#berlin film festival beijing

[aristocratslog]

DING by Malte Stein from Malte Stein on Vimeo.

Read interview on maltestein.weebly.com/ding.html

Written and directed by Malte Stein

Synopsis:

Haunted by a little thing, a man gets driven to the edge.

Date of completion

01.06.2021

AWARDS

BEST ANIMATED SHORT Fest Anča International Animation Festival 2022, Slovakia    SPECIAL JURY AWARD ANIMAFEST ZAGREB - World Festival of Animated Film 2022, Croatia

Grand Prix Animation Short Film  Tatsuno International Film Festival 2022, Japan    Manfredo Manfredi Award for the film that gives place to doubt Sardinia Film Festival 2022, Italy   Honorable Mention 7th Annual Florida Animation Festival 2022, USA

FESTIVALS

FAB Festival of Animation Berlin BLON Animation and Games Festival OFF Odense International Film Festival LINOLEUM Animation Festival Animadeba Animated Film Festival Turku Animated Film Festival Silhouette Film Festival 2022 33rd Sao Paulo International Short Film Festival Animist Tallinn 2022 MIFF MELBOURNE INTERNATIONAL FILM FESTIVAL La Guarimba International Film Festival 13th annual We Like ‘Em Short Film Festival Fest Anča International Animation Festival 11th International Animation Festival CHILEMONOS 2022 Anibar International Animation Festival Insomnia International Animation Film Festival 45th Outdoor Short Film Festival of Grenoble 7th Annual Florida Animation Festival Festival d`Animation Annecy (Special Program WTF) ANIMAFEST ZAGREB - World Festival of Animated Film ANIFILM 2022 ITFS 29. Internationalen Trickfilm-Festival Stuttgart 22nd Landshut Short Film Festival GLAS Animation Festival 34.FILMFEST DRESDEN 23rd MUSIC & CINEMA - Festival International du Film à Marseille Kaboom Animation Festival Animocje International Animated Film Festival Mecal Pro 2022 Barcelona International Short and Animation Film Festival Palm Springs Animation Festival 17th Athens Animfest MONSTRA - Lisboa Animation Festival 25. MFF ZOOM - ZBLIŻENIA FluXus Animation Film Festival Spokane International Film Festival 32. Bamberger Kurzfilmtage PIAFF, Paris International Animation Film Festival Acocollona't. Girona Fantastic & Horror Film Festival MACAU International Short Film Festival 2021 ANIMATEKA GIRAF animation festival 2021 PÖFF-Black Nights Film Festival 2021 Interfilm Berlin - 35th International Short Film Festival KFFK/Kurzfilmfestival Köln N°12 LIAF 2019 London International Festival Cartoons Underground Singapore Feinaki Beijing Animation Week New Chitose Airport International Animation Festival Bit Bang Fest DOK Leipzig/German Competition 13th Annual TAIS Animation Showcase ANIMEST Bucharest International Animation Film Festival Ottawa International Animation Festival 2021 Strasbourg EuropeanFantastic FilmFestival 19. FANTOCHE International Animation Film Festival

[shireenseno]

Shireen Seno: A child dies, a child plays, a woman is born, a woman dies, a bird arrives, a bird flies off Solo exhibition at daadgalerie, Berlin April 5-May 7, 2023

Opening: Wednesday, April 5, 7pm Artist Talk with Shireen Seno and George Clark  

Thursday, April 13, 7pm  Screening: Big Boy (2012) by Shireen Seno  

Thursday, April 20, 7pm Screening: Years When I Was a Child Outside (2008) by John Torres Artist Talk with John Torres  

Filmmaker and artist Shireen Seno’s work explores relationships in all their complexity and intricacies: within the family, to political relationships, to media and technology, between different species and ecosystems. Through a politics of attention and remarkable sensitivity, Seno creates a space for repressed narratives, often set against the backdrop of Philippine colonial history and diaspora life. In doing so, her practice takes her to archives as well as to Candaba, a wetland near Manila where migratory birds settle halfway along the East Asian–Australasian Flyway. She encounters the world with a keen awareness of the malleability of images and a deep distrust of overly linear narratives.  Shireen Seno’s first solo exhibition in Europe brings together works from the last four years: the 17-channel video installation A child dies, a child plays…, the film essay To Pick a Flower, new photographs and a sequel to her image essay Trunks.

Shireen Seno’s body of work touches on an array of interconnected activity from feature films to multi- screen installations, passing through collective practice, site-specific installations, photographic enquiries, and curatorial excavations. Her work addresses memory, history, and image-making, often in relation to the idea of home.  

A recipient of the 2018 Thirteen Artists Award from the Cultural Center of the Philippines, she is known for her films Big Boy (2012) and Nervous Translation (2017) which have won awards at Rotterdam, Punto de Vista, Shanghai, Olhar de Cinema, Vladivostok, and Lima Independiente and have screened at New Directors/New Films at Film Society of Lincoln Center and MoMA, New York; Yebisu International Festival of Art & Alternative Visions, Tokyo; Rencontres Internationales, Paris/Berlin; Tate Modern, London; UCCA Center for Contemporary Art, Beijing; NTU Center for Contemporary Art, Singapore; Portikus, Frankfurt; Taipei National Center for Photography and Images, Taipei, Museum of the Moving Image, New York; National Museum of Modern and Contemporary Art (MMCA), Seoul; Museum of Contemporary Art & Design Manila; MAIIAM Contemporary Art Museum, Chiang Mai; and M+, Hong Kong, among others.  

Together with artist and filmmaker John Torres, Shireen Seno runs Los Otros, a critically acclaimed film and video studio and platform committed to the intersections of film and art, with a focus on process over product. In 2019, Seno and Torres realised the exhibition Cloudy with a Chance of Coconuts at Portikus, Frankfurt am Main.  Shireen Seno is currently a film fellow of the DAAD Artists-in-Berlin program.

Photo documentation (exhibition views and façade daadgalerie): Thomas Bruns

[cineastua]

DING by Malte Stein 2021 from Malte Stein on Vimeo.

Written and directed by Malte Stein

Synopsis:

Haunted by a little thing, a man gets driven to the edge.

Date of completion

01.06.2021

AWARDS

BEST ANIMATED SHORT Fest Anča International Animation Festival 2022, Slovakia    SPECIAL JURY AWARD ANIMAFEST ZAGREB - World Festival of Animated Film 2022, Croatia

Grand Prix Animation Short Film  Tatsuno International Film Festival 2022, Japan    Manfredo Manfredi Award for the film that gives place to doubt Sardinia Film Festival 2022, Italy   Honorable Mention 7th Annual Florida Animation Festival 2022, USA

FESTIVALS

FAB Festival of Animation Berlin BLON Animation and Games Festival OFF Odense International Film Festival LINOLEUM Animation Festival Animadeba Animated Film Festival Turku Animated Film Festival Silhouette Film Festival 2022 33rd Sao Paulo International Short Film Festival Animist Tallinn 2022 MIFF MELBOURNE INTERNATIONAL FILM FESTIVAL La Guarimba International Film Festival 13th annual We Like ‘Em Short Film Festival Fest Anča International Animation Festival 11th International Animation Festival CHILEMONOS 2022 Anibar International Animation Festival Insomnia International Animation Film Festival 45th Outdoor Short Film Festival of Grenoble 7th Annual Florida Animation Festival Festival d`Animation Annecy (Special Program WTF) ANIMAFEST ZAGREB - World Festival of Animated Film ANIFILM 2022 ITFS 29. Internationalen Trickfilm-Festival Stuttgart 22nd Landshut Short Film Festival GLAS Animation Festival 34.FILMFEST DRESDEN 23rd MUSIC & CINEMA - Festival International du Film à Marseille Kaboom Animation Festival Animocje International Animated Film Festival Mecal Pro 2022 Barcelona International Short and Animation Film Festival Palm Springs Animation Festival 17th Athens Animfest MONSTRA - Lisboa Animation Festival 25. MFF ZOOM - ZBLIŻENIA FluXus Animation Film Festival Spokane International Film Festival 32. Bamberger Kurzfilmtage PIAFF, Paris International Animation Film Festival Acocollona't. Girona Fantastic & Horror Film Festival MACAU International Short Film Festival 2021 ANIMATEKA GIRAF animation festival 2021 PÖFF-Black Nights Film Festival 2021 Interfilm Berlin - 35th International Short Film Festival KFFK/Kurzfilmfestival Köln N°12 LIAF 2019 London International Festival Cartoons Underground Singapore Feinaki Beijing Animation Week New Chitose Airport International Animation Festival Bit Bang Fest DOK Leipzig/German Competition 13th Annual TAIS Animation Showcase ANIMEST Bucharest International Animation Film Festival Ottawa International Animation Festival 2021 Strasbourg EuropeanFantastic FilmFestival 19. FANTOCHE International Animation Film Festival

[themostexpensiveboningknife]

2020

Failed party, money in drawer, communicate, move house, move boxes, drive in van, walk to shops, buy noodles, think it’s the end, see whole bus of soldiers in Beijing, new area, walk in darkness, think about leaving, leave, think its temporary, in taxi, post stupid photos, check and check again phone, think people with goggles on my plane are over reacting, take off my mask to eat, keep taking off to loosen, arrive back in London. Tube. Cold. Pub. Party at WeWork. Exhibition at Dulwich Gallery. Farringdon. Drugs and drinks. Brockley, South east London. DJ. Ethiopian food. Morley’s Peckham. Walking on the River. Photographer friend’s house. Canal cycle. National Gallery. Car crash, Dalston. Omar Souleyman. Corsica Studios. Meet girl, back to my friends, back to hers, sex. Morning up to mum’s best friends birthday, Covent Garden restaurant. In a van, Sunday roast. Chisenhale Gallery. arebyte Gallery. Getting worse in China, seems nice and easy and calm in England. Camberwell beers and more. Second-hand book shops, Charing Cross Road. Courtauld. Leafed through a book about a man who lived his entire 86.5 years in East London. Still talking to the same girl back in China. Both believe I’ll be back soon. Chicken wings. West London, meal. South London pub. DJing somewhere inside. Kent, see grandma. Rave, Bermondsey. Friends from Israel and Germany arrive. More drinks, more drugs. Mixing friends. Gay bar in Bethnal Green for old friend’s birthday. Acid, confused and hilarious. Tate Britain. Serpentine. Cranes on the bridge. Liverpool Street film screening. Feels shallow, but good. Begin regular E Pellici sojourns. Primrose Hill with Dad. Beer festival with Keaton and co. Peckham, school friend’s house, bad vibe. More drinks, more drugs. Working on first music compilation with Slowcook and Fafa. Begin watching all of the Studio Ghibli movies. Watching Breaking Bad. At some point have huge argument with my brother, it went like this: He came home from work and I was sitting watching Breaking Bad, he asks, “Have you been like that all day?” I either took it in the wrong way or picked up on a sly dig. It was probably me, but at this point I was pretty self-conscious and worried about going back to China and whether or not I would have a job back there. Was getting surprisingly pissed off with my brother mentioning his work, felt like an affront to me. Weird. He goes crazy (he has a short fuse), punching a wall, ready to fight me. My mum is pretty upset. A few days later I go into his room and try to patch things up. Turns into a deeper chat. He feels like I haven��t been a good brother to him, he gives the example of not looking out for him on his first days of school. I say I’m sorry, it’s because I’m a bit scared and insecure. In retrospect I regret a little laying so much weakness on the table, seems his interactions/ways of acting around me have changed a bit. Still not sure how I feel about it all. Considered getting a gold tooth with Matthew. Play with cats, enjoying them more and more. Rave in Dalston, good music from Asia and beyond. Looking at magazines. Not doing much work at all. Being out and about instead. Go to Norfolk. It’s beautiful, but get way too drunk on first night, sick everywhere, wake up naked in sick. Massive fucking shitshow. Majority of people there have no choice but to act weirdly around me now, which is understandable. Still some nice aspects. One girl there surely hates me a lot. Tate Modern. Art stuff by self is good. Corsica Studios, semi-art, semi-music event. Mr. Bao for first time of many. Radio in Tottenham. Take drugs. Pubs. Drive to Asda with brother to stock up on food. It’s March and the reality of the pandemic is hitting. More canal cycling. First and only group chat on Zoom. BH Funk. Probably have taken cocaine and messaged one of three or four girls numerous times by now. If there’s one, in the cold light of day, horrible and disgusting thing I’ve done too much this year it’s this. Incessant messaging of poor girls that I know will react (although increasingly they don’t, I manage to alienate even close friends in this way). Southbank and The Mall with Nick. Reading about Wuhan. List of good texts. Continuing to do some writing. Making WeChat posts for guī WeChat, including mix series and miniessays. Greenwich park with Matthew. Grime quiz online. Delivering food regularly for my mum’s school. Hackney Marshes with Luan. Epping Forest with Mum and Dad. By this point probably have woken up feeling sorry for myself in Ludo’s flat, after untold amounts of alcohol and cocaine. Online rave. Beijing artists only mix. Go to Switzerland, pass through Italy on the way. Its breath taking, the mountains, the expanse of scenery, not used to it. Climbing up mountains with no one around. Rolo and Patrick and Rita smoke too much weed. I really, really, really still hate smoking it. Feel a bit annoyed how long we spend sitting around while they smoke, but this is way outbalanced by the uniqueness of where we are and the beauty all around. Producing more and more, actually getting somewhere. Cooking more and more food. Reading more and more, like: Black and British, The Corrections, Real Fast Food, Bass, Mids, Tops, Zadie Smith, Olivia Lang, Graham Greene, JG Ballard, Monica Ali, Mo Yan, Jenny Zhang, John le Carre, Naked Lunch, Nabokov, Bukowski, Zora Neale Hurston, Wiley, Bitcoin, Murakami, Judith E. Butler, The Painter of Modern Life, Maupassant, Chekov, Video Art, Gravity’s Rainbow (couldn’t finish), Anaïs Nin, The Net Delusion (couldn’t finish), The Establishment and how they got away with it (couldn’t finish), Roddy Doyle, The Secret of Scent, General Intellects, Women In Love, The Intelligent Investor, Lyndon Johnson. Victoria Park more often than I can remember. To Chrissy’s house. Mile End Park. Very regularly sitting on the river in Wapping. Bring the chessboard and play Ludo sometimes, people smile and look at you differently when you’re playing chess and drinking beers versus just sitting and drinking beer. I May Destroy You. Industry. The beautiful wide expanse of Hackney Marshes. My incessant quest to reach 1000 followers in Instagram. More cycling, and I hate to say it but it really was: Here there and everywhere. Margate with my Dad to see my grandma in hospital and saw the Turner Prize exhibition. Light blue like scrubs, the sky and sun felt eternal. Swimming in dirty water. Make a DJ mix of old 2000s Road Rap. Eat cheese in Peckham. Cycle along the canal north, keep going and going through Tottenham, past Enfield keep going, it’s mad how quickly it becomes quiet fields on all sides, arrive to some kind of lake, swim and then back to the centre of town. Outside a Hawksmoor church in Shadwell ate chicken with Karim and Ludo. DJing. From my bedroom window saw a big crane in the middle of the night sitting on the canal. Begin developing the second DCCY compilation this time with BULLY magazine. Go to a house in an old school in Camberwell. Discover new secret riverside spots in East London. Finally give up my apartment in Beijing. Mile End park. Cycle further and further East to a pedestrian bridge I didn’t know existed. Get onto the beach and into the Thames water. Interview Akito. Begin writing more, after few months of wiling away the summertime. My friend Emmy gets married in Rwanda, I give him some money as a wedding gift which he tells me he used to buy his wife’s dress. Protests in HK always on TV. Get more into finances, crypto and trading, and just saving in general. Had sex with an old friend. Now meeting a girl I first knew years ago in Beijing. More secret river spots. Keaton has his baby, Noah. More times on Hackney Marshes. Barbican conservatory. Watching more films, try to watch all the films of some directors including: Jia Zhangke, Bong Joon-ho, Edward Yang, Wong Kar-wai, Apichatpong Weerasethakul. Decide to watch all of the infamous lauded series, go through Breaking Bad, The Wire and The Sopranos. Go to the seaside for a few days, camping also. Henry Wu album launch in a car park in Bermondsey. Go to visit Keaton’s baby for the first time. Good photography exhibition at Photographer’s Gallery. Go to Wallace Collection again. August. Go to Berlin. Swimming in Berlin lakes until I get an ear infection. It makes me drowsy and lethargic, but still seems to spend all my time cycling around the city. On one night cycle for hours to a rave on the outskirts of the city. Like a lot the abandoned airport in Berlin. Oh yeah, vaping. Found a dead bumble bee. Speak with Nevin about projects. Write a piece about the future of the art world for a magazine being started by Nevin’s friend in Canada. Go to Lithuania. Walk around Vilnius, get too drunk by myself. Get to the Curonian Spit and Nida, beaches and new friends. For the Nightlife Residency project. For a short while life is like on a desert island of new food, new people, new locations, quiet and new meaning. Go to the Russian border on the beach. Cycle to the road boarder and get stopped by the police. Go nude on the beach for the first time. Sauna, sand dunes and forests. DJ out for the first time in ages, this time with Nono. To Kaunus and try nice and stodgy Georgian food for the first time. Hackney Wick back for party. Meet a ginger girl online and go on a date. Wallace Collection again. Free beer and pizza. White Cube. National Gallery, Titian. On BBC Radio London with my Dad. Riverside beers. Saw a lost swan near my front door. Meet Keaton near his work, one of many times. Making more and more music, getting better. Decide I need more organisation and clarity, put everything I’ve done on a blog. More or less long since given up on my job at M Woods. But don’t really begin looking for anything new because it’s still sunny. At some point I start getting benefits money. Go to see La Haine in the cinema. Someone blocks me on WeChat because of me. Some pub somewhere. Sunday walks and breakfast with my parents. Go to an exhibition in Woolworth Road with Muzi. Realise how nice it is to run to Victoria Park along the canal. Vicky Park in general. Dinners at friends’ houses. Museum of London. Walking with Michael in some countryside near London, surprising how quickly things turn green. Break onto a pier in Wapping with Jack. Battersea Park. Tate, Bruce Nauman. Old Street Weatherspoon’s with Keaton, drugs. Central London cemetery. Chinese in Camberwell. Chinese in Aldgate. Italian in Camberwell. More and more exercise, running, weights and yoga with my brother. Sadie Coles. Nick, Central London. Gucci Mane. Hampstead Heath more because Ludo and his flatmates are nearby. Ludo’s now house more for days and nights of you guessed it. Borough Market more, with Emma. Alexandra Palace walk and famous sandwiches after. Tate Britian new lights. More time at Muzi’s. Signing up for cycle courier. LYL Radio show. Shave head. Take acid and it hurts my stomach. Camden Arts Centre with Muzi. Christmas party with friends. Birthday. Cake with Muzi, presents and Indian takeaway from family, walk in Vicky Park with Ludo and Karim plus battered sausage and chips. Christmas at home nice and warming meal. Evening to Ludo’s place with more friends. Boxing day with Matthew, pints and then more at his house in Peckham all night long. Next day is tough! Giant turkey sandwiches, turkey soup, turkey curry. Buy first NFTs. New Year’s Eve stay in at Muzi’s, one drink and a cake.

[artwalktv]

HUNTSVILLE STATION a film by Jamie Meltzer and Chris Filippone Contact: Jamie (https://bit.ly/39D9rz5) and Chris (https://bit.ly/2XLEq6C) Every weekday, inmates are released from Huntsville State Penitentiary, taking in their first moments of freedom with phone calls, cigarettes, and quiet reflection at the Greyhound station up the block. SCREENINGS, AWARDS, and NOMINATIONS: IDA Documentary Awards – Best Short Nominee, 2020 Cinema Eye Honors – Outstanding Nonfiction Short Nominee, 2020 Berlinale, 2020 SXSW, 2020 Hot Docs, 2020 AFI Docs, 2020 DOXA, 2020 – Honorable Mention: Short Documentary Award Docaviv, 2020 – Best Short Award (Academy-Qualifying) Seminci: Valladolid International Film Festival, 2020 – Special Mention: Time of History Competition Camden International Film Festival, 2020 DOC NYC, 2020 Chicago International Film Festival, 2020 Hot Springs Documentary Film Festival, 2020 Calgary International Film Festival, 2020 New Orleans Film Festival, 2020 Black Canvas Festival de Cine Contemporaneo, 2020 – Special Jury Mention: International Short Film Competition Double Exposure Film Festival, 2020 SFFILM Doc Stories, 2020 IFF Message to Man Film Festival, 2020 Internationale Kurzfilmtage Winterthur, 2020 Telluride Mountainfilm, 2020 Kurzfilm Festival Hamburg, 2020 – Special Mention: International Competition Kyiv International Short Film Festival, 2020 – Grand Prix Award: International Competition Champs-Elysees Film Festival, 2020 – Jury Prize: Short Film Mammoth Lakes Film Festival, 2020 – Best Documentary Short Uppsala International Short Film Festival, 2020 Flickerfest, 2021 Palm Springs International Shortfest, 2020 – Special Mention: Best Documentary Short St. Louis International Film Festival, 2020 Milwaukee Film Festival, 2020 Odense International Film Festival, 2020 – Nominee: The Soapbox Award Beijing International Short Film Festival, 2020 Indy Shorts International Film Festival, 2020 Lille International Short Film Festival, 2020 Crested Butte Film Festival, 2020 – Best Documentary Short DC Shorts Film Festival, 2020 Savannah Film Festival, 2020 – Southern Voices: Best of Show Award Philadelphia Film Festival, 2020 – Honorable Mention: Best Documentary Short Rhode Island International Film Festival, 2020 Tirana International Film Festival, 2020 Nashville Film Festival, 2020 Drunken Film Festival, 2020 Tofifest International Film Festival, 2020 Tacoma Film Festival, 2020 50²201 Magazine, Berlin, 2020 OFF CINEMA International Documentary Film Festival, 2020 Glimmerglass Film Days, 2020 Shorts That Are Not Pants, 2020 – Best Documentary Short Blue Danube Film Festival, 2020 Las Cruces International Film Festival, 2020 Dumbo Film Festival, 2021 Loft Short Film Festival, 2020 Fargo Film Festival, 2021 National Gallery of Art, 2021 "Unorthodocs," Wexner Center for the Arts, 2021 The New York Times Op-Docs, 2020 https://bit.ly/3qtswe9

[sinetheta]

A Dog Barking at the Moon (再见南屏晚钟). dir. Xiang Zi (相梓). 2019.

Winning the Teddy Jury Award for LGBT films at the 2019 Berlin International Film Festival, A Dog Barking at the Moon is a drama that follows a wealthy family across generations, heavily based on Director Xiang Zi’s own life. The family faces a host of struggles through the years, following daughter Huang Xiaoyu as she returns from New York to Beijing only to deal with her parents’ toxic marriage — catalyzed by her mother’s discovery of her father with a male lover. Throughout the movie, Xiaoyu’s flashbacks are portrayed as minimalist stage-plays, serving to further underline the contrast between memory and reality as her family continues to be plagued by the ghosts of their past.

Follow sinθ magazine for more daily posts about Sino arts and culture.

[mystlnewsonline]

BEIJING | Zhang Yimou's 'One Second' dropped from Berlin film festival

BEIJING | Zhang Yimou’s ‘One Second’ dropped from Berlin film festival

BEIJING (AP) — The latest film from famed Chinese director Zhang Yimou has been dropped from the Berlin film festival for what the festival described as technical reasons.

A notice on the official Weibo microblogging service account for the movie “One Second” apologized but gave no details other than to say it was not possible to show the film at Berlin.

The festival said the film was pulled…

[nyfacurrent]

Event | Doctor’s Hours for Film/Video, New Media, and Multidisciplinary Artists

This Monday, April 1 event will offer one-on-one individual consultations with industry professionals.

Are you a film/video, new media, or multidisciplinary artist in need of some career advice? The New York Foundation for the Arts (NYFA) is pleased to announce an upcoming session of its popular Doctor’s Hours program, which is designed to provide creatives with practical and professional advice. Starting at 11:00 AM on Monday, March 11, you can register for 20-minute, one-on-one appointments with up to three arts professionals to ask questions and receive actionable tips for advancing your arts career.

Title: Doctor’s Hours for Film/Video, New Media, and Multidisciplinary Artists Program Date and Time: Monday, April 1, 2019, 6:00 PM - 9:00 PM   Location: The New York Foundation for the Arts, 20 Jay Street, Suite 740, Brooklyn NY, 11201 Cost: $38 per 20-minute appointment; three appointment limit per artist Register: Please click here to register

If you can not participate in our Doctor’s Hours program on April 1, you can book a one-on-one remote consultation via Skype through our new Doctor’s Hours On Call program.

Read our Tips & FAQs in English and Spanish to make the most of your Doctor’s Hours appointment. For questions, email learning@nyfa.org.

Consultants

Livia Bloom Ingram, Film Curator and Vice President of Icarus Films Icarus Films is a distribution firm that The New York Times calls "a haven for nonfiction films that are at once socially conscious and supremely artful." Ingram has presented programs at venues including the Cinémathèque Française, Museum of the Moving Image, and The Museum of Modern Art (MoMA). She is the editor of the book Errol Morris: Interviews (University Press of Mississippi, 2009), and her writing has appeared in journals including Cinema Scope, Cineaste, Filmmaker, and Film Comment.

Iyabo Boyd, Independent Film Producer, Writer/Director, and Entrepreneur Boyd is currently producing the feature documentary For Ahkeem by Emmy-winning directors Jeremy Levine and Landon Van Soest. She previously held positions at filmmaker support institutions Chicken & Egg Pictures, Tribeca Film Institute, Hamptons Film Festival, and IFP. In 2015, Boyd started the Brown Girls Doc Mafia, a collective for women filmmakers of color, and in 2016 she founded the documentary consulting firm Feedback Loop. Boyd is a 2016 Sundance Creative Producers Fellow, and a 2016 Impact Partners Creative Producers Fellow. She graduated from NYU’s Tisch School with a BA degree in Film & Television in 2006. 

Peter Gynd, Director, Lesley Heller Gallery Gynd is an independent curator, fifth generation artist, and the director at Lesley Heller Gallery in Manhattan’s Lower East Side. Originally from Vancouver, Canada, Gynd studied at the Alberta College of Art and Design and has exhibited in both Canada and the United States. Notable exhibitions curated by Gynd include a permanent exhibition at the Foundation Center, NY; an acclaimed two-person presentation at SPRING/BREAK Art Show (2015); and group exhibitions at Present Company, NY; NARS Foundation, NY; the Northside Festival, NY; Lesley Heller Workspace, NY; and at the Dynamo Arts Association, Vancouver, Canada. Gynd’s exhibitions have been featured in Hyperallergic, The Carnegie Reporter, Blouin Artinfo, and Gothamist. Gynd has been a guest visitor at Residencies Unlimited, Kunstraum, and ChaNorth Artist Residency, and a guest juror at 440 Gallery and Sweet Lorraine Gallery.

Dr. Les Joynes, Multimedia Artist Joynes' work has been documented in Art Monthly, Sculpture Magazine, NHK Television, and in two recent books on site-specific art. He is co-author of Going Beyond: Art as Adventure and Museum 2050 (Cambridge Scholars, 2018). A Visiting Professor at Renmin University, Beijing, Joynes has given lectures on multi-media art at Cambridge University; Columbia University; University of California; and Peking University, Beijing. In New York, he is a scholar on art and visual cultures at Columbia University and serves on the Editorial Board for ProjectAnywhere, a collaborative project between University of Melbourne, Australia, and Parsons School of Design, The New School. Recently selected as a ZERO1: Art and Technology Artist, Joynes is also recipient of the Erasmus Scholarship for the École Nationale Supérieure des Beaux-arts, Paris; the Japan Ministry of Culture Scholarship, Tokyo; and the Fulbright-Hays Award. He has also been a Fellow at University of the Arts London and the Bauhaus, Dessau. 

Matthew Lyons, Curator, The Kitchen As Curator at The Kitchen, Lyons has organized numerous exhibitions, performances, and other programs since 2005. Recent work includes projects with Chitra Ganesh, Trajal Harrell, nora chipaumire, Xaviera Simmons, Sarah Michelson, Aki Sasamoto, Constance DeJong, Kembra Pfahler, and Katherine Hubbard. Upcoming work includes projects with Moriah Evans and Lea Bertucci. During his tenure, he has organized group exhibition including The Rehearsal; The View from a Volcano: The Kitchen’s SoHo Years 1971-1985; One Minute More; Just Kick It Till It Breaks (catalog); Between Thought and Sound: Graphic Notation in Contemporary Music (catalog); and The Future As Disruption. He has also worked on the group exhibitions Dance Dance Revolution at Columbia University, Character Generator at Eleven Rivington Gallery, and Two Moon July at Paula Cooper Gallery. Lyons has contributed catalog essays on the work of Mika Tajima and Vlatka Horvat, and other writing has appeared in Document Journal, Flash Art, PERFORMA 07: Everywhere and All at Once, and Work the Room: A Handbook of Performance Strategies. He is Contributing Editor at Movement Research Performance Journal, having edited its “Six Sides, Typologically Distinct: Black Box / White Cube” series, which he initiated, between 2009-2015.

Blandine Mercier-McGovern, Content Strategy & Film Acquisitions, Distribution Executive Mercier-McGovern is a passionate and innovative film acquisition, content strategy, and distribution executive based in Brooklyn. While Head of Licensing & Content Strategy at Kanopy and Head of Distribution at Cinema Guild, Blandine discovered, acquired, and led the release of hundreds of award-winning films, from the big screen to video-on-demand. She’s an avid podcast and audiobook listener, and was a ”Made in NY” Women’s Film, TV and Theatre Fund panelist in 2018.

Anne Wheeler, Curatorial Associate, The Whitney Museum of American Art Wheeler is a New York-based artist, curator, writer, and art historian. She received her BA degree from the University of California, Berkeley, double-majoring in English and the Practice of Art, and is now an ABD doctoral candidate in Art History at the Institute of Fine Arts at NYU, specializing in Modern and Contemporary Art. Wheeler joined the Solomon R. Guggenheim Museum in 2010 at the founding of its Panza Collection Initiative research project, and served as assistant curator for the major international loan exhibitions On Kawara – Silence (2015) and Peter Fischli David Weiss: How to Work Better (2016). With Shawna Vesco, Wheeler curated the apexart Franchise Program exhibition Un-Working the Icon: Kurdish 'Warrior-Divas' in Berlin, Germany, in 2017. Wheeler is currently working as a curatorial associate at the Whitney Museum of American Art, guiding the acquisition of a major gift from the Roy Lichtenstein Foundation as she completes her doctoral dissertation titled 'Language as Material: Rereading Robert Smithson.'

Lauren Zelaya, Acting Director of Public Programs, Brooklyn Museum Zelaya is a cultural producer, curator, and museum educator based in Brooklyn, NY. At Brooklyn Museum, Zelaya curates and produces the Target First Saturdays and other free and low-cost public programs that invite over 100,000 visitors a year to engage with special exhibitions and collections in new and unexpected ways. As a curator, advocate, and educator, Zelaya is committed to collaborating with emerging artists and centering voices in our communities that are often marginalized, with a focus on film and performance and creating programming for and with LGBTQ+, immigrant, and Caribbean communities. In her spare time she hosts a bi-weekly radio show celebrating creatives in Brooklyn and is a screener for the Brooklyn Film Festival. Known and respected equally for her nail art and her fierce commitment to bringing art and culture to the people, Zelaya was named one of Brooklyn Magazine’s “30 Under 30″ in 2018. Previously, she worked in education at the Queens Museum and the Museum of the Moving Image, and with emerging artists in Queens as a program coordinator with the Queens Council on the Arts. She is a proud alumna of the Brooklyn Museum’s Education and Public Programs Fellowship and received her BA degree in Art History and Film Studies from Smith College.

Event Accessibility

The New York Foundation for the Arts is committed to making events held at the NYFA office at 20 Jay Street in Brooklyn accessible. If you are mobility-impaired and need help getting to NYFA’s office for events held on premises, we are pleased to offer complimentary car service from the wheelchair accessible Jay Street-MetroTech subway station courtesy of transportation sponsor Legends Limousine. Please email learning@nyfa.org or call 212.366.6900 ext. 252 between 9:30 AM - 5:30 PM at least three business days in advance of the event to coordinate. The elevator access point for pickup is at 370 Jay Street, on the NE corner of Jay and Willoughby Streets.

This program is presented by NYFA Learning. Sign up here to receive our bi-weekly newsletter for the latest updates and news about programs and opportunities for artists.

Image: Doctor’s Hours, September 2017, Photo Credit: NYFA Learning

[marco-tulio]

ENOUGH from Anna Mantzaris on Vimeo.

Moments of lost self-control.

This is my first-year film at the Royal College of Art.

'Enough' is this week's Staff Pick Premiere! Read more about it here: vimeo.com/blog/post/enough

Awards:

BEST ACHIEVEMENT IN A STUDENT FILM, European Animation Awards, 2018 Lottie Reininger Award, Stuttgart International Festival of Animated Film, 2018 Audience Award for Best Student Film, Anima Mundi, 2018 Best Student Film, Anifilm, 2018 Audience Award, Fantoche, 2018 Best International Fiction Short Film, Beijing Intl. Short Film Festival, 2018 Audience award for the weirdest & most wonderful film, 34th International Short Film Festival interfilm Berlin, 2018 Audience Award, Best British Showcase, London International Animation Festival, 2018 Audience Choice Award, GIRAF, 2018Best Student Film, Northwest Animation Festival, 2018 Grand Prize - Best Student Film, SICAF, 2018 Best European short film, City Council of Gandia, Cortoons, 2018 Grad Prix - Best Student Film, Animakom, 2018 Best Movie (Animation Film), Cinemí Cinemá, 2018 Audience Award, Best Seconds, 2018 Audience Award, Extremely Shorts, 2018 Silver Prize, 3 Minutes 3 Days Festival, 2018 Audience Animation Award, Mecal Barcelona, 2018 Best Animation Short film, FIAfest, 2018 Best Animated Film, Star Film Fest, 2018 Best Direction, Great Message International Film Festival, 2018 Best Stop Motion Comedy, Palm Springs Intl. Animation Festival, 2018 Special Mention, Imaginaria, 2018 Third Prize (Animation Category), Mecal Barcelona, 2018 Special Mention, Anibar, 2018 Honourable Mention, Concious Cartoons, 2018 Honourable Mention, Anima competition, Etiuda&Anima 2018

Selected Festivals

GLAS Animation Festival - Official Competition, US
 Stuttgart International Festival of Animated Film, Germany ANIMA MUNDI, Brazil KLIK Amsterdam Animation Festival, Netherlands Odense International Film Festival, Denmark Fantoche, Switzerland Seoul International Cartoon & Animation Festival, Korea Cardiff Animation Festival, Wales The Smalls Film Festival , UK Amsterdam Independent Film Festival, Netherlands Edinburgh Short Film Festival, Scotland Cartoons Underground, Singapore Festival Stop Motion Montreal, Canada Film Festival of Madrid, Spain This is England Festival World Festival of Animated Film, Bulgaria Palm Springs International Animation Festival, US 
Indielisboa, Portugal Anibar Animation Festival, Kosovo ZLÍN FILM FESTIVAL, Czech Republic Le Petit Cannes film festival, France Taichung International Animation Festival, Taiwan Big Cartoon Festival, Russia FIAfest, Colombia Short Sighted Cinema, UK Florida Animation Festival, US AninetFest, Czech Republic Women Make Waves Film Festival, Taiwan Insomnia International Open-Air Animation Festival, Russia CONSCIOUS CARTOONS, US
 Athens Animfest, Greece
 ANNY: Animation Nights New York, US 
LAFF (Longwood Animation Film Festival), US
 Best Seconds, Switzerland
Copper Coast International Film Festival, UK
 New York Int’l Children's Film Festival - NFK [NOT FOR KIDS] Competition, US Chester International Film Festival, UK
 Cortoons Festival Gandia, Spain 
Le Plein de Super, France Stop Motion Barcelona, Spain World Festival of Animated Film - Varna, Bulgaria Wiesbaden International Weekend of Animation, Germany Catford Film Shorts Night, UK Extremely Shorts Film Festival, UK Cefalù film festival, Italy
 Stop Motion OUR FEST, Buenos Aires
 Flatpack Film Festival, UK


[iamebonybones]

Huge Delight Speaking With The Guardian’s 

Brilliant Nadja Sayej About The Upcoming New 

Album

Written by - Nadja Sayej

With a blonde afro and a London accent, Ebony Bones is a visionary artist who works across genres and disparate sounds. What sets her apart is that she writes, composes, produces and releases her own punk-inflected, alternative soundtracks, many of which are graced with dark pop undertones. Studying alongside Amy Winehouse Bones has been enlisted by Yves Saint Laurent and Alexander Wang to score campaigns and runway shows, and is also noted for her collaborations with Yoko Ono. With a forthcoming third album featuringThe Beijing Philharmonic Orchestra, Bones is a self-produced artist and one of a few women in the male-dominated production world. Making her one of the most prominent female producers and redefining voices in the music industry today.

Bones was born to an immigrant father from the Caribbean who ran a vinyl stall in Brixton Market in London, and her mother, a fashion agent for top fashion designers, including Moschino. She studied at London’s Sylvia Young Theatre School alongside classmate and friend Amy Winehouse. At 12-years-old, Bones was discovered by Oscar-winning actor Sir Mark Rylance, then the artistic director of the Shakespeare Globe Theatre, and enlisted for his production of Macbeth as the First Witch.

At 15-years-old, she starred as a rebellious teenager in the British TV show Family Affairs. Starring alongside Idris Elba, she stole the spotlight as the feisty young character - Yasmin Green. She garnered nominations for British Soap Awards as one of the longest-running actors on the show, which was syndicated globally, staring from 1998 to 2005.

Becoming friends with punk legend and drummer Rat Scabies, from 70s punk band The Damned, Bones began writing songs alongside Scabies in 2005, who gave the artist her eponymous stage name and taught her a DIY punk ethic and “trial and error” approach to making music. “It’s perfection comes from its imperfection,” said Bones. “In an age where human flaws are erased from music, the imperfect can be very striking.”

In 2008, Bones uploaded an anonymous demo to MySpace. The Orwellian-themed anthem “We Know All About U,” was premiered by BBC Radio 1 Dj Zane Lowe, as ‘Hottest Record in The World,’  garnering millions of radio plays and raving reviews, becoming the BBC’s most played record by an unsigned artist.

In 2009, Bones released her debut album Bone of My Bones to critical acclaim. With tracks like ‘W.A.R.R.I.O.R’, ‘Guess We’ll Always Have NY’ and ‘The Muzik’, the album was used for runway shows and campaigns by Yves Saint Laurent, EA Sports FIFA and various Citroën car commercials including the controversial commercial featuring John Lennon.

Photographed by legendary photographer Jean Baptiste Mondino for New York Times T Magazine, her concerts were heralded by the publication as a “riotous jungle-punk stage act”. Bones goes above and beyond with a high-watt stage presence, bringing a whirl of energy to the stage with her fashion antics. Known for her multiple costume changes, she can often be spotted donning designer pieces by Iris van Herpen and Manish Arora

Her music, however, isn’t the traditional punk trio. Pushing boundaries as one of the first and few female music producers to work alongside orchestras, there is a real cinematic feel to her work. Traveling the world collaborating with symphony orchestras from India and China she asks classical musicians to step outside their comfort zone to perform her unconventional compositions.

“It’s about changing people’s perspectives. By breaking down existing genre boundaries, my approach to music including collaborations with The Mumbai Symphony and The Beijing Philharmonic Orchestra, reimagines orchestral music while challenging the prevailing mainstream mentality, that classical music is an art form that can only be performed by, for and about white males such as Beethoven” said Bones.

“I’m always pushing myself into unknown territory, I enjoy the challenge of stepping outside my circumference and learning from other cultures. There’s always a huge risk of recording alongside musicians you’ve never met, and don’t even speak the same language. Will it work? will you be able to communicate? In many ways it could be a recipe for disaster but these are all the elements that drive me as a creator. Music is the galvanizing force that brings people together.”

In 2013, her sophomore album “Behold, A Pale Horse” was released on her label 1984 Records. Premiered by NPR, who described Bones as “a major player for years to come,” the apocalyptic inspired album was recorded in India at YRF Studios aswell as Miloco Studios, London and featured tracks alongside The Mumbai Symphony Orchestra, and The New London Children’s Choir on a playful cover of The Smiths' ‘What Difference Does It Make’.

With its stringed percussion and harmonious chants, Behold, A Pale Horse is said to have “jagging guitars, jungle-inspired drums, and fierce vocals that seem to taunt as they go,” according to SPIN Magazine. The Independent praised the album as “a beguiling blend of chants, afrobeat, and the darker end of post-punk,” the self produced album also featured contributions from Liquid Liquid’s Sal P for the remix of ‘Bread & Circus’. The video, directed by Al Pacino’s daughter Julie Pacino and Jennifer DeLia, was premiered by Jay-Z via his lifestyle website Life & Times, heralding Bones as a “producer with a wide variety of influences, inspiring others through that journey."

In 2015 Bones released Milk & Honey, Pt. 1, her debut EP, which included the catchy disco-punk track ‘Oh Promised Land’. The song was used by Ray-Ban for their summer campaign which also featured Bones. She then headlined ‘Pop-Kultur’ festival to a sold out audience at Berlin’s legendary Berghain venue, that same year. Speaking to The New York Times about music production, Bones explained “It was an ambitious thing; I saw a deficit of female producers, and it’s still that way,” she said, noting that every non-classical Grammy Award for Producer of the Year had gone to a man.

Catching the attention of Yoko Ono with her avant-garde approach, Bones was enlisted by the art legend to re-work her song ‘No Bed For Beatle John’, for Ono’s ‘Yes, I’m A Witch Too’, her first album in nine years. Released in February 2016, it was heralded by The Guardian as “a brilliant track produced by Ebony Bones that pairs Ono’s eerie falsetto with majestic horns.” Featuring artwork by designer Karl Lagerfeld, the song was originally recorded by John Lennon in 1969. 

                                             *   *   *

As a self-produced artist, Bones is one of a few women in the male-dominated production world, making her one of the most prominent female producers in a burgeoning feminist movement within the music industry today. Given that less than 5% of solo music producers are women, Bones alongside Grimes, Linda Perry and Tokimonsta were the few producers featured by HBO/VICE for their 2017 special. Her production is as important as the music itself, and her skills are informed by self-produced musicians like Kate Bush, Missy Elliott, Linda Perry and Lauryn Hill. “Gender and ethnic diversity are markers for many of the key things that make music and art vital and resilient,” says Bones. “However, with the frighteningly low proportion of female music producers, there is currently only one dominant voice that determines what we all hear, and what music gets made.”

Her highly anticipated forthcoming album Nephilim, released July 20th sees Bones continue to push her musical ingenuity. She makes her directorial debut with the breathtaking new video of ‘Nephilim’ released May 4th, which may possibly be her most stunning visual yet. Featuring collaborations with The Beijing Philharmonic Orchestra, Bones took time away from touring to write and produce the new album, recorded in Beijing, New York and London. Collaborating alongside the orchestra at Beijing’s Tweak Tone Labs Studio, the album explores several themes including censorship; the conspicuous kind in China vs the more insidious kind in the west; as well as the emergence of nationalism in the world, post-Brexit and post-Trump.  

Unafraid to break down existing genre boundaries, the songs on Nephilim have an otherworldly, futuristic sound. She demonstrates an electronic avant-garde prowess, with experimental jazz, a sophisticated symphonic sense, teamed alongside afrofuturist overtones. There is a real cinematic feel to Bones' productions, displayed on orchestral tracks like 'Nephilim' and instrumental passages like 'Truth or Treason' that serve almost as a soundtrack for a film.

Bones reached out to the orchestra following her collaborations with Yoko Ono and The Mumbai Symphony Orchestra on Behold A Pale Horse. “China boasts some of the worlds best classical musicians and it was an honor to collaborate with them. I sent the Beijing Philharmonic the scores I had composed, and they were excited for the collaboration,” said Bones, who was invited to perform at the World Exposition in Shanghai 2010, which saw over 73 million visitors.

“Many people asked about recordings in Beijing and censorship in China, and while I didn’t directly experience any, it got me thinking about all the ways in which censorship manifests itself in our culture,” says the artist. “It takes on covert forms, like who gets to speak and who doesn't get to speak, and all the ways we silence the voices of people we don't want to hear” said Bones. “Beginning with the theme of religious censorship, I made ‘Nephilim’ conscious of the fact that these were not subjects females usually write about.”

The manifesto-like lyrics in the punk-inflected track ‘No Black In The Union Jack’ begins with an audio clip of British Member of Parliament Enoch Powell’s notorious ‘Rivers of Blood’ speech attacking immigration in 1968. “This hate speech was so vile, it has never been broadcast in full,” said Bones. “It is one of the most incendiary racist speeches of modern Britain and this year marks it’s 50th anniversary.”

The new album also explores the emergence of nationalism in the world post-Brexit and Trump. “Xenophobia aswell as fear of immigrants and foreigners was strongly associated with support for leaving the EU; post-Trump and Brexit have created a hostile environment for immigrants, fanned by nationalist bile and scapegoating as displayed throughout these songs.”  

Bones expanded on the larger issue of censorship “While writing the album, I began thinking about how women have been erased historically and all the ways we silence the voices of people we don't want to hear,” she said. “While I have accomplished a level of success in my art, I am not ignorant to the fact that for the majority of women, and especially women of colour, invisibility, not being seen or heard is a through-line for most of our careers.”

The album was engineered by Grammy Award-winning masterer, Mandy Parnell of Black Saloon who also engineered Behold A Pale Horse. Bones enlisted a host of musicians for the album, including a horn section featuring saxophone legend, Jimi Hendrix and James Brown collaborator - Lonnie Youngblood. Among the new 11 tracks on the album, there is a stunning cover, of the Junior Murvin/The Clash classic ‘Police & Thieves,’ which is performed by The Bones Youth Choir.

Speaking truth to power, the afrofuturistic anthem ‘Kids of Coltan’ touches upon the subjects of neo-colonialism and human rights violations. “The song is about the culture of complicity, as I began thinking of the young child laborers who make our smartphones and electronic devices,” said Bones. “Modern day communication is built on coltan mining, by young children in the Democratic Republic of Congo. From picking cotton to picking coltan, I realised this is today’s modern slave trade, of which we are all complicit.”

From ‘Kids Of Coltan’ and ‘Police & Thieves’ to ‘I See, I Say’ and ‘What Difference Does It Make’, children are a constant theme in Bones’ work. “A child's innocence allows for greater perception. Kids tend to be good at expressing their creativity, but then as adults people tend to lose this as they grow older, it’s something we have to protect and nurture.”

The giant themes and futuristic sounds of Nephilim are a reference to Bones’ own avant-garde approach, and as science fiction author Philip K. Dick once said, “Artists have the capacity to accidentally predict the future, it’s in their essence as creators.” Bones proves to be a step ahead.

New single ‘Nephilim’ featuring The Beijing Philharmonic Orchestra is out digitally May 4th

Written by Nadja Sayej

Photo Credits:

Photo by: Antonello Trio

Hair: Ernesto Montenovo

Styling: Ramona Tabita

Make-up:  Elena Pivetta

[trustseal]

Enter the warriors gate rating

Enter the warriors gate rating tv#

She's one of my first Kung Fu heroine crushes. It has strategic production and development deals with EuropaCorp, Basil Iwanyk’s Thunder Road, Keanu Reeves’ Company Films and Mark Johnson’s Gran Via. The company, which has offices in Beijing and Los Angeles, and was founded by Gao in 2008, is involved in co-production, financing and distribution. “Warrior’s Gate” is set to be the first of several co-production ventures between the two companies. Guillory is represented by Independent Talent Group.įundamental Films has previously launched EuropaCorp titles such as “Brick Mansions,” “Lucy” and “Taken 3” with success in China. Bautista, who next appears in James Bond picture “Spectre,” is represented by the Gersh Agency and DMBV. Though his opponents in the film will perhaps be less pleased,” said Fundamental chairman Gao. “Dave Bautista is the perfect blockbuster villain – his star quality and international standing will entertain cinemagoers worldwide. “Warrior’s Gate” is structured as a Chinese-French co-venture with Fundamental Films’ Mark Gao and EuropaCorp’s Luc Besson as producers, with Fundamental financing, and Fundamental’s Gregory Ouanhon and J.C. Previously confirmed cast includes Uriah Shelton (“The Glades”), Taiwan’s Mark Chao (“Monga”) and Chinese actress Ni Ni (“The Flowers of War”). Production in China began May 4 and will later move to Canada. Written by Besson and Robert Kamen (“Taken”), the story follows a teenager who is magically transported to China and learns to convert his videogame skills into those of a Kung Fu warrior. The picture, which is now shooting, is directed by Matthias Hoene. It will also be shooting in other locations overseas.Ĭannes: Dave Bautista Stars in Martial Arts Epic ‘Warrior’s Gate’ (EXCLUSIVE)įormer mixed martial arts star Dave Bautista (“Guardians of the Galaxy”) and Sienna Guillory head the cast of “Warrior’s Gate,” an epic saga represented by Luc Besson’s EuropaCorp and financed by China’s Fundamental Films. The film will shoot for three months in China starting next month. Besson is also the president of the festival's competition jury.Īccording to a synopsis posted on the State Administration of Press, Publication, Radio, Film and Television (SAPPRFT) 國家新聞出版廣電總局 website last year, the film is about a young gamer who travels to ancient China via a magical chest. The three actors and their director walked the red carpet at the opening ceremony of the Beijing festival on Thursday night (pictured). The latter also distributes EuropaCorp's films in China. The project is one of three planned co-productions between EuropaCorp and Fundamental. Besson will serve as producer and co-writer, while Matthias HOENE will direct. Some movies, such as last year’s biggest-selling overseas title, Iron Man 3, lobbied hard for co-production status but did not get it, and the issue often has proven divisive as both Hollywood and China try to cooperate more.įundamental Films and EuropaCorp have a multiyear output deal that stipulates Fundamental will release at least 15 EuropaCorp films in China and that Fundamental will co-produce at least three of those.Īt the Berlin Film Festival last month, EuropaCorp said it was going ahead with a reboot of its hit Transporter franchise, greenlighting the first - Transporter 4 - and laying plans for two follow-ups, all co-produced with Fundamental Films.įundamental’s slate also includes the animation The Prince and the 108 Demons, Replicas with Company Films and Black Frog with Same Player.Īt a press conference held during the Beijing International Film Festival 北京國際電影節, Luc BESSON announced that his French-China co-production Warrior's Gate 勇士之門 is set to begin shooting in May.Ĭo-produced by Besson's EuropaCorp and China's Fundamental Films Co Ltd 上海基美影畫文化傳播有限公司, the RMB300 million (US$48.4 million) project is set to star Mark CHAO 趙又廷, NI Ni 倪妮 and Uriah Shelton. They stand a much stronger chance of getting a mainland Chinese release, have immunity from blackout periods and a greater revenue share. Overseas filmmakers want China co-production status because films granted the status are treated as domestic films and do not fall under China’s import quota, and usually involve local investment in exchange for local distribution rights. EuropaCorp couldn't immediately be reached for comment. Little is known so far about the Warrior's Gate project. The news was announced on the site this week.

Enter the warriors gate rating tv#

The application appeared on the State Administration of Radio Film and TV (SARFT) website in a list of projects that filed during February for co-production status. Luc Besson’s EuropaCorp has applied for co-production status for Warrior’s Gate, on which it is collaborating with Mark Gao Jingdong’s Shanghai-based production and sales outfit Fundamental Films. Luc Besson Looks to Co-Produce 'Warrior’s Gate' With China

[artwalktv]

The place of this animated short is the city Dnipro (Ukraine). Partly a documentary, through the prism of absurdity and black humor, the film tells the story about a big city during historical changes and decommunization. The world premiere - Annecy 2019 Director - Mykyta Lyskov Sound director and composer - Anton Baibakov Animation - Kateryna Voznytsia, Nikita Lyskov Backgrounds and phasing - Anastasia Belikova, Veleria Skalytska, Iva Naidenko Music: Kurs Valüt - Love Inspektor, Олексій Дьячков - Знову спізнився на урок Awards: DokLeipzig (Germany) - next masters competition - Grand prix Poff shorts (Estonia) - International competition - Grand prix International Animated Film Festival Animocje - Grand prix Open night (Ukraine) – Ukrainian competition – Grand prix 48th Molodist Kyiv International Film Festival (Ukraine) - Ukrainian competition – Jury award KISFF Kyiv International Short Film Festival (Ukraine) - International competition - Audience award Kinoshok (Ukraine) - Ukrainian competition – Grand prix Lviv International Short Film Festival Wiz-Art (Ukraine) - Ukrainian competition – Grand prix Kinokolo (Ukraine) - best animated movie 2019 Turku Animated Film Festival (Finland) - International competition – Grand prix Linoleum International animation Short Film Festival (Ukraine) - Ukrainian competition – Grand prix PIAFF, Paris International Animation Film Festival (France) - International competition - Jury Award Balkanima (Serbia) - International competition - Special Mention Međunarodni festival animacije Animanima (Serbia) - Special Mention Feinaki 2019 Beijing Animation Week (China) - International competition - jury award Laterna Magica (Brazil) - Diploma for best animation technique KROK (Ukraine) - Ukrainian competition – Grand prix Golden Dzyga (Ukraine) - best ukrainian animated movie 2020 Animafest Cyprus - Honorary Mention Rising of Lusitania - AnimaDoc Film Festival in Łódź (07-13.09.2020) - Special Mention Festival of animation Berlin - Special Mention Best Animation Short Prize at the 19th edition of the Lausanne Underground Film Festival ZUBROFFKA special mention by Polish Journalist Jury ZUBROFFKA main award in the EASTWARD WINDOW

[sinetheta]

Oxhide (牛皮) dir. Liu Jiayin (刘伽茵). 2005.

Liu Jiayin wrote and directed her debut film Oxhide at the age of 23 while working on her Master's degree in Film at Beijing Film Academy. Capturing the daily life of a working-class family living together in a 50 square meter apartment, Oxhide is notoriously low budget, with Liu's own parents as lead actors. The film is also known for its cinematographic minimalism – it consists of 23 static shots in a single location, the longest of which lasts half an hour. Shot on the narrow screen of a DV camera, some events occur entirely off screen, with only the actor’s voices to fill the scene. 

Oxhide was premiered at the 2005 Berlin International Film Festival, where it won the FIPRESCI and Caligari Film Award. Oxhide II, a sequel also directed by Liu, premiered at the 2009 Cannes Film Festival.

[cineastua]

Кохання/DeepLove from Mykyta Lyskov on Vimeo.

The place of this animated short is the city Dnipro (Ukraine). Partly a documentary, through the prism of absurdity and black humor, the film tells the story about a big city during historical changes and decommunization. The world premiere - Annecy 2019 Director - Mykyta Lyskov Sound director and composer - Anton Baibakov Animation - Kateryna Voznytsia, Nikita Lyskov Backgrounds and phasing - Anastasia Belikova, Veleria Skalytska, Iva Naidenko Music: Kurs Valüt - Love Inspektor, Олексій Дьячков - Знову спізнився на урок Awards: DokLeipzig (Germany) - next masters competition - Grand prix Poff shorts (Estonia) - International competition - Grand prix International Animated Film Festival Animocje - Grand prix Open night (Ukraine) – Ukrainian competition – Grand prix 48th Molodist Kyiv International Film Festival (Ukraine) - Ukrainian competition – Jury award KISFF Kyiv International Short Film Festival (Ukraine) - International competition - Audience award Kinoshok (Ukraine) - Ukrainian competition – Grand prix Lviv International Short Film Festival Wiz-Art (Ukraine) - Ukrainian competition – Grand prix Kinokolo (Ukraine) - best animated movie 2019 Turku Animated Film Festival (Finland) - International competition – Grand prix Linoleum International animation Short Film Festival (Ukraine) - Ukrainian competition – Grand prix PIAFF, Paris International Animation Film Festival (France) - International competition - Jury Award Balkanima (Serbia) - International competition - Special Mention Međunarodni festival animacije Animanima (Serbia) - Special Mention Feinaki 2019 Beijing Animation Week (China) - International competition - jury award Laterna Magica (Brazil) - Diploma for best animation technique KROK (Ukraine) - Ukrainian competition – Grand prix Golden Dzyga (Ukraine) - best ukrainian animated movie 2020 Animafest Cyprus - Honorary Mention Rising of Lusitania - AnimaDoc Film Festival in Łódź (07-13.09.2020) - Special Mention Festival of animation Berlin - Special Mention Best Animation Short Prize at the 19th edition of the Lausanne Underground Film Festival ZUBROFFKA special mention by Polish Journalist Jury ZUBROFFKA main award in the EASTWARD WINDOW

[innervoiceart]

Yidaki - Didgeridoo meets Mongolia & Tibet. Brought to you by Tenzin Ch...

THE PERFORMERS

Musical Director Tenzin Choegyal brings together five extraordinary musical talents to weave a tapestry of sound from the Asia Pacific region.

Internationally recognised since the age of 15, William Barton (didgeridoo, Australia) has performed with the London and Berlin Philharmonic Orchestras and composed music for the Beijing Olympics opening ceremony. A master of his instrument and experienced collaborator, William won an ARIA in 2012 for best classical album with Kalkadungu.

Baatasukh Batsukh (vocals and morin khuur, Mongolia) is a master of the horse- headed fiddle -- morin khurr -- and the traditional overtone throat singing style. 

Tenzin Choegyal (vocals and instrumentalist) composes music which is strongly influenced by his family's nomadic heritage. Tenzin appears regularly at major events such as Woodford Folk Festival and WOMAD and recently played Carnegie Hall in New York alongside notables such as Philip Glass and Patti Smith. Tenzin is also Creative Director of the annual Festival of Tibet and the Himalayan Film Festival. APSA Dec 2013 opening performance.

 www.tenzinchoegyal.com

[maurermfa]

Xanadu

XANADU Robert Boyd https://www.robertboyd.info/single-post/2020/02/27/xanadu

Culled from hundreds of hours of archival footage including that of doomsday cults, iconic political figures and global fundamentalist movements, Robert Boyd’s synchronized 4-channel video installation, Xanadu, tweaks, condenses, and re-frames modern events into seconds-long image bites, representing a history of apocalyptic thought as a series of MTV-style music videos within a setting reminiscent of a discotheque. Having peaked in the late 70s at a high point of Carter-era optimism, disco was formed from an amalgam of black, Latin, and gay subcultures. Vilified at the time for its seeming promotion of male effeminacy (i.e. homosexuality), its embrace of a proactive female sexuality, and its racial non-distinction, disco, with its voracious capacity to sample and reshape excerpts from multiple musical genres, had the ability to reduce “everything to its surfaces [...] so that the profound and the inane have an equal opportunity to stimulate.”*  The Xanadu installation exploits the duality that disco provides and combines it with the organizational structure of disco’s visual reincarnation—the music video—to dramatize recent social and political events. The choice of disco reverses the classic 70s punk vs. disco dichotomy, in which the harbingers of “no future” were clearly the self-disenfranchised punks. In the videos, supported by extreme and often violent footage meticulously gathered over the course of several years, we see a current worldview in which mass annihilation and the Apocalypse are solidly in the hands of those empowered by their people. The choice of dance music suggests a volatile segue from the “feel good” generation of the late 70s to the current “feel bad” generation of the 00s. Taken as a whole, Xanadu insinuates that humanity is not apathetic about its own demise but, on the contrary, is furtively engineering it through a form of collective self-destruction.

* Tom Smucker, “Disco: a soundtrack for communal ecstasy,” The Rolling Stone Illustrated History of Rock & Roll, 3rd ed. (New York: Random House, 1992).

In installation, the individual video works that together form Xanadu, are synchronized to play in progression, one after the other, culminating in the climactic grand finale. The video, Exit Strategy, serves as both prologue and epilogue for the installation and is shown as a separate projection.

​

XANADU has been exhibited at:  Santa Maria della Scala, Siena (2018); Moderna Museet, Stockholm (2016); Moderna Museet, Malmö (2015); ZKM, Karlsruhe (2014); Frankfurter Kunstverein, Frankfurt (2012); C/O Berlin, Berlin (2011); Deichtorhallen, Hamburg (2010); Hong Kong Museum of Art, Hong Kong (2009); PinchukArt Centre, Kiev (2008); The Sundance Film Festival, Park City, UT (2008); Context Galleries, Derry (2007);  Indianapolis Museum of Contemporary Art, Indianapolis (2007); Julia Stoschek Collection, Düsseldorf (2007); Zilkha Gallery, Wesleyan University, Middletown, CT (2007); PKM Gallery, Beijing (2006); The Hospital, London (2006) and Participant Inc., New York, NY (2006).