3B Productions, the French production outfit behind Hirokazu Kore-eda’s Venice opener “The Truth,” is developing the next films of Atiq Rahimi (“The Patience Stone”) and Karim Dridi (“Chouf”).
Rahimi, whose latest film “Notre-dame du Nil” will be world premiering at Toronto, is developing with Jean Brehat at 3B Productions and Ron Senkowski (“The Prophet”) the adaptation of “Les echelles du levan” (“Port of Calls”), a novel by French-Lebanese writer Amin Maalouf.
“I’ve always loved Amin Maalouf’s novels and I wanted to adapt one, so when Ron Senkowski proposed producing with him the adaptation of ‘Les echelles du levan,’ I didn’t hesitate,” said Brehat, adding that he thought of Rahimi to direct the film because he admires his books and the quality of the two films he’s helmed.
“Les échelles du levan” will reunite Rahimi with Golshifteh Farahani, who had starred in his 2012 film “The Patience Stone.
Rahimi, whose latest film “Notre-dame du Nil” will be world premiering at Toronto, is developing with Jean Brehat at 3B Productions and Ron Senkowski (“The Prophet”) the adaptation of “Les echelles du levan” (“Port of Calls”), a novel by French-Lebanese writer Amin Maalouf.
“I’ve always loved Amin Maalouf’s novels and I wanted to adapt one, so when Ron Senkowski proposed producing with him the adaptation of ‘Les echelles du levan,’ I didn’t hesitate,” said Brehat, adding that he thought of Rahimi to direct the film because he admires his books and the quality of the two films he’s helmed.
“Les échelles du levan” will reunite Rahimi with Golshifteh Farahani, who had starred in his 2012 film “The Patience Stone.
- 9/1/2019
- by Elsa Keslassy
- Variety Film + TV
Backstabbing For Beginners A24 & Directv Reviewed by: Harvey Karten Director: Per Fly Screenwriter: Per Fly, Daniel Pyne Cast: Theo James, Ben Kingsley, Jacqueline Bisset, Belçim Bilgin, Rossif Sutherland, Rachel Wilson Screened at: Critics’ link, NYC, 4/14/18 Opens: April 27, 2018 In 1958 Sherman Adams, President Eisenhower’s chief of staff, was forced to resign. He […]
The post Backstabbing for Beginners Movie Review appeared first on Shockya.com.
The post Backstabbing for Beginners Movie Review appeared first on Shockya.com.
- 4/22/2018
- by Harvey Karten
- ShockYa
"It sickens me to have to stand there and listen to your lies." A24 has debuted the first official trailer for a true story political drama titled Backstabbing for Beginners, from Danish director Per Fly. The film is about a young, idealistic program coordinator at the United Nations, as played by Theo James (from the Divergent series), who stumbles upon a conspiracy involving Iraq's oil reserves. Ben Kingsley stars as his boss, and the cast includes Jacqueline Bisset, Christina Dupre, Rossif Sutherland, Belçim Bilgin, Rachel Wilson, and Brian Markinson. This looks like a very compelling political thriller about a kid just trying to do what's right. And, as A24 says in their email, it's a very "timely" film for us to watch these days. Here's the first official trailer for Per Fly's Backstabbing for Beginners, direct from YouTube: Based on a true story, an idealistic young employee (Theo James...
- 3/20/2018
- by Alex Billington
- firstshowing.net
The Butterfly's Dream, Turkey's Submission for the Academy Award Nomination for Best Foreign Language Film. U.S. : None Yet. Production Company: Bkm Film
Attempting to decrypt, explain, and capture the complexity of the human experience has been the eternal mission of writers. To translate into words the enormity of what surrounds mankind entails the specific talent of using something as complex and rule-bound as language to makes sense of something as unsystematic,mysterious and messy as life. Of all the brave souls that undertake such task, poets, novelists, and philosophers carry on their shoulders all the existentialism avoided by fact-based scribes in journalism or research. Their literary works are as subjective as can be, and interpret the world from a personal standpoint Perhaps that is why connecting to a poem written in the distant past speaks of the writer’s talent. They, like any artist, have to make their unique perception into something universally comprehensible. The difference is that in their arsenal they have as only tools the fixed meaning of words, which they must mold into poetry. Undeniably, the beauty of poems, and even more the poets themselves, fascinates director Yilmaz Erdoğan, so he decided to create his own visual verses in his epic period drama The Butterfly’s Dream.
Set during World War II in Zonguldak, Turkey, this is the real life story of two young poets forgotten by history whose writing developed through strenuous adversity. Muzaffer (Kivanç Tatlitug), the optimist romantic, and Rüştü (Mert Firat) the pessimist dreamer, are a team of aspiring writers whose brotherly camaraderie is based upon their shared loved for the written word and their mutual misfortune. In a time when compulsory labor was imposed on villagers and tuberculosis was rampant among the impoverished population, the two of them remained cheerful that one day their dreams of being published and their poetic vision would materialize. Living in poverty and ill with the terrible respiratory disease, both men write as a form of therapeutic catharsis in the face of so much misery. Advised by their families to pursue other more productive professions, their only encouragement comes from their supportive teacher, and acclaimed poet, Behcet Necatigil (played by director Erdoğan himself).
After casually meeting beautiful Suzan (Belçim Bilgin) , the daughter of a wealthy and influential man, the poets make a bet. To decide whom she likes the most they each write a poem for her to choose blindly which one she prefers. Visibly more interested in her, Muzaffer strives to get her attention. Once the lighthearted vagabonds befriend her, she agrees to star in a no-budget play Rüştü about a pair of doomed lovebirds in the forced labor hell of the mines. Their short-lived creative happiness comes to an end once Suzan’s father is informed of the boys’ sickness. Still, the separation only pushes Muzaffer to need her more. Because of their debilitated health, and helped by their loyal teacher, the poets are admitted to a sanitarium, where the course of their lives is altered. Falling in love while facing the possibility of never conquering the long-awaited recognition becomes both their inspiration and their death sentence.
Taking its title from a ancient passage by Chinese thinker Chuang Tzu , in which he pondered on a dream he had where he was a butterfly.Erdoğan’s film deals with the same nature of reality and the things, like art, that serve as antidote to mitigate the pain and hardships one must withstand. Tzu couldn’t be certain if he had dreamt to be the flying insect or if he was really a butterfly that dreamt it was human. There is nothing absolute and everything exist in an always shifting transformative state. The poets couldn’t foresee the future, they couldn’t wake up from their destiny - whether this was a dream or a nightmare. However, they could embellish their existential agony with the sheer joy of their passion for writing. They became masters at speaking of sadness with voices cheerful grace. Tatlıtuğ is splendid as boundlessly positive Muzaffer as is his charismatic sidekick played by Firat. Together with the rest of the noticeably invested cast, they present a movie that despite its overall grandeur, is about their individual wandering, suffering, and redemptive motivations along life’s uncertain roads.
Crafted with the splendor of any Western period film, Yılmaz Erdoğan’s historical feature is classically stunning. Its impeccable photography adorns the frames with a delightful color palette and displays the elaborate sets and production design. This is top-notch filmmaking utilized to retell profoundly meaningful material, it is the perfect mix of visual exuberance and delicate storytelling. Irresistibly lyrical from start to finish, The Butterfly’s Dream is ravishingly elegant, and it is propelled by the rapturous aesthetic bestowed onto every aspect of the piece. Like the most uplifting, yet heartbreaking lines ever written about love, the film entrances the viewer and pays respect to its powerful characters, to their sadness, and beautiful unfulfilled hopes.
Read more about all the 76 Best Foreign Language Film Submission for the 2014 Academy Awards...
Attempting to decrypt, explain, and capture the complexity of the human experience has been the eternal mission of writers. To translate into words the enormity of what surrounds mankind entails the specific talent of using something as complex and rule-bound as language to makes sense of something as unsystematic,mysterious and messy as life. Of all the brave souls that undertake such task, poets, novelists, and philosophers carry on their shoulders all the existentialism avoided by fact-based scribes in journalism or research. Their literary works are as subjective as can be, and interpret the world from a personal standpoint Perhaps that is why connecting to a poem written in the distant past speaks of the writer’s talent. They, like any artist, have to make their unique perception into something universally comprehensible. The difference is that in their arsenal they have as only tools the fixed meaning of words, which they must mold into poetry. Undeniably, the beauty of poems, and even more the poets themselves, fascinates director Yilmaz Erdoğan, so he decided to create his own visual verses in his epic period drama The Butterfly’s Dream.
Set during World War II in Zonguldak, Turkey, this is the real life story of two young poets forgotten by history whose writing developed through strenuous adversity. Muzaffer (Kivanç Tatlitug), the optimist romantic, and Rüştü (Mert Firat) the pessimist dreamer, are a team of aspiring writers whose brotherly camaraderie is based upon their shared loved for the written word and their mutual misfortune. In a time when compulsory labor was imposed on villagers and tuberculosis was rampant among the impoverished population, the two of them remained cheerful that one day their dreams of being published and their poetic vision would materialize. Living in poverty and ill with the terrible respiratory disease, both men write as a form of therapeutic catharsis in the face of so much misery. Advised by their families to pursue other more productive professions, their only encouragement comes from their supportive teacher, and acclaimed poet, Behcet Necatigil (played by director Erdoğan himself).
After casually meeting beautiful Suzan (Belçim Bilgin) , the daughter of a wealthy and influential man, the poets make a bet. To decide whom she likes the most they each write a poem for her to choose blindly which one she prefers. Visibly more interested in her, Muzaffer strives to get her attention. Once the lighthearted vagabonds befriend her, she agrees to star in a no-budget play Rüştü about a pair of doomed lovebirds in the forced labor hell of the mines. Their short-lived creative happiness comes to an end once Suzan’s father is informed of the boys’ sickness. Still, the separation only pushes Muzaffer to need her more. Because of their debilitated health, and helped by their loyal teacher, the poets are admitted to a sanitarium, where the course of their lives is altered. Falling in love while facing the possibility of never conquering the long-awaited recognition becomes both their inspiration and their death sentence.
Taking its title from a ancient passage by Chinese thinker Chuang Tzu , in which he pondered on a dream he had where he was a butterfly.Erdoğan’s film deals with the same nature of reality and the things, like art, that serve as antidote to mitigate the pain and hardships one must withstand. Tzu couldn’t be certain if he had dreamt to be the flying insect or if he was really a butterfly that dreamt it was human. There is nothing absolute and everything exist in an always shifting transformative state. The poets couldn’t foresee the future, they couldn’t wake up from their destiny - whether this was a dream or a nightmare. However, they could embellish their existential agony with the sheer joy of their passion for writing. They became masters at speaking of sadness with voices cheerful grace. Tatlıtuğ is splendid as boundlessly positive Muzaffer as is his charismatic sidekick played by Firat. Together with the rest of the noticeably invested cast, they present a movie that despite its overall grandeur, is about their individual wandering, suffering, and redemptive motivations along life’s uncertain roads.
Crafted with the splendor of any Western period film, Yılmaz Erdoğan’s historical feature is classically stunning. Its impeccable photography adorns the frames with a delightful color palette and displays the elaborate sets and production design. This is top-notch filmmaking utilized to retell profoundly meaningful material, it is the perfect mix of visual exuberance and delicate storytelling. Irresistibly lyrical from start to finish, The Butterfly’s Dream is ravishingly elegant, and it is propelled by the rapturous aesthetic bestowed onto every aspect of the piece. Like the most uplifting, yet heartbreaking lines ever written about love, the film entrances the viewer and pays respect to its powerful characters, to their sadness, and beautiful unfulfilled hopes.
Read more about all the 76 Best Foreign Language Film Submission for the 2014 Academy Awards...
- 12/10/2013
- by Carlos Aguilar
- Sydney's Buzz
By Michael Atkinson
The idea of a "national" cinema, expressive of a particular and coherent cultural esprit, is a standard of most cinematic intercourse . until you confront the real map, in which Kosovar cinema is now primed to forge an identity of its own (as the Serbs and Slovenians have done), the ex-Soviet nations of the Silk Road are struggling to differentiate themselves from Russian film and the nationless movies of the Basque, the Romany and the Palestinians still hunt for footing and voice. Add to this gray zone the films of Kurdistan, a non-country standing nevertheless with its own army, government and debatable borders, and a nascent cinema rising with the ascent of the Iranian new wave and from the crater of the American occupation. Even within this context, Hiner Saleem is filmmaker on the roam . an Iraqi Kurd long expatriated to France, Saleem has made seven features, two in France,...
The idea of a "national" cinema, expressive of a particular and coherent cultural esprit, is a standard of most cinematic intercourse . until you confront the real map, in which Kosovar cinema is now primed to forge an identity of its own (as the Serbs and Slovenians have done), the ex-Soviet nations of the Silk Road are struggling to differentiate themselves from Russian film and the nationless movies of the Basque, the Romany and the Palestinians still hunt for footing and voice. Add to this gray zone the films of Kurdistan, a non-country standing nevertheless with its own army, government and debatable borders, and a nascent cinema rising with the ascent of the Iranian new wave and from the crater of the American occupation. Even within this context, Hiner Saleem is filmmaker on the roam . an Iraqi Kurd long expatriated to France, Saleem has made seven features, two in France,...
- 3/4/2008
- by Michael Atkinson
- ifc.com
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