Showing posts with label Motion. Show all posts

Monday, October 13, 2014

Kill the Indian, Save the Man

  No comments
October 13, 2014


From multi-award winning directors Robin Davey and Yellow Thunder Woman, comes this 'Illuminating Documentary' (Time Out). Delving deeply into the often misunderstood and frequently over looked historic realities of the American Indian, The Canary Effect follows the terrifying and horrific abuses instilled upon the Indigenous people of North America, and details the genocidal practices of the US government and its continuing affects on present day Indian country.

Featuring interviews with the leading scholars and experts on Indian issues including controversial author Ward Churchill, the film brings together the past and present in a way never before captured so eloquently and boldly on film.


Read More

Saturday, October 11, 2014

Interview With Roger Deakins About Shooting The Coens' 'The Man Who Wasn't There'

  No comments
October 11, 2014


Roger Deakins is a man who needs no introduction. Arguably the most renowned cinematographer currently working, Deakins has burned vivid and unforgettable images into our cinema-going minds, having worked with some of the most respected directors of our time—including Martin Scorsese, John Sayles, Bob Rafelson, Norman Jewison and many others. He’s also lensed some of Joel and Ethan Coen’s best pictures, summoning indelible imagery from the nightmarish, Kafka-esque apartment complexes of “Barton Fink," the sleazy, delirious L.A. daydream of “The Big Lebowski” and the godless Texas frontier of “No Country for Old Men.” He was also behind the cameras for one of the brother’s most sadly overlooked efforts, “The Man Who Wasn’t There," a gorgeous, sullen, 1950’s-era drama about a taciturn barber who gets mixed up in some real bad business. The movie doesn’t traffic in the splashy violence or broad comedy that characterizes some of the Coens' other pictures, but it is a subdued and compelling film, made all the more watchable by Deakins’ inky, alluring and staggeringly beautiful black-and-white cinematography. For those curious viewers desiring a deeper look into the film’s visual conception, here is a fascinating in-depth interview with Mr. Deakins himself about his work on the film.

Deakins touches on a number of interesting topics here: the virtues of black-and-white photography, the process of successfully transporting an audience into the past and the peculiar rituals of working with Joel and Ethan Coen. He also discusses the “seamless” nature of his preferred working method, and how shots that call attention to themselves can sometimes distract from the film as a whole as the audience watches. Listening to Deakins talk about his craft is almost intoxicating—he’s a calm, articulate and deeply thoughtful man who has a frighteningly preternatural understanding of both the art of photography and how said art services a cinematic narrative. All of Deakins’ collaborations with the Coens—even purportedly minor films like “The Ladykillers” and “A Serious Man”—feel like fully lived-in and fleshed-out worlds, each with their own distinct rhythms and set of rules. “The Man Who Wasn’t There” is one of Deakins’ most visually evocative pictures—a brooding melting pot of commie-era paranoia, shadowy Chandlerian noir and typical pitch-black Coen humor, with dashes of domestic melodrama and even a little sci-fi thrown in for good measure. This interview goes deep into Deakins’ mastery of his craft and it’s both absorbing and deeply informative.

Deakins recently wrapped principal photography on Angelina Jolie’s WWII drama “Unbroken”—a project that the Coens have actually done a few rewrites on—which now has a December 25th release date.


Read More

Friday, October 10, 2014

Oscars: Record 83 Films Submitted for Foreign-Language Prize

  No comments
October 10, 2014

Wild Tales. Damián Szifrón, director;
A record 83 countries have submitted films for consideration in the foreign-language film category for the 87th Academy Awards. That easily tops record 76 that were under consideration last year.

The entries include four first-timers: Kosovo, Malta, Mauritania and Panama.

Also new to the race: The name of the director will be engraved onto the Oscar statuette, in addition to the name of the country.

The five nominees will be announced Jan. 15, along with contenders in all the other categories. But a week before then, the Academy of Motion Picture Arts & Sciences will release a short list of nine foreign-language semi-finalists.

Each country can submit one film, determining on its own how this choice will be made. Any film that opens commercially in the U.S. in calendar 2014 will be eligible in other categories as well. The last foreign-lingo film to score a best picture nomination was the 2012 “Amour.” The category was created in 1956.

Deadline for submissions was Oct. 1. Since then, the foreign-language film award committee has reviewed the submissions to make sure they qualify, in terms of national contributions (in an era of multi-national co-productions) and opening dates within its own country (Oct. 1, 2013, to Sept. 30, 2014.

The 2014 submissions are:

Afghanistan, “A Few Cubic Meters of Love,” Jamshid Mahmoudi, director;
Argentina, “Wild Tales”, Damián Szifrón, director;
Australia, “Charlie’s Country,” Rolf de Heer, director;
Austria, “The Dark Valley,” Andreas Prochaska, director;
Azerbaijan, “Nabat,” Elchin Musaoglu, director;
Bangladesh, “Glow of the Firefly,” Khalid Mahmood Mithu, director;
Belgium, “Two Days, One Night,” Jean-Pierre Dardenne and Luc Dardenne, directors;
Bolivia, “Forgotten,” Carlos Bolado, director;
Bosnia and Herzegovina, “With Mom,” Faruk Lončarevič, director;
Brazil, “The Way He Looks,” Daniel Ribeiro, director;
Bulgaria, “Bulgarian Rhapsody,” Ivan Nitchev, director;
Canada, “Mommy,” Xavier Dolan, director;
Chile, “To Kill a Man,” Alejandro Fernández Almendras, director;
China, “The Nightingale,” Philippe Muyl, director;
Colombia, “Mateo,” María Gamboa, director;
Costa Rica, “Red Princesses,” Laura Astorga Carrera, director;
Croatia, “Cowboys,” Tomislav Mršić, director;
Cuba, “Conducta,” Ernesto Daranas Serrano, director;
Czech Republic, “Fair Play,” Andrea Sedláčková, director;
Denmark, “Sorrow and Joy,” Nils Malmros, director;
Dominican Republic, “Cristo Rey,” Leticia Tonos, director;
Ecuador, “Silence in Dreamland,” Tito Molina, director;
Egypt, “Factory Girl,” Mohamed Khan, director;
Estonia, “Tangerines,” Zaza Urushadze, director;
Ethiopia, “Difret,” Zeresenay Berhane Mehari, director;
Finland, “Concrete Night,” Pirjo Honkasalo, director;
France, “Saint Laurent,” Bertrand Bonello, director;
Georgia, “Corn Island,” George Ovashvili, director;
Germany, “Beloved Sisters,” Dominik Graf, director;
Greece, “Little England,” Pantelis Voulgaris, director;
Hong Kong, “The Golden Era,” Ann Hui, director;
Hungary, “White God,” Kornél Mundruczó, director;
Iceland, “Life in a Fishbowl,” Baldvin Zophoníasson, director;
India, “Liar’s Dice,” Geetu Mohandas, director;
Indonesia, “Soekarno,” Hanung Bramantyo, director;
Iran, “Today,” Reza Mirkarimi, director;
Iraq, “Mardan,” Batin Ghobadi, director;
Ireland, “The Gift,” Tom Collins, director;
Israel, “Gett, the Trial of Viviane Amsalem,” Ronit Elkabetz and Shlomi Elkabetz, directors;
Italy, “Human Capital,” Paolo Virzì, director;
Japan, “The Light Shines Only There,” Mipo O, director;
Kosovo, “Three Windows and a Hanging,” Isa Qosja, director;
Kyrgyzstan, “Kurmanjan Datka Queen of the Mountains,” Sadyk Sher-Niyaz, director;
Latvia, “Rocks in My Pockets,” Signe Baumane, director;
Lebanon, “Ghadi,” Amin Dora, director;
Lithuania, “The Gambler,” Ignas Jonynas, director;
Luxembourg, “Never Die Young,” Pol Cruchten, director;
Macedonia, “To the Hilt,” Stole Popov, director;
Malta, “Simshar,” Rebecca Cremona, director;
Mauritania, “Timbuktu,” Abderrahmane Sissako, director;
Mexico, “Cantinflas,” Sebastián del Amo, director;
Moldova, “The Unsaved,” Igor Cobileanski, director;
Montenegro, “The Kids from the Marx and Engels Street,” Nikola Vukčević, director;
Morocco, “The Red Moon,” Hassan Benjelloun, director;
Nepal, “Jhola,” Yadav Kumar Bhattarai, director;
Netherlands, “Accused,” Paula van der Oest, director;
New Zealand, “The Dead Lands,” Toa Fraser, director;
Norway, “1001 Grams,” Bent Hamer, director;
Pakistan, “Dukhtar,” Afia Nathaniel, director;
Palestine, “Eyes of a Thief,” Najwa Najjar, director;
Panama, “Invasion,” Abner Benaim, director;
Peru, “The Gospel of the Flesh,” Eduardo Mendoza, director;
Philippines, “Norte, the End of History,” Lav Diaz, director;
Poland, “Ida,” Paweł Pawlikowski, director;
Portugal, “What Now? Remind Me,” Joaquim Pinto, director;
Romania, “The Japanese Dog,” Tudor Cristian Jurgiu, director;
Russia, “Leviathan,” Andrey Zvyagintsev, director;
Serbia, “See You in Montevideo,” Dragan Bjelogrlić, director;
Singapore, “Sayang Disayang,” Sanif Olek, director;
Slovakia, “A Step into the Dark,” Miloslav Luther, director;
Slovenia, “Seduce Me,” Marko Šantić, director;
South Africa, “Elelwani,” Ntshavheni Wa Luruli, director;
South Korea, “Haemoo,” Shim Sung-bo, director;
Spain, “Living Is Easy with Eyes Closed,” David Trueba, director;
Sweden, “Force Majeure,” Ruben Östlund, director;
Switzerland, “The Circle,” Stefan Haupt, director;
Taiwan, “Ice Poison,” Midi Z, director;
Thailand, “The Teacher’s Diary,” Nithiwat Tharathorn, director;
Turkey, “Winter Sleep,” Nuri Bilge Ceylan, director;
Ukraine, “The Guide,” Oles Sanin, director;
United Kingdom, “Little Happiness,” Nihat Seven, director;
Uruguay, “Mr. Kaplan,” Álvaro Brechner, director;
Venezuela, “The Liberator,” Alberto Arvelo, director.


The 87th Academy Awards nominations will be announced Jan. 15 at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater. The Oscars will be held Feb. 22, at the Dolby Theatre at Hollywood & Highland Center in Hollywood, and will be televised live by the ABC Television Network.

Read More

Thursday, June 12, 2014

The World Is Ours

  No comments
June 12, 2014

Coca Cola for creating theme song from Nepal  
The World is Ours' is the 2014 Coca-Cola FIFA World Cup™ anthem. The song has been on an amazing journey. Starting in Brazil in 2013, The World Is Ours has inspired 120 musicians and producers, 300 hours of studio time to create 24 localized versions for 175 markets, literally bringing Brazil to the World and the World back to Brazil. This is the World's Remix featuring artists from around the world.

Read More

Friday, June 6, 2014

List of Documentaries About Photography

  No comments
June 06, 2014


Want to watch a non-fiction film about photography? Here’s a list of documentaries (and some other stuff) concerning photography that I’ve collected over the years.

Documentaries


Series


Films By Photogs


Related


Bonus

  • Bring Your Own Doc: A conversation with director Jeff Malmberg about Marwencol –YouTube
  • Getty Images Grants for Editorial Photography 2012 – YouTube
  • Henri Cartier-Bresson Interviewed by Charlie Rose – YouTube
  • Inside Media: The President's Photographer – YouTube
  • James Nares – STREET – Lecture – Vimeo
  • Joel Meyerowitz 1981 Street Photography Program – YouTube
  • Magnum Photos – Earthlings by Richard Kalvar – YouTube
  • Magnum Photos – Personal Best by Elliott Erwitt – YouTube
  • ‪Mark Feeney: "Four Photographers on Three Wheels: William Eggleston's Tricycle and Before"‬ – YouTube
  • Peter Fraser 2011 talk on his work and workshop assignment – Vimeo
  • Sarah Moon is a Master of Photography (from Contacts) – YouTube
source:petapixel

Read More

Thursday, June 5, 2014

Qatar World Cup 2022

  No comments
June 05, 2014

The price of Qatar 2022 world cup, counted in the lives lost while constructing stadiums, hotel's etc.




Read More