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News
UserpicItaly's culture minister boycotts Cannes Film Festival
Posted by myfilmblog.com
10.05.2010

Italy's culture minister has snubbed an invite to the Cannes Film Festival in protest at a decision to screen a film about the L'Aquila earthquake. Sandro Bondi has objected to the satirical documentary which criticises Prime Minister Silvio Berlusconi's handling of the disaster. Read more


Editorial
No UserpicNollywood Babylon
Posted by Lily
29.04.2010

Lagos, Nigeria, a city of 15 million people, is the capital of contemporary African cinema. Since 1992, with the popular success of Living in Bondage, a film in which the Nigerian elite use black magic to maintain their social and financial prestige, the Nigerian movie industry (christened Nollywood) has become the third largest in the world after Hollywood and Bollywood. In this exploding market for locally made home videos, Nigerian filmmakers cast, shoot and sell films at lightning speed in the heart of Lagos. A truly populist cinema, Nollywood produces up to 2,000 films a year, reaching African audiences throughout the continent and the world.

Nollywood Babylon demonstrates the power of cinema to speak to and create a social identity. According to filmmakers Ben Addelman and Samir Mallal, the themes of these films "reflect the collision of traditional mysticism and modern culture." The films temper frightening, ecstatic visions of cult practices and witchcraft with redemptive Christian endings that seek to reconcile their deep contradictions. Despite this sensationalism, Addelman and Mallal show how these films deal with the defining conflicts of African life, and hone in on the profound, universal human struggles contained within the films’ melodramatic excess. Addelman and Mallal take the viewer into the complex world of Nigerian cinema in this captivating documentary, and leave us with the feeling that we are on the brink of a truly immortal Nigerian cinema. The Great African Film will come out of this movement.

Watch Nollywood Babylon online


Editorial
UserpicThe Round-up from SXSW
Posted by Elizabeth
21.03.2010

I think festivals should always pray for chilly, rainy weather because there is a direct correlation between screening attendance and sunshine, i.e. the better the weather the fewer movie goers, which might explain this years long lines and inability to get in to watch some films last week in Austin. With all the rain, I felt like I had never left the East Coast.

Much has been said about the films in Austin and how it is a growing festival with a unique angle on the intersection between film distribution and technology. Panel after panel discussed why some digital ventures don’t deliver, the future of independent film distribution, and how to succeed in making a video go viral (without kittens). We are entering what is probably phase 2 of DIY film distribution, where ventures such as BSide proved that there were audiences to be reached using online outreach to get niche audiences to screenings, but failed to generate sufficient revenue for their investors. We have the Auteurs who offer a proprietary VOD platform but can’t get eyeballs, suggesting that technology and content alone are not sufficient. And now YouTube has announced that it will offer Pay Per View to independent filmmakers. Is it the solution filmmakers have been waiting for or is the habit of free to deeply entrenched in the YouTube culture to translate to Pay Per View? I guess we’ll see… one of our upcoming Knitting Factory Entertainment releases is a YouTube Pay Per View feature and so far it is going well at more than 166,000 views.

On the film side, I had my favorites. I think the highlight was the after-party for CANAL STREET MADAM. Talking to the (in)famous Jeanette was a pleasure and only proved my hunch that the lady might be a whore, but she isn’t anybody’s victim. Another viewer over at Indiewire suggested that she is simply ‘libidouness,’ but that is like saying that most people go to work in the morning not for the money but for the pleasure. Perhaps that is true for the guys over at IndieWire, but tell that to your average joe and he’ll probably spit in your coffee. Most of us, alas, must work for our bread and Jeanette earned hers the old fashioned way. Nothing wrong with that – like she said, if it is between two consenting adults it shouldn’t be illegal.

The EyeSteel Films crew was out in full force. Omar Majeed, the filmmaker behind TAQWACORE: THE BIRTH OF MUSLIM PUNK will be keeping fans new and old abreast of all things Taqwacore related at taqwacore.myfilmblog.com. Sign-up and stay tuned for updates regarding festival screenings, the upcoming NYC premier and theatrical dates throughout the summer.

REEL INJUN, which will open theatrically at MoMA in June, and THE SOUND OF INSECTS also garnered attention. Stay posted for further updates.


Announcements
UserpicWatch "Theater of War" Now Online Exclusively from Alive Mind
Posted by myfilmblog.com
27.02.2010

Watch film trailer on your computer, on iPad, on iPod or on iPhone (automatic resolution)

Critically acclaimed documentary about the dramatic performance of one of the reigning queens of contemporary theater and film, Meryl Streep, as she interprets the role of Mother Courage in Tony Kushner's The Public Theater/NY Shakespeare Festival in Central Park production of Mother Courage and Her Children.

This inspired doc investigates the power of theater to provoke its viewers out of their complacency in the midst of protracted war, and proves the urgent relevancy of the great 1939 anti-war play by one of the twentieth century's most renowned playwrights, Bertolt Brecht.

"...filmmaker John Walter jumps from art to history and politics and back again, from the theater of the streets to the theater of the stage, without pause. That makes the movie... tough to summarize, which is part of its appeal" - Manohla Dargis, The New York Times


Announcements
UserpicWatch Gogol Bordello Non-Stop
Posted by myfilmblog.com
18.02.2010

Definitive film on the gypsy punk rock band and international sensation uncovers the insane party culture of the band and its leader and borderline movie star Eugene Hutz.

“In “Gogol Bordello Non-Stop” [Eugene Hutz] emerges as a passionate, articulate philosopher of punk’s democratic participatory aesthetic who espouses the rejection of social hierarchies in concerts that are raucous, bacchanalian performance-art carnivals.” — Stephen Holden, The New York Times

A vibrant chronicle of one of today’s most notorious and revered live bands, GOGOL BORDELLO NON-STOP follows Eugene Hütz’s gypsy-punk brigade around the world as they spread their liberating libertine musical gospel. Filmmaker Margarita Jimeno tracks their raucous gigs from 2001 to 2006, from NYC to Italy, as the band rises from dingy basements to festival main-stages. The cast is a rotating circus of polyglot personalities from Israel, Russia and America, who dish on their music, their heritage, and their favored vices.  Hütz, a sardonic mustachioed Ukrainian immigrant and the group ringleader, fuses his gypsy heritage with a love of punk rock and burlesque. Part carnival barker, social organizer, and poet, he’s a mesmerizing presence on-stage and off.

GOGOL BORDELLO NON-STOP is an artful documentary that mixes flamboyant costumes, intricate dance choreography, a relentless beat and an explosive energy not seen since the dawn of rock ‘n’ roll.

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