Canneseries is forging ahead in France next month despite the cancelation of Mipcom — and the event’s third edition will feature Simon Pegg and Nick Frost’s Amazon show Truth Seekers among its lineup.
The supernatural comedy will receive its world premiere at the screenings, forming part of a competition list that also includes Israeli neo-noir series Losing Alice, which was recently picked up by Apple.
Man In Room 301, the Finnish drama from Warner Bros producer Wall To Wall, and Arte’s Moloch are also competing at Canneseries, while out of competition screenings include Quibi’s Laurence Fishburne-starrer #FreeRayshawn.
The festival will take place in Cannes from October 9-14 with screenings being shown at the Palais des Festivals et des Congrès. The Miramar will also host “rendez-vous” events, such as conversations with Jared Harris.
Canneseries was originally scheduled to take place in March but was postponed at the...
The supernatural comedy will receive its world premiere at the screenings, forming part of a competition list that also includes Israeli neo-noir series Losing Alice, which was recently picked up by Apple.
Man In Room 301, the Finnish drama from Warner Bros producer Wall To Wall, and Arte’s Moloch are also competing at Canneseries, while out of competition screenings include Quibi’s Laurence Fishburne-starrer #FreeRayshawn.
The festival will take place in Cannes from October 9-14 with screenings being shown at the Palais des Festivals et des Congrès. The Miramar will also host “rendez-vous” events, such as conversations with Jared Harris.
Canneseries was originally scheduled to take place in March but was postponed at the...
- 9/22/2020
- by Jake Kanter
- Deadline Film + TV
Patience, LaborA school for professional ice skaters in Leningrad in the final days of the Soviet imperium. A young girl, maybe ten, struggles to land her lutz. She jumps. She falls. Time and again. Failure after failure. Her sympathetic but stern trainer chides her, exhorts her to jump again. Without failure, the jump would remain eternally unattainable. The girl jumps. She falls. Again and again. Yet, unlike what a Western version of this documentary might have presented, the girl does not succeed. At least not within the scope of this documentary’s narrative, otherwise abundant with grace and movement, the rigor and creativity and training at the Leningrad Figure Skating School.What better film than Patience, Labor (1985–1987) to take as an analogy for the life work of its director Aleksandr Sokurov, a life of patience and failure-ridden labor on display through his short films at the International Short Film Festival Oberhausen.
- 7/30/2019
- MUBI
Supported projects include hybrid animated feature Coppelia and German-Belgian co-production The Walking Man.
In its latest funding round announced early during the Efm, Flemish economic fund Screen Flanders is to pump €850,000 Euros into five new films and TV productions.
The list of supported projects includes hybrid animated feature Coppelia which combines classical ballet with animation; the German-Belgian co-production The Walking Man; and the Arte commissioned French-Belgian TV series Moloch. The Dutch-Belgian TV series Commandos and Viva Boma!, the fourth feature of the successful Flemish Fc De Kampioenen franchise will also receive support.
Through the Screen Flanders economic fund, the Flanders...
In its latest funding round announced early during the Efm, Flemish economic fund Screen Flanders is to pump €850,000 Euros into five new films and TV productions.
The list of supported projects includes hybrid animated feature Coppelia which combines classical ballet with animation; the German-Belgian co-production The Walking Man; and the Arte commissioned French-Belgian TV series Moloch. The Dutch-Belgian TV series Commandos and Viva Boma!, the fourth feature of the successful Flemish Fc De Kampioenen franchise will also receive support.
Through the Screen Flanders economic fund, the Flanders...
- 2/8/2019
- by Geoffrey Macnab
- ScreenDaily
The Golden Lion-winning filmmaker discussed his ambivalent relationship with cinema, his stormy friendship with Tarkovsky and the merit of actors, during a Qumra masterclass.
Aleksandr Sokurov is participating in the Doha Film Institute’s Qumra event this week as one of its five ‘Qumra Masters’. During his masterclass at Doha’s Museum of Islamic Art on Tuesday, a rapt audience listened to the Russian film-maker wax lyrical on his deep love for literature, his close friendship with Andrei Tarkovsky, and his strong moral outlook on romanticised violence in film.
It was an often provocative talk in which Sokurov, whose feature credits include Russian Ark, Venice Golden Lion winner Faust, Francofonia, Moloch and Mother And Son, outlined his strong belief that film is a lesser artform, particularly when compared against great literature.
“I’ve never thought of cinema as something big,” said Sokurov, setting out his stall right at the beginning. “I don’t think...
Aleksandr Sokurov is participating in the Doha Film Institute’s Qumra event this week as one of its five ‘Qumra Masters’. During his masterclass at Doha’s Museum of Islamic Art on Tuesday, a rapt audience listened to the Russian film-maker wax lyrical on his deep love for literature, his close friendship with Andrei Tarkovsky, and his strong moral outlook on romanticised violence in film.
It was an often provocative talk in which Sokurov, whose feature credits include Russian Ark, Venice Golden Lion winner Faust, Francofonia, Moloch and Mother And Son, outlined his strong belief that film is a lesser artform, particularly when compared against great literature.
“I’ve never thought of cinema as something big,” said Sokurov, setting out his stall right at the beginning. “I don’t think...
- 3/10/2016
- by matt.mueller@screendaily.com (Matt Mueller)
- ScreenDaily
Following one casting switch and one addition, Charlie McDowell‘s The Discovery is preparing to set forth. The One I Love helmer’s second feature was originally set to star Rooney Mara and Nicholas Hoult, but a recent report tells us the latter’s departed for Xavier Dolan’s The Death and Life of John F. Donovan; stepping into his place is Jason Segel, while Robert Redford‘s been cast in a key role. [THR]
As we learned last fall, the project, scripted by McDowell and Justin Lader, tracks a love story set one year after science has proven the afterlife’s existence. While millions commit suicide, “believing that [it] is like pushing a reset button,” the man (Segal) whose father (Redford) discovered the afterlife meets and falls in love with a woman (Mara) “whose life is tinged by a tragic past.”
Endgame and Protagonist Pictures are financing The Discovery, which will roll cameras this month.
As we learned last fall, the project, scripted by McDowell and Justin Lader, tracks a love story set one year after science has proven the afterlife’s existence. While millions commit suicide, “believing that [it] is like pushing a reset button,” the man (Segal) whose father (Redford) discovered the afterlife meets and falls in love with a woman (Mara) “whose life is tinged by a tragic past.”
Endgame and Protagonist Pictures are financing The Discovery, which will roll cameras this month.
- 3/9/2016
- by Nick Newman
- The Film Stage
Aleksandr Sokurov's tetralogy of power, previously dedicated to real biographical subjects (Lenin, Hitler, Hirohito), unexpectedly concludes with a legendary fictitious man: Johann Wolfgang von Goethe's Faust. The Russian director has loosely—one might even say wildly, fervently—adapted Goethe's play with a barely contained gleeful passion.
The mise en scène breaks out of the fetid, murmuring stasis so evocative of Molokh (1999), Taurus (2001) and The Sun (2005) and is freed to wander in a malleable, Ruizian manner around a sumptuously dirty and worn old German town of stone and earth. After beginning with a Forrest Gump-like descent of the camera from mirrored heavens, flying down to the grimy, sprawling town, the second shot after this luxurious, fantastical opening introduces Faust (Johannes Zeiler) via the decomposing ash-purple penis of a corpse he is dissecting in poverty and philosophical inquiry. With no money for food (let alone gravediggers), the doctor first approaches and then is chased,...
The mise en scène breaks out of the fetid, murmuring stasis so evocative of Molokh (1999), Taurus (2001) and The Sun (2005) and is freed to wander in a malleable, Ruizian manner around a sumptuously dirty and worn old German town of stone and earth. After beginning with a Forrest Gump-like descent of the camera from mirrored heavens, flying down to the grimy, sprawling town, the second shot after this luxurious, fantastical opening introduces Faust (Johannes Zeiler) via the decomposing ash-purple penis of a corpse he is dissecting in poverty and philosophical inquiry. With no money for food (let alone gravediggers), the doctor first approaches and then is chased,...
- 11/15/2013
- by Daniel Kasman
- MUBI
This ponderous movie is regarded by its writer-director, the talented Russian mystic Alexander Sokurov, as the concluding section of a quartet of films on the subject of the corrupting effects of power, following on from his biographical studies of Hitler (Moloch), Lenin (Taurus) and the emperor Hirohito (The Sun). It won the Golden Lion at Venice last year but is a dull affair, made in German, set in 18th-century central Europe, shot in the Czech Republic and Iceland. It has the impoverished, lugubrious scholar Faust pursuing the meaning of life and taking up with Mauritius, a grotesquely repellent version of Mephistopheles. Mauritius works as the town's pawnbroker and moneylender and reveals during one of his pointless romps with Faust to have his penis attached to his backside. After much rambling talk, Faust sells his soul to Mauritius in order to have sex with the local beauty, Margarete. He signs the...
- 5/12/2012
- by Philip French
- The Guardian - Film News
Sokurov's version of Goethe's tragedy is part bad dream, part music-less opera, with hallucinatory flashes of fear
Aleksandr Sokurov's Faust is a version of Goethe's tragedy that won the Golden Lion at last year's Venice film festival; it is being presented as the last part of a "cinematic tetralogy" with three earlier films, Moloch (1999) about Hitler, Taurus (2001) about Lenin and The Sun (2005) about Hirohito. Generally, when directors claim this, it is a transparent ploy to shift the back-catalogue DVDs, but this surely can't be true of such a distinguished film-maker, and there is some dramatic interest in linking fictional Faust with three historical figures, each pondering power, destiny, heaven and hell.
The Austrian actor Johannes Zeiler is Faust, dissecting grisly corpses in a vaguely delineated central Europe in what looks like the 16th century of Marlowe's Faustus. He is brooding over the location of the soul (perhaps...
Aleksandr Sokurov's Faust is a version of Goethe's tragedy that won the Golden Lion at last year's Venice film festival; it is being presented as the last part of a "cinematic tetralogy" with three earlier films, Moloch (1999) about Hitler, Taurus (2001) about Lenin and The Sun (2005) about Hirohito. Generally, when directors claim this, it is a transparent ploy to shift the back-catalogue DVDs, but this surely can't be true of such a distinguished film-maker, and there is some dramatic interest in linking fictional Faust with three historical figures, each pondering power, destiny, heaven and hell.
The Austrian actor Johannes Zeiler is Faust, dissecting grisly corpses in a vaguely delineated central Europe in what looks like the 16th century of Marlowe's Faustus. He is brooding over the location of the soul (perhaps...
- 5/11/2012
- by Peter Bradshaw
- The Guardian - Film News
Rating: 2 out of 5 stars
Aleksandr Sokurov’s four-part meditation on the interplay between power and evil comes to a close with Faust, a challenging, dense take on Goethe’s famed text. With the previous three parts focusing on the travails of historical figures – Moloch on Hitler, Taurus on Lenin and The Sun on Hirohito – Faust might seem like a peculiar post-script, especially when it unfolds like a spiritual prequel, revealing just a little about what might have driven these men to unthinkable behaviours.
Sokurov’s film – which won the Golden Lion at least year’s Venice Film Festival – keenly plays fast and loose with the source material, changing plot structure, character machinations and location, rendering the project, for better and for worse, very much his own. The core premise of course remains the same; the well-meaning if frustrated Doctor Faust (Johannes Zeiler) visits a cantankerous moneylender (Anton Adasinsky), and after signing in his own blood,...
Aleksandr Sokurov’s four-part meditation on the interplay between power and evil comes to a close with Faust, a challenging, dense take on Goethe’s famed text. With the previous three parts focusing on the travails of historical figures – Moloch on Hitler, Taurus on Lenin and The Sun on Hirohito – Faust might seem like a peculiar post-script, especially when it unfolds like a spiritual prequel, revealing just a little about what might have driven these men to unthinkable behaviours.
Sokurov’s film – which won the Golden Lion at least year’s Venice Film Festival – keenly plays fast and loose with the source material, changing plot structure, character machinations and location, rendering the project, for better and for worse, very much his own. The core premise of course remains the same; the well-meaning if frustrated Doctor Faust (Johannes Zeiler) visits a cantankerous moneylender (Anton Adasinsky), and after signing in his own blood,...
- 5/11/2012
- by Shaun Munro
- Obsessed with Film
★★★★☆ Making its way to UK cinemas eight months on from its Golden Lion win at last year's Venice Film Festival, Alexander Sokurov's Faust (2011) has lost little of its enigmatic zeal in the interim period. Critical opinion has been somewhat divided on this final chapter in the Russian director's tetralogy (which includes 1999's Moloch, 2000's Taurus and 2005's The Sun), yet for all its over-ambition and debatable inaccessibility, this unique take on Goethe's classic tale remains one of the most mesmeric, hypnotic cinematic experiences of the last twelve months.
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- 5/9/2012
- by CineVue
- CineVue
68th Venice Film Festival Wrap Up
The 68th Venice Film Festival has wrapped up, with Aleksandr Sokurov's film Faust taking the top prize of the Golden Lion for Best Picture. The Russian director was given the award by the head of the year's jury Darren Aranofsky. This film is the fourth in the director's Goethe’s classic tragedy tetrology, following Molokh, Telets and The Sun. Faust however is the first in thet tetrology about a mythical person. His others films Moloch, was about Hitler, Taurus, about Lenin and The Sun, about Emperor Hirohito.
Thanks for reading We Got This Covered...
The 68th Venice Film Festival has wrapped up, with Aleksandr Sokurov's film Faust taking the top prize of the Golden Lion for Best Picture. The Russian director was given the award by the head of the year's jury Darren Aranofsky. This film is the fourth in the director's Goethe’s classic tragedy tetrology, following Molokh, Telets and The Sun. Faust however is the first in thet tetrology about a mythical person. His others films Moloch, was about Hitler, Taurus, about Lenin and The Sun, about Emperor Hirohito.
Thanks for reading We Got This Covered...
- 9/11/2011
- by Blake Dew
- We Got This Covered
Aleksandr Sokurov loosely—one might even say wildly, fervently–adapts Goethe’s Faust with barely contained, gleeful passion to conclude his tetralogy of power (previously, all real biographical subjects: Lenin, Hitler, Hirohito).
The mise-en-scène breaks out of the fetid, murmuring stasis so evocative of those three films and is freed to wander in a malleable, Ruiz-like manner around a sumptuously dirty and worn old German town of stone and earth. After opening first with a Forest Gump-like descent of the camera from mirrored heavens flying down to the grimy, sprawling town, the second shot after this luxurious, fantastical shot introduces Faust (Johannes Zeiler) via the decomposing ash-purple penis of a corpse he is dissecting in poverty and philosophical inquiry. With no money for food let alone gravediggers, the man first approaches and then is chased, accompanied and pursued by (and later pursues himself) the town’s money-lender (Anton Adasinsky)—the film's devil.
The mise-en-scène breaks out of the fetid, murmuring stasis so evocative of those three films and is freed to wander in a malleable, Ruiz-like manner around a sumptuously dirty and worn old German town of stone and earth. After opening first with a Forest Gump-like descent of the camera from mirrored heavens flying down to the grimy, sprawling town, the second shot after this luxurious, fantastical shot introduces Faust (Johannes Zeiler) via the decomposing ash-purple penis of a corpse he is dissecting in poverty and philosophical inquiry. With no money for food let alone gravediggers, the man first approaches and then is chased, accompanied and pursued by (and later pursues himself) the town’s money-lender (Anton Adasinsky)—the film's devil.
- 9/9/2011
- MUBI
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