#Kristof Deak

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Sing (2016)

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#28: “Sing” (2016, dir. Kristof Deak)

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Sing Takes Home the Oscar for Best Live-Action Short Film

Sing Takes Home the Oscar for Best Live-Action Short Film #Oscars #SingShortFilm #Congrats #BestShortFilmLiveAction

We are so proud to announce that the winner of the Best Live-Action Short Film at tonight’s 2017 Academy Awards is Sing.

Sing | Dorottya Hais & Dorka Gasparfalvi

The heartfelt drama, Sing, is based on the true story of a young girl who is forced to either stand up against a corrupt system or fit quietly into it. Dealing with themes of ambition, rejection and solidarity, this powerful film was…

[vm4vm0]

The Boss from Bart Sienkiewicz on Vimeo.

'The Boss' short film

Dir: Kristof Deak Prod: ChrisandBex

[cooncel]

Oscar Winner Kristof Deak Starts Shooting Feature Debut ‘The Grandson’ (EXCLUSIVE) Hungarian writer-director Kristóf Deák, who won an Academy Award for best live-action short, has started shooting his debut theatrical feature, “The Grandson.”

[dusunumsel]

Oscar'a Aday Olmuş 5 Kısa Film

Oscar'a aday olmuş 5 kısa filmi sizin için derledik. İyi seyirler dileriz. Madre https://www.youtube.com/watch?v=FOJL4uo1TMo Rodrigo Sorogoyen tarafından yönetilen İspanyol yapımı film aile ilişkilerini konu alıyor ve aynı zamanda da kısa film dalında 2017 Oscar adayı. The Voorman Problem https://www.youtube.com/watch?v=EaB2wiiOgHM 2013 yılında Oscar'a aday gösterilen ve Mark Gill tarafından yönetilen kısa film insan psikolojisinin derinlerini araştırıyor. The Neighbors' Window https://www.youtube.com/watch?v=k1vCrsZ80M4 Diane Weipert'in gerçek hikayesinden esinlenen ve Marshall Curry tarafından yönetilen 2019 yapımı kısa film 2020 Oscar adayları arasında yerini aldı. Sing https://www.youtube.com/watch?v=SEZqInXHUU8 Kristof Deak tarafından yönetilen ve ödüllü bir koronun başına geçen bir ilkokul öğrencisi kızın hikayesini anlatan film 2017'de Oscar'a aday gösterilmişti. Skin https://www.youtube.com/watch?v=DkCVrWC0ZP4 2018'de kısa film dalında Oscar alan SKIN, Guy Nattiv tarafından yönetildi. Yönetmenin aynı yıl bitirdiği ve yine aynı ismi taşıyan uzun metraj filmi içerik olarak kısa metrajdan farklı. Read the full article

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Short Shorts Film Festival & Asia teams up with Exile’s Hiro to create a contemporary fusion of vision and sound

BY MARK SCHILLING 

From its debut in 1999 as the passion project of actor Tetsuya Bessho, Short Shorts Film Festival & Asia has grown into a big event on the local and regional film calendar. Size is one reason: The 19th edition, which unspools from June 1 to 25 at six venues in Tokyo and Yokohama, features nearly 250 films in a variety of genres.

The festival’s heart, however, are its three competition sections: International, with 45 films, Asia International, with 23, and Japan, with 20. Selected from nearly 7,000 submissions, these entries compete for the Grand Prix, whose winner is eligible for an Academy Award. Last year’s Grand Prix awardee, Hungarian filmmaker Kristof Deak’s “Sing,” won the Oscar in the short film (live action) category at the 89th Academy Awards.

Among the festival’s noncompetitive sections are programs of shorts from Denmark, South Korea and Taiwan, as well as selections from the Cannes Film Festival and the Academy Awards. (This year’s Oscar short is, not surprisingly, “Sing.”) Short Shorts Film Festival & Asia also presents programs in conjunction with sponsors, such as Lexus, with its “Road to the World” short film project, and Tiffany, with three installments of its “New Ways of Seeing” five-part video series on contemporary art being shown.

The festival’s highest-profile collaboration this year, however, is with Hiro, leader of the mega-group Exile and former president of the LDH talent agency. With Bessho and Hiro serving as producers, and with songwriter Masato Odake providing tunes, Short Shorts Film Festival & Asia and LDH joined forces to make six shorts under the banner Cinema Fighters. Directed by frequent Cannes invitee Naomi Kawase and five young up-and-coming directors, the films are more like mini-features than typical music videos.

The Japan Times recently sat down with Bessho and Hiro at the LDH office in Naka-Meguro to discuss the festival in general and Cinema Fighters in particular.

How did you become involved in this project?

Hiro: I’d known about the Short Shorts festival for some time and was a fan. Also, Mr. Bessho and I were communicating with each other through a mutual acquaintance. My main work was originally in the music and talent management business and we had a lot of artists who wanted to be actors, so I told Bessho that it might be interesting if we did something together. One thing naturally led to another.

The starting point, though, was the idea of making a type of entertainment that hadn’t existed before and developing new markets with it.

You’re both listed as producers but how did you divide up the work?

Bessho: Actually, Hiro laid the foundation by getting Mr. Odake to compose songs for the films. Then we made a presentation to (Naomi) Kawase and five young directors.

As for the division of labor, Hiro selected the music and the lyrics to go with it and then cast the actors best suited to the song. I introduced him to the directors, then he made a plan and we discussed it together. The directors also came to us with a lot of ideas, so we discovered things that way.

You are screening the films in one 94-minute package at the festival, but did you think of linking them in any way?

Hiro: We didn’t think of doing that, no. We had the directors listen to Mr. Odake’s tunes, but each song was different. The directors got inspiration from the tunes and wrote and directed stories based on them. That’s how we made Cinema Fighters. There’s nothing linking the stories. Instead, the structure and the system themselves together make for a new style. We’ve just tried to maintain that. Otherwise, we let the directors direct freely. Some directors came up with stories that were really unexpected and some expressed the world of the song just as it was. We thought of Cinema Fighters as a limitless extension of the directors’ feelings and sensibilities.

Was this project a first for you?

Hiro: Yes, a first. So we now have collaboration between the Short Shorts Festival brand and the Exile Tribe brand. In collaborating, our theme has been to develop new chemical reactions and nurture new markets. Mr. Bessho taught me various things as we made the films and as a result, we came up with a really new style. We have also been able to reflect on various points and get some idea of what we should do next. As we keep doing this, we’ll develop a new genre that is different from short films and music videos. We’re thinking of how to improve the brand value.

So you feel the films are truly different from music videos.

Hiro: A director listens to a tune, thinks of a story and directs it — that’s movie style — but a music video is made to match the tune. In that sense, they’re completely different.

(To Bessho): Given the festival’s large and varied line-up, it might be hard for first-timers to figure out what to see. Do you have any recommendations?

Bessho: I’d like them to see Cinema Fighters, but that’s nearly sold out. The title of the festival as a whole is Cinematic and Cinematec. The concept is that you can say things like “This is cinematic” or “This is movie-like” of the films made in the 100 years of the 20th century.

“Cinematec,” however, refers to the technology and technique aspect. By technology I mean things like 4K, drones and VR (virtual reality), but there is also technique and skills. In making Cinema Fighters, for example, we thought, “This director has such-and-such an ability in working with this actor.” I’m not referring to tools, but to the skills the director has. We want to focus on both of those aspects — the cinematic and the cinematec.

As for recommendations, we are presenting the short that won the Academy Award last year and a film nominated by the Cannes Film Festival. We also have a film by Shunji Iwai, an animation narrated by Martin Scorsese, a 1964 documentary with Catherine Deneuve and a short starring Emma Stone. We hope people see all of them.

What keeps you doing this for 19 editions?

Bessho: By doing the festival, I come into contact with new talent and new challenges. When I meet the people who make the films, even if they are not famous, I think they’re going to be making our future entertainment, our future films. I learn a lot as an actor and am stimulated to up my game. I also make new discoveries. I realize there are other ways of doing things.

Cinema Fighters program:

Parallel World

Naomi Kawase / 14 minutes

A man journeys back to his high school days — and a girl he once liked — via a notebook.

Sense of Sentiment

A.T. (Asai Takeshi) / 15 minutes

The boy assistant to a mysterious maker of extracts that “release emotions” takes a liking to a silent, stone-faced beauty — and tries to help her smile.

Snowman

Kentaro Hagiwara / 16 minutes

In the near-future a woman waits for her young lover, frozen until a cure can be found for his deadly illness. Then he wakes to find her unrecognizably old.

Under the Black Dress

Toshimichi Saito / 12 minutes

In a world where color is forbidden, a young woman sells black dresses in her shop and makes colorful clothes upstairs. An old painter learns her secret.

Destination

Shiro Tokiwa / 20 minutes

Two lovers journey separately by train toward a rendezvous point. The woman emails the man, hinting at a disturbing revelation.

Swan Song

Ken Ochiai / 17 minutes

On a permanently frozen Earth, a wandering guitarist sings a song about a girl he loves but cannot find. In the audience is the missing girl’s best friend. (M.S.)

Short Shorts Film Festival & Asia 2017 takes place at various venues in Tokyo and Yokohama from June 1 to 25. Admission is free with the exception of the Cinema Fighters World Premiere event (¥2,500), and most films will be subtitled in English and Japanese. For more details, including showtimes, visit www.shortshorts.org.

[thearabkhaleesi]

2017 OSCARS WINNERS

Best Picture

Winner: Moonlight

Arrival

Fences

Hacksaw Ridge

Hell or High Water

Hidden Figures

La La Land

Lion

Manchester by the Sea

Best Actress

Winner: Emma Stone - La La Land

Isabelle Huppert - Elle

Ruth Negga - Loving

Natalie Portman - Jackie

Meryl Streep - Florence Foster Jenkins

Best Actor

Winner: Casey Affleck - Manchester by the Sea

Andrew Garfield - Hacksaw Ridge

Ryan Gosling - La La Land

Viggo Mortensen - Captain Fantastic

Denzel Washington - Fences

Best Supporting Actress

Winner: Viola Davis - Fences

Naomie Harris - Moonlight

Nicole Kidman - Lion

Octavia Spencer - Hidden Figures

Michelle Williams - Manchester by the Sea

Best Supporting Actor

Winner: Mahershala Ali - Moonlight

Jeff Bridges - Hell or High Water

Lucas Hedges - Manchester by the Sea

Dev Patel - Lion

Michael Shannon - Nocturnal Animals

Best Director

Winner: La La Land - Damien Chazelle

Arrival - Denis Villeneuve

Hacksaw Ridge - Mel Gibson

Manchester by the Sea - Kenneth Lonergan

Moonlight - Barry Jenkins

Best Original Screenplay

Winner: Manchester by the Sea - Kenneth Lonergan

20th Century Women - Mike Mills

Hell or High Water - Taylor Sheridan

La La Land - Damien Chazelle

The Lobster - Yorgos Lanthimos and Efthimis Filippou

Best Adapted Screenplay

Winner: Moonlight - Barry Jenkins and Alvin McCraney

Arrival - Eric Heisserer

Fences - August Wilson

Hidden Figures - Allison Schroeder and Theodore Melfi

Lion - Luke Davies

Best Original Score

Winner: La La Land - Justin Hurwitz

Jackie - Mica Levi

Lion - Dustin O'Halloran and Hauschka

Moonlight - Nicholas Britell

Passengers - Thomas Newton

Best Original Song

Winner: La La Land - City of Stars by Justin Hurwitz, Benj Pasek and Justin Paul

La La Land - Audition by Justin Hurwitz, Benj Pasek and Justin Paul

Moana - How Far I'll Go by Lin-Manuel Miranda

Trolls - Can't Stop the Feeling by Justin Timberlake, Max Martin and Karl Johan Schuster

Jim: The James Foley Story - The Empty Chair by J Ralph and Sting

Best Cinematography

Winner: La La Land - Linus Sandgren

Arrival - Bradford Young

Lion - Greig Fraser

Moonlight - James Laxton

Silence - Rodrigo Prieto

Best Foreign Language Film

Winner: The Salesman - Iran

A Man Called Ove - Sweden

Land of Mine - Denmark

Tanna - Australia

Toni Erdmann - Germany

Best Costume Design

Winner: Fantastic Beasts and Where to Find Them - Colleen Atwood

Allied - Joanna Johnston

Florence Foster Jenkins - Consolata Boyle

Jackie - Madeline Fontaine

La La Land - Mary Zophres

Best Make-up and Hairstyling

Winner: Suicide Squad - Alessandro Bertolazzi, Giorgio Gregorini and Christopher Nelson

A Man Called Ove - Eva Von Bahr and Love Larson

Star Trek Beyond - Joel Harlow and Richard Alonzo

Best Documentary Feature

Winner: OJ: Made in America

13th

Fire At Sea

I Am Not Your Negro

Life, Animated

Best Sound Editing

Winner: Arrival - Sylvain Bellemare

Deepwater Horizon - Wylie Stateman and Renee Tondelli

Hacksaw Ridge - Robert Mackenzie and Andy Wright

La La Land - Ai-Ling Lee and Mildred Iatrou Morgan

Sully - Alan Robert Murray and Bub Asman

Best Sound Mixing

Winner: Hacksaw Ridge - Kevin O'Connell, Andy Wright, Robert Mackenzie and Peter Grace

13 Hours: The Secret Soldiers of Benghazi - Gary Summers, Jeffrey J Haboush and Mac Ruth

Arrival - Bernard Gariepy Strobl and Claude La Haye

La La Land - Andy Nelson, Ai-Ling Lee and Steve A Morrow

Rogue One: A Star Wars Story - David Parker, Christopher Scarabosio and Stuart Wilson

Best Animated Short

Winner: Piper - Alan Barillaro and Marc Sondheimer

Blind Vaysha - Theodore Ushev

Borrowed Time - Andrew Coats and Lou Hamou-Lhadj

Pear Cider and Cigarettes - Robert Valley and Cara Speller

Pearl - Patrick Osborne

Best Animated Feature

Winner: Zootopia

Kubo and the Two Strings

Moana

My Life as a Zucchini

The Red Turtle

Best Production Design

Winner: La La Land - David Wasco and Sandy Reynolds-Wasco

Arrival - Patrice Vermette and Paul Hotte

Fantastic Beasts and Where to Find Them - Stuart Craig and Anna Pinnock

Hail, Caesar! - Jess Gonchor and Nancy Haigh

Passengers - Guy Hendrix Dyas and Gene Serdena

Best Visual Effects

Winner: The Jungle Book - Robert Legato, Adam Valdez, Andrew R Jones and Dan Lemmon

Deepwater Horizon - Craig Hammack, Jason Snell, Jason Billington and Burt Dalton

Doctor Strange - Stephane Ceretti, Richard Bluff, Vincent Cirelli and Paul Corbould

Kubo and the Two Strings - Steve Emerson, Oliver Jones, Brian McLean and Brad Schiff

Rogue One: A Star Wars Story - John Knoll, Mohen Leo, Hal Hickel and Neil Corbould

Best Film Editing

Winner: Hacksaw Ridge - John Gilbert

Arrival - Joe Walker

Hell or High Water - Jake Roberts

La La Land - Tom Cross

Moonlight - Nat Sanders and Joi McMillon

Best Documentary Short

Winner: The White Helmets - Orlando von Einsiedel and Joanna Natasegara

4.1 Miles - Daphne Matziaraki

Extremis - Dan Krauss

Joe's Violin - Kahane Cooperman and Raphaela Neihausen

Watani: My Homeland - Marcel Mettelsiefen and Stephen Ellis

Best Live Action Short

Winner: Sing - Kristof Deak and Anna Udvardy

Ennemis Interieurs - Selim Azzazi

La Femme et le TGV - Timo Von Gunten and Giacun Caduff

Silent Nights - Aske Bang and Kim Magnusson

Timecode - Juanjo Gimenez

[niraves]

Sing - Mindenki 2017 OSCAR WINNER HUNGARIAN SHORT FILM BY DIRECTOR KRISTOF DEAK. I’m so happy that our country have won another Oscar. Please watch it!

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BEST LIVE ACTION SHORT: – ENNEMIS INTERIURS (ENEMIES WITHIN) What starts out as a straight forward interview becomes an intense interrogation in this scathing, political thriller. Set in the 90’s, the film also looks at France’s turbulent relationship with Algiers. As the film begins, An Algerian teacher (Hassan Ghancy) applies for French Citizenship. He answers a series of basic questions of France’s Culture to an officer (Najib Oudghiri). But as the interview progresses, questions start to lean toward a terrorist attack by two Algerians. The officer suspects those two were at the same mosque meeting the teacher was at. The interrogation grows more hostile as the officer tries to get the teacher to name names. The premise probably has the simplest delivery of the films in this category. Most of the film is just these two character in a single room, talking. And yet it’s the most gripping short in this category. Starting with a simple Q & A, writer/director Selim Azzazi builds a slow burn of suspense coming out of each information revealed. The teacher also reveals himself to be a complex protagonist. Though born in the Algiers, he considers himself first and foremost a French man. He argues that since Algiers was part of the French Empire when he was born, he is therefore a Frenchman. But his fate lies in the hands of a man who could deport him with just the click of his pen. And no one will let him leave without two names. You don’t know much about him, but thanks to Ghancy’s performance, you care for him and don’t believe he had anything to do with this. This film takes a simple premise and keeps you in suspense. When it’s over, you’ll have a lot to talk about with your friends. – LA FEMME ET LE TGV The most romantic short in this category, this adorable little gem from Switzerland follows the developing relationship of two people who never meet. Every day, the TGV passes a little house of Elise (Jane Birkin), whose always there to wave her Swiss Flag. This seems to be the only high point of her day. Once a successful business, Elise’s bakery now struggles with competition from the All Deal retail store. Not helping is this ballet blaring techno tunes right next door. Her son Pierre (Mathieu Bisson) has grown up and moved out. Her only companion is Balthazar the budgie. So, the only excitement of her day is the coming of the TGV. Then one day, a letter comes flying onto out of the train and onto her lawn. So, begins a loving correspondence between Elise and the mysterious train conductor named Bruno. Elise would send letters and her treats to Bruno, who throws his letters out the window, along with some cheese. But their romantic correspondence comes under threat when the train takes a different route. La Femme Et Le TGV reminds me a lot of 84 Charing Cross Road, a biopic about two bookdealers (Anne Bancroft and Anthony Hopkins) who formed a bond through business correspondence. Both films are romances centered around two people who never meet. You’d think this would be the kiss of death for romance films, and yet both films seem to make it work. Romance live and die by the chemistry between the two leads. How can you have chemistry when the two leads never have a scene together? With great writing, that’s how. Elise and Bruno bring out their most romantic sides in their letters, often turning to each other to vent their personal problems. Though it begs the question; are they falling for each other’s true selves or just idealized versions of each other? What also makes it work is Birkin’s performance. She creates such a quirky character in Elise that she brings joy in every minute she’s on screen. When she waves her swiss flag, she brings out her character’s genuine happiness. Plus, she faces the task of selling the questionable decision of falling for a person she hasn’t met. Her romance feels so genuine that you can’t help but root for her to get together with Bruno. She also as good in her low points, especially when Pierre gives his mom a degrading birthday present. The film is also very funny. Elsie cherishes Bruno’s gifts of cheese. There’s just one problem; she hates cheese. So, we are treated to the hilarious image of a fridge full of cheese. La Femme et Le Tiv will leave audiences swooning over this romance. – SILENT NIGHTS All the way from Denmark comes a love story about two people fallen on hard times. Kwame (Prince Yaw Appliah) immigrated from Ghana in hopes of providing more for his wife and kids. Instead, He finds himself on living on the street, making a living by collecting bottles. Meanwhile, Social worker Inger (Malene Beltoft) cares for her deadbeat, drunken mother Solveig (Vibeke Hastrup), who makes her life a living hell. These two lost souls come into each other lives when Kwame’s beaten by some racist thugs and Inger comes to his aid. After nursing him to health, they sleep with each other. They seem like a great couple, if it weren’t for a few problems. First, Solveig is gets very racist when she’s drunk, which leads to an awkward first meeting. Second, there’s both living in states of extreme poverty. Oh, and there’s the matter of Kwame’s wife and kids in Ghana. The film seems to draw inspiration from Rainer Werner Fassbinder’s romantic masterpiece Ali: Fear Eats the Soul. Both films focus on the relationship between a lonely woman and an immigrant and the prejudices inflicted upon them. While not as frequent as in the later film, Silent Nights still has Kwame dealing with racial hostility, as previous beatings indicate. In an interesting spin, the hostility doesn’t only come from Caucasians. In fact, the thugs are of Danish born Arabs. I assume writer/director Aske Bang’s trying to prove whites aren’t the only ones’ hostile towards refugees. The film is clearly a commentary on the Syrian refugee crisis. What is surprising is how complicated the film portrays Kwame. The man came to Denmark thinking it would give him a better chance to provide for his family, only to find himself under a tunnel in the freezing cold, at least when the shelter’s not full. Fearing shame, Kwame can’t bring himself to return home without anything to show for it. On one hand, we can sympathize with his circumstances. But then Bang tests our sympathies by having him commit criminal activities. Kwame’s need for funds becomes urgent when his daughter contracts malaria. In his desperation, he commits a horrible act that’s not only criminal, but also nearly destroys his relationship with Inger. Sure, you understand why he did it, but it’s still a horrible thing to do. And then there’s the fact he’s cheating on his wife and doesn’t even have the decency to tell Inger, which may prove unforgivable for some audience members. We probably wouldn’t feel any sympathy if it weren’t for Appliah, who brings a lot of heart into his performance. The film has a lot of ups and downs. The films’ highpoint is the opening scene, which intertwines Kwame’s and Inger’s troubled lives with a church choir’s beautiful rendition of “Silent Night.” The low point is the ending. The message it sends is just…confusing. Whether the high points outweigh the low points is up to the audience. – SING (MINDEKI) Not to be confused with Illumination’s recent animated film, Sing is a Hungarian import. Moving to a new school is never easy for a kid. Despite the butterflies in her stomach, Zsofi (Dorka Gasparfalvi) fits right into her new environment, even joining her new best friend Liza (Dorka Hais) in the schools’ award winning choir class. After the first rehearsal, Zsofi comes to see why choir director Ms. Erika (Zsofia Szamosi) is her favorite teacher. But then Ms. Erika pulls her aside and insists Zsofi lip synch for the rest of rehearsals, which drains the poor girl of her enthusiasm. Soon, the girls come to realize how unfair adults can be. While a lesser actress would have hammed it up as Ms. Erika, Szamosi delivers a more nuanced realism to the character. When we first meet this teacher, she seems like a nice, encouraging teacher. When she does put down Psofi’s singing, she twists her insults under a polite guise; “You can sing in your head.” Szamosi maintains her polite manner as Ms. Erika tries to rationalize her questionable treatment of some students. It takes a hard push for her to show her true colours, but even then, she tries to mind her manners. Through Ms. Erika, the girls can see how adults make excuses for bad behavior, always believing themselves to be in the right. Matching her performance as the girls. Whenever they are together, Gasparfalvi and Hais make the interactions between Zsofi and Liza feel like real life conversations between two girls. Gasparfalvi is so joyful in the early scenes that when Zsofi’s spirit is broken, it’s upsetting. These little actresses further the depth of their character’s relationships when Zsofi won’t tell the concerned Liza why she’s upset. When they gather the choir team to get back at Ms. Erika, their hilarious revenge is glorious. SPOILER ALERT: These elements come together thanks to Director/Co-writer Kristof Deak. But one scene proves he has excellent storytelling skills. During one choir rehearsal, Liza starts to grow suspicious. She looks to student after student, and comes to realize Zsofi isn’t the only one who’s lip synching. The irony is the choir’s song is about singing in defiance. The fact he pulls this off without any spoken dialogue takes a master storyteller. – TIMECODE We conclude with the Palme D’or winning at the Cannes Film Festival. Today seemed like any other day for security guard Luna (Lali Ayguade) until she got a call from her boss. Apparently, a client’s tail lights were knocked out and the boss wants her to check the video. After typing in the timecode, the video reveals fellow guard Diego (Nicolas Ricchini) was dancing across the parking lot and accidently kicked out the light. Instead of ratting him out, Luna decides to try her hand at it. On her shift, she awkwardly dances in front of the security cameras and leaves a note of the times for Diego to watch it. Diego plays along, leaving notes for her to watch his dancing. This exchange starts a funny bond between these two. This is the third short film in this category centred around a blooming romance. The question is does this even count as a romance or just two friend enjoying a common activity? Either way, this short film is very funny, especially in the way it ends. Who Will Win? The odds are in favour of Ennemis Interieurs. This film is probably the best written and best acted film on the list, bringing a complex discussion of immigration and terrorism under a deceptively simple guise of a political thriller.

[karthick0587]

Oscar-Winning Director Kristof Deak Signs With Gotham Group

The Hungarian filmmaker picked up an Academy Award for his short film 'Sing.'

read more

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[inmagazine]

Moonlight wins Best Picture but La La Land is announced as winner by mistake! #Oscars COMPLETE LIST OF WINNERS: Best film

Moonlight

Best actress

Emma Stone (La La Land)

Best actor

Casey Affleck (Manchester By The Sea)

Best director

Damien Chazelle (La La Land)

Best supporting actress

Viola Davis (Fences)

Best supporting actor

Mahershala Ali (Moonlight)

Best original screenplay

Kenneth Lonergan (Manchester By The Sea)

Best adapted screenplay

Barry Jenkins and Tarell Alvin McCraney (Moonlight)

Best cinematography

Linus Sandgren (La La Land)

Best original score

Justin Hurwitz (La La Land)

Best original song

Justin Hurwitz, Benj Pasek and Justin Paul (La La Land)

Best sound editing

Sylvain Bellemare (Arrival)

Best foreign language film

Asghar Farhadi (The Salesman)

Best film editing

John Gilbert (Hacksaw Ridge)

Best visual effects

Robert Legato, Adam Valdez, Andrew R. Jones and Dan Lemmon (The Jungle Book)

Best production design

David Wasco and Sandy Reynolds Wasco (La La Land)

Best sound mixing

Kevin O'Connell, Andy Wright, Robert Mackenzie and Peter Grace (Hacksaw Ridge)

Best documentary Feature

Ezra Edelman and Caroline Waterlow (O.J.: Made in America)

Best animated film

Byron Howard, Rich Moore and Clark Spencer (Zootopia)

Best animated short film

Alan Barillaro and Marc Sondheimer (Piper)

Best documentary short subject

Orlando von Einsiedel and Joanna Natasegara (The White Helmets)

Best live action short film

Kristof Deak and Anna Udvardy (Sing)

Best make-up

Alessandro Bertolazzi, Giorgio Gregorini and Christopher Nelson (Suicide Squad)

Best costume design

Colleen Atwood (Fantastic Beast and Where To Find Them)

[filmblabla]

OSCARS 2017: Live Action Short Film Nominees

Oscartime again! Es ist schon super, dass bei iTunes sogar die nominierten Kurzfilme zu sehen sind. Wie in den letzten Jahren, sind auch diesmal Perlen dabei, hier kommt die Übersicht für Euch:

MINDENKI (SING) aus Ungarn

Ein Film über 10-jährige Mädchen, die in einem Chor singen, ist für den Oscar nominiert? Jawoll und zurecht! In 25 Minuten gelingt es Regisseur Kristof Deak eine Geschichte über Freundschaft, Integration, Gemeinschaft und Ehrgeiz zu erzählen, deren Botschaft sicher noch auf weitere und andere Lebensbereiche transferiert werden können. Die jungen Schauspielerinnen sind fabelhaft, der Film einfach wunderschön!

8 von 10 Singstimmen

SILENT NIGHTS aus Dänemark

Hier könnte ich mich jetzt seitenweise echauffieren, versuche es mal dem Genre angemessen kurz: ein einziges Ärgernis, voller Klischees, komplett fragwürdige Botschaft! Eine verzweifelte junge Dänin verknallt sich in einen Flüchtling, der ihr aber nicht die Wahrheit über sein Leben daheim erzählt. Schon der Charakter dieser Protagonistin ist so uninteressant, ich hätte am liebsten vorgespult. Der Regisseur setzt hier sicher auf die Botschaft nach außen, dass in Dänemark etwas nicht stimmt. Aber was ist mit der Botschaft nach innen, die durchaus lauten könnte: "Sagen wir ja, Integration klappt nicht, alle wieder abhauen bitte!" ???

Keine Punkte für so einen Mist!

TIMECODE aus Spanien

Dieser Film braucht nur 15 Minuten, um ein bisschen zu verzaubern. Es geht um zwei Angestellte, die Wachdienst in einer Tiefgarage schieben, sie sehen sich immer nur zur Schichtübergabe, stets nur ein paar Sekunden, frei nach dem Motto: "Hallo, wie gehts? Alles klar, Tschüß". Bis auf einmal eine ganz andere, non-verbale Kommunikation beginnt. Diese drollige Idee hat dem Film schon die Goldene Palme für Kurzfilme in Cannes eingebracht.

6 von 10 Ausfallschritten

ENNEMIES INTÉRIEURS (ENEMIES WITHIN) aus Frankreich

Ein einfaches Beantragen der französischen Staatsbürgerschaft für einen Algerier, der sein ganzes Leben in Frankreich gelebt hat, ist die Ausgangssituation für 27 Minuten politischen Sprengstoff. Clever, die Handlung ins Jahr 1996 zu verlegen, wo es Frankreich schon einmal drunter und drüber ging. Das 2 Personen-Stück spielt nahezu in einem Raum an einem Schreibtisch und was wie ein Gespräch beginnt, wir schnell zu einem Verhör, zu einer Parabel über Recht, Unrecht, Vorurteile, Macht. Diesen Film hätte ich mir gern länger und etwas erklärender gewünscht, denn die Geschichte ist faszinierend und sie funktioniert, denn ich habe sofort gemerkt, wie wütend ich auf den Beamten war...

7 von 10 billigen Medaillen

LA FEMME ET LE TGV aus der Schweiz

Der cineastischste Beitrag von allen, erinnerte mich vielleicht aufgrund seiner Verschrobenheit ein bisschen an AMÉLIE. Die Grand Dame Jane Birkin (BLOW UP, LA PISCINE) ist LA FEMME, die in einem kleinen Häuschen an einer Bahnstrecke wohnt und immer dem vorbeifahrenden TGV winkt. Klingt ein bisschen beknackt, oder? Ist aber ganz zauberhaft! Sowohl vom Erzählstil als auch von den Bildern, ein kleines Stück Kino, was lange nachwirkt. Der Oscar muss in die Schweiz!

9 von 10 immer gleichen Tagesabläufen

Cheers Marcus