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The Hunt (Danish: Jagten) is a Danish mystery drama film directed by Thomas Vinterberg and starring Mads Mikkelsen. The story is set in a small Danish. The year-old actress stars alongside Eddie Redmayne in new film 'The Danish Girl'. Charlie Teather; Wednesday 30 December FOR A DECADE NOW, DANISH DOCUMENTARY PRODUCTION (founded in ) has been an international THE CASLTE, directed by Eva Mulvad, produced by Sigrid Dyekjær. AI . meets the market reality of the art world .
I told him that I was expecting a child with my girlfriend, and he got furious and said that then I had really understood nothing of his films, which are about how we have organised ourselves so horribly with each other that bringing children into the world is utterly indefensible. And then he disappeared into the night. I was distraught, but his actress Irm Hermann later told me that he was just jealous and that he had often begged her to give him a child.
Fassbinder was, in a sense, himself the child he never had and no matter how insufferable he could be, perhaps these childlike qualities were precisely why we all regarded him with such love. When he made a film, he was like a child creating his own private fantasy world — or his own nightmares.
His films in a certain sense are filmed from the point of view of the wondering child. Just look how grownups live! Look how they abuse each other and themselves. One the most important figures in the New German Cinema. And while he looks like the typical crazy preacher whom no one takes seriously, his views resonate with the popular opinion of the town. The three teenagers have struggled with both fear of being excluded and the evidence that those fears were well-founded, in the form of physical and mental abuse from family, friends and strangers.
When Benny came out to his older brother, he punched him in the face. In that respect, being gay in Tulsa, Oklahoma, seems pretty harmless.
Squeezed in between two churches lies a tiny youth centre called Open Arms, which welcomes LGBT kids to come and discuss their feelings about sexuality, family, religion — and all other concerns that every teenager deals with.
They must defend their sexuality in an age where the hormones are blooming, and they really just want to jump into life, no matter what others think about their choice of a boy- or girlfriend. Now, both he and his family have accepted him as he is, not least thanks to the support and the new group of friends he found at the youth centre. Larissa also struggles with self-acceptance. She left home to avoid confrontations with her mother after coming out as a lesbian, but still struggles with the need of approval.
For more information, see reverse section. You have a lot of thoughts and doubts, before you choose to be open. Studied art and film in Copenhagen and Rome. Misfits is selected for Panorama Dokumente at the Berlinale.
Sara Stockmann Producer at her own company Sonntag Pictures. As told to Freja Dam The fly on the wall is premised on a lie. Whenever you point a camera at anybody, they start staging themselves, consciously or unconsciously. They act out the fantasies they wished they lived up to and dramatise idealised images of themselves that they wished they could fulfil.
In that sense, the non-fiction film camera is, in its most natural state, a prism with the power to reveal the fictions that constitute ourselves and our perception of reality. And from this self-staging, we can infer how people really see themselves.
What matters is what questions the film is answering. In The Act of Killing, I was trying to understand not only how human beings commit evil, but what lies we tell ourselves to justify our actions — and the effects of those lies.
The Look of Silence is a poem about what 50 years of fear and silence does to a human being, to a mother, to the f lesh of an old man, to a family and a community. The purpose of both films is to expose the present-day legacy of genocide — the thuggery and corruption and fear that results from decades of impunity — and to immerse viewers in a poetic, almost physical experience of what it is like to live in such a world.
Both films are about what it means to be human.
Cannes Film Festival - Wikipedia
They are not historical or journalistic films about Indonesia. They depict the effects of evil on our humanity, and how unacknowledged evil FILM Berlin Issue affects the way we live together as human beings. To achieve this, both films only provide as much contextualising historical and political information the audience needs in order to feel the emotional, moral, and political significance of the journey.
The experience of making both films, and hopefully viewing them, is like being engulfed by a tsunami. The essence of my filmmaking is to allow myself to be sucked in by the undertow of a stormy sea. And yet you recognise it instantly as authentic, unprecedented, and essential. The Act of Killing Photo: I have learned, therefore, that it is never the task of the artist to condemn other human beings.
It is, on the contrary, always our duty to try to understand people. Klara is asked leading questions about what occurred and gives unclear responses about Lucas, alternately denying and confirming the abuse.
Klara's later contradictions to her mother, Agnes, that nothing happened are dismissed by Agnes as Klara repressing painful memories of the abuse. The preschool's director, who believes children would not lie about such a thing, informs the other parents that abuse likely occurred and asks them to look for signs of sexual abuse in their own children.
The parents ask leading questions of their children, who also say they were abused, destroying any public doubt about Klara's story, and Lucas is fired and shunned by the community as a paedophile and sexual predator.
His friendship with Theo, who insists his daughter never lies, is destroyed.
His relationship with Nadja is likewise ruined when she asks if the accusations are true, causing him to angrily throw her out of the house.
Marcus is forbidden from moving in with him and is publicly ostracised.
The Hunt ( film) - Wikipedia
Lucas survives only with the financial support of his close friend Bruun, whose father is extremely wealthy. At Christmastime, Lucas is arrested on suspicion of sexual assault.
However, the children's accounts all involve Lucas abusing them in his basement, which supports Lucas' innocence as his house has no basement. We need more films if we are going to maintain diversity and high standards in the available range of films. Now that technology makes it possible to make feature films for relatively little money, we at the Danish Film Institute want to support the concept of low-budget films, because that can lead to more films being made.
Consequently, we have launched an initiative enabling filmmakers to apply for funding across the existing schemes, that is, under both the more artistic and the more commercial schemes.
The support is aimed at films with a maximum budget of either EUR 0. The initiative is important because we can get new talent started more quickly. Too many young directors wait far too long before making their feature-film debut. The initiative also aims at the potential of playing around a bit with distribution forms, since these low-budget films have less private money at stake than usual. We also hope that low budgets will compel filmmakers to make their films in new ways and that that will generate new kinds of stories, new forms of revenue and new production methods that will set a precedent.
In other words, to produce innovation also in terms of content and form. But the scheme should not be seen only as an opportunity for first-time filmmakers. We can tell from other countries that this type of micro- or low-budget scheme also appeals to more experienced names who, in between bigger projects, have found great pleasure in making less expensive movies with a tight concept.
The Producer Jacob Jarek Profile Pictures, producer of the micro-budget film Shelley, a psychological horror film directed by Ali Abbasi, set for a release. There can certainly be lots of energy in lowbudget films. At least, a different kind of energy, as I hope you can tell in our film Shelley.
The low-budget films that are currently being made all over the place can be seen as protest films of a kind — a protest by directors that they have to wait so long for major funding, which is harder for new talent to secure.
That energy shows through in the films, if they turn out good. When you make a film on a small budget, you have to make sure that the script is built on a lowbudget idea. It has to be a quality in itself that the film is small. The test is to ask yourself if the film would be better or worse if you added more locations and more actors. If it would be worse, you may have a low-budget idea.
On Shelley, we had a single location, which was extremely important to us. We had three actors and we had a short shooting period of just three weeks. It was like an intense outburst of energy. We stayed in a hostel near the location. We were together 24 hours a day. We brought along a chef who cooked three meals a day, really good food, and there was a good atmosphere of being together. As a producer you have to be involved already in the development process.
The economy has to be micro-managed and I have to help drive the process forward and build up an atmosphere. A lot of these films are being made all over the world. It may give some freedom and provide an outlet for creative energy in the industry. Anyone who has ever made an amazing cucumber sandwich knows that a cucumber sandwich can taste every bit as amazing as oysters. They are two very different dishes, and we can talk about quality in either case.
2010 Cannes Film Festival
We can also talk about the quality of the preparation, the ingredients and their combination. Unlike before, when young people had to go to the Film School to start making films, today almost everyone has made films before they get in. And the films are made without access to millions of kroner. That requires a redefinition of our roles as public institutions.
At the Film School we should stimulate our students to have a broader range of expressions. At the Film School, we are very conscious about relating to that reality.
This takes a knowledge of what things cost. Creating a clever production concept that is based on artistic choices becomes crucial to the possibility of making a good film on the cheap. The fun and inspiring thing about working on a tight budget is that it forces you to challenge your thinking habits as a filmmaker. We only have to go back to the Dogme films to see the kind of great films that can come out of that. Directors will make films for anything.
You do it to get your film made. But the way I see it, the producer should be even more creative. An example of that kind of partnership was when Tobias Lindholm and I made our first feature, R, which had a budget of aroundeuros. That influenced the development of our story, which had to be executed at a single location.
Again, that was an aggressive, creative move by the producers.