Festival to open with Berlin Golden Bear winner.
Korea’s second largest film festival, the 18th Jeonju International Film Festival (Jiff), which focuses on independent and arthouse cinema, is set to open April 27 with Berlinale Golden Bear winner On Body And Soul, directed by Ildiko Enyedi.
The Hungarian director is also set to be on the International Competition jury and hold masterclasses at the fest.
Jiff today announced its line-up of 229 films from 58 countries with 50 world premieres and three international premieres, putting an emphasis on its slogan “Outlet for Cinematic Expression.”
“We have always had the identity of a festival for independent and alternative films, but as you all know, the past year has revealed problems such as the [government] blacklist and various forms of censorship that have not been solved, which is why we have put forth this slogan,” said festival director Lee Choong-jik.
Supporting Korean independents
Executive programmer Kim Young-jin noted a recent slump in Korean...
Korea’s second largest film festival, the 18th Jeonju International Film Festival (Jiff), which focuses on independent and arthouse cinema, is set to open April 27 with Berlinale Golden Bear winner On Body And Soul, directed by Ildiko Enyedi.
The Hungarian director is also set to be on the International Competition jury and hold masterclasses at the fest.
Jiff today announced its line-up of 229 films from 58 countries with 50 world premieres and three international premieres, putting an emphasis on its slogan “Outlet for Cinematic Expression.”
“We have always had the identity of a festival for independent and alternative films, but as you all know, the past year has revealed problems such as the [government] blacklist and various forms of censorship that have not been solved, which is why we have put forth this slogan,” said festival director Lee Choong-jik.
Supporting Korean independents
Executive programmer Kim Young-jin noted a recent slump in Korean...
- 3/27/2017
- by hjnoh2007@gmail.com (Jean Noh)
- ScreenDaily
Soviet and Russian film director whose reputation is based on only four films, all of them masterpieces
Aleksei German, who has died of heart failure aged 74, was among the very last in a generation of film directors victimised by the Soviet Union's draconian attitude to the arts. As a result, since 1968 German had made only six films, one of them co-directed and one uncompleted at his death. Three of them were shelved for several years, and Khrustalyov, My Car! (1998), seven years in the making, was repeatedly bailed out by French money. German's reputation is based on only four films, all of them masterpieces.
Gradually, after the fall of communism in Russia, German's films were screened at cinematheques and festivals in the west. Khrustalyov, My Car!, the only one of his works that was not banned, provoked a mass walkout by critics at the 1998 Cannes film festival. According to the Hollywood Reporter,...
Aleksei German, who has died of heart failure aged 74, was among the very last in a generation of film directors victimised by the Soviet Union's draconian attitude to the arts. As a result, since 1968 German had made only six films, one of them co-directed and one uncompleted at his death. Three of them were shelved for several years, and Khrustalyov, My Car! (1998), seven years in the making, was repeatedly bailed out by French money. German's reputation is based on only four films, all of them masterpieces.
Gradually, after the fall of communism in Russia, German's films were screened at cinematheques and festivals in the west. Khrustalyov, My Car!, the only one of his works that was not banned, provoked a mass walkout by critics at the 1998 Cannes film festival. According to the Hollywood Reporter,...
- 2/26/2013
- by Ronald Bergan
- The Guardian - Film News
My Friend Ivan Lapshin (1984)
"Among the most important retrospectives in years, War and Remembrance: The Films of Aleksei Guerman is also a bracing, deeply satisfying cinematic experience," begins Tony Pipolo at Artforum. To follow up on Maxim Pozdorovkin's Notebook piece, I'll be gathering pointers to further reading as the series runs at the Film Society of Lincoln Center in New York through Tuesday. Pipolo: "Though the Russian director's output is small, his track record is flawless. All five of his features are being screened in this, his first retrospective in North America, along with The Fall of Otrar (1991, directed by Ardak Amirkulov), a curious, almost minimalist epic about Genghis Khan, which Guerman produced and co-wrote in the lull between My Friend Ivan Lapshin (1984), his first international success, and Khrustalyov, My Car! (1998), an exhilarating comic masterpiece and one of the great films of the 1990s."
"Guerman's first solo picture...
"Among the most important retrospectives in years, War and Remembrance: The Films of Aleksei Guerman is also a bracing, deeply satisfying cinematic experience," begins Tony Pipolo at Artforum. To follow up on Maxim Pozdorovkin's Notebook piece, I'll be gathering pointers to further reading as the series runs at the Film Society of Lincoln Center in New York through Tuesday. Pipolo: "Though the Russian director's output is small, his track record is flawless. All five of his features are being screened in this, his first retrospective in North America, along with The Fall of Otrar (1991, directed by Ardak Amirkulov), a curious, almost minimalist epic about Genghis Khan, which Guerman produced and co-wrote in the lull between My Friend Ivan Lapshin (1984), his first international success, and Khrustalyov, My Car! (1998), an exhilarating comic masterpiece and one of the great films of the 1990s."
"Guerman's first solo picture...
- 3/19/2012
- MUBI
Above and below: Khrustalyov, My Car!.
The joke about Aleksei German was always that he was great but only Russians liked him. Several years ago, I invited a non-Russian-speaker to a screening of Khrustalyov, My Car! (1998) at Brooklyn's Bam cinema. Ten minutes into the screening, an odd thing happened. I felt the urge to tell my companion to stop reading the subtitles.
The following scene prompted me: A middle-aged housekeeper opens the curtains and spikes her morning tea with cognac; someone polishes a shoe and talks about a veterinarian prone to lethargic sleep; a woman with a yoghurt facial scolds a senile lady for using a walker and, moments later, for taking a large kielbasa into bed with her. The old woman claims to be defenseless against sexual fantasies. Some words are misheard; a grocery receipt is scrutinized; a winter coat is sniffed in search of mothballs, two doll-like Jewish...
The joke about Aleksei German was always that he was great but only Russians liked him. Several years ago, I invited a non-Russian-speaker to a screening of Khrustalyov, My Car! (1998) at Brooklyn's Bam cinema. Ten minutes into the screening, an odd thing happened. I felt the urge to tell my companion to stop reading the subtitles.
The following scene prompted me: A middle-aged housekeeper opens the curtains and spikes her morning tea with cognac; someone polishes a shoe and talks about a veterinarian prone to lethargic sleep; a woman with a yoghurt facial scolds a senile lady for using a walker and, moments later, for taking a large kielbasa into bed with her. The old woman claims to be defenseless against sexual fantasies. Some words are misheard; a grocery receipt is scrutinized; a winter coat is sniffed in search of mothballs, two doll-like Jewish...
- 3/17/2012
- MUBI
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