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TIFF Interview with Director/writer Mathieu Denis for Gagne ton Ciel

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GAGNE TON CIEL / COST OF HEAVEN

TIFF  2025

An interview with Director/writer Mathieu Denis.

 

In this captivating movie directed by maverick director Mathieu Denis, a family man, ‘Nacer Belkacem’ played by the brilliant Samir Guesmi, takes progressively darker actions in his desperate pursuit of a better life as he is facing financial hardship and craving prosperity. There is a heavy feeling as you watch this film, and you start to identify yourself with this man who is struggling to make it, at any cost. We live in very challenging and draining times right now, and a movie like this brings a fresh perspective about what to do in times of super challenges. It’s a beautiful film that needs to find a distributor and a voice so one of the many, unheard, is finally coming to the forefront for some Re-Evolution.

 

Q: Such a beautiful and very moving picture. How did it come together? What were you to address with this film?

 

Mathieu Denis: This was an idea I had a while ago. It’s inspired by an event that happened in Montreal back in 2012. My story is loosely based on this event. I think my movie is more interesting if we don’t know much about it while watching it. So, let’s hold on a lot of surprises and invite people to go and watch my movie. They are up for a great surprise and some amazing twists. It’s about this man, in 2012, who was a family man and very involved with his community. He was an everyday every man. He ended up being arrested for something extreme he had done. I was drawn to the idea of making this film to understand what pushes an ordinary man to do such an extreme act. This was the first spark. Little by little, I read lots of things about this man and this event. But then, I put this idea to rest for a while. So, it was in a folder on my computer for a while. Two years after his arrest, in 2014, this man had his trial for his acts. It took a long time to get him to a court trial. At that time, there was even more information that was revealed about his actions and how he had done it and why he had done it. Many aspects of his story made it more interesting for me. For example, there was this financial component to it. He was an engineer with a good job and a happy family. But something was missing in his life. He was obsessed with the stock exchange and the financial world. He was trying to make more money than he was making. This was interesting to me. In many ways, it’s related to the World we live in. The economic system we live in, since the late 90’s hasn’t been really challenged. I have this impression that it’s not that there are no other values, but the main value in our world is materialism. It feels like this value goes over any other value, which means that if you don’t realize material success, then it’s very hard to feel like you have fully accomplished yourself in your life. So, obviously, this is a problem because I think there are other values one has to be judged about and feel great about. However, materialistic success often supersedes all other values. It’s maintaining us in a state of constant dissatisfaction with our own lives. Because it’s always possible to have more, and it’s also always easy to look at your neighbor or your friend and look at who has the bigger car, the bigger house. And so, you feel bad about yourself and the accomplishment you have made. The man in the film had reached a ceiling that he couldn’t surpass. He felt he was not realizing the full version of himself. All of that was about the amount of money he was making. It’s a very universal theme, I think. Also, the c

Jolly LL.B., Overview: Bikaner to Boston, in racing cars, and two advocates riding camels

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Jolly LL.B., Overview: Bikaner to Boston, in racing cars, and two advocates riding camels

Land acquisition, for building roads, bridges, residential and commercial buildings, factories and airports, are burning issues that have been making headlines in developing India for several decades now. These acquisitions are either by the government in power, or by companies that are owned by billionaires. In many cases, the government acquires the land, at a nominal price, only to hand it over to corporates, allegedly at peanut prices. In other cases, the corporates themselves manipulate the acquisitions, in cahoots with local government officials. Settlers and farmers, a majority of who are poor ‘adivasis’ (indigenous people or aboriginals), uneducated or semi-literate, who have been living and farming on that land for several hundred years, are suddenly uprooted, and their land grabbed. This deprives them of their only real wealth, causes erosion of forest and green cover, due to building activity, and mass migration of the hapless victims to strange places. Unable to face the take-over behemoth, some of them commit suicide. Sounds like an NGO’s rant, doesn’t it? Well, there is an NGO in the film, taking-up this cause, in Rajasthan’s Bikaner, and vowing to prevent it are two cranky, quirky, advocates, both called ‘Jolly’ who are at loggerheads with each other. Now, let us get into the cross examination.

A ruthless tycoon, Haribhai Khaitan, planning to expand his business empire, decides to acquire land in Bikaner, Rajasthan, under the guise of converting Bikaner into Boston, USA. With the help of corrupt government officials and an equally corrupt legislator, he manages to hoodwink and grab land owned by the indigenous people, living in the countryside, however, a group of 40 farmers and a woman with true grit, Janki Rajaram Solanki, resists take over. Distraught at the prospect of losing their land, and deeply shocked at being accused of having incestuous relations, members of her family commit suicide. In spite of such a huge tragedy, Janki is determined to hold on to her land, which was passed on by her husband’s ancestors to him. There is an NGO (Non-Government Organisation, known as Non-Profit Organisation, NPO, in the West), which is strengthening the cause of the farmers unwilling to part with their only real wealth and possession. But it has no impact on the machination of the corporation. This brings Janki to Delhi and she seeks out Advocate Mishra, also known as Jolly LL.B., a man known to have espoused the cause of poor litigants.

Janki tells Mishra that she is coming to him on a reference from a lady called Lakshmi. Mishra makes a joke of it, saying that he is always in need of ‘Lakshmi’ (the Hindu Goddess of wealth). He asks each of them for a fee of Rs.500 each which they say they cannot afford. Although he offers to reduce the fee to as low as Rs.200, they merely stare at him. He then asks them whether they have any money at all, and they say they have nothing. So he asks them how did they travel from Bikaner to Delhi and is told that they walked all the way. Unwilling to invest his own money in the case, he turns them away suggesting that they have probably come to the wrong Jolly LL.B. and that they should approach the other Jolly LL.B., No.1. Jolly LL.B. No.1, Advocate Tyagi, is equally unwilling to offer his services. Jolly 1 and Jolly 2 are always bickering about something or the other and accusing each other of stealing their clients, among other things. But, in an unimaginable scenario, the two Jollys join hands, to put-up a determined fight for the wronged and aggrieved farmers, and take on the might of the corporation.

There are three different elements at play he

The Festival Beat Special Venice Wrap edition 1139

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THE FESTIVAL BEAT MAKER ! SHARING MOTION AND EMOTION SINCE 1995 - FINALIZING YOUR NEW SITE - OUT SOON

HAPPY SUMMER AND BEST OF LUCK ON THE CIRCUIT

We are working hard on a new version of our platform to better serve our community. Filmfestivals.com was established in 1995 before google even existed, turned into a social network in 2006 with a blog platform welcoming festivals and film professionnals with some 120 000 articles and counting. In the meantime we are busy maintaining the old site and offering unique visibility and promotion in our temp dailies to film and festivals pros. 
 
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We cover over 15 000 festivals worldwide and proudly share our knowledge of the Festival circuit with our community, we trust our audience will ENJOY THE EXPERIENCE even more once the new platform is up and running : stay tuned!. In case you missed any of these 1100+ newsletters ... you can find them all here.   

 
 Digital Gym
VENICE IN FOCUS Photography by Laurent Hou and VIDEO by Sissy Lin Awards of the 82nd Venice International Film Festival
2025-08-30-Father-Mother-Sister-Brother-2000px-5773.jpg
The VENEZIA 82 Jury, chaired by Alexander Payne and composed of Stéphane Brizé, Maura Delpero, Cristian Mungiu, Mohammad Rasoulof, Fernanda Torres and Zhao Tao having viewed all 21 films in competition, has decided as follows:   GOLDEN LION for Best Film to: FATHER MOTHER SISTER BROTHER by Jim Jarmusch (USA, Ireland, France)   SILVER LION – GRAND JURY PRIZE to: THE VOICE OF HIND RAJAB by...
 

Venice independent collateral awards and events

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Collateral awards

1964 POP ART AWARD | Cineteca della Calabria
VALERIA BRUNI TEDESCHI
 

Arca CinemaGiovani Award | Arca CinemaGiovani
Best Film of Venezia 82: THE VOICE OF HIND RAJAB di Kaouther Ben Hania
Best Italian Film in Venice: LA GRAZIA di Paolo Sorrentino

 

Authors under 40 Award dedicated to Valentina Pedicini | Parallelo 41 Produzioni
Best directing: Laura Samani for UN ANNO DI SCUOLA (Italy, France) - Orizzonti
Best Screenplay: Mayra Hermosillo for VAINILLA (Mexico) - Giornate degli autori

 

BookCiak Award | Associazione Calipso
Winner: L’ÉTRANGER (THE STRANGER) by François Ozon

 

Brian Award | UAAR - Unione degli Atei e degli Agnostici Razionalisti
Winner: LA GRAZIA by Paolo Sorrentino

 

Fundacion Casa Wabi – Mantarraya Award | Fundaciòn Casa Wabi and  Mantarraya Production
to the director who won the Lion of the Future – “Luigi De Laurentiis” Venice Award for a Debut Film.

 

XXXVII Prix CICT-UNESCO Enrico Fulchignoni – Medaglia Fellini 2025 | Consiglio Internazionale del Cinema e della Televisione CICT UNESCO – Comitato Italiano
Winner: THE VOICE OF HIND RAJAB by Kaouther ben Hania

 

Cinema & Arts Award | Associazione Kalambur in collaboration with Ateatro e Centro Sperimentale Accademia Eleonora Duse
Best film: THE TALE OF SILYAN by Tamara Kotevska and QUI VIT ENCORE by Nicolas Wadimof
Special mention dedicated to a multidisciplinary artist: MORTEZA AHMADVAND (IRAN) and FIROUZEH KHOSROVANI (IRAN)

 

CinemaSarà Award | Fondazione Cineteca Italiana di Milano
Winner: SILENT FRIEND by Ildikó Enyedi

 

CROCE ROSSA ITALIANA Award | Croce Rossa Italiana
Winner: THE VOICE OF HIND RAJAB by Kaouther Ben Hania

 

Edipo Re Award | Edipo Re Srl Sociale in collaboration with Università degli Studi di Padova and Università Ca’ Foscari
Winner: THE VOICE OF HIND RAJAB by Kaouther ben Hania and SILENT FRIEND by Ildikó Enyedi
Young Jury Prize Ca’ Foscari: STRAIGHT CIRCLE by Oscar Hudson

 

Premio Fondazione Fai Persona Lavoro Ambiente | Fondazione Fai Cisl Studio e Ricerche
Winner: HUMAN RESOURCE di Nawapol Thamrongrattanarit
Special Mention (treatment of issues related to work): À PIED D’ŒUVRE (AT WORK) by Valérie Donzelli
Special Mention (treatment of issues related to environment): GHOST ELEPHANTS by Werner Herzog
Special Mention (treatment of issues related to social environment): SOTTO LE NUVOLE (BELOW THE CLOUDS) by Gianfranco Rosi

 

F

Interview With Norwegian Actor Filmmaker Espen Alknes

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Interview With Norwegian Actor Filmmaker Espen Alknes

Norwegian actor/filmmaker Espen Alknes started his acting career doing stage performances in theaters, one of which includes the National Theater in Oslo. He has contributed to multiple TV series and films. He is known for “Stardust” (2020) and “What's on Your Mind?” (2014) and Camping in Paradise (2023).

 

Can you speak about your background in acting first? 

ESPEN: I went to acting school in Oslo and have been working as an actor for about twenty years. There is a strong theatre scene here in Norway, so I have spent most of my career on stage. Especially at the National Theatre here in Oslo. And I have done everything, from Shakespeare, Ibsen and Miller to small independent plays in obscure locations. But I have also worked in TV and film along the way. I didn't really know I wanted to be an actor until my late teens. I stumbled into a school play in high school, mostly because I heard the parties there were the best, hehe. But then I ended up getting the lead in the play and I just loved it. And after that I auditioned for some acting schools and got in, and I never looked back. 

 

You've worked on films and TV. Is there a medium you like the most? 

ESPEN: I have worked in both films and TV, and I don't think I prefer one over the other really. Except maybe in TV, you get to work for a longer period sometimes and develop stronger relationships both with actors and crew. That sense of togetherness and bond can sometimes give some benefits when it comes to performances. 

 

What do you find most challenging about being an actor? 

ESPEN: What I find challenging about acting sometimes is making choices, committing to them and not second guessing myself. You want to be truthful and genuine in a scene and sometimes you get stuck in your head thinking about how you prepared or planned stuff instead of just listening and reacting. And you can feel the scene slipping away between your fingers. 

 

Being based in Norway, do you mainly work with co-production systems? Or private? Or both?

ESPEN: Norway has a national film institute that funds many of the films that are made here each year. Both features and shorts. 

 

Why is indie filmmaking so difficult and what advice do you have for young filmmakers out there?

ESPEN: Obviously, funding is a big part of it, I think. Working on small, or no budgets, with tight deadlines on a project that you maybe feel no one else believes in is difficult. I think you really must love to tell stories. If you start in the film industry to try to make it or be rich and famous, it will chew you up and spit you out. I think your best chance to try and get an audience for your work is to really care for the stories you tell together with the people you tell them with. Tell stories that move you, try to make yourself proud and be uncompromising with your idea.  

 

You have many credits under your belt. Do you have a favorite project you have worked on that you are most proud of? Your recent film has traveled to film festivals around the world. Can you tell us about it?

ESPEN: I think my latest project has a special place in my heart, “Camping in paradise”. It was a low budget film that we had high hopes for but couldn't imagine the places it has taken us to in Europe and the US. And it has received a couple of nic

GIORNATE DEGLI AUTORI: 2025 edition kicked off

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  nuzG1vJpyqk8.jpeg?u=SyGgH01HHg313aVqZ70oxUH2xKJY


The 22nd edition of Giornate degli Autori has started August 27 '25. Under the theme COLLECTIVE MEMORY AND INDIVIDUAL TRUTHS, the independent section at Venice Film Festival will start its official program with Memory by Ukrainian artist and filmmaker Vladlena Sandu.

 

Still: Memory by Vladlena Sandu (Opening Film 2025)

Sandu was born in Crimea and brought up in Chechnya. A political refugee based in the Netherlands for many years, GdA is happy to present Sandu's feature directorial debut. In this autobiographical, poetic and hybrid film, Sandu revisits her traumatic childhood memories to confront a haunting question: How can the cycle of violence that shapes children – and is handed down through generations – be broken?

 

A similar question runs through the entire Venice Film Festival lineup, with its narratives, first-hand accounts, and visions hailing from a range of countries and cultures – wherever horror and death are depicted and condemned, in the words of Emergency’s R1PUD1A campaign, embraced by Giornate degli Autori.

 

Memory is a powerful invitation for us to cultivate the meaning of our memories and extol the value of our own roots, since without a serious reflection on the past – without a knowing, probing gaze on the events that have preceded us – there can be no future”, say Artistic Director Gaia Furrer and General Delegate Giorgio Gosetti.

 

Memory by Vladlena Sandu

France, Netherlands, 2025, 98’, color

The Festival Beat Special edition 1138

Rick W 0 79
 
THE FESTIVAL BEAT MAKER ! SHARING MOTION AND EMOTION SINCE 1995 - FINALIZING YOUR NEW SITE - OUT SOON

HAPPY SUMMER AND BEST OF LUCK ON THE CIRCUIT

We are working hard on a new version of our platform to better serve our community. Filmfestivals.com was established in 1995 before google even existed, turned into a social network in 2006 with a blog platform welcoming festivals and film professionnals with some 120 000 articles and counting. In the meantime we are busy maintaining the old site and offering unique visibility and promotion in our temp dailies to film and festivals pros. 
 
EMAIL ME FOR PROMOTION AND FESTIVAL MARKETING HELP 
 
FOLLOW US : facebook0.thumbnail.png   twitter_logo.thumbnail.png      

We cover over 15 000 festivals worldwide and proudly share our knowledge of the Festival circuit with our community, we trust our audience will ENJOY THE EXPERIENCE even more once the new platform is up and running : stay tuned!. In case you missed any of these 1100+ newsletters ... you can find them all here.   

 
 Digital Gym
VENICE IN FOCUS
Francis Ford Coppola gave the Laudatio honoring Werner Herzog
herzog2.jpg
Francis Ford Coppola gave the laudatio honoring Werner Herzog Golden Lion for Lifetime Achievement during the opening ceremony on Wednesday September 27th     Francis Ford Coppola (The Godfather, Apocalypse Now, Megalopolis) gave the Laudatio honoring Werner Herzog, on the occasion of the awarding of the Golden Lion for Lifetime Achievement to the German director, on Wednesday August 27th in the Sala Grande of the Palazzo del Cinema (Lido di Venezia), during the ...
 
 

The Future Is Now: Neo Sora on Happyend

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Critics Campus 2025 participant Fred Pryce speaks to Happyend director Neo Sora about the ills of capitalism, colonialism and surveillance, as well as the resistive power of more communitarian forms of living.

IONCINEMA x Venice Sala Web x Festival Scope – 13 Shorts (Free) From the 2025 Venice Film Fest Line-up!

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IONCINEMA x Venice Sala Web x Festival Scope – 13 Shorts (Free) From the 2025 Venice Film Fest Line-up!

We are happy to partner once again with the Festival Scope folks for the Venice Sala Web – which returns to the 82nd edition of the Venice International Film Festival with a baker’s dozen selection of 13 shorts (12 from the Orizzonti section).

The Festival Beat Special edition 1137

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THE FESTIVAL BEAT MAKER ! SHARING MOTION AND EMOTION SINCE 1995 - FINALIZING YOUR NEW SITE - OUT SOON

HAPPY SUMMER AND BEST OF LUCK ON THE CIRCUIT

We are working hard on a new version of our platform to better serve our community. Filmfestivals.com was established in 1995 before google even existed, turned into a social network in 2006 with a blog platform welcoming festivals and film professionnals with some 120 000 articles and counting. In the meantime we are busy maintaining the old site and offering unique visibility and promotion in our temp dailies to film and festivals pros. 
 
EMAIL ME FOR PROMOTION AND FESTIVAL MARKETING HELP 
 
FOLLOW US : facebook0.thumbnail.png   twitter_logo.thumbnail.png      

We cover over 15 000 festivals worldwide and proudly share our knowledge of the Festival circuit with our community, we trust our audience will ENJOY THE EXPERIENCE even more once the new platform is up and running : stay tuned!. In case you missed any of these 1100+ newsletters ... you can find them all here.    

Digital Gym
LOCARNO IN FOCUS
Locarno78 wrapped
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The 78th edition of the Locarno Film Festival concluded yesterday, capping 11 extraordinary days that solidified its position as a vibrant space for cultural exchange and cinematic celebration. The Festival welcomed artists, industry professionals, critics, filmmakers and other film lovers from around the world, underlining its enduring mission: to pay tribute to the variety of contemporary cinema and to chart a path for its future. © Locarno Film FestivalTi-Press Thi...
 
 
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