Bruno Chatelin and Tiina Lokk 

Interview courtesy PÖFF

What are the main themes in PÖFF’s Official Selection Competition programme this year? What genres and viewpoints are dominant?

The diverse selection of films sent to us is what determines the directions. As always, there are many genres in our competition programme and the same goes for other programmes. At the same time we never accept a film based only on the genre – for us the genre is one way to express the message. The competition programme has everything from a psychological thriller bordering on horror to psychological family drama and science fiction. The selection is broad also when it comes to different countries. We are not concentrating on one major theme or highlighting specific regions, we are free in our choices. Talking about tendencies, this year the recurring themes are ageing, the end of life and euthanasia – could be that these were influenced by COVID-19. Bullying at school, children’s issues and rights are also some more prominent themes. These films belong mainly in the Just Film programme, but the Official Selection Competition programme has films on these themes for adults. Last year there were many intense political films, but this year world politics is not in focus like that. Then again war is a theme that comes up, but not in a traditional way. The Official Selection Competition programme has two unconventional and psychologically interesting war films. There are also films about domestic violence.

Will the Official Selection Competition programme offer more audience-friendly films that have a potential of being easily distributed or is the focus more on elitist film d’auteur?

Like I’ve always said, we are focused on authors. We have films by authors who all use very different cinematic language. We also have films that use forms of expression and structure that far exceeds the psychological storytelling style that the audience has become used to. These are aesthetically more interesting, but also harder to grasp. So we have both. I’d say the Official Selection Competition programme is the crossroad where the author and the audience should meet.

For freaks and film buffs we have other programmes like Rebels With A Cause and Critic’s Picks. The Official Selection Competition programme and the First Feature Competition programme have a wide frame and are meant for a wider audience.
As someone who has a degree in film theory and is from the generation that had great film directors with an audiovisual way of thinking, I am always happy when we are sent the kind of films where the story is developing through shapes and symbols, not only through a causal narrative. These films need a certain level of expertise. At the same time there are dramas that use linear storytelling and are psychologically multifaceted, while being cinematically literary. I find both enjoyable and the Official Selection Competition programme offers both.

What were the principles of putting together the programme?

Time brings up one theme or another and we try to select films that are fresh and original both when it comes to the theme and the forms of expression. The films for our programme are chosen by an international team that has quite many members, because there are a lot of films. Even though other festivals have also big teams, we do things more democratically – we don’t label our contributors as selectors and film scouts, for most of them are doing both. The fact that our team is international, is determined by the location. The programme team needs to consist of people, who go from festival to festival and literally breathe in the atmosphere of the film world. It is much easier to go to festi

An overview of  15 important cinema related programs (In conversation, Masterclasses and Panel discussions) to be organized during 55th International Film Festival of India IFFI Goa 2024 by film critic Lalit Rao (FIPRESCI) dated 14.11.2024    

At film festivals, cinéphiles gain invaluable insights from conversations, masterclasses, and panel discussions that deepen their understanding of cinema. These events provide them unfettered access to filmmakers, critics, and industry professionals who share their knowledge and experiences. Cinéphiles learn about the creative processes behind filmmaking, from directorial vision and cinematographic techniques to sound design and editing choices. Through masterclasses, they gain technical expertise and an understanding of how films are crafted on a practical level.

Panel discussions often delve into thematic explorations, shedding light on the social, cultural, and philosophical issues explored in films. Cinephiles can engage with topics such as identity, memory, or political commentary, enhancing their ability to interpret and analyze films more critically. Additionally, they learn about the collaborative nature of filmmaking, where directors, writers, actors, and technical crew contribute to the final product.

Industry-related panels also illuminate the business side of cinema, discussing film distribution, marketing, and the role of festivals in launching films to global audiences. By connecting with fellow enthusiasts and engaging in critical debates, cinephiles broaden their perspectives and discover new films, filmmakers, and trends. Ultimately, these events enrich their appreciation for cinema as both an art form and a cultural force.

Below is the summary of 15 important cinema related events that would be organized at Kala Academy, Panaji during 55th International Film Festival of India IFFI Goa 2024. It includes brief biographical sketches of people whose work will be the focus of discussion.

Phillip Noyce is an Australian filmmaker known for his diverse and impactful work across various genres, including thrillers, dramas, and historical films. He gained international recognition with "Dead Calm" (1989), a psychological thriller, and further solidified his reputation with "Clear and Present Danger" (1994), a high-profile Hollywood action film based on Tom Clancy’s novel. Noyce's films often explore themes of moral complexity and political intrigue, such as in "The Quiet American" (2002), which examined the Vietnam War. His work is marked by a blend of suspenseful storytelling, strong characters, and a commitment to emotional depth, making him a respected figure in world cinema.

1. Australian director Philip Noyce [Patriot Games (1992), The Bone Collector (1999), Rabbit-Proof Fence (2002), Salt (2010), Newsfront (1978) and Dead Calm (1989)] will receive Satyajit Ray Lifetime Achievement for Excellence in cinema during 55th International Film Festival of India IFFI Goa 2024.

Raj Kapoor, known as the "Showman of Indian Cinema," revolutionized Bollywood with his blend of commercial appeal and deep humanism. As an actor, director, and producer, his films like "Awaara" (1951), "Shree 420" (1955), and "Mera Naam Joker" (1970) explored themes of love, social justice, and the struggles of the common man. Kapoor's work pioneered integrating social commentary with entertainment, and his collaboration with legendary composers created iconic music. Through his production house RK Films, he shaped the future of Bollywood, leaving a lasting legacy as a cultural icon and visionary filmmaker.

2 In conversation. Centenary Special : Celebrating the life and works of Raj Kapoor. Ranbir Kapoor talks to Rahul Rawail. 24/11/2024 Kala Academy 2:30 PM - 4:00 PM

Official awards of the 28th Busan International Film Festival have been announced and a grand prize of USD 30,000 was awarded to “The Land of Morning Calm” and to “MA – Cry of Silence”.

According to the report of Mansour Jahani, an independent and international cinema journalist, The closing ceremony of the 29th Busan International Film Festival was held in the Busan Cinema Center in Busan, South Korea, with the presence of members of the jury of different competition sections, cinematographers present at the festival, activists of the cinema industry, and also those interested in the seventh art. Winners of New Currents Award, Kim Jiseok Award, Mecenat Documentary Award, Sonje Award, FIPRESCI Award “International Federation of Film Critics”, NETPAC Award, etc.

The best film of the New Currents Award

The members of the jury of the New Currents Award in the 29th Busan International Film Festival, who were; Iranian director and screenwriter Mohammad Rasoulof as president of the jury, Korean director LEE Myung-Se, Chinese actor Zhou Dongyu, Indian actor Kani Kusruti and Vanja Kaludjercic Croatian International Film Festival Rotterdam director Vanja Kaludjercic, they announced their votes as follows:

The award for the best film of this part of the festival includes; $30,000 prize to the “The Land of Morning Calm” directed by PARK Ri-woong (Korea) and the “MA – Cry of Silence” directed by The MAW NAING (Myanmar, South Korea, Singapore, France, Norway, Qatar).

The best film of the Kim Jiseok Award

The members of the jury of the Kim Jiseok Award in this prestigious film event, which were; Christian Jeune, director of the film department at Cannes International Film Festival from France - head of the jury, Sri Lankan director Prasanna Vithanage, and Korean director Shin Suwon, announced their votes as follows:

The award for the best film in this section includes; $10,000 prize to the film “Village Rockstars 2” directed by Rima DAS (India, Singapore) and the film “Yen and Ai-LEE” directed by Tom LIN Shu-Yu (Taiwan).

The best documentary of the Mecenat Award

The members of the jury of the documentary of the Mecenat award in this period of the festival were; Iranian director and screenwriter Mohsen Makhmalbaf, Asako Fujioka vice president of Yamagata International Documentary Film Festival and Korean director Lee Soojung, announced their votes as follows:

The award for the best Korean and Asian documentary film of this section includes; $7,400 prize to the documentary film “Works and Days” directed by PARK Minsoo and AHN Kearny Hyun (Taiwan) and the documentary film “Another Home” directed by Frankie SIN (Taiwan, Hong Kong, China, France).

The best short film of the Sonje Award

The members of the jury of the Sonje Award at the 29th Busan International Film Festival, which were; Korean director and screenwriter Lim Dae-hyung from South Korea, American director Constance Tsang and Japanese director Yoko Yamanaka, announced their opinions as follows:

The award for the best Korean and Asian short film of this part of the festival includes; $7,400 prize to the short film “Yurim” directed by SONG Jiseo, (Korea) and to the short film “A Garden in Winter” directed by Eléonore Mahmoudian and Hiroshi Matsui (Japan, France).

The best film of the FIPRESCI Award

The jury members of the FIPRESCI award section of the International Federation of

Official awards of the 28th Busan International Film Festival have been announced and a grand prize of USD 30,000 was awarded to “The Land of Morning Calm” and to “MA – Cry of Silence”.

According to the report of Mansour Jahani, an independent and international cinema journalist, The closing ceremony of the 29th Busan International Film Festival was held in the Busan Cinema Center in Busan, South Korea, with the presence of members of the jury of different competition sections, cinematographers present at the festival, activists of the cinema industry, and also those interested in the seventh art. Winners of New Currents Award, Kim Jiseok Award, Mecenat Documentary Award, Sonje Award, FIPRESCI Award “International Federation of Film Critics”, NETPAC Award, etc.

The best film of the New Currents Award

The members of the jury of the New Currents Award in the 29th Busan International Film Festival, who were; Iranian director and screenwriter Mohammad Rasoulof as president of the jury, Korean director LEE Myung-Se, Chinese actor Zhou Dongyu, Indian actor Kani Kusruti and Vanja Kaludjercic Croatian International Film Festival Rotterdam director Vanja Kaludjercic, they announced their votes as follows:

The award for the best film of this part of the festival includes; $30,000 prize to the “The Land of Morning Calm” directed by PARK Ri-woong (Korea) and the “MA – Cry of Silence” directed by The MAW NAING (Myanmar, South Korea, Singapore, France, Norway, Qatar).

The best film of the Kim Jiseok Award

The members of the jury of the Kim Jiseok Award in this prestigious film event, which were; Christian Jeune, director of the film department at Cannes International Film Festival from France - head of the jury, Sri Lankan director Prasanna Vithanage, and Korean director Shin Suwon, announced their votes as follows:

The award for the best film in this section includes; $10,000 prize to the film “Village Rockstars 2” directed by Rima DAS (India, Singapore) and the film “Yen and Ai-LEE” directed by Tom LIN Shu-Yu (Taiwan).

The best documentary of the Mecenat Award

The members of the jury of the documentary of the Mecenat award in this period of the festival were; Iranian director and screenwriter Mohsen Makhmalbaf, Asako Fujioka vice president of Yamagata International Documentary Film Festival and Korean director Lee Soojung, announced their votes as follows:

The award for the best Korean and Asian documentary film of this section includes; $7,400 prize to the documentary film “Works and Days” directed by PARK Minsoo and AHN Kearny Hyun (Taiwan) and the documentary film “Another Home” directed by Frankie SIN (Taiwan, Hong Kong, China, France).

The best short film of the Sonje Award

The members of the jury of the Sonje Award at the 29th Busan International Film Festival, which were; Korean director and screenwriter Lim Dae-hyung from South Korea, American director Constance Tsang and Japanese director Yoko Yamanaka, announced their opinions as follows:

The award for the best Korean and Asian short film of this part of the festival includes; $7,400 prize to the short film “Yurim” directed by SONG Jiseo, (Korea) and to the short film “A Garden in Winter” directed by Eléonore Mahmoudian and Hiroshi Matsui (Japan, France).

The best film of the FIPRESCI Award

The jury members of the FIPRESCI award section of the International Federation of

Latin & Spanish Film Roadshow

Posted By Robin Menken

Outsider Pictures presents Award-winning Latin & Spanish Film Roadshow, a unique showcase of award-winning Latin and Spanish films that can be viewed either individually or as a 1-week long mini-festival of sorts – of five award-wining films screened at Cannes, San Sebastian, Berlin, Karlovy Vary with 50+ International festival awards between them.

The films will screen individually in rotation each day of the week, and can be seen separately or by purchasing a $40 pass to attend all films.  

Immerse yourself in the beauty of Latin cinema and a week-long celebration of captivating stories and unforgettable experiences!

This unique collection opens exclusively at the Cinema Village in New York on July 19, and the Laemmle Royal in Los Angeles on July 26, with more cities to follow.

“Creatura”-Catalan filmmaker Elena Martín Gimeno’s unsettling film “Criatura” uncovers the roots of a woman’s troubled and troubling sexuality.

This is the second time Gimeno wrote starred and directed herself in a feature film (“Julia Is” 2017).

Gimeno and screenwriter, Clara Roquet based their raw, honest screenplay on countless interviews with woman discussing their sexuality. The main reveal is owning woman’s desire, an impulse which makes men, and still to some degree, woman very ‘uncomfortable.’

Their brave film, which won Best European Film at the 2023 Cannes Directors’ Fortnight, succeeds because  director and lead actress Elena Martín Gimeno is willing to become transparent. 

Focussing on specifics of one woman’s life, she opens up the still very necessary dialogue about the inconvenient truth of women’s sexual desire. Men are afraid of women’s desires.

We’re habituated to watching sex onscreen, frequently  abusive or misogynistic sex. This is something new.

Present day Mila (Elena Martín Gimeno) and her obliging boyfriend Marcel (Oriol Pla) move into a house on the rugged Costa Brava to be closer to his new teaching job..

Her grandmother has recently died. Promising to visit soon Mila’s parents Gerard (Alex Brendemühl), and Diana (Clara Segura) move out leaving the summer house to the younger couple. 

It's the site of all her childhood summer vacations.

As Mila grapples with her difficulty having sex with  Marcel, the home launches a series of memories. 

One night horny Mila initiates sex, luring Marcel away from his book. Marcel gets into it, but Mila stops him to stare fixedly into his eyes. Again and again. He gives up. What does she want?

The next morning she's covered with hives.

Since childhood she's suffered this hive reaction.

Her only relief is her mother bathing her in healing sea

water.

It's apparently business as usual, a frustrating cycle of seduction and rejection. Mila desires, her body rebels.

Marcel withdraws from the psychological whiplash.

Marcel leaves. He's gone all night, supposedly hanging with his boys in Barcelona.

As I read the transcripts of their declassified conversations, the bond that was developing between this young FBI agent and Saddam was just so compelling. It was a great story. And one that virtually no one had heard about. Here you had this young U.S. government employee, Agent George Piro, born in war-torn Beirut, but raised in California, and Saddam, isolated inside an American detention center, and somehow these two find a way to connect on just this very human level. Yeah, it was unexpected. And the stakes for both were really so high. It also helped that Saddam, when recalling these old stories to Agent Piro, stories full of intrigue and deception, would always end the story with something like, “It was just like in the movies.” So it wasn’t a huge leap.

I came away from reading the transcripts believing that had there been just one bridge of trust, one channel of honest contact between the U.S. government and Saddam, the entire catastrophe of the Iraq War may have been avoided. In other words, in a world where powerful centrifugal forces seem to be collapsing bridges of trust, pulling societies, alliances and global institutions apart in their wake, SADDAM is a story that reminds us of the vital importance to the world of building bridges. In this case that process began with two people engaged in simple conversation.

I think that’s a very interesting question. I’d be very curious what the Iraqi people would say about that today. Someone should take a poll. I do think that this story probably reveals a side of Saddam that even many Iraqis didn’t know existed. 

Redemption requires one to atone for what one views as a mistake or a fault. In Saddam’s case, I don’t think he believed atonement was required. He just didn’t see his role in history that way. In fact, he’s quite unapologetic. It’s only when his more self serving narratives are challenged that you see any hint of discomfort or remorse. At one point in the transcript he’s questioned about his rumored involvement in the murder of a close friend whom he’d begun to perceive as a political rival and he becomes very upset and ends the session. Later he explains to Agent Piro that he was never upset with him, “It was just that some things in the past are dark.” That’s really as close as he gets. Saddam truly viewed himself as a revolutionary and his actions as always necessary to further his pan-Arabist vision. 

I think it was genuine. But I also think it was complex and driven by strong, practical motivations on both sides. While Agent Piro certainly had some very high-level and specialized experience inside the FBI – he had been behind the “Phoenix Memo” warning that Bin Laden was focusing student terrorists on civil aviation schools, and he was also a member of CTORS, the FBI’s rapid response terrorism fly team – never-the-less, he was just a field agent. And this was a mission with enormous stakes. He didn’t want to fail. On Saddam’s side,

OFFICIAL SELECTION
By Charlotte Pavard, published on 15.05.2024

WHEN THE LIGHT BREAKS © Compass Film
For the opening of the Un Certain Regard selection, the Debussy theatre welcomes the Icelandic director Rúnar Rúnarsson with Ljósbrot (When the Light Breaks) : a subtle film about mourning and how to approach it, which was originally a short film.

What inspired you to begin work on this film?

Ever since experiencing the loss of a friend as a young man, I wanted to deal with the emotions I experienced the day it happened, by telling a universal story. Another recent loss in my life re-awoke that urge, and the storyline became more concrete.

My aim was to create a narrative or image that encompasses the complex feelings on a day of losing someone unexpectedly. Reality is altered and the future changes in an instant. The film takes that moment and expands it. It unfolds in a short period of time in which the space between contradicting emotions is narrow, when laughing turns into crying, and beauty coexists with sorrow.

Please describe your working method and the atmosphere on set. 

I want my sets to be calm and focused. Everything should be as well prepared as possible. This kind of preparation ensures freedom the moment the camera rolls, but of course, not everything can be controlled beforehand.

In Iceland, we have to deal with all kinds of challenges, because we are on a remote island with a tiny population. Many things are not readily available, and we often have to rely on last-minute solutions to problems. On top of it, the weather is very unreliable, making outdoor filming something that has to be approached with an open mind. These challenges also mean that people are resilient and nimble to react. On set, this translates into quick and almost wordless interactions. My crew was small and everyone was tuned to the task at hand, enabling us to catch unexpected moments.

Please share a few words about your actors.

All the actors in our film are immensely talented and they were a great joy to work with. They kept the perfect balance between professionalism and playfulness, and they were extremely dedicated and hardworking. Our main actress, Elín Hall, can convey a wide variety of emotions with barely perceptible changes of expression. She embodied both the strength and tenderness I was looking for, and her ability to show rather than tell provided the essence for the character of Una. The ability to convey the unsaid is equally strong with both Katla Njálsdóttir and Mikael Kaaber, the actors supporting Una. Together they formed the kernel of intensity that propels the narrative without too much dialogue.

What did you learn during the course of making this film?

This film is my first project after the pandemic. After three years of relative solitude in which the story evolved and I was in close contact with only a handful of people, finally making the film was a joyful reminder of the energies that are released when working together with other people. I rediscovered that filmmaking is essentially a communal undertaking; it can’t be done alone.

What would you like people to remember from your film?

Una, our main character, is an outsider in the events that unfold around her, even though she is in fact at their center. Because of a secret she carries, she can’t claim the space she deserves in the grief that she experiences. Una has to make space for everyone else’s em