1942). Even the one new play that almost everyone enjoyed, Richard Bean's One Man, Two Guvnors, was a skilful reworking of an 18th-century classic.
I admired Mike Bartlett's 13 at the National and Alan Ayckbourn's Neighbourhood Watch in Scarborough for their ability, in very different ways, to reflect the tenor of the times. Two other old hands, David Hare with South Downs and David Edgar with Written on the Heart, turned in highly accomplished pieces. But, even...
The British theatre is living off its past. Just think of the plays that left a strong impression in 2011: Caryl Churchill's Top Girls (1982), Harold Pinter's Betrayal (1978), Edward Bond's Saved (1965), Arnold Wesker's The Kitchen (1959) and his Chicken Soup With Barley (1958), and Terence Rattigan's Flare Path (1942). Even the one new play that almost everyone enjoyed, Richard Bean's One Man, Two Guvnors, was a skilful reworking of an 18th-century classic.
I admired Mike Bartlett's 13 at the National and Alan Ayckbourn's Neighbourhood Watch in Scarborough for their ability, in very different ways, to reflect the tenor of the times. Two other old hands, David Hare with South Downs and David Edgar with Written on the Heart, turned in highly accomplished pieces. But, even...
- 12/5/2011
- by Michael Billington
- The Guardian - Film News
From outraging Wagner purists to snubbing Hollywood, Patrice Chéreau is forever going against the grain. Now the great French director has turned his sights on British theatre.
Patrice Chéreau, the great French theatre, opera and film director, is in London to rehearse the first play he has ever directed in the UK. It's a coup for the Young Vic, and its artistic director, David Lan, tells me people are hanging about near the rehearsal rooms just to feel the presence, touch the hem. I am not ashamed to admit I am one of those hem-touchers, fascinated to meet the man who changed the face of modern opera with his centenary Ring cycle at Bayreuth in 1976, when he infuriated traditionalists by replacing Wagnerian horns and bearskins with the trappings of 19th-century plutocracy.
That Ring made the then 31-year-old Chéreau's career. It remains the achievement with which he is most often linked,...
Patrice Chéreau, the great French theatre, opera and film director, is in London to rehearse the first play he has ever directed in the UK. It's a coup for the Young Vic, and its artistic director, David Lan, tells me people are hanging about near the rehearsal rooms just to feel the presence, touch the hem. I am not ashamed to admit I am one of those hem-touchers, fascinated to meet the man who changed the face of modern opera with his centenary Ring cycle at Bayreuth in 1976, when he infuriated traditionalists by replacing Wagnerian horns and bearskins with the trappings of 19th-century plutocracy.
That Ring made the then 31-year-old Chéreau's career. It remains the achievement with which he is most often linked,...
- 4/25/2011
- by Stephen Moss
- The Guardian - Film News
Berlin International Film Festival
BERLIN -- "Nightsongs" (Die Nacht Singt Ihre Lieder) is a spectacularly bad movie. Based on a Norwegian play by Jon Fosse that seldom leaves an apartment living room, Romuald Karmakar's film is essentially a 95-minute quarrel between a young couple in a disintegrating marriage. When the movie's first line is "I can't take it anymore", you have nowhere to go but into a downward spiral of repetitious dialogue, bitter recriminations and abject misery. Even festival directors will shy away from booking this house-emptier.
A young couple lives in Berlin's Mitte district, where old and new collide in a postmodern hodgepodge. The woman (newcomer Anne Ratte-Polle) has just had a baby but still wants to go nightclubbing, see friends and enjoy life. The man (Frank Giering, a dynamic actor handcuffed here by a role of complete inertia) lies on a sofa and reads all day. Depressed by continual rejections of his writing from publishers, he has retreated into an agoraphobic stupor.
She harangues him, and he answers in monosyllables. You get the feeling they have this fight daily. He only displays energy when he suspects her of infidelity. He turns out not to be wrong as a third-act entrance by one Baste (Sebastian Schipper) makes clear. ("You're still probably the father," Baste comforts the husband.)
Ultimately, the woman can't bring herself to leave. She says she will miss her kitchen pots. Yes, she actually says that.
Some in the film's festival debut audience took much of this to be an intentional comedy. But director Karmakar (who adapted by play with Martin Rosenfeldt) and his cast lay too much stress on the angst-ridden drama and bitter words for this notion to be fully persuasive. Celebrated cinematographer Fred Schuler's camera glares steadily at the forlorn characters, as even the walls appear to close in on them, driving them further into despair.
Marthe Keller, always a welcome presence onscreen, turns up briefly as the man's mother in a sequence designed to drive home the point that even his parents can barely stand him. Long before the end, one has grown convinced that these two deserve one another.
BERLIN -- "Nightsongs" (Die Nacht Singt Ihre Lieder) is a spectacularly bad movie. Based on a Norwegian play by Jon Fosse that seldom leaves an apartment living room, Romuald Karmakar's film is essentially a 95-minute quarrel between a young couple in a disintegrating marriage. When the movie's first line is "I can't take it anymore", you have nowhere to go but into a downward spiral of repetitious dialogue, bitter recriminations and abject misery. Even festival directors will shy away from booking this house-emptier.
A young couple lives in Berlin's Mitte district, where old and new collide in a postmodern hodgepodge. The woman (newcomer Anne Ratte-Polle) has just had a baby but still wants to go nightclubbing, see friends and enjoy life. The man (Frank Giering, a dynamic actor handcuffed here by a role of complete inertia) lies on a sofa and reads all day. Depressed by continual rejections of his writing from publishers, he has retreated into an agoraphobic stupor.
She harangues him, and he answers in monosyllables. You get the feeling they have this fight daily. He only displays energy when he suspects her of infidelity. He turns out not to be wrong as a third-act entrance by one Baste (Sebastian Schipper) makes clear. ("You're still probably the father," Baste comforts the husband.)
Ultimately, the woman can't bring herself to leave. She says she will miss her kitchen pots. Yes, she actually says that.
Some in the film's festival debut audience took much of this to be an intentional comedy. But director Karmakar (who adapted by play with Martin Rosenfeldt) and his cast lay too much stress on the angst-ridden drama and bitter words for this notion to be fully persuasive. Celebrated cinematographer Fred Schuler's camera glares steadily at the forlorn characters, as even the walls appear to close in on them, driving them further into despair.
Marthe Keller, always a welcome presence onscreen, turns up briefly as the man's mother in a sequence designed to drive home the point that even his parents can barely stand him. Long before the end, one has grown convinced that these two deserve one another.
Berlin International Film Festival
BERLIN -- "Nightsongs" (Die Nacht Singt Ihre Lieder) is a spectacularly bad movie. Based on a Norwegian play by Jon Fosse that seldom leaves an apartment living room, Romuald Karmakar's film is essentially a 95-minute quarrel between a young couple in a disintegrating marriage. When the movie's first line is "I can't take it anymore", you have nowhere to go but into a downward spiral of repetitious dialogue, bitter recriminations and abject misery. Even festival directors will shy away from booking this house-emptier.
A young couple lives in Berlin's Mitte district, where old and new collide in a postmodern hodgepodge. The woman (newcomer Anne Ratte-Polle) has just had a baby but still wants to go nightclubbing, see friends and enjoy life. The man (Frank Giering, a dynamic actor handcuffed here by a role of complete inertia) lies on a sofa and reads all day. Depressed by continual rejections of his writing from publishers, he has retreated into an agoraphobic stupor.
She harangues him, and he answers in monosyllables. You get the feeling they have this fight daily. He only displays energy when he suspects her of infidelity. He turns out not to be wrong as a third-act entrance by one Baste (Sebastian Schipper) makes clear. ("You're still probably the father," Baste comforts the husband.)
Ultimately, the woman can't bring herself to leave. She says she will miss her kitchen pots. Yes, she actually says that.
Some in the film's festival debut audience took much of this to be an intentional comedy. But director Karmakar (who adapted by play with Martin Rosenfeldt) and his cast lay too much stress on the angst-ridden drama and bitter words for this notion to be fully persuasive. Celebrated cinematographer Fred Schuler's camera glares steadily at the forlorn characters, as even the walls appear to close in on them, driving them further into despair.
Marthe Keller, always a welcome presence onscreen, turns up briefly as the man's mother in a sequence designed to drive home the point that even his parents can barely stand him. Long before the end, one has grown convinced that these two deserve one another.
BERLIN -- "Nightsongs" (Die Nacht Singt Ihre Lieder) is a spectacularly bad movie. Based on a Norwegian play by Jon Fosse that seldom leaves an apartment living room, Romuald Karmakar's film is essentially a 95-minute quarrel between a young couple in a disintegrating marriage. When the movie's first line is "I can't take it anymore", you have nowhere to go but into a downward spiral of repetitious dialogue, bitter recriminations and abject misery. Even festival directors will shy away from booking this house-emptier.
A young couple lives in Berlin's Mitte district, where old and new collide in a postmodern hodgepodge. The woman (newcomer Anne Ratte-Polle) has just had a baby but still wants to go nightclubbing, see friends and enjoy life. The man (Frank Giering, a dynamic actor handcuffed here by a role of complete inertia) lies on a sofa and reads all day. Depressed by continual rejections of his writing from publishers, he has retreated into an agoraphobic stupor.
She harangues him, and he answers in monosyllables. You get the feeling they have this fight daily. He only displays energy when he suspects her of infidelity. He turns out not to be wrong as a third-act entrance by one Baste (Sebastian Schipper) makes clear. ("You're still probably the father," Baste comforts the husband.)
Ultimately, the woman can't bring herself to leave. She says she will miss her kitchen pots. Yes, she actually says that.
Some in the film's festival debut audience took much of this to be an intentional comedy. But director Karmakar (who adapted by play with Martin Rosenfeldt) and his cast lay too much stress on the angst-ridden drama and bitter words for this notion to be fully persuasive. Celebrated cinematographer Fred Schuler's camera glares steadily at the forlorn characters, as even the walls appear to close in on them, driving them further into despair.
Marthe Keller, always a welcome presence onscreen, turns up briefly as the man's mother in a sequence designed to drive home the point that even his parents can barely stand him. Long before the end, one has grown convinced that these two deserve one another.
- 2/12/2004
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.