By Maria Esteves – January 25, 2017

The 26th New York Jewish Film Festival 2017 (NYJFF17) World Premiere of SHALOM RABIN documentary, by Israeli filmmaker Amos Gitai commenced Sunday, January 22nd at the Walter Reade Theater. Q&A session immediately followed with director Gitai, moderated by Richard Peña, director emeritus, New York Film Festival, professor of Film Studies, Columbia University.

Questions posed to director Gitai by Peña included: What was the relationship between you and your group of filmmakers and what must have been a massive press core especially at that time, were you part of the press pool or were you given special access? Did you feel the need to immediately go on to another movie? I found the central section where you had a lot of the talking head interview with both Israelis and Palestinians really compelling. Tell us more about that whole sequence, how you shot it and when you shot it?

NYJFF 2017 Premiere of SHALOM RABIN: Festival
moderator Richard Pena, director emeritus, New York
Film Festival, professor of Film Studies, Columbia University,
right, and Israeli director Amos Agitai.

NYJFF 2017 Premiere of SHALOM RABIN Q&A Session: Festival moderator
Richard Pena, director emeritus, New York Film Festival, professor of Film Studies,
Columbia University, right, and Israeli director Amos Agitai.

Review Lies We Tell written by Laurie Gordon

Gabriel Byrne delivers

First time director Misu Misra’s  Lies We Tell debut feature is an offering  of great acting, a strong story and a stealth performance by Gabriel Byrne and the entire cast. Byrne delivers a sensitive and powerful performance with an intensity and gritty authenticity. Byrne plays Donald and Amber acted by newcomer Sybilla Deen have a palpable chemistry with great performances all round.

 Misra takes aim at a current and serious issue with the theme of  arranged Muslim marriage. His empathetic sensitive approach and direction is subtle without taking sides or making a deliberate statement nor taking a stance either way. Lies We Tell gives various perspectives with excellent performances by Sybilla Deen and the role of her father played by Menzar Sebai and his wife Banu played by Harvey Virdi.  A  powerful cast.

The story revolves around Demi’s [Harvey Keitel] post mortem request to his loyal chauffeur Donald requiring the driver to hide or destroy evidence of Demi’s passionate affair with his Muslim mistress Amber. A life-and-death battle and showdown with Amber’s notorious gangster cousin/ex-husband KD [Jam Uddin] ensues where gangs, prostitution and a severe clash of values and ethics is forefront at all times.

 A tug of war between traditional family morals and efforts to stay true to their Pakistani culture and Muslim faith and Amber’s will to live as a free woman in the UK is what propels Lies We Tell forward. The film sustains the viewer’s interest from beginning until the end. Lies We Tell is a compelling story with pertinent ongoing ramifications in the real world where for example a family in Montreal Canada three women of the same family were killed for this very reason in 2009. There is a tragedy in the failure to intervene before such murders occur, and vulnerable groups from immigrant communities need the most protection but rarely get it.

Lies We Tell is not a fairy tale but a depiction of ongoing real life situations where family will and ego are killing women for the sake of traditional ends in so called “honour killings”.

 Demi’s post mortem directives to his ever faithful driver gets Demi caught up in an impossible and often violent scenario. Amber is pulled between traditional family values and is forced to save herself and compelled to save her younger sister Miriam [from the unrelenting will of her family.  Amber’s violent dejected gangster cousin to whom Amber is to be wed in an arranged marriage is now being promised to her younger sister Miriam played by Danica Johnson.

A conflict of life and death ensues with gangs, prostitution and killers who pursue Amber and Donald while she fights for her freedom and that of her beloved baby sister. Protecting Miriam to whom the family has now agreed to marry off to cousin KD in Amber’s place raises the stakes as the tension grows and the intensity ignites a clash of wills where no side readily gives up.

The family attempts to control the future of their daughters as they insist on keeping the promise of this arranged marriage now committed to Miriam.  Amber tows a dangerous line as she attempts to escape the often violent antics of her cousin KD  in the name of traditional values of which she cannot abide.

The dynamic between father and daughter results in a subtle twist giving an insightful angle into contemporary worlds where traditional culture and values clash and collide.

Lies We Tell may not be a ground breaking cinematic experience but is an important film to watch for it’s strong script, solid cast and production value. Ultimately  Lies We Tell is important for it’s narrative which remains relevant in todays’  intersecting cultures in a world which only gets smaller.

Review by Philip Bergson

Fasten your seat-belts  for a gripping, intriguing, eye-opening, startling, emotionally-disturbing and even shocking expose of the underbelly of a northern British metropolis—in one of the most impressive ,assured and utterly independent debut feature I have had the pleasure of seeing in ages. Credibly filmed in and around Bradford, the world’s  first UNESCO “City of Film”, centre of the global woollen industry and in its Edwardian heydays one of the more prosperous cities in the British Isles, where ‘twas said, there were more Rolls-Royces to be seen than on the streets of London, and in the 1930s boasted the largest cinema in the British Empire where in the Swinging Sixties live concerts featured performers with odd and not-yet-well-known names like The Beatles and the Rolling Stones who were not even top  of their bills then. Bradford  was the home of composer Delius,

of J.B.Priestley, one of the most popular English novelists and broadcasters, and more recently, one of the world's most recognised- and recognisable-artists David Hockney, and a pioneering backdrop and lively location for breakthrough British films such as Room at the Top and Billy Lair. A city and Yorkshire region welcoming to immigrants fleeing pogroms, Hitler, and the clutches of Communism, and after an influx of refugees from the collapse of the British Empire, a scene more recently of the Burning of Salman Rushdie’s “blasphemous” novel- and the worst “race riots” in living memory. The city where maverick politician George Galloway succeeded in being re elected to Parliament (for a single term)- and the Yorkshire Ripper used to live. A city now regenerating itself with its multicultural and multi-religious community. Lies We Tell, while not at all sensationalist in style, is a timely expose of the clashes of such cultures, and is clearly inspired by deeply-felt and tragic family and personal stories.

From the opening sequences with Harvey Keitel as a philandering business man, cavorting in a love-nest with a dusky beauty, his timid-seeming driver played by the excellent Gabriel Byrne, the clever screenplay spins a spidery web of tangling deceits, and we only bit by bit come to learn more about the characters  and how the past can tyrannise the present, and the religious zeal-and ideals- are quite out of place when transplanted to a secular and very alien land. There are extensive flashbacks, sidelines, revelations and always the uncovering of the veil of another lie, social, sexual, historic, pecuniary, venial, understandable but unforgivable as the dictates of Islam clash with the practices and preferences of the West.

Arranged marriages, abstinence from alcohol, yet indulgence in narcotics in the playgrounds of the young, the film’s fine cinematographer Santosh Sivan captures perfectly the Victorian splendours of the city, and its seedier sides---here is a nightclub sequence that Could rival Fellini-Satyiricon- and the rural splendours of the adjacent countryside (This is Wuthering Heights’ s own county never mind God’s, do not forget!).

But what most  impresses is the uniformly excellent cast and the utterly credible dialogues they are  given and the flair and conviction with which they make their journey…..the driver  is ultimately driven to take a stand, and the oppressed daughters make their own pleas for recognition and dignity….and yet the ancient curses take their toll.

In the central, pivotal role of the daughter who initially seems to be just the plaything of the plutocrat Australian actress Sibylla Dean displays a rare  beauty on screen reminiscent of the

Younger Audrey Hepburn (a graduate of the popular soap opera Home and Away in her homeland) as she swaps the Muslim mufti from her family to study and earn in Western garb. As her kissing cousin another soap star (from the BBC’s own hit series Eastenders) the Anglo-Bangladeshi actor Jan Uddin has genuine charisma and evil strength on screen and in his role as an even seedier “businessman”. It is good to see the ever-likeable Mark Addy (a local lad, remembered from The Full Monty) as cheery brother-in-law to the divorced driver(the excellent Gina McKee makes a brief appearance as Gabriel Byrne’s ex as the drama-spring winds to its tightest) and the sharp-eyed will spot punk legend Toyah Willcox amongs the western cast, and a very strong group of Asian performers bring to life the traditionalist as well as divided post-Imperial Bradfordians.

As if that were not enough to recommend this film, the music by Polish maestro Zbigniew Preisner handsomely complements Mitu Misra’s pitch-perfect  direction. To give any details of the plot would spoil the way the film tears away such  various veils in such a skilled and  timely fashion.

PHILLIP BERGSON

Film Critic, UK, member of Fipresci

Winner of the Student Journalist of the Year competition in the UK weekly New Statesman, as a Classics Scholar Phillip Bergson then founded the Oxford Film Festival and, on graduating, was selected by "The Sunday Times" as a 'New Critic' and in the same week began broadcasting on film for many BBC Radio programmes. A contributor to the "Times Literary Supplement", "TES", "Screen International", "Film Bulletin", "Film a Doba" inter alia, he also worked for the "European Script Fund", has scripted shorts and features (that have been produced and released) and, fluent in eight-and-a-half languages, currently programmes and advises several international film festivals. At the National Media Museum in his native Yorkshire, he created the "Eurovisions" project, to promote classic and contemporary European cinema.

As a Jury Member

·         in 57^th Berlinale 2007

·         in 7^th Bratislava International Film Festival 2005

·         in 5^th Lecce Festival of European Cinema 2004

·         in 51^st Berlinale - Berlin International Film Festival 2001

·         in 54^th Locarno International Film Festival 2001

·         in 20^th Haifa International Film Festival 2004

·         in 34^th Karlovy Vary International Film Festival 1999

·         in 16^th Istanbul International Film Festival 1997

·         in 9^th Festroia International Film Festival 1993

·         in 43^rd International Leipzig Festival for Documentary and Animated Film 2000

·         in 48^th International Filmfestival Mannheim-Heidelberg 1999

·         in 41^st Thessaloniki International Film Festival 2000

·         in 33^rd Viennale - Vienna International Film Festival 1995

·         in 41^st International Film Festival Mannheim-Heidelberg 1992

·         in 37^th International Filmfestival Mannheim-Heidelberg 1988

·         in 39^th International Filmfestival Mannheim-Heidelberg 1990

·         in 39^th Montreal World Film Festival 2015

·         in 45^th International Leipzig Festival for Documentary and Animated Film 2002

·         in 16^th Riga International Film Forum Arsenals 2002

·         in 9^th Cottbus Festival of East European Cinema 1999

Review by Martin Petrov

In a contemporary crime drama, first time filmmaker Mitu Misra gathers together an everyday, yet conceptually original story, complex characters and builds up a plot that can easily compete with indie social realist films from both Europe and across the pond.

Starting off with a dose of eroticism, the development of Lies We Tell into a suspense-filled crime thriller with a full-bodied social background definitely comes as a greatly welcomed surprise.

Based and filmed in the UK, the story follows the character of Amber, a UK-born twenty-something girl with Pakistani origins trapped in a complex web of relationships and bonds with the life she’s trying to escape and the one she attempts to design on her own.

Growing up in a Muslim family in England, traditions and respect for family ties were always number one priority in Amber’s life. When sent to Pakistan at the age of sixteen to marry a local husband approved by her father, she managed to escape the arrangement and for the following years create a maze of lies to keep her private life far from the sight of her family. Single partner in crime is her younger sister, Miriam, who soon becomes age appropriate to marry, adding pressure to Amber’s rebellion and attempt to save her from life in virtual imprisonment with a husband she didn’t choose.

When Demi, the wealthy older businessman who Amber used to date, dies suddenly, she enters a cat and mouse race along with Demi’s driver Donald, in order to discover an erotic video with the couple and prevent it from falling in the wrong hands. Amber is now confronted with her past, present and future at the same time, with her emotional stability endangered by a man she rejected in the past and who now returns as the chosen husband for her young sister.

The multi-layered plot reveals interesting aspects of contemporary real-life inspired stories of women in the western world, who end up trapped in a religion, heritage and tradition driven conspiracy, despite them being raised in different culture and lifestyle. There’s been numerous attempts by international NGOs and local organisations in the UK to help women who struggle or are forced into marriage, and yet the phenomenon is still raising great public interest.

Set within the background of a relatively small English town, the film gives also a taste of the underground gangster nightlife, drug dealing and prostitution; profound and at times disturbing close-ups at the intimate lifestyle of small suburbans, combined with a smaller-scale immigrant communities.

First time director Misra touches upon a variety of issues surrounding the life of immigrant muslim families and the rights of women growing up in such environments. At times, the linear yet tangled plot can be restrictive of details surrounding the background of Amber and her family, which could be essential for the story, if it was simply focused on the single character. The attempt to create a rather complex storytelling with a number of characters, each contributing to an extend to the unfolding of the narrative, becomes here and there a visual distraction, making the in-depth analysis of the strongest factors hard.

Visually satisfying, Lies We Tell achieves smooth plot transitions, sustains the suspense levels throughout and the cast of young leads surrounded by strong presences as Gabriel Byrne as Donald and Harvey Keitel in a cameo appearance in the opening, brings versatility to this indie debut.

Martin Petrov UK, Film Festival director: Glasgow World of Fest, a regular correspondent for  filmfestivals.com at various festivals including Cannes and Berlin

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 I am reaching out to people around the country and the world for their input and help. I want to curate an installation piece for the NYC Indie Film Festival, May 2 to 7, 2017. What we are looking for are open and honest talks about how you feel about your place in your community, the country and the world, please keep all videos less between 2 and 8 minutes length. All ideas and thoughts are welcome and will be shown unedited. There are no fees involved in submitting a video and all videos submitted will be reviewed before being included in the exhibit. We are are not paying any fees to any video maker who’s video is included in the exhibit. We do reserve the right to not include any piece for any reason.

In the spirit of its opening conference, Berlin Critics’ Week 2017 closes with a political film ostensibly about a myriad of other things. Fittingly also, an accompanying flicker film follows this inner logic of antithesis which by imposing structures seeks to subvert them. Screened as world premieres will be the longest and the shortest films of the program: a 202-minute-lasting exploration of love in the digital imaginarium (produced in Germany) and a look to analogue film — from Hungary with love (and reverence). Completing this amorous trilogy is an oddball homage to Japanese “Roman Porno” movies of the 70s.

All screenings at Berlin Critics’ Week are accompanied by debates on timely questions of film culture, politics and aesthetics.

Berlin-based director Alexandre Koberidze (“Colophon”, “Der Fall”) will present the world premiere of “Let the Summer Never Come Again”. Shot on location in Georgia, the film uses its length of three hours and twenty-two minutes to demonstrate what images could, can and even ought to do. Brutal reductions of resolution herald the thrills of a pictorial dimension within the digital.

“Aroused by Gymnopedies” by Isao Yukisada (“Go”, “Crying Out Love in the Center of the World”), in which the director pays homage to Japanese “Roman Porno” films of the 70s, has an unambiguous reference point as a low budget film for the old Nikkatsu Studio, yet the film couldn’t be more contemporary. The young girls offering themselves to the superannuated film director have a perfect picture in mind, while he is totally into a tune by Erik Satie.

Screened on the same evening is an experimental film by Hungarian director Bori Máté, whose loosely assembled material in “The Headless Appearance” can be seen as another homage — to color and recollection.

The closing night of the 3rd Berlin Critics’ Week is given over to “Planetarium” by French director Rebecca Zlotowski („Belle Épine”, „Grand Central”). Her film explores film history through a politically complex and formally elaborate perspective: a Jewish film producer seeking to reinvigorate the French film industry of the late 30s finds inspiration in the presence of young spiritualists (Natalie Portman and Lily-Rose Depp). Portman is introduced as a professional medium and re-discovers herself in the spotlights of film sets. All the while on the outside, Europe precipitates into a catastrophe.

Austrian director Siegfried A. Fruhauf will complete this final night with a liberating attack on our retinas. For five minutes, “Fuddy Duddy” scorches the eye with structures that ambivalently offer both uncertainty and hold.

Following the opening conference “Lost in Politics” on the night of February 8, at silent green Kulturquartier, the third Berlin Critics’ Week will take place from February 9 through 16, 2017 at Hackesche Höfe Kino Berlin. The event offers seven nights of film screenings and debates.

The Berlin Critics’ Week is organized by the German Film Critics Association (Verband der deutschen Filmkritik e.V.).

The films at a glance
 

The film program, including all screening dates, are available online at http://wochederkritik.de/en_US/wdk2017/.

Debate topics and official guests follow.

Juries and Awards

The International Jury for Generation14plus presents the Grand Prix for Best Film (7,500 euros) and the Special Prize for Best Short Film (2,500 euros), endowed by the Bundeszentrale für politische Bildung (German Federal Agency for Civic Education). The three members of this year’s jury are:

Benjamin Cantu

The German-Hungarian director divides his time between Berlin and Budapest. His feature film debut Stadt Land Fluss (Harvest) celebrated its world premiere at Generation in 2011. His more journalistic pieces include an award-winning documentary on HIV for ARTE/rbb; The Berlin Patient (2013).
Jennifer Reeder

The award-winning director from the USA was featured in the Generation14plus short film competition in 2016 with Crystal Lake. In 2015 she presented Blood Below the Skin in Berlinale Shorts. In addition, her films have been shown in the framework of the Venice Biennale and the Whitney Biennial. 
Roberto Doveris

The Chilean filmmaker was awarded the Grand Prix by the International Jury as well as a Special Mention by the Youth Jury for his debut film Las plantas (Plants) at Generation14plus in 2016. He served as editor-in-chief at CinemaChile, an agency for the promotion of Chilean film culture, and currently runs his own company, Niña Niño Films.

In the GenerationKplus competition the three-member International Jury presents the Grand Prix for Best Film (7,500 euros) and the Special Prize for Best Short Film (2,500 euros), endowed by the Deutsches Kinderhilfswerk (The Children’s Charity of Germany). The jury is composed of the following members:

Aneta Ozorek

Aneta Ozorek from Poland is festival programmer, producer and film educator. She is currently active as a programmer at Kino w Trampkach (Cinema in Sneakers) for Children and Youth in Warsaw.

Yoon Ga-eun The Korean director won a Crystal Bear for her short film Sprout at GenerationKplus in 2014 and in 2016 she celebrated her feature film debut, once again at Generation Kplus, with Woorideul (The World of Us).

Fabian Gasmia

Fabian Gasmia is a German producer and a co-founder of DETAiLFILM. His numerous co-production credits include Nashorn im Gallop (Rhino Full Throttle, dir: Erik Schmitt, Generation 2013), Berlin Metanoia (dir:  Erik Schmitt, Generation 2016) and the 2016 Silver Bear winner L’avenir (Things To Come, dir: Mia Hansen-Løve).

The Generation children’s and youth juries are made up of eleven young Berliners aged from twelve to 14 and 16 to 18 respectively. They select the recipients of the Crystal Bears for the best short and feature-length films in both competitions. The jury members were chosen from the over 1,000 applicants who completed questionnaires on Generation films at last year’s Berlinale. Both juries are ready to go and excited to see the films of this year’s Generation programme in the cinema and determine the prize winners together.

Cross-Section Screenings

With the cross-section screenings, festival attendees under the age of 18 have the opportunity within the framework of Generation to see a selection of Berlinale films from other sections, works which are also devoted to the experiences and perspectives of young individuals. This year’s cross-section films are:

Dayveon by Amman Abbasi - USA, from Forum. This film tells the story of the title character, a 13-year-old boy who is struggling to come to terms with the violent death of his brother.

Karera ga Honki de Amu toki wa (Close-Knit) by Naoko Ogigami - Japan, from Panorama. A tale of friendship between eleven-year-old Tomo and the transgender woman Rinko, which examines social conventions and what family really means.

Festival Posters from the Past 40 Years

On the occasion of the 40^th anniversary edition of Generation, the section venue Haus der Kulturen der Welt will be exhibiting a selection of Generation posters from the past four decades. The posters will be presented digitally on an array of video monitors, inviting guests to embark on a visual journey into the past, in which both the development of the section and its sense of purpose since its founding in 1978 can be clearly seen and traced.

Berlinale School Project

For the eleventh time and counting, Generation is co-operating once again this year with the network for film and media competence VISION KINO to organise the Berlinale School Project, with the aim of supporting the sustained inclusion of works of cinema in school lessons. Before attending the festival with their pupils, around 50 teachers will receive the opportunity to prepare lessons on films from the Generation programme under the guidance of specialists in film education and to integrate the films into their classes in consideration of various aspects of the works in question both before and after their trips to the Berlinale.

In the context of the school project, Generation is extending and expanding its commitment to “welcoming classes” this year, by enabling up to ten of them to participate at the Berlinale. Documentation on previous editions of the School Project can be found at the website www.visionkino.de.

Advance Sales for Group Tickets

Starting January 30, discounted tickets for groups of five or more persons for all of the films of Generation can be ordered daily from 09.30am to 5.00 pm by calling 0800 724 03 22 (or from outside of Germany: 0049 30 259 22 85 73). You can find further information at: www.berlinale.de/generation.

ANA, MON AMOUR by Romanian director Călin Peter Netzer (Golden Bear Winner 2013) in the Competition Line-up at the Berlinale 2017 

ANA, MON AMOUR

a film by Călin Peter Netzer

 starring 

Mircea Postelnicu, Diana Cavalioti, Adrian Titieni, Vasile Muraru

 Romania / France / Germany 2016

127 Min.

Romanian with German and English subtitles

Production: Parada Film (Romania)

Co-Production: augenschein Filmproduktion (Germany), Sophie Dulac Productions (France)

German Film Distribution:

German theatrical release: Autumn 2017

MENASHE

(Forum)

Directed by Joshua Z Weinstein

Written by Joshua Z Weinstein, Alex Lipschultz and Musa Syeed

(Acquisition Title/Mongrel Media)

Starring Menashe Lustig and Ruben Niborski

Synopsis:

Deep in the heart of New York's ultra-orthodox Hasidic Jewish community, Menashe, a kind, hapless grocery store clerk, struggles to make ends meet and responsibly parent his young son, Rieven, following his wife Leah's death. Tradition prohibits Menashe from raising his son alone, so Rieven's strict uncle adopts him, leaving Menashe heartbroken. Meanwhile, though Menashe seems to bungle every challenge in his path, his rabbi grants him one special week with Rieven before Leah's memorial. It's his chance to prove himself a suitable man of faith and fatherhood, and restore respect among his doubters.

Performed entirely in Yiddish, the colloquial language of the Hasidic community, Menashe uses intimate, handheld camerawork to drop us inside and humanize a hermetically sealed world of black-hatted, working-class men debating in crowded shuls or seeking counsel in the rabbi's library. And yet Menashe is in many ways an outsider in this tight-knit circle, as he bucks convention and ruffles feathers to stay true to himself.

Screenings:

Press & Industry Screening: Fri, 02/10 - 09:30 | CinemaxX 6 Public Screening #1: Sun, 02/12 - 19:15 | Delphi  Public Screening #2: Tue, 02/14 - 16:30 | CineStar 8  Public Screening #3: Wed, 02/15 - 20:00 | Colosseum 1  Public Screening #4: Sun, 02/19 - 19:30 | CinemaxX 4  

TRT: 81 min

Country: USA

Language: Yiddish

 http://amadeus-ent.com/EFM2017new/

Amadeus Entertainment would be delighted to meet you at European Film Market in Berlin and discuss our new slate of films. 

To schedule a meeting with us please choose a convenient time slot in our calendar: https://efm2016.youcanbook.me

Attendance: 9th-15th February

Location:  Stand number 39, ground floor, Martin Gropius Bau  

TomCat Films teams up with SGL Entertainment to bring you the best, edgiest horror around.  Many territorries and rights are still available!  Ask for avails in your territory.

Meet with Summer Hill Films (and TomCat Films) at Marriott Hotel Ballroom, stand #117 from February 9th to 16th.  

In the meantime, take a look at the SGL catalog! 20 features full of horror and scifi - enjoy!

Visit us at EFM, Marriott Ballroom, Stand #117 Feb. 9 - 16, 2017

Sincerely,

The Summer Hill Films & TomCat Films Team

                            

Ted Chalmers              &              Emma Ilves
  COO                                              Marketing 

Summer Hill Films
10645 N. Tatum Blvd., #200-130, Phoenix, AZ 85028 USA
Main: +1-480-535-8711
Fax: +1-480-535-8712
Email: info@tomcatfilms.com
www.tomcatfilmsllc.com / www.summerhillfilms.com/

This seventh edition of the festival brings a brand new array of exciting and inspiring films to the South Kensington cinema.  Screenings are followed by Q&A sessions with the film-makers, offering audiences the opportunity to get involved in lively discussions.

This year’s line-up comprises nine new feature films, plus the recently restored version of Gillo Pontecorvo’s 1966 masterpiece THE BATTLE OF ALGIERS (La Battaglia di Algeri), distributed in the UK by CultFilms: www.cultfilms.co.uk. It will be the very first time this restored version is shown on the big screen in the UK.

Opening night film 7 MINUTES (7 Minuti) was selected for the 29th Tokyo International Film Festival Competition, and was in the official selection at the 2016 Rome International Film Festival. The Biennale College Cinema gem EARS (Orecchie) screened at the 2016 Venice International Film Festival, as did Michele Vannucci’s I WAS A DREAMER (Il più grande sogno), Pippo Delbono’s VANGELO, and Irene Dionisio’s PAWN STREETS (Le Ultime Cose). 

PERICLE THE BLACK (Pericle il Nero), starring Italy’s much-loved Riccardo Scamarcio, was in the ‘Un Certain Regard’ section at last year’s Cannes International Film Festival. Roberto Andò’s THE CONFESSIONS (Le Confessioni), starring Toni Servillo, Daniel Auteuil and Connie Nielsen, has screened at a multitude of festivals around the world, and was awarded the Ecumenical Jury Prize at the 2016 Karlovy Vary International Film Festival.

Pierfrancesco Diliberto aka Pif is back with his latest feature film IN GUERRA PER AMORE, which was shown at both the Rome and Busan International Film Festivals last October. Andrea Molaioli’s SLAM (Tutto per una ragazza), featuring Luca Marinelli (who starred in last year’s They Call Me Jeeg) and based on Nick Hornby’s novel of the same name, premiered at the recent Torino Film Festival.

The five day annual event is organised by Istituto Luce-Cinecittà’s promotional department in Rome (Filmitalia), with the support of the Italian Cultural Institute in London, the official agency for the promotion of Italian language and culture in England and Wales. For further details on their activities, please visit: www.filmitalia.org / www.icilondon.esteri.it. Eight titles were chosen by the film critic and festival programmer Maurizio Di Rienzo, and two films were selected by Adrian Wootton, CEO of Film London.

VENUE AND BOX OFFICE INFORMATION

Screenings: Wednesday 1 - Sunday 5 March 2017

Ciné Lumière : 17 Queensbury Place, London SW7 2DT, T +44 (0)20 7871 3515

Tickets:£12/£10 (conc.); £9/£7 (conc.) for films in the ‘Sunday Classics’ section; £5 for viewers aged 25 and under, if registered for the ’25 and Under £5 Scheme’ on the French Institute website

Full programme and booking details:

http://www.institut-francais.org.uk/cine-lumiere/whats-on/festivals-series/cinema-made-in-italy-2017/

FOR PRESS INFORMATION AND INTERVIEW REQUESTS, PLEASE CONTACT:

Fabrice Ouakinine/Clare Leach

firstname.lastname@premiercomms.com

T: +44 20 7292 8330 / www.premiercomms.com

PRESS MATERIAL AVAILABLE ON:

http://ftp.premiercomms.com

User name:        cinemamadeinitaly2017

Password:           f1lm1tal1a

Twitter: @CinemaMadeinIt

Facebook:https://www.facebook.com/Cinema-MADE-in-ITALY-1534214436839796/

SCREENING PROGRAMME

Wednesday 1^st March

6.30 pm                7 Minutes                                                                                                                                                           88’                                         

Intro and Q&A with Clémence Poésy (actress), Ambra Angiolini – TBC (actress), Cristiana Capotondi (actress)

Thursday 2^nd March

6.30 pm                Ears                                                                                                                                                                       90’

Intro and Q&A with Alessandro Aronadio (director)

8.50 pm                Pericle the Black                                                                                                                                              100’

Intro and Q&A with Stefano Mordini – TBC (director) and Riccardo Scamarcio (actor)

Friday 3^rd March

6.30 pm                The Confessions                                                                                                                                              100’

Intro and Q&A with Roberto Andò (director)      

8.50 pm                In Guerra Per Amore                                                                                                                                      99’

Intro and Q&A with Pierfrancesco Diliberto aka Pif (director and writer) and Michele Astori (writer)

Saturday 4^th March

6.15 pm                Pawn Streets                                                                                                                                                    85’

Intro and Q&A with Irene Dionisio (director)

8.50 pm                Slam                                                                                                                                                                     100’

Intro and Q&A with Andrea Molaioli (director) and Nick Hornby – TBC (writer)

Sunday 5^th March

2.00 pm                The Battle of Algiers (distributed in the UK by CultFilms: www.cultfilms.co.uk)                   121’

4.20 pm                Vangelo                                                                                                                                                              87’

Intro and Q&A with Pippo Delbono (director and actor)

6.40 pm                I Was a Dreamer                                                                                                                                              100’

Intro and Q&A with Michele Vannucci (director) and Mirko Frezza (actor)

LINE-UP FOR CINEMA MADE IN ITALY 2017

7 MINUTES (7 Minuti) – Opening Night

Director: Michele Placido – 88 mins

Cast: Ambra Angiolini, Ottavia Piccolo, Cristiana Capotondi, Fiorella Mannoia, Maria Nazionale, Violante Placido, Clémence Poésy, Sabine Timoteo, Anne Consigny, Michele Placido, Bruno Cariello, Mimma Lovoi, Donato Placido, Gerardo Placido, Luisa Cattaneo, Erika D’Ambrosio, Balkissa Maiga, Lee Colbert

Following a takeover, the new owner of an Italian textile plant (played magnificently by Anne Consigny, who was most recently seen in Paul Verhoeven’s Elle), flies in from Paris to propose the plan masterminded in order to preserve the workers’ future.  When the women in the plant’s council learn that nobody will lose their job, provided everyone gives up seven minutes of their daily break, it seems too good to be true. But when they start to analyse what the seven minutes actually represent, it soon dawns on them that more is at stake than merely their workers’ rights. Based on a true story, 7 minutes is a taut and gripping drama featuring emotionally anchoring performances from notably Clémence Poésy, Ambra Angiolini and Ottavia Piccolo.

EARS (Orecchie)

Director: Alessandro Aronadio – 90 mins

Cast: Daniele Parisi, Francesca Antonelli, Silvana Bosi, Masaria Colucci, Silvia D’Amico, Piera Degli Esposti, Ivan Franek, Sonia Gessner, Paolo Giovannucci, Rocco Papaleo, Andrea Purgatori, Re Salvador, Niccolò Senni, Pamela Villoresi, Milena Vukotic, Massimo Wertmüller

Following his brilliant debut feature Due Vite per Caso (which has won over 15 awards), Alessandro Aronadio is back with a sharp and witty comedy. Stylishly shot in black and white, Ears follows a day in the life of a hapless young university lecturer, as he wanders around the streets of Rome, questioning the true purpose of his life. Clarity is obtained after a succession of Kafkaesque situations, which include an encounter with a bevy of mistrusting nuns, an outlandish rapper, and an impertinent ear specialist. Made on a micro budget under the umbrella of the Biennale College Cinema programme, Alessandro Aronadio’s absurdist comedy was an instant hit when it premiered at last year’s Venice International Film Festival.

PERICLE THE BLACK (Pericle il Nero)

Director: Stefano Mordini – 100 mins

Cast: Riccardo Scamarcio, Marina Foïs, Valentina Acca, Gigio Morra, Maria Luisa Santella, Lucia Ragni, Eduardo Scarpetta, Seloua M’Hamdi, Samuel Laurie

Co-produced by the Dardenne brothers, and loosely based on Giuseppe Ferrandino’s Pericle il Nero, Stefano Mordini’s third feature is a contemporary Italian mafia film set in Belgium and France. Riccardo Scamarcio (Burnt, Effie Gray, Third Person) is a loyal Camorra low-life who makes ends meet by doing dirty jobs for Don Luigi, a Neapolitan crime lord and pizzeria owner based in the outskirts of Liège.  When a job goes wrong, he has no choice but to go on the run, and after a brief spell in hiding, ends up in Calais. Alienated, and deep down yearning to be part of a family, he seeks refuge in the form of divorced bakery worker Anastasia, played superbly by French actress Marina Foïs (Paris Follies, Polisse, Irréprochable). They embark on a bittersweet whirlwind romance, as they endeavour to sidestep the shadow of his tormented past.

THE CONFESSIONS (Le Confessioni)

Director: Roberto Andò – 100 mins

Cast: Toni Servillo, Daniel Auteuil, Connie Nielsen, Pierfrancesco Favino, Moritz Bleibtreu, Marie-Josée Croze, Richard Sammel, Johan Heldenbergh, Stéphane Freiss, Aleksei Guskov, Ernesto D'Argenio, Lambert Wilson, Julian Ovenden, Togo Igawa, Andy de la Tour, John Keogh, Giulia Andò

Produced by Angelo Barbagallo (Dear Diary, The Son’s Room, Certified Copy), Roberto Andò’s slick mystery thriller centers on a simple monk of the Carthusian order, who shakes things up at a G8 meeting held in a luxury hotel on the Baltic Coast. After a high-ranking official is found dead in his room, it transpires that the purpose of the state treasurers’ gathering is to introduce radical economic reforms that will have irreparable destructive effects on less-developed countries in the world. Stopping them soon becomes a race against time…. The elegant mise en scène, Oscar-winning composer Nicola Piovani’s exquisite score, along with a stellar cast including Toni Servillo, Daniel Auteuil, and Connie Nielson, make for irresistible viewing.

IN GUERRA PER AMORE

Director: Pierfrancesco Diliberto aka Pif – 99 mins

Cast: Andrea Di Stefano, Pierfrancesco Diliberto aka Pif, Sergio Vespertino, Maurizio Bologna, Miriam Leone, Samuele Segreto, Stella Egitto, Antonello Puglisi, Vincent Riotta, Maurizio Marchetti, Mario Pupella, Aurora Quattrocchi, Rosario Minardi, Orazio Stracuzzi, Lorenzo Patanè, David Mitchum Brown, Forest Baker, Salvatore Ragusa, Domenico Centamore

Following on from The Mafia Kills Only in Summer, Pierfrancesco Diliberto (aka Pif) brings us another funny and touching tale peppered with historical facts.  It is 1943, and World War II is in full swing. In the heart of New York fresh faced Arturo (played by Pierfrancesco Diliberto) has fallen head over heels for his restaurant boss’ daughter Flora. The feeling is mutual, but Flora has been promised to the son of an influential New York mobster. The only way Arturo will be able to marry his beloved, is if he is granted approval by her father, who lives in a small town in Sicily. Young and broke, Arturo enlists in the US Army, which is preparing to invade the island, an event which will change the history of Sicily, Italy, and the Mafia forever. 

Francesco Diliberto (aka Pif) was assistant director to Marco Tullio Giordana on the anti-Mafia film I Cento Passi in 1998. Besides being a film director, writer and actor, he is also a satirical current-affairs broadcaster who has contributed to numerous Italian TV shows, including Le Iene. He has had his own show, Il Testimone, on MTV since 2007 and hosts the radio show I Provinciali on RAI 2, along with his screenwriting collaborator Michele Astori.

PAWN STREETS (Le Ultime Cose)

Director: Irene Dionisio – 85 mins

Cast: Fabrizio Falco, Roberto De Francesco, Christina Rosamilia, Alfonso Santagata, Salvatore Cantalupo, Anna Ferruzzo, Nicole De Leo, Maria Eugenia D'Aquino, Margherita Coldesina, Matteo Polidoro

Set in Turin, Pawn Streets reveals an insider’s view of the goings on behind the closed doors of a local pawnbrokers, and the wheeling and dealing which takes place in the streets outside. Each and every object tells a different story: a cherished fur coat is handed over by a transvestite who has become estranged from her family; a precious gold necklace fetches a moderate price for a desperate mother of two. Meanwhile, a penniless grandfather unwillingly becomes embroiled in black market pawnbroking, so he can afford to buy a hearing aid for his three year old grandson. Irene Dionisio, who is also a documentary film-maker, succeeds in rendering an honest account of some of the circumstances which might drive people to pawn their most cherished belongings, as a last resort. Pawn Streets is produced by Carlo Cresto-Dina, whose previous credits include The Wonders and Corpo Celeste.

SLAM (Tutto per una ragazza)

Director: Andrea Molaioli – 100 mins

Cast: Ludovico Tersigni, Barbara Ramella, Jasmine Trinca, Luca Marinelli, Pietro Ragusa, Fiorenza Tessari, Lidia Vitale, Fausto Sciarappa, Gianluca Broccatelli, Tony Hawk

Sam is a 16 year old skateboarding fanatic who has his whole life ahead of him. When his girlfriend breaks the news that she is pregnant, the only person he can turn to is his all-time hero and skateboarding legend, Tony Hawk. Reminiscent of the film Sliding Doors, Sam is inexplicably hurtled into the future and offered a glimpse of what will be…. or what could be.  At the end of the day, it is up to Sam to make the right decisions. Based on Nick Hornby’s successful novel of the same name, Slam is all twists and turns and heel flips, and features a splendid performance by Luca Marinelli, who starred in last year’s They Call Me Jeeg Robot. Prior to making his first feature film, Andrea Molaioli worked as assistant director and second director on numerous films, including Nanni Moretti’s The Son’s Room and Dear Diary. In 2008 his film The Girl By the Lake won three David di Donatello Awards.

THE BATTLE OF ALGIERS (La Battaglia di Algeri)

Director: Gillo Pontecorvo – 121 mins

Cast: Brahim Haggiag, Jean Martin, Saadi Yacef

The Battle of Algiers tells the story of the life-and-death struggle between the French colonial government of Algeria and the Algerian Liberation Front, the FLN, who wanted the French out and were willing to set off bombs to do it. The French sent in their elite Paratroopers with the order to use Any Means to break the insurgent – torture included. It’s a true story, done on location with many of the FLN appearing in it, including the producer who was an FLN leader. This film, which was first released in 1966, is a passionate yet completely impartial record of struggle which led to Algeria’s Independence.

The Battle of Algiers is distributed in the UK by CultFilms: www.cultfilms.co.uk. Digitally re-mastered in high definition from restored archive elements approved by the filmmakers, this all-time classic release of The Battle of Algiers also commemorates the 50th anniversary of Algerian independence. The new version also includes some previously unseen footage, making this the most complete edition ever. The restoration was curated by Cineteca di Bologna and Istituto Luce-Cinecitta, in collaboration with Surf Film, Casbah Entertainment, and CultFilms.

VANGELO

Director: Pippo Delbono – 87 mins

Cast: Pippo Delbono, Safi Zakria, Nosa Ugiagbe, Petra Magoni, Pepe Robledo, Ilaria Fantin, Bobò Robledo

In Vangelo theatre director Pippo Delbono visits a migrant centre and meets the refugees who have come to seek shelter there. They are in limbo, waiting to find out if they will be allowed to stay, or simply be moved on to the next holding area. He becomes part of their everyday lives, in which they are suspended between painful memories and an uncertain future. Slowly but surely, the refugees open up to him, and tell him their stories. Some of these feature on screen, others remain secret. Through the lives of these people, the inevitable protagonists of a new age, Delbono’s vision for his theatrical production of the Gospel starts to take shape.

I WAS A DREAMER (Il più grande sogno)

Director: Michele Vannucci – 100 mins

Cast: Mirko Frezza, Alessandro Borghi, Vittorio Viviani, Milena Mancini, Ivana Lotito, Ginevra De Carolis

Mirko is a 39 year old father of two, who returns home after an eight year stint in jail. He dreams of being given a second chance, and attempts to leave behind a life of violence and petty crime once and for all. The perfect opportunity arises when he is unexpectedly elected president of the neighborhood committee in his local area in a run-down suburb of Rome. Before long, Mirko starts putting all his energy into transforming the lives of those around him, setting up a soup kitchen and food bank, and even persuading fellow down-and-outs to grow tomatoes on a nearby allotment. Little by little, he manages to reconcile with his two daughters, and prepare for the arrival of his third child, which his ever-patient wife is expecting. Michele Vannucci met lead actor Mirko Frezza when he was auditioning for his graduation film in 2012. Hanging out with him for three years inspired Vannucci to write the screenplay for I Was a Dreamer, which is based on Mirko’s real-life experiences.

PREMIÈRE MUSIC + MEDIA MARKET BERLIN 2017. The largest trade fair for film professionals in the performing arts. More than 700 international participants come to network with other broadcasters, producers and artists, make co-production, broadcasting and distribution deals and find out about the new technologies that can change their industries. Become a part of this spectacular event now! www.avantpremiere.at

Professor Salazar hates change. Many years ago, he shut himself away in his laboratory. He lives with his daughter Alisa, who grew up among the test tubes and lab devices. The formula he has finally invented is going to change the world! Without him noticing, Alisa has grown up and no longer wants to do things his way. To return everything back to normal – his body, his daughter and, finally, his good old familiar life – Salazar is forced to venture out into the place he has avoided like the plague all these years: the real world.

Year of production: 2017

Genres: Animation, Family, 3D

Countries: RUSSIA

Languages: RUSSIAN, ENGLISH

Budget: 5 - 10 M$

Duration: 40 mn

Producer(s) : Timur BEKMAMBETOV (Bazelevs)

Synopsis

ALL indie Films, Animations, Studio movies are welcome to submit your films to us. 

Eddie Brown, Co-Founder\ EVP

iNDYREELS

Humanitarian Event Designed to Inspire Change Will Provide Funds for Health and Education of Cambodian Children

The offical selection of films screening in competition at the 2017 Better Word Forum was revelead today by event founder Manuel Collas De La Roche.

Taking place in Phnom Penh, Cambodia from March 21 - 23, under the Patronage of the Cambodian Royal Family and the Foundation Football for life, the Better World Forum is a one-of-a-kind event with a singular purpose – to highlight works that change the world.

Created to respond to a humanitarian impulse coming from a society in need of authenticity and truth, the Better World Forum aims to be the voice and image of tomorrow’s world. Through a series of narrative feature films and documentaries, the event defends, promotes and supports all creators working on behalf of culture, education, preservation of the environment, and the expansion of compassion worldwide.

Fourteen films have been selected for the carefully curated competition showcase that embodies this mission and identifies with the goals set by the organization. These films are:

• Carole Matthieu (Directed by Louis-Julien Petit / France / Drama/thriller)

• Human (Directed by Yann-Arthus Bertrand / France / Documentary)

• Femme (Directed by Emmanuel Itier and Sharon Stone / USA / Documentary)

• Les pépites (Directed by Xavier de Lauzanne / France / Documentary)

• Swagger (Directed by Olivier Babinet / France / Documentary)

• L’Odyssée (Directed by Jerôme Salle / France / Bio pic)

• Dans les forêts de Sibérie (Directed by Safy Nebbou / France / Adventure)

• The Man Who Mends Women(Directed by Thierry Michel /France/ Documentary)

• Le Petit Prince (Directed by Mark Osborne / France / Animation)

• Jack et la méchanique du Coeur (Directed by Mathias Malzieu / France / Animation)

• Talking to the trees (Directed Illaria Borrelli / France / Drama)

• Ensemble C’est possible! (Directed by Safy Nebbou / France / Documentary)

• La Prenda(Directed by Jean-Cosme Delaloye /France/ Documentary)

• Feminitude (Directed by Soula Saad / France / Documentary)

Highlighting different countries every year, the Better World Forum showcases films from a country whose filmmaking stands out in global comparison, opens new perspectives and broadens the cinematic horizon. This year, the event will showcase powerful works of film from France, as its country of focus – a country known for its intensely personal meditations on the human condition.

The Better World Forum is born from the desire to highlight all forms of charitable, artistic expressions, ideas and solidarity actions that make a positive change for the planet. Among the event’s goals are:

§ Engage in a permanent action to increase mankind’s conscious while facing the evolution of the planet.

§ Reward initiatives targeting sustainable solutions in the social, economic and environmental areas.

§ Present and award a selection of works in all formats with an international jury coming from diverse cultural spheres.

§ Offer a stage for debates and exchanges between artists, humanitarian professionals, scientists, corporates and general public.

The Better World Forum will be held each year in Phnom Penh, but offshoots of the event will also travel to different countries around the year. In totality, The Better World Forum is more than a single event, it is a sustainable movement that will travel all around the world and become a viral movement.

The 2017 Better World Forum will provide funds for health and education of Cambodian children; support French-Khmer Cinematography and award lifelong achievements of the most deserving creative minds.

“Cambodia is a country deepened in a strong spiritual culture and also has one of the most dynamic economies of the world,” said Better World Forum founder Manuel Collas De La Roche. “Actors, writers and leaders will be present as a confirmation of the artistic and human wealth represented by Cambodia.”

Collas De La Roche added, “We are proud to be associated with this meaningful and groundbreaking initiative. Filmmaking has a measureable impact on society and culture as a whole.  The goal of the Better World Forum is to build a viable platform which will support a full offering of creative endeavors for those who wish to inspire change.”

For more information on the event please visit http://www.bwforum.org/

Aamir, Nasir, Tahir, Tariq, Mansoor, Amjad: Movies, Masti, Modernity, Flashback 3

To remind you, Aamir is indeed Aamir Khan, Amjad is definitely Gabbar Singh, and the triple M above is to acknowledge that it was Akshay Manwani’s biographical book on the cinema of Nasir Hussain that got me delving into the period of about 15 years, when I interacted with the Hussain Khans (first five) and the bare Khan (last, but the most imposing personality). Actually, Mansoor did not use his middle name, so he can be called a ‘Khan’ too! Tahir stands for Nasir’s (younger) brother, Tahir Hussain.

Nasir Hussain (1931-2002) was already a in my favourites list much before I met him. Now, the story of my interactions with him is picked-up from the ending couplet in my second instalment:

‘Kya husn ney samjhaa hae, Kya ishq ney jaanaa hae,

Ham qhaak-nasheenon kee, Thokar men zamaanaa hae.’—Jigar Moradabadi

(What does beauty understand, what does love know,

We dirt-dwellers care two hoots for the world.—very loose translation)

Thus wrote the master-poet. Nasir Hussain made it his tag-line, the audio accompanying the logo, in the pre-credit titles of each NH Films’ production. A montage that begins with burts of lightning and thunder and morphs a circle, that is replaced by a pillar, much k a Greco-Roman column. The Voice-over changed with time, my earliest recall being actor Raj Mehra. I had seen all seven of of them, right up to Caravan (1971), which he made for his brother, Tahir Hussain’s TV Films’ banner, the only time the NH Films’ logo was followed by the kid brother’s, for Tahir established his own, independent  banner, with Anamika (1973).

It was 1971. I had completed my Junior Bachelor of Science level, third year of the four-year degree course, and was now studying for the final year of graduation. The events of the preceding, tumultuous academic year, 1970-71, were now history. Among other upheavals, in a rather un-nerving situation, I had found Amjad Khan officiating as a Judge at the Inter-College Mono-Acting Competition of Bombay University, where I represented my college, and his, National. Whether I deserved it or not, I ended up getting no recognition for this outing. After the results had been declared, I bumped into Amjad Khan outside. Daring my luck, I asked him, “What was wrong about my acting? Was I really so bad today?” I queried. Amjad responded with a derisive grin, “Bad? What makes you feel you can act at all?”

Six months later, Principal Bhojwani had moved on and the ban on offending students had been lifted. Naturally, Amjad and his brother Imtiaz, returned, to call the shots. Auditions were held. Knowing the futility of it all, I gave the acting audition—up the Hekandbai Hall stage, a short performance, down and out. Needless to say, I was rejected. Now, I claim to be an impartial critic of myself, as I am of others, when reviewing their acts, and there was no way I could have been rejected. But it was a fact. Somewhat despondent, I went back to my 7-hour college instruction days, and forgot all about any more acting on the college stage. Amjad was already getting roles in films (after 2/3 films as boy, he had been shooting for Love and God and Hindustan Ki Kasam, where he had noticeable roles), and his clout was strengthened by this fact. Moreover, it was my last year of college. And unlike Amjad, I had no intention of sticking around after getting my degree.

Obviously, I was both surprised and anxious when I was told in class why the brothers had sent an emissary to, to summon me, and we were headed towards, of all places, Hekandbai Hall. Apparently, a rehearsal was on, in full swing. Imi and Manju (why did it sound like Manju? Surely it should have been ‘Amju’) had prepared another swash-buckling drama to be staged soon. It had Amjad as a rifle-toting Robin Hood, pitted against a hoarder/black-marketer, clashing head-on, in true filmy style. For all I knew, it could have been a leaf out of the Mother India or Ganga Jamuna screenplay pages. Amjad as a do-gooder folk-hero? And who was playing the blood-sucker grocer/money-lender? I. This was explained to me post-haste. “We’ve tried many of them. Nobody can stand his ground. Will you do this role?” Me? All of 19 going on 20, an audition reject, who did not know what acting was, facing-up to the mighty, 29 going on 30 Amjad Khan, under Imtiaz Khan’s direction? Wow! “Yes,” I agreed. “Fine,” said Amjad. We start rehearsals right now.”

Too good to be true! It turned bad very soon. No, not because of ego clashes, or my failure to live up to the Khans’ expectations. “This is not acceptable. You cannot come for just an hour a day. Rehearsal is over when I say it is over, not before,” was the cold, menacing stand of Amjad Khan. “But Amjad, you know I am in Senior B.Sc. I have college from 8.30 to 3.30. Every day, I leave home at 7-7.15 and return around 5. With rehearsals, I reach around 6.30. There is so much to do at home, besides studies. You are also aware that, occasionally, when I have some time off, I write film reviews and do some work on radio. I cannot give you three hours every day. It is unreasonable and impractical,” I tried to convince him. “Very well, then. We’ll find someone else. You may leave.” That was as close I have ever come to acting in a play with Amjad Khan. But we were in a film together. It was produced and directed by Nasir Hussain, and had, among its leading cast, Tariq. More of that later.

In the wake of film talent contests that had unearthed actors of the calibre of Dharmendra and Rajesh Khanna, a leadership training and community development organisation called Wadala Jaycees (Jaycee stood for Junior Chamber of Commerce/Junior Chamber International, the US-based parent) decided to organise one. The prime mover was Nanik Rupani, and the whole idea had the backing of a producer-son, Shanti Sagar. Shanti was not part of his father Ramanand Sagar’s unit, and did not use the connection to curry favours. He had made a very good artistic film called Daraar, which gave me my break as a dubbing artiste, voicing for a dozen characters, who had played small roles in the location shooting of the film, in picturesque Kashmir. Shanti not only opened the doors for a career option, but also asked me to come on board and help in organising the first ever Wadala Jaycees All India Film Talent Contest.

Nanik Rupani honouring Siraj Syed at an event much after the Talent Contest, while a hidden Meenakshi Sheshasdri applauds

WJAIFTC was formatted in the template of any popular talent contest:  Contestants applied, on a prescribed form, sent in their applications by what is called ‘snail mail now’, enclosed a nominal entry fee, their applications were vetted, selected entrants got a call, came for a interview and primary audition, and so on...till the screen test. Final Round judges were eminent producer-directors Ramanand Sagar, Shakti Samanta, Pramod Chakravarti, S.S.Pillai (editor of the popular film weekly, Screen) and Ameen Sayani (top compère and radio producer/voice, and my mentor and Ustaad). I was to help with the sifting of the applications, and serve as a judge during the first round. I was also to compère the results function, at the mammoth, 3000+ capacity, Asia’s largest indoor venue, Shanmukhananda Hall, which Mr. Sayani should have rightfully been retained to do, but he was already officiating as a judge, hence even a hint of a conflict of interest was to be avoided. Obviously, at 20-21, I was the youngest member of the team.

One memorable day, at the production office of Shanti Sagar, who was then making another minor classic, Prem Parbat, we assembled to conduct the interviews of those who had made it past the application stage. “May I come in?” asked the next candidate. “Yes,” said one of the senior members of the jury. In walked a tallish, broad-framed man, who doffed his hat at us judges, as we motioned him to sit down. “You are...?” prompted another jury colleague. “Amjad Khan,” the hopeful responded. I had recognised him a full five seconds before he introduced himself, and it had taken me all of those five seconds to regain my composure. Siraj Syed was part of a panel that was be auditioning Amjad Khan for a film talent contest? It was happening, not in a film scene, but live, at Andheri, Bombay, albeit in a film producer’s office.

Flashback 4 coming-up.

New HBF guidelines and deadlines
 

With a renewed and extended partnership with the Netherlands Film Fund, IFFR’s Hubert Bals Fund (HBF) is in full gear for its 2017 application rounds. The new HBF team also announced new guidelines and deadlines, plus commitment to Benelux distribution.

IFFR is proud to announce the renewed partnership with the Netherlands Film Fund. The new NFF+HBF Co-Development scheme complements the existing successful NFF+HBF Co-production scheme, which is celebrating its 10th anniversary. As of 2017, the Netherlands Film Fund will extend its collaboration with HBF in the annual support of 10 international film projects with a contribution towards Script and Project Development – equally divided between HBF Bright Future and HBF Voices (see below).
 
Application deadlines for the NFF+HBF Co-production Scheme for Dutch producers will be 14 March and 3 October 2017. Two films supported through the programme will be presented at this year’s IFFR: Rey (Niles Atallah, Chile/France/Netherlands/Germany/Qatar) – screening in the Hivos Tiger Competition – and White Sun (Deepak Rauniyar, Nepal/USA/Qatar/Netherlands) in Limelight.
 
The Hubert Bals Fund has renewed its guidelines and application deadlines, welcoming applications for its 2017 funding rounds. Among the changes are two separate schemes for Script and Project Development: HBF Bright Future (max. €10,000 per project) for feature films by first and second-time filmmakers, and HBF Voices (max. €10,000 per project) for feature films by filmmakers more advanced in their careers. The new application deadlines can be found here.
 
In its geographical focus, the HBF continues to provide support to talented filmmakers from countries listed on the DAC list of the OECD. In addition, certain countries ranking low on the World Free Press Index are added to this list: Russia, Singapore, Saudi Arabia, the UAE, Oman, Bahrain and Qatar. The HBF will also provide support to feature films by filmmakers from DAC-listed countries living in diaspora (e.g. dual nationality, refugee status or residency permit).
 
HBF is also committed to the distribution of HBF-supported films within the Benelux. IFFR becomes the 'custodian' of the Benelux distribution rights for all films supported by the Hubert Bals Fund as of 2017. The Benelux rights remain with the legal rights-holder, but IFFR will collaborate with Benelux distributors in the release of the film and/or release the film through its own channels (e.g. IFFR.com/Unleashed).
In its Fall 2016 selectionround, the HBF supported four international projects. New films by Ognjen Glavonic, Mahdi Fleifel, Shahrbanoo Sadat and Yeo Siew Hua received a contribution towards Script and Project Development and (Post-)production within the framework of a special – one-off – thematic programme. A complete list of titles can be found here.
 
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About  the Hubert Bals Fund
IFFR’s Hubert Bals Fund provides financial support to remarkable feature films by innovative and talented filmmakers from all over the world, but predominantly from Africa, Asia, Latin America, the Middle East and parts of Eastern Europe.
The HBF offers several funding schemes: early on for Script and Project Development, or after shooting for Post-production. With the support of the Creative Europe-MEDIA programme of the European Union, minority co-production and distribution support is offered to European partners within the framework of HBF+Europe. Dutch producers are eligible for the NFF+HBF Co-Production Scheme and the NFF+HBF Co-Development Scheme, a collaboration with the Netherlands Film Fund.
The Hubert Bals Fund is supported by the Creative Europe-MEDIA programme of the European Union, the Dutch Ministry of Foreign Affairs, the Netherlands Film Fund, Hivos, the Dioraphte Foundation,  the Lions Club Rotterdam: L’Esprit du Temps and the Tiger Film Mecenaat.
 
International Film Festival Rotterdam (IFFR) offers a high quality line-up of carefully selected fiction and documentary feature films, short films and media art. IFFR actively supports new and adventurous filmmaking talent through numerous industry initiatives including co-production market CineMart, through the new BoostNL and Propellor initiatives, its Hubert Bals Fund and Rotterdam Lab.