“Our irony leaves no room even for sarcasm nor for cynicism.”
Sculptress, painter, director and lifetime collaborator of Antonio Rezza, Flavia Mastrella is one of the most interesting figures in contemporary art. Other than her works with Rezza, she often organizes and promote her own art exhibitions, which go from sculpture to painting to photography.
Chen Kuan tai
Two possible stills for Sinhasan
“We don’t believe to represent Italian cinema, as we don’t believe that Italian cinema wants to be represented by us.”
Franco Maresco (Palermo, 1958) is an italian director, cinematographer and screenwriter, and was part of the duo Ciprì and Maresco. Along with is collegue Daniele Ciprì, he created and directed the cult TV series “Cinico TV”, aired on RAI3, as well as other programs like “I Migliori Nani della Nostra Vita” and “Ai Confini della Pietà”.
They’ve also directed three full lenght movies, which soon reached a cult status due to their iconoclastic nature: their second movie, “Totò che visse due volte” has been accused of blasphemy and it’s banned from italian television. Recently the duo split up, and both of the directors work with their own projects.
Picture for Robinson’s Crusoe
A Flower in the Rainy Night
“We nurture a profound contempt for Italian people.”
Daniele Ciprì (Palermo, 1962) is an italian director, cinematographer and screenwriter, and was part of the duo Ciprì and Maresco. Along with is collegue Franco Maresco, he created and directed the cult TV series “Cinico TV”, aired on RAI3, as well as other programs like “I Migliori Nani della Nostra Vita” and “Ai Confini della Pietà”.
They’ve also directed three full lenght movies, which soon reached a cult status due to their iconoclastic nature: their second movie, “Totò che visse due volte” has been accused of blasphemy and it’s banned from italian television. Recently the duo split up, and both of the directors work with their own projects. He has cured the cinematography for the movies “La Pecora Nera” and “Vincere” and he’s now working as a director on a new project with Toni Servillo as the main actor.
better stills for Killer Constable
Owen Alik Shahadah
Owen Alik Shahadah, was born in Hanover, Germany, raised in the Caribbean, New York and the UK. He has a background in Aerospace engineering but early on distinguished himself in Jazz, music videos and film music. Inspired by Malcolm X and Kwame Nkrumah his first independent film, 500 Years Later picked up 5 international awards including the UNESCO award in 2007 for ‘films that dared to speak the truth about slavery.’ As a filmmaker he has a unique African aesthetic which combines strong colors with what he calls a “4 part harmony” of on-screen info, visuals, narrative and score. As a multi-instrumentalist and jazz producer,he has worked with groups such as Ocacia.
As a cultural historian he has written numerous articles on African history and culture. He is the curator of the internationally renown African Holocaust society and is one of the leading critics in the world against linguistic terminologies such as ‘black people’ an ‘sub-saharan Africa.’He has adapted some of the work of renowned Turkish writer Harun Yahya for audio production. He is an accomplished professional photographer an has a website which documents people of Africa.Shahadah has also produced an audio CD (audiomentary) on slavery called African Holocaust: Dark Voyages.
Known to some as creator of the audiomentary (audio documentary), his music genius is matched by his mission for social reform. He is a keen businessman and believes passionately in the economic and cultural advancement of African people, he believes the two are inseparable and calls for greater African ownership of African images and commodities related to African people. He encourages greater investment of the African Diaspora in the continent of Africa and the cutting of dependency from outside of Africa’s cultural borders.
Shahadah is involved in Pan-African and development and in the early to late 90’s trained and invested in renowned Tanzanian music producer Joachim Kimaryo (a.k.a Master Jay) of MJ Records. Shahadah and Kimaryo continued to exchange and develop what has today has blossomed into the largest urban music industry in Tanzania. —imdb.com
Profile pictures for directors:
In GIDGET GOES HAWAIIAN / GIDGET GOES TO ROME
and…GIDGET GOES HAWAIIAN (1961)
and GIDGET GOES ROME (1963)
should be in single.
In REVENGE OF THE NERDS / REVENGE OF THE NERDS 2
Please delete this,this, and this.
Quote for Andrew Haigh
“Films are so over-edited nowadays. Nobody gives things the space to just exist. You don’t need to be chopping back and forwards. People like Antonioni were happy to just let things exist.”
Café de Flore and Monsieur Lazhar have been confirmed for TIFF 2011… I thought you might want to know that.
Director Chris Sivertson has two seperate pages due to the mispelling of his name listed on his film “The Lost”.
The way his name should be spelled
The way it’s spelled wrongly on another page
(This still above for Antigone wasn’t resized like the one used; also, it’s symbolical of the titular character’s defiance and her sister’s submission. Please use this one!!)
(I took this still from the Criterion edition of Kalatozov’s The Cranes are Flying. It comes from one of its most beautiful sequences, those who’ve seen it will likely agree with me, and those who haven’t won’t be spoiled. Besides, the scene in the current still doesn’t appear in the movie, at least not in the version I saw.)
(Btw, Incompreso is aka Misunderstood. Please add the English title.)
“It’s strange: in Italy they always tell me that my movies aren’t Italian enough, while in the rest of the world, they say that they clearly are!”
Nichetti was born in Milano, Italy, on May 8, 1948. He graduated from Architecture School in 1975 at the Politecnico in Milano.
While in Architecture School, he attended Decroux pupil Marise Flach’s Mime School at “Il Piccolo Teatro” in Milano, where he subsequently worked for some years.
Bio: Zbigniew Rybczynski (Rib-chin-ski) was born on January 27, 1949, in Lodz, Poland, but was raised in Warsaw, where he attended an arts high school and was trained as a painter. He went on to study cinematography at the world-renowned Lodz Film School, where he began experimenting with the film medium. His first projects were Kwadrat (1972) and “Take Five” (1972). Along with his other works, they broke new ground in the use of pixelation, optical printing, animation and other compositional film devices. “Zbig”, as he’s known, was active in the avant-garde group Warsztat Formy Filmowej and he cooperated with Se-Ma-For Studios in Lodz, where his art movies were shot, including Plamuz (1973), Zupa (1975), Nowa ksiazka (1976) and Tango (1981). At the same time he worked as a cinematographer on several feature films, including shorts by ‘Andrzej Baranski’, Piotr Andrejew and the acclaimed Tanczacy jastrzab (1978) by ‘Grzegorz Krolikiewicz’.
Between 1977 and 1983 Rybczynski worked in Austria, where Weg Zum Nachbarn (1977) and Mein Fenster (1979) were made. He also set up a visual effects studio in Vienna for Austrian TV. As the director of photography, co-writer and editor, he contributed to the cult horror feature Angst (1983/I) (also known as “Fear”), directed by Gerald Kargl. In the meantime, Zbig was involved in the Solidarity (Solidarnosc) movement in Poland. When martial law was declared, he received political asylum in Austria and it was there that he learned of his Academy Award for Best Animated Short Film nomination for “Tango”. After winning the Oscar for that film in 1983, Zbig and his family emigrated to the US and settled in New York City. At his Manhattan and Hoboken (NJ) studios, equipped with state-of-the-art high definition video, Rybczynski conceived and produced – as the first filmmaker ever – pioneer video films using HD technology. In 1984 he was assigned by producer Lorne Michaels to create two short pieces, The Discreet Charm of Diplomacy (1983) and The Day Before (1983) (both produced by Alan Kleinberg) for NBC’s “The New Show” (1983) (v). In the Zbigq Vision Studios Rybczynski produced his most important and acclaimed works: Steps (1987); The Fourth Dimension (1988) produced by Robin O’Hara; The Orchestra (1990); and his favorite film, Kafka (1992). Zbig is the creator of more than 30 outstanding music videos, including John Lennon’s “Imagine” and videos for artists such as The Art of Noise, Mick Jagger, Pet Shop Boys, Chuck Mangione and Lou Reed. He was honored with three MTV Music Video Awards and the MTV Video Vanguard Award for his role as “a visionary in the field of music video”. His work in film and video has also earned him numerous other awards such as three American Video Awards, three Monitor Awards for Best Director, the 1986 Billboard Music Video Award for Most Innovative Video, the 1986 BPI Video of the Year Award, as well as grand prizes at the Festivals at Annecy, France, in 1981, the Oberhausen Film Festival in both 1979 and 1981, and the Rio International Film Festival in 1987. In 1990 Zbig won the Emmy Award for special effects in his film “The Orchestra”, a one-hour classical music HDTV program for PBS. It was the first Emmy ever given to a High Definition production. Later that year he was honored by the Japanese Ministry of Posts and Telecommunications for his outstanding work in advancing the uses of HD technology. In Italy he was awarded the Premio Internazionale Leonardo for his overall contribution to video, and in France he was presented with the Paris Cite for outstanding achievement in HD. In 1992 Zbig completed work on the HD piece “Kafka”. Produced for Telemax of Paris as a part of its Audio/Visual Encyclopedia series, the film won the 1992 Special Festival Prize at the International Electronic Cinema Festival Tokyo/Montreux and the Special Jury Award at the San Francisco International Festival in 1993. From 1994-2001 Rybczynski worked in Germany, first at the CBF Studios in Berlin, where he developed new production techniques in the areas of image compositing and motion control photography (he holds several innovative patents in that area and in computer programs). Later, in Cologne, he continued his research and was a Professor of Experimental Film at the Academy of Media Arts. After several years of being involved in movie technology such as motion control, optics, computer software and other instructive work, Zbig made the decision to return to his passion: making movies. That is what brought him back to Los Angeles, where he now resides. Thanks to many rewarding years of gaining knowledge and experience in the various artistic and technological aspects of filmmaking, Zbig firmly believes that the best is yet ahead of him. His dream is to collaborate with other filmmakers on creating stunning and ground-breaking films which – and he is convinced of this – will always be of interest to audiences worldwide. -———— IMDb
Quote: Video for me is a natural next step for film.
the country should be in South Korea,not Philippines.
Please help to remove the duplicates
Au Kin-Yee and Au Kin Yee
Richie Ren and Richie Jen
Johnnie To and Johnnie To
Photo for Miguel Gomes (correctly sized but looks odd, original attached )
“Cinema is a game.”
Bio: Miguel Gomes (b. 1972) began first as a film critic before directing a series of refreshingly eccentric short films that revealed his innate talents as a sensual visual stylist interested in an intensely image based narrative in which music plays an equal role to dialogue. Gomes’ early “musical comedies” offer important keys to his feature films by revealing the important inspiration of both musical cinema and the silent film to his uniquely playful and imaginative approach to narrative. The unique energy and puckish charm of Gomes’ little known debut, the Alice in Wonderland-meets-Jacque Rivette narrative puzzle, The Face That You Deserve, took the ludic tendencies of his cinema to a furthest extreme. The festival favorite My Beloved Month of August turned a new and important direction by responding to the “post-documentary” mode of innovative and unclassifiable non-fiction cinema championed by Costa and defined earlier by pioneering works such as Oliveira’s Rite of Spring (1963). — Harvard Film Archive
Quote for Matthew Porterfield
“I try to rely a lot on my own intuition, on what I think about the frame. It’s better maybe not to be too dogmatic about the things you’d like to see.”
Winners and Sinners
please fix the title