This post was co-authored by Anriette Esterhuysen and Wim Degezelle. Authors are Consultants with the IGF Secretariat, supporting the work of the 2019 Best Practice Forums.
IGF Best Practice Forums, an opportunity to bring your experience to the policy debate
In the run-up to the 14th Internet Governance Forum in Berlin, Germany, 25 to 29 November, different groups are discussing best practices pertaining to specific internet governance policy questions. These groups are open and thrive on your input and experiences. Their findings will be presented at the IGF and published shortly after.
The IGF Best Practice Forums intend to inform internet governance policy debates by drawing on the immense and diverse range of experience and expertise found in the global IGF community to create a resource of best practices and policy recommendations. For 2019 there are four Best Practice Forums: on Cybersecurity, on IoT, Big Data, and AI, on Gender and Access, and on Local content.
The BPF Cybersecurity explores how international cybersecurity initiatives, such as the Paris Call for Trust and Cybersecurity in Cyberspace or the GCSC's Norm Package for Responsible Behaviour in Cyberspace, can be turned into actions that make a difference. The BPF identified a body of international cybersecurity agreements and is inviting their stakeholders, supporters and signatories to share experiences and thoughts on how to implement and operationalise the high-level principles, norms and policy approaches they support or signed up to. Details on the BPF and the Call for contributions are on the BPF Cybersecurity webpage.
The BPF Gender and Access is focusing on what happens once women and LGBTIQ people have some form of access to the internet? In particular, what opportunities and challenges do they have to deal with if they want to participate meaningfully in the digital economy. The BPF put out a call for contributions, now closed, to help them identify the scope of these challenges and what interventions, including policy approaches, are needed to address them. Learn more on the BPF Gender and Access webpage.
The BPF IoT, Big Data, AI acknowledges the huge potential of the new technologies to address societal policy challenges when applied in concert in an internet context. The expectations are high, both in terms of new solutions and making existing solutions more efficient. The BPF is focussing on three clusters of policy questions pertaining to the application of IoT, Big Data, AI technologies to address societal challenges: enhancing trust in the applications, stimulating their use and uptake, and the collection and management of the data. The BPF is currently conducting a public survey, more details on the BPF and survey are on the BPF IoT, Big Data, AI webpage.
The BPF Local Content is exploring how the internet can be used to preserve local language and cultural heritage, particularly in current contexts where cultural and linguistic diversity, artifacts and histories are at risk as a result of political and social shifts and upheaval. The BPF will soon be putting out a call for contributions to help gather examples and best practices of how digital technologies and the internet can be used to promote, preserve and share local culture and content. The BPF would also like to identify best practices of how to manage and promote the digitisation of existing analogue content (printed and electronic media, cinema, etc.) and services. A call for contributions will be published on the BPF Local Content webpage in the next few weeks.
IGF Best Practice Forums are open to all interested. Consult their respective webpages for details on how to get involved or subscribe to their mailing list.
Written by Wim Degezelle, Independent Internet Policy Analyst and Consultant
www.circleid.com | 9/13/19
The world premieres of James Mangold’s “Ford v Ferrari,” the Safdie brothers’ “Uncut Gems,” Edward Norton’s “Motherless Brooklyn,” Tom Harper’s “The Aeronauts,” Kelly Reichardt’s “First Cow” and Rupert Goold’s “Judy” will highlight the lineup of the 2019 Telluride Film Festival. The festival announced its slate of films on Thursday, one day before the three-day event will kick off in the Colorado mountain town.
Stars headed to the Colorado mountain town should include Matt Damon and Christian Bale for the auto-racing drama “Ford v Ferrari,” Adam Sandler for “Uncut Gems,” Eddie Redmayne and Felicity Jones for the period piece “The Aeronauts” and Renee Zellweger for the Judy Garland story “Judy.”
Special tributes and Silver Medallion Awards will be presented to Zellweger, Adam Driver and director Philip Kaufman.
Portions of Ken Burns’ upcoming documentary series, “Country Music,” will also be screened in Telluride, as will Agnes Varda’s final film, “Agnes by Varda,” Davis Guggenheim’s Bill Gates documentary “Inside Bill’s Brain” and Trey Edward Shults’ “Waves.”
The three short films will include “Lost and Found” and “Into the Fire,” both by Orlando von Einsiedel, the Oscar-winning director of the short “The White Helmets.”
The festival, which selects a carefully-curated group of about two dozen films, has also opted to showcase a number of films from this year’s Cannes Film Festival, including Pedro Almodovar’s “Pain and Glory,” Celine Sciamma’s “Portrait of a Lady on Fire,” Terrence Malick’s “A Hidden Life,” Kantemir Balagov’s “Beanpole” and Bong Joon Ho’s Palme d’Or winner, “Parasite.”
Noah Baumbach’s “Marriage Story,” Fernando Meirelles’ “The Two Popes” and Lauren Greenfield’s “The Kingmaker” are among the films that will go to Telluride after premiering at the Venice Film Festival. “Marriage Story” is the only film to be playing all four of the fall festivals – Venice, Telluride, Toronto and New York – while “The Kingmaker” is the only documentary to be screening at Venice, Telluride and Toronto.
Telluride typically showcases a group of films that include many Oscar nominees-to-be, though its eight-year streak of screening the eventual Best Picture winner came to an end last year when “Green Book” skipped Telluride, premiered in Toronto and went on to win the top prize. Of last year’s Telluride selections, only two, “Roma” and “The Favourite,” would receive best-pic nominations, though the 2018 selection also included Oscar winners “Free Solo” (documentary feature) and “First Man” (visual effects) and nominees “Cold War,” “Shoplifters” and “Can You Ever Forgive Me?”
Telluride screenings begin on Friday and end on Monday.
· THE AERONAUTS (d. Tom Harper, U.S. – U.K., 2019)
Selections from guest director Pico Iyer:
Additional film revivals:
Related stories from TheWrap:
www.thewrap.com | 8/29/19
Right-wing extremist protests are on the rise and migrants continue to be targeted for violence. Has Germany's "welcome culture" come to an end? A new study by the Bertelsmann Foundation suggests otherwise.
www.dw.com | 8/29/19
The German government wants to promote a culture of innovation to develop CO2-neutral aviation. Chancellor Merkel has said Germany must develop more alternative fuel sources, including hydrogen-based energy technology.
www.dw.com | 8/21/19
This weekend, a European phenomenon is back — though Americans may have to hunt for clips on YouTube or seek out a VPN and watch via another country’s home broadcaster.
The Eurovision Song Contest, a cross between “The X Factor” and the Miss Universe pageant that offers Yanks a glimpse of what it’s like to be in a culture that doesn’t have jazz and blues as the foundation of its pop music.
For those who’ve never seen — or even heard of Eurovision — before, here’s a quick primer to get you caught up.
What exactly is this contest?
That sounds like a pretty noble goal.
Then there are the artists themselves. As Eurovision has evolved, more and more ridiculous acts have come out of the woodwork. Finnish monster-rock bands, Russian grandmas and Latvian pirates are among the acts that have performed for a TV audience of hundreds of millions in recent Eurovisions. And that Finnish monster rock band actually won.
Jeez! So is this just some musical freak show?
There’s also a small handful of top stars on the winners’ list you might recognize. ABBA used Eurovision as a launch pad to stardom in 1974 with their song “Waterloo,” and French-Canadian Celine Dion’s win in 1988 was her biggest claim to fame before “Titanic” came out. Quality — or at least creativity — does tend to win out at Eurovision.
OK, so how does this contest work?
Then the show transitions to a long procession of national “ambassadors” reading out who each country gave their votes to. The top 10 performers in each country’s vote get points, with 12 points going to the top vote-getter, followed by 10 and then eight down to one for the rest of the order. The same goes with the juries, but with 10 points going to the performer in first place.
And what does the performer with the most points win?
What? No prize money? No contract? No vague promises of superstardom?
Even now, a good chunk of the acts are homogenous power ballads that can blur together when performed in succession. Still, Eurovision is worth watching just for the spectacle of it all. The Disneyland-esque sweetness of the proceedings is charming, and the lack of stakes for the performers keeps it feeling light and fun rather than a battle for wealth, glory, and continental supremacy.
It has also made headlines in recent years that have allowed it to take steps beyond the realm of annual oddities like the Running of the Bulls. The winner in 2014 was gay Austrian singer Thomas Neuwirth, who performed as drag queen superstar Conchita Wurst. The victory transformed Conchita into an LGBT icon in Europe, even as Russian conservatives raged in fury and used the singer as an example of why Russia shouldn’t be a part of the EU. For all of Eurovision’s platitudes about tolerance and peace, this was a moment where those ideals were actually acted upon, even if it meant breaking the general tone of inoffensiveness.
If it’s supposed to be European, why is Australia a competitor?
So…if all these countries that aren’t strictly European are competing, does this mean we may be seeing the USA compete in Eurovision soon?
Related stories from TheWrap:
www.thewrap.com | 5/18/19
After Cannes’ opening night film “The Dead Don’t Die” got the festival off to a somewhat slow start with mixed reviews, Wednesday’s two debuts, “Les Misérables” and “Bacurau,” proved that this year’s lineup will have some life in it.
Ladj Ly’s “Les Misérables” isn’t based on Victor Hugo’s classic story, but it’s set in the same region in France and has the spirit of the original. Ly (picture above) originally directed an acclaimed short in 2017 of the same name that set the stage for this larger feature focused on police brutality and crime. The Guardian critic said Ly’s feature debut had a dose of “humor, cynicism, energy and savvy” and was worthy of some comparisons to previous Palme d’Or winner Jacques Audiard’s “Dheepan.”
Another reviewer even predicted we might already have a prize winner on our hands. “‘Les Miserables,’ Cannes’s first prize-worthy film of this still young-edition,” Screen Comment said in a tweet. “Edge-of-your-seat realism that echoes the 2005 riots in France, this film is winning #Cannes19.”
The industry took notice as well, with Anne Thompson reporting that Ly was already signed by CAA and that his film has become a hot title on the market.
The same could be said about “Bacurau,” a Brazilian film from the directors of “Aquarius.” David Ehrlich at IndieWire called it a “delirious Western” that amazingly features Udo Kier “fighting ghosts with a sniper.” He added that it is part “Hostel” and part “Seven Samurai.”John Carpenter takes a bow
Cult horror master John Carpenter, the director of “The Thing” and “Halloween,” among many others, graciously accepted the Golden Coach award from the French directors guild at the festival’s opening ceremony as part of the Director’s Fortnight. According to Reuters, Carpenter said he had been fascinated by cinema since he saw “The African Queen” at age three.
“It’s that transportation of an audience through the world of light and the shadows around it that I’m proud to be a part of,” he said.
Film Twitter also had fun spotting him with other horror luminaries like Dario Argento, and his presence felt even more significant in part because some critics felt “Bacurau” gave off vibes of early Carpenter classics.A surprise from Todd Haynes
There’s always a handful of films each year that make their way to the festival marketplace under the radar, and this year’s biggest title was the documentary on the Velvet Underground from director Todd Haynes. THR reported that footage from the movie would screen Thursday at the Cinema Olympia and would be presented to buyers by Cinetic and Submarine.
First reported in January, the documentary would be Haynes’ first, but the musically inclined director behind “I’m Not There” and “Velvet Goldmine” is in good standing to handle the story of Lou Reed and one of the most influential rock bands of all time.“Moonfall” has a Big Landing
Roland Emmerich’s $150 million sci-fi space epic “Moonfall” sold for a reported low-eight figures in both Germany and Switzerland, according to Deadline. An unnamed German indie conglomerate that handles distributors TMG and Universum purchased the film, which Emmerich is writing and directing, and Stuart Ford’s AGC Studios and CAA Media Finance are handling worldwide sales.
“Moonfall” tells the story of a ragtag team of astronauts who are forced to land on the moon’s surface when the moon is knocked out of Earth’s orbit, sending it hurtling on a collision course with Earth and threatening all of mankind.
Among some of the other buzzy deals taking place on Wednesday and overnight, SP Media Group acquired a majority stake in Atlas Comics library, and Paramount has come aboard for a first look deal, according to Deadline. Atlas company is run by Jason Goodman, the grandson of Marvel Comics co-founder and publisher Martin Goodman. And a project is already set to be produced with an eye on a 2021 release.
“Avatar” star Sam Worthington has joined the Australian thriller “Gold,” which Anthony Hayes will co-write, direct and co-star in. Saboteur Media has come aboard the film to handle sales at Cannes, according to THR.
A Michael Caine movie has also hit the market at Cannes, this one called “Best Sellers,” which stars Caine as a washed-up, alcoholic of an author who goes out on a book tour with a young editor in order to help save a publishing house, according to THR. Anthony Grieco wrote the original screenplay, and Foresight Unlimited is handling international sales.
“The Girl With the Dragon Tattoo” star Noomi Rapace is set to star in an action movie from Vicky Jewson called “Sylvia” in which she’ll star as a Mossad agent, according to Variety. WestEnd is handling sales at Cannes.
And finally, Epic Pictures acquired the U.S. rights to the horror comedy “Harpoon” from director Rob Grant, according to Variety. The film stars Munro Chambers, Emily Tyra and Christopher Gray in a black comedy about three friends who get stranded out at sea on a yacht.
Related stories from TheWrap:
www.thewrap.com | 5/16/19
The 2019 Cannes Film Festival is underway, but a big question on some attendees’ minds might not be about a movie at all, but a TV series. That’s because many festival-goers are probably scrambling to figure out, “How in the name of Westeros can I watch the series finale of ‘Game of Thrones’ on Sunday?”
Since HBO NOW and HBO GO are not accessible for U.S. subscribers while in France, TheWrap has figured out how “Game of Thrones” fans can watch the final showdown in real time without having to learn who ends up on the Iron Throne through social media.
And don’t worry, it won’t take a prayer to the Old Gods and the New. But it will take either an HBO Europe subscription or having the right hotel room — or a friend in the right hotel room — because a Cannes attendee can view the series finale at the same time it airs in the U.S. via the French provider OCS (Orange Cinema Series).
So what you’ll need to do is check around to see if your hotel — or your friends’ hotels — is an Orange subscriber. If it is, then you can tune in to watch the episode on OCS City at 3 a.m. local time on Monday. There will also be a primetime airing at 9 p.m. local time, later that day.
If you happen to be an Orange subscriber yourself, then you can also stream the episode on demand after it concludes its linear debut.
The complete final season of “Game of Thrones” will also be available to purchase via digital download in France on Tuesday at midnight (overnight Monday) on iTunes, Orange, Canal+, Microsoft, Sony and Google.
If you are subscribed to UK Sky Go and Now TV (a subscription-based internet television and video-on-demand service that is a division of Sky Limited), you can watch the finale on your devices in any country in the EU.
In Germany’s official guide from Sky, for example, it says Episode 806 will be shown locally at 3 a.m. (GMT+2) on Sky Atlantic, which is the same time it airs on HBO in the U.S. (9 p.m. ET). That means you’ll be able to access the episode via Sky Go and Now TV at that time. Sky will then air the series finale again on Monday at 8:15 p.m. local time.
If you don’t have a subscription to either of those services, but do subscribe to HBO Go or HBO NOW there is a way to connect to those platforms using a VPN.
A VPN is a virtual private network that builds a secure tunnel between your device and the internet that allows you to mask your location. This way, you can “trick” the platforms into thinking you are still in the U.S. (for HBO) or in the U.K. (for Sky). It’s extremely safe and most VPNs provide a high-quality streaming experience.
HBO tells TheWrap it is unaware of any planned finale viewing parties at Cannes. A spokesperson for the festival said all official screenings can be found in the Cannes program.
Of course, if this is all too much work for you: Fly home early, delete your Twitter app, or pray no one you talk to at Cannes reveals spoilers and wait until you’re back in the United States to watch the HBO fantasy series’ epic ending.
Related stories from TheWrap:
www.thewrap.com | 5/15/19
Culture meets nature in Saxony: a mere 40 kilometers lie between splendid Baroque art and architecture in Dresden and the distinctive peaks of the Elbe Sandstone Mountains.
www.dw.com | 5/8/19
The country’s culture of remembrance is crumbling.
www.nytimes.com | 4/15/19
Jafaar Abdul Karim is not afraid to take on issues that many Muslim refugees in the country consider taboo. And, yes, he has had death threats.
www.nytimes.com | 4/5/19
State officials had ordered "Al Nur" to close following revelations that inappropriate literature had been shared at the kindergarten. The day care center is the only Muslim kindergarten in Rhineland-Palatinate.
www.dw.com | 3/27/19
It won’t exactly be on a par with Oscars nominations morning, but Monday will be one of the biggest December days in the history of the Academy Awards.
That’s because for the first time, the Academy isn’t systematically doling out the short lists of films that remain in contention. Instead, they’re dropping all the lists at once in a single press release that will trim the fields in Best Documentary Feature, Best Foreign Language Film, Best Original Song and six other categories.
One drop, nine categories, a total of 101 films that’ll get good news and far more that’ll be disappointed.
The strategy of dumping all the Oscars short lists at once has not been greeted with universal approval. For one thing, contenders in the different categories were used to having their individual moments in the spotlight. Music Branch voters, who are facing a pair of short lists for the first time, now have far less time to listen and decide than they used to. And pundits will need to whip up instant analysis in nine categories simultaneously.
But that’s the new rule, and all the lists will be out on the afternoon of Monday, Dec. 17.
(By the way, we hear that the news will come out in the afternoon because the procrastinators on the Foreign Language Film Award Executive Committee aren’t getting together until Monday morning to decide which three songs they’ll be adding to the six-film short list chosen by Oscars voters.)
Here’s the category-by-category breakdown of what will be coming on Monday.
Best Foreign Language Film
Three films seem guaranteed to land a spot: Mexico’s “Roma,” Poland’s “Cold War” and Lebanon’s “Capernaum.” Belgium’s “Girl” isn’t far behind, and voters reportedly adored Germany’s “Never Look Away.” Denmark’s “The Guilty” is a satisfying film that impressed voters, Sweden’s “Border” a twisted one that did the same.
The executive committee that adds three films to the shortlist may be hard-pressed not to take one or both of the two Asian standouts, South Korea’s “Burning” and Japan’s Palme d’Or winner “Shoplifters.” And watch out for the Paraguayan film, “The Heiresses,” which has strong support in both the general and executive committees.
Other possibilities include Iceland’s “Woman at War,” Norway’s “What Will People Say,” Colombia’s “Birds of Passage,” Hungary’s “Sunset” and Romania’s “I Do Not Care If We Go Down in History as Barbarians.”
Best Documentary Feature
The four box-office hits that made this one of the best years ever for nonfiction filmmaking should all land on the list: “Free Solo,” “RBG,” “Three Identical Strangers” and the de facto frontrunner, “Won’t You Be My Neighbor?” (On the other hand, it’d be uncharacteristic of the Academy not to leave at least one of them off the final list of five nominees, and not entirely surprising if one of them doesn’t make the short list.)
Ever since the doc-branch rules were changed to do away with special screening committees in this category, voters have gravitated toward the films that have gotten the most buzz and received the most nominations for the IDA Awards, the Cinema Eye Honors and the like. That should mean that critical and awards favorites like “Minding the Gap,” “Hale County This Morning, This Evening,” “Crime + Punishment,” “Bisbee ’17,” “Dark Money,” “Of Fathers and Sons” and “Shirkers” will all be in contention. And watch out for the Spanish film “The Silence of Others,” a potential sleeper.
We also shouldn’t rule out documentary legend Frederick Wiseman for “Monrovia, Indiana,” or other well-received docs like “On Her Shoulders,” “The Bleeding Edge” and “United Skates.” On the showbiz doc front, movies like “Hal,” “Filmworker” and “Be Natural: The Untold Story of Alice Guy-Blache” have a shot, as does the released-at-last Aretha Franklin movie “Amazing Grace” and the Quincy Jones doc “Quincy,” whose subject has been highly visible on the campaign circuit lately. And I refuse to abandon hope that voters will recognize Eugene Jarecki’s sharp Elvis-and-America meditation “The King.”
Finally, Michael Moore’s “Fahrenheit 11/9,” the followup to the top-grossing nonfiction film of all time, has been bypassed by nearly all the precursor awards and may well be left off of this one as well. But Moore could still find a way in — after all, he was the prime mover on the changes that led to the current method of picking the short list, and he’s still a strong voice in the doc world.
Best Original Song
The two music categories are introducing short lists for the first time ever, presumably in order to give all the members of the music branch to hear and consider the 15 semi-finalists before voting for nominations. But that means they have less time to consider all the contenders, which this year number more than 70 in the song category.
Yes, we know that “Shallow,” the one song entered from “A Star Is Born,” will make it. And probably at least one of the two songs entered from “Mary Poppins Returns.” The Music Branch’s taste for hip-hop might be tested by “All the Stars” from “Black Panther,” but why wouldn’t they want Kendrick Lamar at the Oscars?
They also have to consider songs from luminaries like Dolly Parton (“Girl in the Movies” from “Dumplin'”), Annie Lennox (“Requiem for a Private War” from “A Private War”), plus two competitive songs from movies about Ruth Bader Ginsburg: “I’ll Fight” from “RBG” (written by nine-time nominee Diane Warren) and “Here Comes the Change” from “On the Basis of Sex.” “Revelation” from “Boy Erased” has a real shot, as does “Gravity” from “Free Solo.” And if they want to get truly adventurous, how about the Coup’s “OYAHYTT” from “Sorry to Bother You,” or Thom Yorke’s “Suspirium” from “Suspiria”? (Would the Radiohead frontman show up at the Oscars?)
The branch is well known for taking care of its own, which can’t hurt past winner Carole Bayer Sager’s “Living in the Moment” from “Book Club.” They also tend to like songs that are performed onscreen — which, in addition to being one more reason “Shallow” will get in, could help the songs from “Hearts Beat Loud,” the quintessential but twisted Disney-princess anthem from “Ralph Breaks the Internet” or the fatalistic cowboy tune “When a Cowboy Trades His Spurs for Wings” from “The Ballad of Buster Scruggs.”
And then there are songs from Patti Smith and Robyn Hitchcock and Elton John and Arlissa and Quincy Jones and Post Malone and Kendra Smith and Aoife O’Donovan and Imagine Dragons and Sade and David Crosby … It’s a deep list, not a shallow one. (Sorry.)
Best Original Score
As usual, more than 100 scores are in contention, with early awards singling out a group that includes “Black Panther,” “First Man,” “If Beale Street Could Talk,” “Isle of Dogs,” “Mary Poppins Returns,” “A Quiet Place,” “Mary Queen of Scots” and “Green Book.” Most and perhaps all of those should make the list, with other contenders including “BlacKkKlansman,” “Can You Ever Forgive Me?,” “On the Basis of Sex,” “The Hate U Give,” “Hereditary,” “Bad Times at the El Royale,” “Red Sparrow,” “The Predator” and “Solo: A Star Wars Story.”
Best Makeup and Hairstyling
This is a category that’ll likely have three nominees, and one known for nominating films that won’t show up in any other category. This year, that could mean a “Suspiria” appearance on the short list. “Black Panther” and “The Avengers: Infinity War” will certainly be in play — and since makeup designed to make actors look like other people is usually a mainstay in the category, look for “Vice” and “Stan & Ollie” to show up as well. “Mary Queen of Scots” could make the cut too. And will Rami Malek’s Freddie Mercury teeth from “Bohemian Rhapsody” be enough to land that film a spot?
If a foreign film gets in, as one sometimes does (“A Man Called Ove,” “The 100-Year-Old Man Who Climbed Out the Window and Disappeared”), it could be “Border,” which turned a couple of actors into trolls.
Best Visual Effects
A committee from the Visual Effects Branch has already narrowed the field to 20 films, so now it’s just a matter of cutting that number in half. The elaborate visions of “Avengers: Infinity War,” “Black Panther,” “Ready Player One” and perhaps “Fantastic Beasts: The Crimes of Grindewald” and “Solo: A Star Wars Story” are clearly contenders, with the subtler effects of “First Man” and the more retro charms of “Mary Poppins Returns” definitely in the mix as well.
Dark horses could include “Christopher Robin” and “Paddington 2” for their blend of live action and CG figures, and the stop-motion “Isle of Dogs,” which would be following in the footsteps of recent nominee “Kubo and the Two Strings.” Several late-breaking films have a shot as well, including “Aquaman,” “Bumblebee” and “Welcome to Marwen.”
Best Documentary Short
The shorts categories are hard to predict because most of the films haven’t been widely seen. But Academy volunteers have been watching them to compile the three lists, and it’s possible to pick up some buzz from festival screenings and awards campaigns.
Netflix has been a major player in doc shorts recently (it won its first Oscar for “The White Helmets”), and this year it has “Zion,” “Out of Many, One,” “End Game” and “Lessons From a School Shooting: Notes From Dunblane,” at least two of which should end up on the list. The New York Times Op-Docs series has “Dulce,” “Earthrise,” “We Became Fragments” and the wry and well-liked “My Dead Dad’s Porno Tapes,” the only short nominated by both the IDA Awards and Cinema Eye Honors.
Other IDA and Cinema Eye nominees include “Black Sheep,” “Baby Brother,” “Concussion Protocol,” “Fear Us Women,” “Lifeboat,” “Los Comandos,” “Mosul,” “Sidelined,” “Skip Day,” “The Girl and the Picture,” “Volte” and “We Are Not Done Yet.” The DOC NYC short list also singled out “’63 Boycott,” “The Head & the Hand,” “RX Early Detection” and “Take Back the Harbor,” while “Lotte That Silhouette Girl” tells the story of a woman animation pioneer from the pre-Disney days and could be attractive to the Academy.
Best Animated Short
The Annie Awards, the top prize given to animated films, singled out “Grandpa Walrus,” “Lost & Found,” “Solar Walk,” “Untravel” and “Weekends.” Pixar’s big short this year is “Bao,” and Pixar’s big short usually gets nominated. DreamWorks Animation, which has less consistent success in the category, is represented by “Bilby” and “Bird Karma.”
Other possibilities include “La Noria,” “Animal Behavior,” “Crow: The Legend” and “Age of Sail,” a Google Spotlight VR short made by John Kahrs, who won an Oscar for “Paperman.” “Raccoon and the Light,” “Daisy,” “The Green Bird” and “Re-Gifted” qualified by winning Student Academy Awards, while “The Driver Is Red” won the industry prize at theWrap’s ShortList Film Festival.
Best Live-Action Short
In a category where it’s almost impossible to get an overview of the field unless you’re a festival shorts programmer, standouts include “Fauve,” “Wren Boys,” “Skin” and “Bonbone,” as well as “Souls of Totality,” featuring Tatiana Maslany, and “Dear Chickens,” with Philip Baker Hall.
Timely films about the refugee crisis in Europe include “Bismillah” and “Magic Alps,” and Student Academy Award qualifiers are “Spring Flower,” “Lalo’s House,” “This Is Your Cuba,” “Get Ready With Me,” “Almost Everything” and “A Siege”; if history is any guide, at least one of them will make the list.
Related stories from TheWrap:
www.thewrap.com | 12/14/18
Green energy on track to overtake coal in Germany by year end originally appeared on Autoblog on Thu, 13 Dec 2018 10:27:00 EST. Please see our terms for use of feeds.Permalink | Email this | Comments
www.autoblog.com | 12/13/18
‘Searching for Ingmar Bergman’ Film Review: Margarethe von Trotta Explores Her Love of Swedish Auteur’s Work
In the category of culture-driven documentaries that focus on film history, a particularly enjoyable subset of that subset is the kind made by noteworthy artists themselves. There’s Martin Scorsese waxing luxuriously on Italian cinema (“My Voyage to Italy”), Noah Baumbach and Jake Paltrow fanboy-interviewing Brian DePalma for “DePalma,” and now, German filmmaker Margarethe von Trotta (“Hannah Arendt”) taking us on a personal tour of her lifelong admiration for Sweden’s hallowed grandmaster in the playfully inquisitive “Searching for Ingmar Bergman.”
Von Trotta’s connection to Bergman started when she was a young, New Wave-enamored film lover who responded deeply to his 1957 chess-with-Death masterpiece “The Seventh Seal”; she even opens her valentine of a documentary visiting its famed rocky beach setting, narrating the impact of its establishing shots.
When she blossomed as an artist herself as part of West Germany’s own exciting crush of post-war filmmaking talent alongside Rainer Werner Fassbinder (for whom she acted) and then-husband Volker Schlöndorff (they made “The Lost Honor of Katharina Blum” together), von Trotta found herself personally acquainted with Bergman after he decamped to Munich in the mid-’70s following a tax evasion charge.
Bergman even became a fan of her work, including her 1981 feature “Marianne and Juliane” in a list of his favorite movies commissioned by a film festival, the program book for which von Trotta thumbs through for the camera like a kid still in awe of being recognized by so key an influence. (Hey, you would, too, if your movie kept company in a film legend’s consciousness with “Rashomon” and “The Passion of Joan of Arc.”)
It’s von Trotta’s onscreen enthusiasm, too, as she interviews key Bergman collaborators (notable leading ladies Liv Ullmann, Gunnel Lindblom), family (sons Daniel and Ingmar, Jr.), contemporaries (Carlos Saura, Jean-Claude Carrière), and next-generation admirers (Olivier Assayas, Ruben Ostlund, Mia Hansen-Løve), that gives “Searching” its gently thrumming cineaste heart.
Between the excerpts and analyses, the remembrances, and the honesty that swings from brutal to touching but that is nearly always illuminating, you’ll surely be dipping into the gloom-meister’s oeuvre afterward. (Or maybe shelling out for Criterion’s 39-film Bergman box set, available starting November 20 if you’re likely to be in mourning over the streaming service FilmStruck going away.)
Bergman’s abiding gift over a career that spanned sixty years — and included successes from “Wild Strawberries” and “Winter Light” through “Scenes from a Marriage” and “Fanny & Alexander” — was a penetrative inventory of the soul as it’s plagued by doubt, loneliness, the existence of God, the vicissitudes of love, and the facing of mortality.
But to hear those closest to him tell it, Bergman was at heart a wide-eyed child in thrall to the creative process, consumed by the innocence of curiosity and experimentation that keeps all artists in a state of turmoil and evolution. It’s what Ullmann says could turn his being introduced to her, alongside actress/former flame Bibi Andersson on a beach, into the likeness-driven experimental hallmark “Persona,” a life-defining work.
But at the same time, that ever-nurtured connection to his inner child made Bergman view his own offspring (nine in all, with six women, including Ullmann) as competitors to his creativity. Daniel Bergman, who would direct his father’s screenplay “Sunday’s Children,” jovially notes how dad preferred his own childhood to his own children. In the presence of his kids, we learn, he would openly miss the company of his actors.
Elsewhere, his longstanding script supervisor-turned-producer Katinka Farago describes the Bergman who worried he was never good enough, while Assayas succinctly captures how he was a game-changer regarding the psychological, subconscious, and female-centric.
The most amusing anecdote comes from Bergman’s grandson, who recounts a movie night of “Pearl Harbor” in the home theater in which granddad insisted the projectionist skip anything that wasn’t an action scene. It’s like backhanded proof that with any kind of film, whether an existential drama or slick Hollywood package, Bergman preferred intensity over everything else.
That von Trotta’s documentary isn’t simply hagiographic keeps it refreshing, although the emphasis on Bergman’s later years, whether lesser works like “The Serpent’s Egg” or his stage directing, also prevents it from potentially satisfying any need to see most of his undisputed classics gone over in detail.
But with so many documentaries on Bergman already in existence, that von Trotta has made her own uniquely inviting tour of his triumphs, anguishes, and longstanding themes — in essence a roomy portrait of the artist as an engaged, fallible searcher — is its own gift of sorts, from one acolyte of cinema to another.
Related stories from TheWrap:
www.thewrap.com | 11/9/18
Judith Schalansky has been awarded the prestigious Wilhelm Raabe Prize for "An Inventory of Certain Losses." At only 38, Schalansky has already been the recipient of several of Germany's top literature awards.
www.dw.com | 11/4/18
"Isn't art always, to a certain extent, therapy for the artist?" Oscilloscope Labs has debuted an official US trailer for the cinema documentary Searching for Ingmar Bergman, which first premiered as a Cannes Classic at the Cannes Film Festival earlier this year. The documentary celebrates Swedish filmmaker Ingmar Bergman's 100th birthday, by taking an extensive and fascinating look at his life and creative inspiration. The doc presents key scenes and recurring themes in his films and his life, and journeys to the places at the center of Bergman's creative achievement and the focal points of his life such as the Royal Dramatic Theatre in Stockholm, locations and landscapes from his masterpieces, and his stations in Sweden, Germany, Spain, and France. This looks like a profound, entrancing, wonderful look at the life of a true master filmmaker. US trailer (+ posters) for Margarethe von Trotta's doc Searching for Ingmar Bergman, from YouTube: On the 100th anniversary of his birth, internationally renowned director Margarethe ...
www.firstshowing.net | 10/11/18
Culture meets nature in Saxony: a mere 40 kilometers lie between splendid Baroque art and architecture in Dresden and the distinctive peaks of the Elbe Sandstone Mountains.
The city-state of Berlin is a center of the arts and cinema and a trend-setter. At the same time, the German capital is constantly changing.
Monumental structures from the Roman Empire in Trier, vineyards on the slopes of the Moselle and Rhine: the state of Rhineland-Palatinate is ideal for culture buffs and epicures.
Conservatives and Social Democrats long dominated Germany's political culture, generating broad appeal. But their ability to unite people under proverbial big tents is waning, while small parties profit from the discord.
www.dw.com | 9/21/18
This article deals with the Culture of Germany as a political state within Europe; for a review of the culture of the German-speaking world, see Culture of German-speaking Europe. German culture began long before the rise of Germany as a nation state. Due to its rich cultural history, Germany is often known as das Land der Dichter und Denker (the land of poets and thinkers). Germany, over the centuries, has produced a great number of polymaths, geniuses and notable people, such as Albert Einstein, Ludwig van Beethoven, Johannes Kepler, Johann Wolfgang von Goethe, Immanuel Kant, Johann Sebastian Bach, Karl Marx, Richard Wagner, Martin Luther, Friedrich Nietzsche, Karl Benz, Georg Ohm, Rudolf Diesel, Gottfried Leibniz, Johannes Gutenberg, Richard Strauss, and Bertolt Brecht among others.