Notícias

The Traverse City Film Festival is celebrating its 14th year in 2018 by bringing together some of the year’s best indies and documentaries, plus classics from Jonathan Demme, Hal Ashby, and more. The Michigan-set festival, backed by Michael Moore, is being run in 2018 by directors Susan Fisher and Meg Weichman, who have worked on the festival for nearly a decade and have been at the helm since December.

Tickets for this year’s edition will go on sale to the public on Saturday, July 21 (click here for the official festival website). Friends of the Film Festival will be able to get early access to tickets with advance sales starting Sunday, July 15.

The full lineup for the 2018 Traverse City Film Festival is below.

Opening Night: “Rbg”

Centerpiece: “Hearts Beat Loud”

Closing Night: “Burden”

Open Space

“Stop Making Sense,” Jonathan Demme

“Jumanji: Welcome to the Jungle,” Jake Kasdan

“Coco,” Lee Unkrich

“Black Panther,...

Lance Black’s Black 47 to open the event, which features seven world premieres.

Source: Iffr

‘Black 47’

The Audi Dublin International Film Festival (Feb 21- Mar 4) has announced its 2018 line-up.

Opening the 16th iteration of the event is the Irish premiere of Black 47. Lance Daly’s Great Famine-set thriller stars James Frecheville, Barry Keoghan, Moe Dunford, Hugo Weaving and Stephen Rea.

The closing night gala is C’est La Vie, from Olivier Nakache and Éric Toledano (The Intouchables).

Playwright and screenwriter Mark O’Rowe’s directing debut The Delinquent Season is one of seven world premieres. The cast includes Cillian Murphy and Eva Birthistle, both of whom will attend.

Other world premieres include Stacy Cochran’s Write When You Get Work and artist Alan Gilsenan’s The Meeting.

Guests at the festival include Bill Pullman, presenting his new western The Ballad of Lefty Brown; Lynne Ramsay with a special presentation of You Were Never Really Here; Nora Twomey with Oscar-nominated...

Chicago – The luminous and legendary movie star Vanessa Redgrave was given a tribute at the 53rd Chicago International Film Festival on October 16th, 2017. The Oscar-winning actress also directed a documentary that she brought to the festival, an overview of the world’s refugee crisis entitled “Sea Sorrow.” HollywoodChicago.com talked to Redgrave, and photographer Joe Arce took the Exclusive Portrait.

Vanessa Redgrave at the 53rd Chicago International Film Festival

Photo credit: Joe Arce of Starstruck Foto for HollywoodChicago.com

Vanessa Redgrave was born into a famous British family of actors, daughter of Sir Michael Redgrave. She rose to prominence in 1961, portraying Rosalind in “As You Like It” for the Royal Shakespeare Company, and has since performed in over 35 stage productions on London’s West End and Broadway, winning a Tony in 2003 for “A Long Day’s Journey into Night.” Her film career is equally eminent, as she has been nominated six times for Academy Awards,...

The following essay was produced as part of the 2017 Nyff Critics Academy, a workshop for aspiring film critics that took place during the 55th edition of the New York Film Festival.

Tragedy begets tragedy. And in 2017, the global infrastructure’s threshold for human suffering seems to be testing its limits: environmental catastrophes are ravaging the Global South, refugees are fleeing war and persecution only to be met with xenophobic policies. Yet, in the shadow of the 24/7 news cycle, keeping up with current events can prove challenging. As the landscape for film exhibition follows technology’s rapid adaptation, offering new ways to watch movies outside of the traditional theater experience, the role of a film festival continues its evolution: extending its cinematic influence over the industry and the audience, and if lucky, offering a platform that can push the culture forward.

There’s no other place one can better witness that...

Vanessa Redgrave makes her directorial debut with the documentary Sea Sorrow, her first-person call for governments to come to the aid of the child refugees flooding Europe.

The accomplished actress chose film as the medium to deliver this message because “the arts can help rehumanize people who have been damaged and dehumanized for whatever reason,” she told reporters after a New York Film Festival press screening. “Not all, but most of the people in the U.N. are dead. I respect the U.N., I will fight for its existence and for its historical role and for the conventions under...

Let The Sun Shine In director Claire Denis and Joachim Trier (Thelma) will participate in a Film Comment: Filmmakers Chat with the magazine’s editor-in-chief Nicolas Rapold Photo: Anne-Katrin Titze

Lady Bird director Greta Gerwig; Richard Linklater on his Opening Night film Last Flag Flying; Serge Bozon and Isabelle Huppert on Mrs Hyde (Madame Hyde); Noah Baumbach on The Meyerowitz Stories (New and Selected); Making The Florida Project: Sean Baker and Chris Bergoch; Making Call Me By Your Name: Luca Guadagnino, Armie Hammer, and Michael Stuhlbarg; Documenting Creativity: Griffin Dunne, Rebecca Miller, Susan Lacy, Josh Koury and Myles Kane; Vanessa Redgrave on Sea Sorrow; Ruben Östlund on The Square, and a Film Comment: Filmmakers Chat with Claire Denis on Let The Sun Shine In and Joachim Trier on Thelma are a number of highlights announced by the Film Society of Lincoln Center's sixth edition of the free talk...

Joan Didion: The Center Will Not Hold director Griffin Dunne Photo: Anne-Katrin Titze

The Spotlight on Documentary programme at the 55th New York Film Festival has a number of high profile authors in the spotlight, including Gay Talese in Josh Koury and Myles Kane's Voyeur. Griffin Dunne's Joan Didion: The Center Will Not Hold with interviews with Harrison Ford, David Hare, Anna Wintour, Calvin Trillin, and Vanessa Redgrave (her Sea Sorrow is in the festival with Emma Thompson and Ralph Fiennes), and Rebecca Miller's portrait Arthur Miller: Writer (with Tony Kushner and Mike Nichols commenting on her father's career) are two excellent insider depictions. Aki Kaurismäki's The Other Side Of Hope (starring Sherwan Haji, Sakari Kuosmanen) and Chloé Zhao's The Rider, screening in the Main Slate, round out the four early bird highlights.

The Rider is the winner of the <a href="...

There are any number of unforgettable images in Ai Weiwei’s “Human Flow,” the most necessary and comprehensive documentary to date about our planet’s current refugee crisis, but the most indelible of them all is borrowed from a movie about a very different humanitarian failure. For 1956’s “Night and Fog,” Alain Resnais ventured into the haunted ruins of concentration camps Auschwitz and Majdanek, training his camera on the evidence that had been left behind. A still ocean of women’s hair. A mountain of empty shoes, spilling through the rooms of a building like a flood. Symbols that convey the scale of apathy and death better than bodies ever could, because the horror of bodies is too all-consuming to allow for any deeper understanding.

In “Human Flow,” the film’s famous artist-director shoots a massive heap of abandoned lifejackets from above, the camera lifting into the sky to reveal...

The 55th New York Film Festival will debut a starry roster of documentaries featuring giants of the art and literary worlds as well as Alex Gibney’s postponed “No Stone Unturned,” a critical investigation into the 1994 Loughinisland massacre in Ireland, which was pulled from Tribeca in April.

Other new works include films from directors Abel Ferrara, Sara Driver, Nancy Buirski, Mathieu Amalric, and Barbet Schroeder; Vanessa Redgrave’s directorial debut “Sea Sorrow,” which played at Cannes; and films featuring Joan Didion, Arthur Miller, Gay Talese, Jean-Michel Basquiat, and Jane Goodall, plus stories about racism, American immigration, and the global refugee crisis.

Three documentaries spotlight acclaimed writers, including the world premiere of Griffin Dunne’s “Joan Didion: The Center Will Not Hold,” returning Nyff filmmaker Rebecca Miller’s tender portrait of her father, “Arthur Miller: Writer,” and the World Premiere of Myles Kane and Josh Koury’s “Voyeur,” tracking journalist Gay Talese...

The 55th New York Film Festival will debut a starry roster of documentaries featuring giants of the art and literary worlds as well as Alex Gibney’s postponed “No Stone Unturned,” a critical investigation into the 1994 Loughinisland massacre in Ireland, which was pulled from Tribeca in April.

Other new works include films from directors Abel Ferrara, Sara Driver, Nancy Buirski, Mathieu Amalric, and Barbet Schroeder; Vanessa Redgrave’s directorial debut “Sea Sorrow,” which played at Cannes; and films featuring Joan Didion, Arthur Miller, Gay Talese, Jean-Michel Basquiat, and Jane Goodall, plus stories about racism, American immigration, and the global refugee crisis.

Three documentaries spotlight acclaimed writers, including the world premiere of Griffin Dunne’s “Joan Didion: The Center Will Not Hold,” returning Nyff filmmaker Rebecca Miller’s tender portrait of her father, “Arthur Miller: Writer,” and the World Premiere of Myles Kane and Josh Koury’s “Voyeur,” tracking journalist...

The Voyeur's Motel author Gay Talese is observed in Myles Kane and Josh Koury's Voyeur, which will screen at the New York Film Festival Photo: Anne-Katrin Titze

The Film Society of Lincoln Center has announced the 55th New York Film Festival Spotlight on Documentary selections this afternoon. The program includes Three Music Films (C’est Presque Au Bout Du Monde, Zorn (2010-2017) and Music Is Music) by Mathieu Amalric, Barbet Schroeder's The Venerable W, Denis Côté's A Skin So Soft, Vanessa Redgrave's Sea Sorrow, Abel Ferrara's Piazza Vittorio, Alex Gibney's No Stone Unturned, Griffin Dunne's Joan Didion: The Center Will Not Hold, Brett Morgen's Jane, Rebecca Miller's Arthur Miller: Writer, Sara Driver's Boom For Real The Late Teenage Years Of Jean-Michel Basquiat, and Myles Kane and Josh Koury's Voyeur.

Amnesia director Barbet Schroeder to show The Venerable W Photo:...

With the 2017 Cannes Film Festival concluded, a few thoughts on what we learned at the festival’s 70th anniversary edition: Politics are never too far below the surface at Cannes. One of the biggest stories of the past several years has been the ongoing migrant crisis, but Vanessa Redgrave’s impassioned agit-doc “Sea Sorrow” was the only Cannes film to tackle the subject head-on. Though “Jupiter’s Moon” followed a Syrian refugee, the film was more interested in the religious allegory aspect and in crafting spectacular action set-pieces. African migrants popped up in Michael Haneke’s “Happy End” and Jonas Carpignano’s “A Ciambra,...

This year’s event took in the migrant crisis, Russian authoritarianism, sulky sculptors – and even introduced us to a loveable pig. There was plenty to enjoy

This year’s Cannes had its overriding theme imposed from without: terrorism. The festival was widely and solidly shocked by the news from Manchester, and the director Thierry Frémaux made an affecting speech from the Palais stage about the need to stand firm with that city and asked for a minute’s silence. Delegates were coming up to Brits all the time and expressing their sympathy. Cannes had had its own scare earlier in the week: a stray bag spotted in an empty auditorium. In went security staff with dogs, a reminder of how convulsed France has been by terrorist outrage – particularly up the coast, in Nice.

But otherwise, the themes of Cannes revolved around the three Rs: refugees, Russia and the ruin of the middle class.

After an astounding career as an actress, in which she has won virtually every accolade possible — including an Oscar, two Golden Globes, two Emmys and numerous Tonys and Olivier awards for her stage work — Vanessa Redgrave has decided, at the spry age of 80, to step behind the camera for her directing debut, the documentary Sea Sorrow. The film, which had its premiere in a special gala screening May 18, is Redgrave’s very personal meditation on the global refugee crisis.

Redgrave spoke to The Hollywood Reporter about the film, which intertwines refugee tales both...

On Sunday agents and producers discuss what feature film offers talent in the boom era of high-end TV.

The line-up for the UK Film Centre at this year’s Cannes Film Festival (May 18-27) includes a talent talk with the producers of Yorgos Lanthimos’ The Killing Of A Sacred Deer, a discussion about Brexit and a panel on attracting world-class talent (hosted by Screen International editor Matt Mueller).

The UK Film Centre is run by We Are UK Film, whose partners include the British Film Institute (BFI), the British Film Commission (Bfc), British Council, Creative Scotland, Film London and Northern Ireland Screen.

The UK Film Centre will be in Cannes from May 17-26 at Pavilion 119 of the International Village Riviera and is open for international and UK delegates from 9am – 6pm.

The full events line-up is below:

Monday 22Nd

The Practical Guide to Closing your Film (In association with European Film Bonds): 10.00 - 11.00

Experts including [link=nm...

The global refugee crisis has slipped out of the headlines in recent months, but the plight of the millions of migrants worldwide is in sharp focus at this year's Cannes Film Festival.

Documentaries, dramas and even a virtual reality installation attempt to shine new light on what human rights organizations call the greatest global migration since the end of WWII, with an estimated 65 million people displaced or on the move worldwide.

They range from Vanessa Redgrave's documentary Sea Sorrow, a heartfelt, straight-forward plea for empathy; to Global Nomads, a collection of 17 award-winning European films on refugees,...

Vanessa Redgrave Photo: Richard Mowe

Vanessa Redgrave received her first award in Cannes for Morgan: A Suitable Case For Treatment in 1966. Last year she was in attendance for a restored copy of Howard’s End in Cannes Classics. Now she has returned again to make her debut as a director at the age of 80 with Sea Sorrow, a documentary about the refugee crisis, directed by her son Carlo Nero. It features such star performers as Ralph Fiennes and Emma Thompson and a key agitator in Parliament for helping the plight of refugees, Lord Alf Dubs.

Q: What was the impetus for making Sea Sorrow at this particular time?

"It became obvious that it would be her film and she would have to direct it" - Carlo Nero Photo: Richard Mowe

Vanessa Redgrave: The refugees started having a hard time escaping a long time ago because the wars have been going for ages.

Vanessa Redgrave has a long and storied career as an actress, but she waited until she was 80 years old to direct her first movie, “Sea Sorrow.” She also appears in the film, but only as herself: a woman concerned about the humanitarian and human tragedy taking place as refugees flee wars in Syria, Afghanistan, and other trouble spots. “Sea Sorrow,” which premiered at the Cannes Film Festival on Thursday after a press screening on Wednesday, is the latest documentary to chronicle the worldwide refugee crisis, which has become a hot-button political issue in Europe and America. The question is, does Redgrave.

You can’t help being on Vanessa Redgrave’s side in Sea Sorrow, her passionate, first-person call for governments to come to the aid of the child refugees flooding Europe. Talking directly into the camera along with British Labour leaders and political activists, she tirelessly hammers the point that immediate action is required to admit minors into the U.K. and other countries before they’re caught up in criminality and human trafficking. Given the increasingly polarized times, the documentary’s strident tone and its refusal to soft-peddle the situation should gather consensus in the niche-niches where it will be shown, even if its scattershot...

Less a documentary than it is a 74-minute infomercial trying to sell European politicians on their own humanity, Vanessa Redgrave’s “Sea Sorrow” neither qualifies as art nor aspires to be considered as such — it’s far too urgent for interpretation. Funded by and featuring the legendary actress (newly minted as a director just a few months after her 80th birthday), this glorified PSA is essentially the negative image of Gianfraco Rosi’s “Fire at Sea.” Redgrave’s film is as direct as Rosi’s film is impressionistic, her plea as haphazard as his is elegant. Of course, the world is wide enough to support both approaches, and the situation is dire enough to demand them.

While much of “Sea Sorrow” speaks to its audience in the abstract language of history and statistics, Redgrave is wise to ground this portrait on a personal level. The film begins with a devastating...

The veteran actor and political activist has made her directorial debut with a film treading bravely where others might not – even if her inexperience behind the camera shows

Vanessa Redgrave’s personal documentary-essay on the refugee crisis has sincerity and force, and some valuable insights; I think it deserves a hearing, despite the obvious ungainliness of its production values. Sea Sorrow sometimes resembles a campaign video, with Redgrave herself sometimes lecturing the audience in greenscreen, holding up a poster designed by her granddaughter, with a clunky shot of refugee children simply placed behind her.

There is also another sequence when a Sky TV News report is simply used in its unedited entirety, evidently on the basis that Redgrave is herself interviewed in it. These are errors of judgement and discrimination which reveal Redgrave’s directorial inexperience. Yet her film often succeeds as rhetoric and she is on strong ground when...

Panels will tackle Brexit, attracting world class talent and working with Yorgos Lanthimos.

The line-up for the UK Film Centre at this year’s Cannes Film Festival (May 18-27) has been announced.

The free events include a talent talk with the producers of Yorgos Lanthimos’ The Killing Of A Sacred Deer, a discussion about Brexit and a panel on attracting world-class talent (hosted by Screen International editor Matt Mueller).

The UK Film Centre is run by We Are UK Film, whose partners include the British Film Institute (BFI), the British Film Commission (Bfc), British Council, Creative Scotland, Film London and Northern Ireland Screen.

The UK Film Centre will be in Cannes from May 17-26 at Pavilion 119 of the International Village Riviera and is open for international and UK delegates from 9am – 6pm.

The full events line-up is below:

Thursday 18th

Films without Borders (screening): 14.00 - 15.00

A showcase of films from young people living in challenging circumstances...

A heightened sense of anticipation pervades the days leading up to the 70th anniversary of Cannes Film Festival as we arrange screenings and parties and meetings for an adrenaline filled ten days. May 17 to 28 will be full of surprises as this unique high energy mix of glamour, work, fun and stress unfolds. A broad range of distinctive films in Competition, Un Certain Regard, Directors Fortnight (Quainzaine des realisateurs) and Critics Week (La Semaine de la critique), L’Acid compete with parties from cocktails sponsored by all the countries that are here (60+ including Armenia, Nigeria, Kazakhstan and Singapore) and with late night extravanzas on yachts and at villas in the hills.Claudia Dances! Claudia Laughs! Claudia Lives!

This year’s poster portrays Claudia Cardinale dancing on a fiery red background. The Italian actress moved to Paris a long time ago. As the Cannes Muse this year, her musings illuminate the terrific...

Documentary will premiere as a Special Screening at Cannes.

Vienna-based sales outfit Autlook Film Sales has picked up worldwide rights to Vanessa Redgrave’s directorial debut Sea Sorrow.

The documentary has been selected for Cannes Special Screenings and is framed as a personal meditation on the refugee crisis.

It features contributions from Ralph Fiennes and Emma Thompson, and is produced by Vanessa Redgrave and her son Carlo Nero of Dissent Projects.

“Vanessa Redgrave is an human rights campaigner who deeply cares about the situation of very young refugees,” Autlook Film Sales CEO Salma Abdalla commented.

“She investigates the role of Europe with a personal narrative that organically compares the situation of children during WWII with today’s situation.

“Sea Sorrow is a very moving and important film that will resonate with audiences all around the world.”

Autlook’s sales roster at Cannes includes three-time Tribeca-winning documentary Bobbi Jene, biography of ‘star-chitect’ Bjarke Ingels Big Time, and Goddesses...

The line-up includes films by Coppola, Kaurismäki and Haneke.

Michael Haneke’s Happy End, Aki Kaurismäki’s The Other Side of Hope, and Sofia Coppola’s The Beguiled are among the 12 films in contention for the AUD60,000 Sydney Film Prize, the top honour of the Sydney Film Festival.

The films will screen at the 64th Sydney Film Festival in June, direct from their world premieres at Cannes, and will compete against new films by Australian directors Warwick Thornton (socio-political documentary We Don’t Need a Map), and Benedict Andrews (Una), Berlin prizewinning filmmakers Ildiko Enyedi (On Body and Soul) and Alain Gomes (Félicité), and Oscar nominee Raoul Peck (I Am Not Your Negro).

Sydney Film Festival director Nashen Moodley announced the full program at a launch on Wednesday. Moodley identified a number of emerging themes across this year’s lineup, such as stories of dislocation set against the worsening refugee crisis, and several...

The Festival de Cannes has announced the lineup for the official selection, including the Competition and Un Certain Regard sections, as well as special screenings, for the 70th edition of the festival:

COMPETITIONHappy End (Michael Haneke)Wonderstruck (Todd Haynes)Le Redoutable (Michel Hazanavicius)The Beguiled (Sofia Coppola)Rodin (Jaques Doillon)120 Beats Per Minute (Robin Campillo)Okja (Bong Joon-Ho)In The Fade (Fatih Akin)The Day After (Hong Sang-soo)Radiance (Naomi Kawase)The Killing Of A Sacred Deer (Yorgos Lanthimos)A Gentle Creature (Sergei Loznitsa)Jupiter's Moon (Kornél Mandruczó)Good Time (Benny Safdie & Josh Safdie)Loveless (Andrey Zvyagintsev) L'Amant Double (François Ozon)You Were Never Really Here (Lynne Ramsay)The Meyerowitz Stories (Noah Baumbach)The Square (Ruben Östlund)Un Certain REGARDOpening Night: Barbara (Mathieu Amalric)The Desert Bride (Cecilia Atan & Valeria Pivato)Lucky (Sergio Castellitto)Closeness (Kantemir Balagov)Before We Vanish (Kiyoshi Kurosawa)Beauty and the Dogs (Kaouther Ben Hania)L...

Sophia Coppola, Yorgos Lanthimos, Noah Baumbach, ‘Twin Peaks,’ and more…2017 Official Poster © Bronx (Paris). Photo: Claudia Cardinale © Archivio Cameraphoto Epoche/Getty Images

The official lineup for the 70th Cannes Film Festival, which will run from May 18–28, was announced April 13. While a few more screenings will undoubtably be added as we creep nearer to the festival, the selections announced feature a lot worth getting excited over — including, for the first time, two television shows (Twin Peaks and Top of the Lake) and a virtual reality film (Carne y Arena). Also, considering that The Killing of a Sacred Deer and The Beguiled are both in the main competition, there is, assuming equal probability, an 11.1% chance that a film starring Nicole Kidman and Colin Farrell will take home the top prize. Considering

This year, the festival jury will be headed by acclaimed Spanish director Pedro Almodovar, with French actress Sandrine Kiberlain presiding over the Camera d’Or jury and Romanian...

The 2017 Cannes official selection is a mix of brainy competition auteurs, red-carpet star power, and the rarest breed — a handful of players who could return to North America as Oscar contenders.

Nicole Kidman will be stuffing her trunks with evening gowns, as she will need to walk the Palais steps at least four times: twice with Colin Farrell, for Cannes favorite Sofia Coppola‘s Civil War potboiler “The Beguiled” (Focus Features) and Yorgos Lanthimos’ “The Killing of a Sacred Deer” (A24), both in Competition, and again for John Cameron Mitchell‘s midnighter “How to Talk with Girls at Parties” (A24) and a preview of Jane Campion‘s returning Sundance Channel series, “Top of the Lake: China Girl.” How the three films play in Cannes will determine if the Oscar perennial returns for another go-round.

Isabelle Huppert won the Cesar and was close — we think — to winning the Oscar for “Elle.