[ad_1]
‘Sound of Falling’ and ‘Sentimental Value’ were among the winners at the festival, which celebrates excellence in cinematography.
[ad_2]
Scott Roxborough
Source link
[ad_1]
‘Sound of Falling’ and ‘Sentimental Value’ were among the winners at the festival, which celebrates excellence in cinematography.
[ad_2]
Scott Roxborough
Source link
[ad_1]
The winners of the 24th edition of the Industry@Tallinn & Baltic Event portion of the Tallinn Black Nights Film Festival (PÖFF) have been unveiled, and they include the likes of Dice-Cing-o-Mat, The Well, The Convulsions, and The Queen of England Stole My Parents.
A total of 17 film projects at various stages of scriptwriting, development, or post-production were honored, plus two promising producers were recognized.
The industry strand of PÖFF wrapped on Friday afternoon with a session entitled “Filming in Ukraine 2026.”
Earlier in the week, an international jury selected the drama series project Wool as the most promising project in the fifth edition of the TV Beats Co-Financing Market. Written by Birkir Blaer Ingolfsson, Mladen Maticevic, Stephie Theodora, and Milena Dzambasovic, produced by Hörður Rúnarsson and Milena Dzambasovic, and co-produced by Danna Stern, production companies Film Road Production, ACT 4, and In Transit Productions, Wool is based on a true story and “knits together fashion with female empowerment in a rural meets international setting, making it as relevant today as it was then,” the jury said.
Meanwhile, TV Beats market partner TV Drama Vision handed out the Select Award to Spanish project Dark Waters, directed by Víctor Garcia, written by Amèlia Mora and Héctor Manteca, and produced by Juan Solá, Mark Abela, Tono Folguera, and Maria Rocher. The project “blends supernatural mystery, climate-change thriller and a tale intertwining the mythological worlds of Iceland and the Ebro Delta in Catalonia,” the jury noted.
Meanwhile, the TV Beats Co-Production Market Public Favorite Award honoree is Nuclear Sunset Cruise, written and directed by Florian Gallenberger, whose Quiero ser won the Academy Award for best live-action short film in 2001, and produced by Martin Lehwald and Philipp Goeser.
Also this year, the Serial Bridges Baltic Best Project Award was handed out to the Lithuanian project Therapies, written and directed by Birute Kapustinskaite based on her own play, and produced by Dagne Vildziunaite. “When a sharp-tongued professor checks into a remote hospital expecting peace and privacy during chemotherapy, she ends up in a six-bed cancer ward full of loud, impossible-to-ignore women, including her old college nemesis,” reads a synopsis for the project. “Beating cancer might be the goal, but first, they’ll have to survive each other.”
Check out the Industry@Tallinn & Baltic Event 2025 award winners and jury comments below.
Discovery Campus
Music Meets Film “Director-Composer Lab: Composing the Cut” Workshop Award. The award includes a two-hour career mentoring session by Miriam Cutler.
Winner: Nicolò Braghiroli
The jury included: George Christopoulos, Miriam Cutler
The jury commented: “The Music Meets Film Award, presented by OTICONS Film Music Agency, is given to an emerging composer who demonstrates outstanding creative skills and artistic promise during the workshop with Baltic Film, Media and Arts School “Director-Composer Lab: Composing the Cut”, led by renowned film composer Miriam Cutler. The combined skillset of a great film composer at work was showcased during the creative process, and that is how efficiently they collaborated with the director and how effectively they converted that collaboration into a score that worked with the narrative. That rare skillset is what makes this talent one to keep an eye on for the future. The award is presented by George Christopoulos, founder of OTICONS.”
Best upcoming cinematographer of Frame Within a Frame 2025
The winner is awarded a Golden Ticket to the ‘Cinematography lab’ workshop on Focus pulling by Team 4 Set.
Winners:
Gemma De Miguel Morell from Spain for the film Cura Sana.
Tanel Topaasia from Estonia for In Between
The jury commented: “The Frame Within a Frame Golden Tickets for the cinematography film; lab by Team4Set are awarded to two films celebrating visual mastery: one for its vibrant, raw aesthetic and dynamic camerawork, and the other for its masterful use of lenses and contrast, painting with light.”
The jury included: Steve Calavitis, Ville Penttilä, Rauno Ronkainen, John-Christian Rosenlund, Philippe Ros.
Frame Within a Frame Lens Award by ARRI is an award for the best cinematographer, celebrating their profound contribution to the art and techniques of cinematography.
Winner: Jolinna Ang from Singapore for the film I’ll Leave You Words
The jury commented: “For a work of striking visual poetry, this beautifully shot film captivates with magical colours, fluid compositions, and a rhythmic harmony of movement and montage. A film whose cinematography not only supports its story, but seems to breathe it into being.”
The jury included: Steve Calavitis (ARRI / Camera Nordic), Philippe Ros (Co-Chair IMAGO Technical Committee), Ville Penttilä (Member – International Cinema Lighting Society)
The Black Nights Stars
The actors and actresses attending the Black Nights Stars 2025 received the Black Nights Film Festival and International Casting Directors Association Awards.
The awards were presented to Freddie Mosten Jacob, Karolina Bruchnicka, Kasparas Varanavičius, Kristiin Räägel, Saku Taittonen, Samirah Breuer, Tessa Hoder and Ursel Tilk.
Script Pool
Script Pool Award was given to the most promising project, receiving an exclusive opportunity to attend The Write Retreat in Mallorca, presented by TEGOS Legal.
Winner: White Ship
Writer and Director: Teresa Väli
Producer: Inger Põder
Production company: Homeless Bob Production, Estonia
The jury commented: “Thank you to all five teams for sharing their promising projects with us. It’s a privilege to have had access to your work. One project has stood out as the winner today for its bold, emotionally resonant, and universally relevant story that has the potential to speak powerfully to audiences of every generation. The director’s short films and strong cinematic ambition for her first feature has convinced us to grant White Ship the opportunity of making the most out of the writing retreat.”
The jury included: Yana Georgieva, Head of Sales at Bankside, UK; Camille Segura consultant, France and Per Damgaard Hansen, producers at Paloma Productions, Denmark.
Script Pool Public Favourite Award:
Winner: Apoteos
Written and directed by: Christofer Nilsson
Producer: Annegret Kunath
Production company: Råttunge Produktion, Sweden
The winner will receive two free accreditations for Industry@Tallinn @ Baltic Event 2026.
European Genre Forum
The European Genre Forum was given to the most promising project receiving a 25,000 euro award by a virtual production studio ATM Virtual consisting of one day rental of an LED stage, preceded by one day of pre-lighting for the production of a selected film.
Winner: Little Bird
Writer and Director: Faye Jackson
Producer: Carley Armstrong
Production company: True Moon Pictures (United Kingdom)
The jury commented: “Little Bird is an ideal candidate for an ATM Virtual award because it perfectly demonstrates the creative potential and technical necessity of Virtual Production.
High-Impact Visuals: The project requires complex supernatural environments (Hell’s portal, the Devil’s domain) and demanding flying sequences, which are precisely what VP stages excel at producing efficiently and realistically.
Demonstrates VP Value: The story’s core need for accurate interactive lighting (infernal glow, high altitude light) and immersive real-time environments makes it a powerful showcase for the superior quality and efficiency of in-camera VFX.
Unique Storytelling: Awarding this project helps ATM Virtual support innovative, ambitious genre filmmaking and allows filmmakers to execute grand visual ideas that might otherwise be budget-prohibitive.
The one day of VP stage time would allow the team to capture a crucial, visually challenging scene (like the initial portal opening or a key flying moment) with professional-grade, high-fidelity backgrounds and lighting.”
Works in Progress
Special Award by TRT.
The winner will be granted 5,000 euros (by TRT – The Turkish Radio and Television Corporation).
Winner: Dice-Cing-o-Mat
Writer and director: Kristijonas Vildziunas
Producer: Uljana Kim
Production company: Studio Uljana Kim, Lithuania, Estonia, Latvia
The jury commented: “Based on the emotions experienced during the pandemic period, which affected the entire world and physically distanced us from one another, and through a father’s quest for identity and the rebuilding of family bonds, enriched with fantastical elements and presented with a strong directorial style and a nuanced narrative approach, the Lithuania–Estonia–Latvia co-production Dice-Cing-o-Mat has been awarded the TRT Award.”
The jury included: TRT representatives Esra Demirkiran, Faruk Güven.
Best International Project.
The winner will be granted 7,000 euros, consisting of 6,000 euros worth of services by Studio Beep, together with 1,000 euros travel allowance.
Winner: Prince
Writer and director: Federico Borgia
Producer: Francisco Magnou, Isabel Garcia, Pancho Magnou
Production company: Montelona, Argentina, Uruguay
The jury commented: “For its evocative, visually rich imagery and the sense that this is a story we genuinely want to see unfold — a work that lingered with us long after viewing.”
The jury included: Zadig Paloyan, International Sales Executive, Le Pacte, France;
Arnon Manor, Vice President of Visual Effects at Sony Pictures; independent filmmaker, writer, producer, and director, USA; Amaia Serrulla, Head of Films and Documentation Department, San Sebastián International Film Festival, Spain.
International Works in Progress Public Favorite Award:
Winner: The Convulsions
Writer and director: Blanca Camell Galí, Anna Zisman, David Gutiérrez Camps
Producer: Joan Carles Martorell, Iréna Lopez, Luis Ortas, Alice Baldo, Miguel Ángel Abuja, Pablo Gregorio Venegas
Production company: Auca Films, Bapla Films, Timber Films, Cinetica Produccions, IMY Productions, France, Spain
The winner will receive two free accreditations for Industry@Tallinn @ Baltic Event 2026.
Best Baltic Project
The winner will be granted 7,000 euros, consisting of 6,000 euros worth of services by Studio Beep, together with 1,000 euros travel allowance.
Winner: Dice-Ching-O-Mat
Writer and director: Kristijonas Vildziunas
Producer: Uljana Kim
Production company: Studio Uljana Kim, Lithuania, Estonia, Latvia
The jury commented: “For the compelling blend of a fantasy-leaning proposal with the emotional challenge faced by the protagonist, and for making us eager to see how this takes shape both visually and narratively.”
The jury included: Zadig Paloyan, International Sales Executive, Le Pacte, France; Arnon Manor, Vice President of Visual Effects at Sony Pictures; independent filmmaker, writer, producer, and director, USA; Amaia Serrulla, Head of Films and Documentation Department; San Sebastián International Film Festival, Spain
Baltic Event Works in Progress Public Favorite Award:
Winner: Lex Julia
Writer and director: Laura Hyppönen
Producer: Merja Ritola, Co-produced by Magdalena Zimecka, Marianne Ostrat, Marta Krzeptowska, Daniel Lägersten
Production company: Greenlit Productions Oy, Finland, Estonia, Sweden, Poland
The winner will receive two free accreditations for Industry@Tallinn @ Baltic Event 2026.
The Best Just Film Project
The winner received a 1,000 euro monetary prize to help the film gain visibility by covering promotion and publicity costs.
Winner: Suiza
Writer and director: Maria Fernanda Gonzales
Producer: Norma Velásquez
Production company: Lucuma Salvaje, Suena Peru, Argentina, Peru
The jury commented: Suiza impresses with a strong and striking visual style that grabs you right away. The three young protagonists bring a bold, dynamic energy to the film and the rough, unpolished feel makes the story even more authentic. The themes of growing up are very relatable, they allow a young audience to easily identify with the film. And the city of Lima really becomes a character of its own, adding depth and atmosphere to the film.
The jury included: Marjo Kovanen, PhD, Head of the Unit for the Promotion of Audiovisual Culture at KAVI, National Audiovisual Institute, Finland; Meel Paliale, Director (“Rolling Papers”); Veerle Snijders Head of Netwerk Filmeducatie at the Eye Film Museum in Amsterdam, The Netherlands.
Just Film Works in Progress Public Favorite Award
Winner: Suiza
Writer and director: Maria Fernanda Gonzales
Producer: Norma Velásquez
Production company: Lucuma Salvaje, Suena Peru, Argentina, Peru
The winner will receive two free accreditations for Industry@Tallinn @ Baltic Event 2026.
Baltic Event Co-Production Market
Baltic Event Co-Production Best Project
The winner was handed the Eurimages Co-Production Development Award of €20,000.
Winner: The Well
Writer and director: Petra Koivula, Siiri Halko
Producer: Jenni Jauri
Production company: Silmu Films, Finland
The jury commented: The Well offers a nuanced and emotionally perceptive portrait of a sisterly relationship destabilized by changing roles in a family. The film’s blend of social and quiet magical realism promises a distinctive, atmospheric aesthetic. The story’s thematic resonance around identity, foster care, and emotional dependency gives it substantial artistic weight while at the same time allowing it to relate to relational shifts occurring in many families. The jury believes that this promising debut of young director Siiri Halko, produced by Jenni Jauri has the potential to be deeply affecting and cinematic.”
The jury included: Els Hendrix, Senior Adviser at the Federal Commissioner for Culture and the Media (BKM) and German representative to Eurimages; Katrin Pors, producer at Snowglobe, Denmark; Jörg Schneider, commissioning editor at ZDF, Germany.
The jury also handed out the Eurimages Special Co-Production Development Award to an Ukrainian project, worth €20,000.
Winner: Alice wants to live
Writer and director: Denys Sabolev, Vitaliy Dokalenko
Producer: Andrejs Ekis, Vitaliy Dokalenko
Production company: Ganzafilm
The jury commented: “Alice wants to live allows for a deeply atmospheric and emotionally truthful depiction of post-traumatic intimacy. Sadly enough, we all know that the trauma still continues. Kyiv is portrayed not as a battlefield but as a lived-in, wounded landscape, giving the film a quietly resonant authenticity that distinguishes it from more conventional war dramas.”
Producers Network Prize for two promising young producers.
The award was one free pass to Producers’ Network 2026 awarded by Cannes Marché du Film.
Winner: No salvation coming
Writer and director: Vojtěch Strakatý
Producer: Jan Čadek
Production company: Beginner’s Mind, Czechia
The jury commented: “This project offers a grounded, socially conscious heist narrative that compellingly reflects the precarity of young adults trapped by debt, underpaid work, and housing insecurity.”
Winner: Vesna
Writer and Director: Rostislav Kirpicenko
Producer: Stasys Baltakis, Vitalii Sheremetiev, Helena Pokorny, Oleksii Zgonik
Production company: Film Jam, Matka Films, Ukraine, France, Lithuania
The jury commented: “Vesna is an authentic drama with emotional depth exploring the challenge to survive under Russian occupation.”
Baltic Event Co-Production Market Public Favorite Award:
Winner: The Queen of England Stole My Parents
Writer: Aleksandra Chmielewska
Director: Ernestas Jankauskas
Writer-Producer: Gabija Siurbytė
Producer: Viktorija Rimkute
Production company: Dansu Films, Lithuania, Poland
The public favourite award winner in the Baltic Event Co-Production Market category will receive an award worth 4,500 euros from Gorodenkoff Productions that consists of using their virtual production studio for one day.
[ad_2]
Georg Szalai
Source link
[ad_1]
A total of 201 documentary features, 86 international features and 35 animated features are eligible for Oscar recognition this season in the best documentary feature, best international feature and best animated feature categories, respectively, the Academy of Motion Picture Arts and Sciences announced on Friday.
The only time more documentaries were deemed eligible — 238 — was the year in which the pandemic led to an extension of the period of eligibility from 12 to 14 months (Jan. 1, 2020 to Feb. 28, 2021) and docs that did not play in theaters were considered.
This year’s list of eligible documentary features includes titles that have dominated at the doc community’s precursor awards, including Netflix’s The Perfect Neighbor and Apocalypse in the Tropics, Apple’s Come See Me in the Good Light and Neon’s Orwell: 2+2=5. It also includes two acclaimed films made by celebrities about their famous parents, HBO’s My Mom Jayne and Apple’s Stiller & Meara: Nothing Is Lost, which were directed by Mariska Hargitay and Ben Stiller, respectively. And there are several titles related to recent turmoil in the Middle East, including Hemdale/Metallux’s Torn: The Israel-Palestine Poster War on New York City Streets and the self-distributed Coexistence, My Ass!, Holding Liat and Put Your Soul on Your Hand and Walk.
The most glaring omission from the list: The Eyes of Ghana, a documentary directed by the two-time Oscar-winning documentarian Ben Proudfoot, which is still seeking distribution. The Hollywood Reporter has confirmed that a late decision was made to hold the film for next awards season. Other high-profile docs that were expected to be on the list but are not, either because they were not submitted or because they failed to meet the eligibility requirements, include A24’s Marc by Sofia, Oscar winner Sofia Coppola’s portrait of Marc Jacobs, and Oscar winner Questlove’s Hulu film Sly Lives! (aka the Burden of Black Genius).
The list of eligible international features includes five widely lauded films that are being distributed in the U.S. by Parasite backer Neon and could conceivably all earn nominations: Norway’s Sentimental Value, Brazil’s The Secret Agent, South Korea’s No Other Choice, Spain’s Sirāt and France’s It Was Just an Accident. It Was Just an Accident, which won the Cannes Film Festival’s Palme d’Or, was directed by Jafar Panahi, a filmmaker from Iran but does not reflect well on the country; as a result, Iran submitted the much lower-profile Cause of Death: Unknown, while France submitted It Was Just an Accident, on the basis that much of the film’s financing was French.
Other countries that made interesting submissions include Japan (GKIDS’ Kokuho, a film about Kabuki performers, which is now the highest-grossing non-animated film in that country’s history); Iraq (Sony Classics’ The President’s Cake won two prizes at Cannes); Belgium (Music Box’s Young Mothers could bring the brothers Jean-Pierre Dardenne and Luc Dardenne the first Oscar noms of their distinguished careers); and Taiwan (Netflix’s Left-Handed Girl, which was co-written by Anora Oscar winner Sean Baker).
Meanwhile, at least three countries submitted acclaimed documentaries for best international feature consideration: Ukraine (PBS’ 2000 Meters to Andriivka, a doc about a Ukrainian platoon’s fight to retake a city from Russian invaders, which was directed by Mstyslav Chernov, who won the best doc feature Oscar two years ago); North Macdeonia (Nat Geo’s The Tale of Silyan, from Tamara Kotevska, whose 2019 film Honeyland was nominated for best international feature and doc feature Oscars); and Denmark (Mr. Nobody Against, a film about Vladimir Putin’s propaganda efforts, which is still seeking U.S. distribution).
And the list of animated features includes giant blockbusters like Crunchyroll’s Demon Slayer: Kimetsu no Yaiba Infinity Castle, which is now the highest-grossing Japanese film of all time and the highest-grossing international film in the U.S. of all time, as well as the fifth-highest-grossing film of 2025; streaming hits like Netflix’s KPop Demon Hunters, which is now that streamer’s most watched film ever; acclaimed indies like Neon’s Arco, a French-language critics’ darling that counts Natalie Portman among its producers; and highly-anticipated forthcoming titles like Disney’s Zootopia 2.
Among the animated films that were expected to contend but are not on the list of eligible titles, either because they were not submitted or because they failed to meet the eligibility requirements, are A24’s Ne Zha 2, Sony’s Paddington in Peru and Paramount’s Smurfs.
The documentary feature and international feature categories are winnowed down to shortlists before nominations, while the animated feature category goes straight to nominations. Shortlist voting will span Dec. 8-12, 2025, and the announcement of the shortlists will come on Dec. 16. Nominations voting in all categories will span Jan. 12-16, 2026, and the announcement of the nominations will come on Jan. 22, 2026.
A full list of eligible animated, documentary and international features follows.
Eligible animated features
Thirty-five features are eligible for consideration in the Animated Feature Film category for the 98th Academy Awards. Some of the films have not yet had their required qualifying release and must fulfill that requirement and comply with all the category’s other qualifying rules to advance in the voting process.
To determine the five nominees, members of the Animation Branch are automatically eligible to vote in the category. Academy members outside of the Animation Branch are invited to opt in to participate and must meet a minimum viewing requirement to be eligible to vote in the category. Films submitted in the Animated Feature Film category may also qualify for Academy Awards in other categories, including Best Picture. Animated features that have been submitted in the International Feature Film category as their country’s official selection are also eligible in the category.
“All Operators Are Currently Unavailable”
“Arco”
“The Bad Guys 2”
“Black Butterflies”
“Boys Go to Jupiter”
“Chainsaw Man – The Movie: Reze Arc”
“ChaO”
“Colorful Stage! The Movie: A Miku Who Can’t Sing”
“David”
“Demon Slayer: Kimetsu no Yaiba Infinity Castle”
“Dog Man”
“Dog of God”
“Dragon Heart – Adventures Beyond This World”
“Elio”
“Endless Cookie”
“Fixed”
“Gabby’s Dollhouse: The Movie”
“In Your Dreams”
“KPop Demon Hunters”
“The Legend of Hei 2”
“Light of the World”
“Little Amélie or the Character of Rain”
“Lost in Starlight”
“A Magnificent Life”
“Mahavatar Narsimha”
“Night of the Zoopocalypse”
“Olivia & las Nubes”
“100 Meters”
“Out of the Nest”
“Scarlet””Slide”
“The SpongeBob Movie: Search for SquarePants”
“Stitch Head”
“The Twits”
“Zootopia 2”
Eligible documentary features
Two hundred one features are eligible for consideration in the documentary feature film category for the 98th Academy Awards. Some of the films have not yet had their required qualifying release and must fulfill that requirement and comply with all the category’s other qualifying rules to advance in the voting process.
Documentary features that have won a qualifying film festival award or have been submitted in the international feature film category as their country’s official selection are also eligible in the category. Films submitted in the documentary feature film category may also qualify for Academy Awards in other categories, including best picture. Members of the documentary branch vote to determine the shortlist and the nominees. The shortlist of 15 films will be announced on Tuesday, Dec. 16, 2025.
“Abby’s List, A Dogumentary”
“Ada – My Mother the Architect”
“Afternoons of Solitude”
“The Age of Disclosure”
“Ai Weiwei’s Turandot”
“The Alabama Solution”
“All God’s Children”
“The Altar Boy, the Priest and the Gardener”
“Always”
“Amakki”
“American Sons”
“Among Neighbors”
“animal.”
“Antidote”
“Apocalypse in the Tropics”
“Architecton”
“Are We Good?”
“Art for Everybody”
“Art Spiegelman: Disaster Is My Muse”
“The Art Whisperer”
“Artfully United”
“Assembly”
“BTS ARMY: Forever We Are Young”
“Becoming Led Zeppelin”
“Being Eddie”
“Below the Clouds”
“Benita”
“Between the Mountain and the Sky”
“Beyond the Gaze: Jule Campbell’s Swimsuit Issue”
“Billy Idol Should Be Dead””BLKNWS: Terms & Conditions”
“Blum: Masters of Their Own Destiny”
“Bodyguard of Lies”
“Brothers after War”
“Can’t Look Away: The Case against Social Media”
“Caterpillar”
“Champions of the Golden Valley”
“Checkpoint Zoo”
“Cheech & Chong’s Last Movie”
“Child of Dust”
“Chronicles of Disney”
“Coexistence, My Ass!”
“Come See Me in the Good Light”
“Complicated”
“Cover-Up”
“Cracking the Code: Phil Sharp and the Biotech Revolution”
“Cutting through Rocks”
“Dalit Subbaiah”
“The Dating Game”
“Deaf President Now!”
“Democracy Noir”
“Diane Warren: Relentless”
“Dog Warriors”
“Drop Dead City”
“The Duel We Missed”
“El Canto de las Manos”
“Elie Wiesel: Soul on Fire”
“The Encampments”
“Endless Cookie”
“Europe’s New Faces”
“Facing War”
“Fatherless No More”
“Fiume o Morte!”
“Folktales”
“Food Delivery: Fresh from the West Philippine Sea”
“For the Living”
“14 Short Films about Opera”
“From Island to Island”
“Ghost Boy”
“Girl Climber”
“Go to the People”
“Goodbye Horses: The Many Lives of Q Lazzarus””Grand Theft Hamlet”
“Heaven. Poste Restente”
“Heightened Scrutiny”
“Holding Liat”
“I Know Catherine, the Log Lady”
“I, Poppy”
“I Was Born This Way”
“If You Tell Anyone”
“I’m Not Everything I Want to Be”
“I’m Only Blind”
“Imago”
“In Limbo”
“In Waves and War”
“In Whose Name?”
“Israel Palestine on Swedish TV 1958 -1989”
“It’s Never Over, Jeff Buckley”
“Janis Ian: Breaking Silence”
“The King of Color”
“The Last Class”
“The Last Holocaust Secret”
“The Last Philadelphia”
“The Last Twins”
“Li Cham (I Died)”
“The Librarians”
“Life After”
“Lilith Fair: Building a Mystery – The Untold Story”
“Liza: A Truly Terrific Absolutely True Story”
“Love+War”
“Mahamantra – The Great Chant”
“The Man Who Saves the World?”
“A Man with Sole: The Impact of Kenneth Cole”
“Marlee Matlin: Not Alone Anymore”
“Meanwhile”
“Men of War”
“Mighty Indeed”
“Mr. Nobody against Putin”
“Mistress Dispeller”
“Monk in Pieces”
“My Armenian Phantoms”
“My Mom Jayne: A Film by Mariska Hargitay”
“My Undesirable Friends: Part I – Last Air in Moscow”
“Natchez””The New Yorker at 100”
“Night in West Texas”
“1985: Heroes among Ruins – The Triumph of the People”
“Norita”
“Of Mud and Blood”
“One to One: John and Yoko”
“Orwell 2+2=5”
“Our Time Will Come”
“Out of Plain Sight”
“Paint Me a Road Out of Here”
“Paparazzi”
“The Parish of Bishop John”
“Pavements”
“The Perfect Neighbor”
“The Pool”
“Predators”
“Prime Minister”
“The Prince of Nanawa”
“Put Your Soul on Your Hand and Walk”
“Rebel with a Clause”
“Remaining Native”
“Riefenstahl”
“Rise Up! 14 Short Films about Alliance for Positive Change”
“River of Grass”
“The Road between Us: The Ultimate Rescue”
“The Rose: Come Back to Me”
“Row of Life”
“Sanatorium”
“A Savage Art”
“Schindler Space Architect”
“Secret Mall Apartment”
“Seeds”
“Selena y Los Dinos”
“Sensory Overload”
“76 Days Adrift”
“Shari & Lamb Chop”
“The Shepherd and the Bear”
“Shoot the People”
“Shuffle”
“The Six Billion Dollar Man”
“67 Bombs to Enid”
“Slumlord Millionaire””Songs from the Hole”
“Soul of a Nation”
“Speak.”
“Stans”
“Steve Schapiro: Being Everywhere”
“Stiller & Meara: Nothing Is Lost”
“Stop the Insanity: Finding Susan Powter”
“Story of My Village”
“Strange Journey: The Story of Rocky Horror”
“The Stringer”
“Suburban Fury”
“Sudan, Remember Us”
“Supercar Saints”
“Swamp Dogg Gets His Pool Painted”
“The Tale of Silyan”
“Thank You Very Much”
“There Was, There Was Not”
“Third Act”
“This Ordinary Thing”
“Through the Fire (The Eaton Fire: The Aftermath)”
“Torn: The Israel -Palestine Poster War on New York City Streets”
“Trade Secret”
“Trains”
“Twin Towers: Legacy”
“2000 Meters to Andriivka”
“Unbanked”
“UnBroken”
“Under the Flags, the Sun”
“Unseen Innocence”
“Viktor”
“Viva Verdi!”
“WTO/99”
“Walk with Me”
“Walls – Akinni Inuk”
“We Were Here – The Untold History of Black Africans in Renaissance Europe”
“Welded Together”
“The White House Effect”
“Who in the Hell Is Regina Jones?”
“Wisdom of Happiness”
“The Wolves Always Come at Night”
“Worth the Fight”
“Writing Hawa”
Eligible international features
Eighty-six countries or regions have submitted films that are eligible for consideration in the International Feature Film category for the 98th Academy Awards.
An international feature film is defined as a feature-length motion picture (more than 40 minutes) produced outside the United States with a predominantly (more than 50 percent) non-English dialogue track.
Academy members from all branches are invited to opt in to participate in the preliminary round of voting and must meet a minimum viewing requirement to be eligible to vote in the category. The shortlist of 15 films will be announced on Tuesday, Dec. 16, 2025.
Albania, “Luna Park”
Argentina, “Belén”
Armenia, “My Armenian Phantoms”
Australia, “The Wolves Always Come at Night”
Austria, “Peacock”
Azerbaijan, “Taghiyev: Oil”
Bangladesh, “A House Named Shahana”
Belgium, “Young Mothers”
Bhutan, “I, the Song”
Bolivia, “The Southern House”
Bosnia and Herzegovina, “Blum: Masters of Their Own Destiny”
Brazil, “The Secret Agent”
Bulgaria, “Tarika”
Canada, “The Things You Kill”
Chile, “The Mysterious Gaze of the Flamingo”
China, “Dead to Rights”
Colombia, “A Poet”
Costa Rica, “The Altar Boy, the Priest and the Gardener”
Croatia, “Fiume o Morte!”
Czech Republic, “I’m Not Everything I Want to Be”
Denmark, “Mr. Nobody against Putin”
Dominican Republic, “Pepe”
Ecuador, “Chuzalongo”
Egypt, “Happy Birthday”
Estonia, “Rolling Papers”
Finland, “100 Liters of Gold”
France, “It Was Just an Accident”Georgia, “Panopticon”
Germany, “Sound of Falling”
Greece, “Arcadia”
Greenland, “Walls – Akinni Inuk”
Haiti, “Kidnapping Inc.”
Hong Kong, “The Last Dance”
Hungary, “Orphan”
Iceland, “The Love That Remains”
India, “Homebound”
Indonesia, “Sore: A Wife from the Future”
Iran, “Cause of Death: Unknown”
Iraq, “The President’s Cake”
Ireland, “Sanatorium”
Israel, “The Sea”
Italy, “Familia”
Japan, “Kokuho”
Jordan, “All That’s Left of You”
Kyrgyzstan, “Black Red Yellow”
Latvia, “Dog of God”
Lebanon, “A Sad and Beautiful World”
Lithuania, “The Southern Chronicles”
Luxembourg, “Breathing Underwater”
Madagascar, “Disco Afrika: A Malagasy Story”
Malaysia, “Pavane for an Infant”
Mexico, “We Shall Not Be Moved”
Mongolia, “Silent City Driver”
Montenegro, “The Tower of Strength”
Morocco, “Calle Malaga”
Nepal, “Anjila”
Netherlands, “Reedland”
North Macedonia, “The Tale of Silyan”
Norway, “Sentimental Value”
Palestine, “Palestine 36”
Panama, “Beloved Tropic”
Paraguay, “Under the Flags, the Sun”
Peru, “Kinra”
Philippines, “Magellan”
Poland, “Franz”
Portugal, “Banzo”
Romania, “Traffic”
Saudi Arabia, “Hijra”
Serbia, “Sun Never Again”Singapore, “Stranger Eyes”
Slovakia, “Father”
Slovenia, “Little Trouble Girls”
South Africa, “The Heart Is a Muscle”
South Korea, “No Other Choice”
Spain, “Sirât”
Sweden, “Eagles of the Republic”
Switzerland, “Late Shift”
Taiwan, “Left -Handed Girl”
Tunisia, “The Voice of Hind Rajab”
Turkey, “One of Those Days When Hemme Dies”
Uganda, “Kimote”
Ukraine, “2000 Meters to Andriivka”
United Kingdom, “My Father’s Shadow”
Uruguay, “Don’t You Let Me Go”
Venezuela, “Alí Primera”
Vietnam, “Red Rain”
[ad_2]
Scott Feinberg
Source link
[ad_1]
The One Battle After Another boys thrilled London fans Wednesday night at an exclusive in-conversation event at BFI Southbank.
Paul Thomas Anderson and his star, Leonardo DiCaprio (aka Bob Ferguson), were hosted by Scottish presenter Edith Bowman to talk about the wild reaction to their action thriller — the Warner Bros. feature has so far grossed over $200 million — and dive into how it was made. Among other topics, Anderson touched on how important it was finding Chase Infiniti in the search for Willa, and gushed about DiCaprio’s acting choices.
“The reaction has been incredible from people,” began the Titanic and Wolf of Wall Street star. “Not just from my friends and family, but people coming up to me and interacting with me about what the film meant to them. I don’t know. It’s been a really special moment making this film and seeing people’s feelings about what it meant to them.”
One moment in particular that had the audience chuckling was when Anderson revealed that production was paused to wait for their sensei, Benicio del Toro. “We had to call a time-out because Benicio had to go off and do Wes Anderson’s [The Phoenician Scheme],” said the Boogie Nights and Phantom Thread director. “So we really had a decision to make there. Normally, in normal situations, you go, ‘Oh, shit, we lost Benicio.’ But we really said there’s no possible way we can do this without him. We’ll do something that we’re going to have to figure out how to do financially and creatively.”
“We took a break shooting for two-and-a-half months, and picked back up again. And luckily, we were able to make that work, because everybody on the crew said, ‘Oh yeah, let’s wait for Benicio,” said Anderson. “I can’t imagine not waiting for Benicio.”
The anecdote came up when the filmmaker was asked what had changed that meant he finally felt it was the right time to make this movie. “Chase, first of all,” he also said. “Leo aging into the part, honestly. Me aging into being able to tell the story properly, being a father and having children…. [And] just confidence to tell the story.”
The men took turns gushing about the film’s female leads, including Teyana Taylor, whom Anderson described as “a stick of dynamite” but also “a real softy.” When they got onto antagonist Lockjaw, portrayed by Sean Penn, DiCaprio chimed in: “He really brought elements to it that a lot of other actors…wouldn’t have made that choice.”
“We talked a lot about who Lockjaw was going to be,” said DiCaprio. “And then when Paul decided on Sean, what was so amazing to see it up on film — because I hadn’t seen a lot of it, I was off doing my own stuff — was the fragility that he brought to what would otherwise be an obvious choice [from] maybe some other actors to make him purely menacing.”
DiCaprio continued about Penn’s interpretation of Lockjaw: “I just thought he was so incredibly pathetic and almost sympathetic at times. Sitting there, looking at his desk [and he’s] gone on this whole journey, and you have this generic IKEA desk, this window view of— is it Dallas? I don’t know. Sitting there and looking in that moment going, ‘I’ve arrived,’ as if he’s in the Shangri-La…. How pathetic he was.”
Anderson concurred: “It’s a testament to Sean that from time to time, there would be weird subsets of the crew that would say: ‘I hate to admit this, but I’m Team Lockjaw!’”
After discussing the brilliance of Jonny Greenwood’s score, Anderson and DiCaprio were also asked by Bowman about the film’s thrilling car chase on the iconic, hilly stretch of desert road. “I remember seeing those roads, and I was awestruck,” said DiCaprio. “They made it feels like you’re on a roller coaster ride. I think Regina [King] put it best, she said, ‘I’ve never been more tense in a car chase scene with three cars chasing each other down a straight road,’” he laughed. “It was money.”
Anderson said, while a nightmare to film on, the road itself is a testament to “getting in the car and driving around looking for locations, rather than just looking at a book.” He added: “That stuff’s usually been shot before, and what you’re crossing your fingers’s will happen is something like coming across that river of hills. My imagination isn’t good enough to come up with something like that,” he said. “I would [have] just put everybody on flat roads and think, ‘Well, we’re gonna have to have a car chase.’ But you kind of hit the ceiling and it requires getting out into the world.”
One Battle After Another is already generating intense awards buzz, with Anderson and DiCaprio among the frontrunners on The Hollywood Reporter‘s Oscars predictions via the Feinberg Forecast here.
[ad_2]
Lily Ford
Source link
[ad_1]
The European Film Academy on Tuesday unveiled the nominees for the 2026 European Film Awards (EFA), the top pan-European honor for cinematic excellence.
In the Best European Feature category, Joachim Trier‘s Norwegian melodrama Sentimental Value, Jafar Panahi‘s Palme d’Or winning Iranian thriller It Was Just an Accident, Olivier Laxe’s post-apocalyptic road movie Sirāt, Mascha Schilinski’s multi-generational German period film Sound of Falling, and Kaouther Ben Hania’s harrowing Gaza drama The Voice of Hind Rajab are contenders for the top prize.
In the director race, Yorgos Lanthimos is nominated for the Emma Stone/Jessie Plemons starrer Bugonia, alongside Laxe for Sirāt, Panahi for It Was Just an Accident, Schilinski for Sound of Falling and Trier for Sentimental Value.
Panahi also picked up a best European Screenwriter nomination for the script to It Was Just an Accident. Laxe and Sirāt co-writer Santiago Fillol were nominated in the same category, alongside Schilinksi and co-writer Louise Peter for Sound of Falling; Trier and co-writer Eskil Vogt for Sentimental Value; and Paolo Sorrentino for La Grazia.
The Best European Actress nominees include Renate Reinsve (Sentimental Value), Leonie Benesch (Late Shift), Valeria Bruni Tedeschi (Duse), Léa Drucker (Case 137), and Vicky Krieps (Love Me Tender). European actor nominees include Sirāt star Sergi López, Mads Mikkelsen for The Last Viking, Toni Servillo for La Grazia, Stellan Skarsgård for Sentimental Value, and Idan Weiss for Franz. Stone and Plemons, as Americas, can’t be nominated for the EFAs.
Trier’s Sentimental Value has a slight edge in the overall nominations, with 5 noms across the top 5 categories. Laxe’s Sirāt is right behind it with 4 noms, for best feature, director, actor and screenplay, followed by It Was Just an Accident and Sound of Falling, with 3 noms each.
The European Film Awards group their documentary and animated film nominees into the Best Feature category. Documentary contenders include Afternoons of Solitude, Fiume o Morte!, Riefenstahl, Songs of Slow Burning Earth and With Hasan in Gaza. The 2026 Animated feature nominees are Arco, Dog of God, Little Amelie, Olivia and the Invisible Earthquake and Tales From the Magic Garden.
In the European Discovery category, honoring up-and-coming young filmmakers, the nominees include Urška Djukić for Little Trouble Girls, Akinola Davies Jr. for My Father’s Shadow, Laura Carreira for On Falling, Murat Fıratoğlu for One of Those Days When Hemme Dies, Mathias Broe for Sauna, and Mara Tamkovich for Under the Grey Sky.
European Young Audience Award nominees include Bienvenu’s Arco, Nóra Lakos’ I Accidentally Wrote a Book, and Siblings from director Greta Scarano.
The Academy announced the nominations in front of a live audience at the iconic Real Alcázar palace at the Seville European Film Festival.
The winners of the 38th European Film Awards will be announced at a gala ceremony in Berlin on Jan. 17, 2026.
The European Film Awards have traditionally been held at the end of the year, but the Academy has moved the date to mid-January to position the EFAs as part of the international awards season, and as a harbinger for the Baftas and the Oscars. Indeed, many of this year’s EFA nominees, including Sentimental Value, Bugonia, It Was Just an Accident, Sirat, and Sound of Falling, are among the Oscar frontrunners.
Liv Ullmann, the two-time Oscar-nominated Norwegian actress and director, best known for such 1970s classics as Cries and Whispers, and Scenes From a Marriage, will receive a lifetime achievement honor at this year’s EFAs. Alice Rohrwacher, the Italian director of La Chimera, Futura, and Happy as Lazzaro will be honored with the European Achievement in World Cinema Award.
See the nominations for the 2026 European Film Awards below.
EUROPEAN FILM
Afternoons of Solitude, dir. Albert Serra
Arco, dir. Ugo Bienvenu
Dog of God, dir. Raitis Ābele and Lauris Ābele
Fiume o Morte!, dir. Igor Bezinović
It Was Just an Accident, dir. Jafar Panahi
Little Amelie, dir. Maïlys Vallade and Liane-Cho Han
Olivia and the Invisible Earthquake, dir. Irene Iborra Rizo
Riefenstahl, dir. Andres Veiel
Sentimental Value, dir. Joachim Trier
Sirāt, dir. Oliver Laxe
Songs of Slow Burning Earth, dir. Olha Zhurba
Sound of Falling, dir. Mascha Schilinski
Tales From the Magic Garden, dir. David Súkup, Patrik Pašš, Leon Vidmar and Jean-Claude Rozec
The Voice of Hind Rajab, dir. Kaouther Ben Hania
With Hasan in Gaza, dir. Kamal Aljafari
EUROPEAN DOCUMENTARY
Afternoons of Solitude, dir. Albert Serra
Fiume o Morte!, dir. Igor Bezinović
Riefenstahl, dir. Andres Veiel
Songs of Slow Burning Earth, dir. Olha Zhurba
With Hasan in Gaza, dir. Kamal Aljafari
EUROPEAN ANIMATED FEATURE FILM
Arco, dir. Ugo Bienvenu
Dog of God, dir. Raitis Ābele and Lauris Ābele
Little Amelie, dir. Maïlys Vallade and Liane-Cho Han
Olivia and the Invisible Earthquake, dir. Irene Iborra Rizo
Tales From the Magic Garden, dir. David Súkup, Patrik Pašš, Leon Vidmar and Jean-Claude Rozec
EUROPEAN DIRECTOR
Yorgos Lanthimos for Bugonia
Oliver Laxe for Sirāt
Jafar Panahi for It Was Just an Accident
Mascha Schilinski for Sound of Falling
Joachim Trier for Sentimental Value
EUROPEAN ACTRESS
Leonie Benesch for Late Shift
Valeria Bruni Tedeschi for Duse
Léa Drucker for Case 137
Vicky Krieps for Love Me Tender
Renate Reinsve for Sentimental Value
EUROPEAN ACTOR
Sergi López for Sirāt
Mads Mikkelsen for The Last Viking
Toni Servillo for La Grazia
Stellan Skarsgård for Sentimental Value
Idan Weiss for Franz
EUROPEAN SCREENWRITER
Santiago Fillol and Oliver Laxe for Sirāt
Jafar Panahi for It Was Just an Accident
Mascha Schilinski and Louise Peter for Sound of Falling
Paolo Sorrentino for La Grazia
Eskil Vogt and Joachim Trier for Sentimental Value
EUROPEAN DISCOVERY – PRIX FIPRESCI
Little Trouble Girls, dir. Urška Djukić
My Father’s Shadow, dir. Akinola Davies Jr
On Falling, dir. Laura Carreira
One of Those Days When Hemme Dies, dir. Murat Fıratoğlu
Sauna, dir. Mathias Broe
Under the Grey Sky, dir. Mara Tamkovich
EUROPEAN YOUNG AUDIENCE AWARD
Arco, dir. Ugo Bienvenu
I Accidentally Wrote a Book, dir. Nóra Lakos
Siblings, dir. Greta Scarano
[ad_2]
Scott Roxborough
Source link
[ad_1]
Renée Zellweger is now a permanent fixture in London’s Leicester Square as a statue of her beloved character, Bridget Jones, was unveiled Monday.
Zellweger, who first played the unlucky-in-love Londoner in Bridget Jones’s Diary in 2001, was in attendance at the unveiling. Stars of the latest instalment, Mad About the Boy, also joined her: Leo Woodall, Chiwetel Ejiofor and Sally Phillips stood with Zellweger in front of the statue and posed for photos. “I think she’s much cuter than me,” Zellweger told BBC News about the sculpture, which can be seen clutching the character’s iconic diary and holding a pen.
Mad About the Boy, released on Peacock in February this year, is the fourth of the Bridget Jones series. In the U.K. and Ireland, the movie earned the best box office opening ever for a rom-com, per Universal data.
Based on the books by Helen Fielding — also photographed with Zellweger at Monday’s ceremony — the films follow chain-smoking, wine-loving Bridget Jones as she navigates personal and professional hurdles through her 30s, 40s and 50s. Colin Firth and Hugh Grant starred as her main love interests as Mark Darcy and Daniel Cleaver, respectively, with Woodall and Ejiofor entering the fray as romantic newcomers in Mad About the Boy.
Bridget Jones has become something of a national treasure in Fielding’s native Britain; not dissimilar to Harry Potter or the James Bond franchise, as the character was overdue representation for thousands of women muddling through life.
When Texan Oscar winner Zellweger took on the role, she wowed fans and critics alike with an impeccable British accent and classic Bridget charm. “I don’t think I’ll ever let go of Bridget,” Zellweger told The Hollywood Reporter when Mad About the Boy released. “I have conversations about Bridget Jones pretty much every day. I meet people on the sidewalk and they want to share about their own Bridget Jones experiences. All my friends call me Bridget!”
“I’m not alone in feeling like I relate to Bridget Jones in more ways than I’d like to admit,” she continued. “She feels very familiar to me.”
The statue is one of Leicester Square’s Scenes in the Square trail — and the first of the bunch to honor a romantic comedy. Others that feature include Paddington Bear, Mr. Bean, Harry Potter as well as the Iron Throne from Game of Thrones.
[ad_2]
Lily Ford
Source link
[ad_1]
Hauntingly beautiful… revelatory: these are the adjectives that come to mind when staring at Eva Helene Pade’s paintings. Amorphous bodies move across the canvas like a choreography of spectral dancers, dynamically taking over the elegant architecture of Thaddaeus Ropac’s gallery in London. It’s a spectacle of erotic energy, where the power of attraction and seduction of the femme fatale finds its stage, manifesting through moody, dramatic atmospheres shaped by color sensations and instinctive emotional reactions.
Following the Danish-born, Paris-based artist’s institutional debut at ARKEN Museum of Contemporary Art in Denmark earlier this year and multiple new auction records set at auction (the latest at Sotheby’s Hong Kong in 2024, when A Story to Be Told #14 (2021) sold for $123,417) the exhibition “Søgelys” (on view through December 20, 2025) brings together a new group of paintings in which Eva Helene Pade continues to explore the violent and seductive forces that exist between bodies in space. The body is examined here as both a medium and a filter, a porous psychical, cognitive and emotional membrane through which we negotiate our interactions and relationships with others. Painting becomes a vehicle for a continuous exercise of female embodiment and disembodiment, creating both a dance and a tension that unfolds within the canvas and the surrounding space. “Color is crucial for me; it’s emotional and psychological,” she tells Observer. “The palette often defines the atmosphere of a work before the figures even appear.”


Pade turns the canvas into a living stage where color and movement try to spontaneously channel and translate the prelinguistic expressions of the human psyche. Her process is deeply intuitive: the figures emerge from the act of painting itself, beginning with an abstract field and moving through a fluid process of identification and alienation. “I start drawing figures into it. At first, they appear as little blobs, and gradually I begin carving them out until the forms start taking shape, only to change again and become something else entirely,” she says. Pade also tunes herself to rhythm, listening to classical music to enter an inner world of narratives and transforming its prelinguistic storytelling into a tool to address universal questions about the human condition.
“I work very instinctively, letting intuition lead. Sometimes it fails; sometimes it surprises me. I rely on that tension,” she says, acknowledging how her influences have shifted over time, though certain painters have always remained with her. The psychological charge of her work recalls the emotional and psychological layering of artists such as Edvard Munch, Amber Wellmann, Nicolas de Staël, Cecily Brown, Marlene Dumas and Miriam Cahn, as well as older masters like Rodin and Rubens, who reveal how much emotion can be conveyed through a gesture or pose.
Still, despite this intuitive channeling through pigment and color, Pade’s works are never autobiographical portraits; they’re personal but not literal. “I don’t paint people from my life, nor do I use photographic references. They’re intuitive, almost dreamlike—images that emerge and shift as I work,” she explains.
Like monsters or ghosts reemerging from the subconscious, these spectral presences probe the porous diaphragm between the inner and outer world, a boundary that painting can reveal. “I’ve always been drawn to painting. I began drawing as a means to process both external reality and my inner world,” Pade says. She never had strict academic training, so she taught herself anatomy, proportion and form, which may be why her figures appear slightly off, existing within her own visual logic. “That wonkiness has become my language.”


The canvas becomes the stage where the “shadow,” the “removed,” is confronted in a distinctly Freudian and Jungian sense. “I keep molding the surface, working into the face, pulling new elements out of the shadows that I hadn’t noticed before,” Pade confirms. “A dark color might form a symbol or pattern, which I then push back into the composition.” It’s a long, layered process that involves as much waiting and letting the paint dry as it does discovery and transformation.
Still, it’s immediately apparent upon entering the show that this new body of work engages with femininity, sensuality and the position of the female body in space. Painting is for Pade a means of exploring the relationship between self and surroundings, how this dynamic subtly defines and redefines identity between body and soul, between the one and the many. Her figures, often expressionless and featureless, convey emotion through gesture and contortion, resonating with a universality that transcends any autobiographical reading.
What she paints is a potentially cacophonous orchestra of sensations and voices, a confrontation with the chaos of humanity in which the self is continually dissolved and rediscovered. Pade began painting crowds during lockdown, reflecting the strange collective isolation of that time. “They’re images of people together, but not necessarily about any specific moment. They’re more like metaphors of time itself.”
There is always a narrative in her paintings, but it remains open-ended. It’s the drama of human existence in dialogue with the external world that Pade paints. “I don’t want to trap the viewer in a single message. It’s more like a free exploration on the canvas: an emotional and physical response that builds its own logic,” she says.


Once the paintings are presented outside of the studio, they gain new context from the space and from the people who encounter them. In London, Pade wanted to choreograph her own visual rhythm, thinking about how the paintings could occupy the space almost like stage sets. “The exhibition space was so unconventional that I had to respond directly to its quirks—the staircase, the unusual angles—so I began playing with composition almost like orchestration,” she explains. “It all made sense because the project was inspired by a ballet, so I leaned into that theatricality, treating the canvases like backdrops.”
Pade doesn’t have a background in theater but she clearly thinks compositionally, almost like a stage director. The paintings are intentionally life-sized so the figures stand in direct relation to the viewer’s body as they float and dance in these hazy atmospheres, much like in a nightclub or a theater. “I want the experience to be physical, to break the passive distance between viewer and painting.”
Although the works are two-dimensional, they feel animated by their dense atmospheres, where bodies flicker between visibility and occlusion, partially veiled by soft billows of smoke or lit from within by a flaming glow or radiant beams of light. Lifting the paintings off the wall and letting them float through the space isn’t a gimmick; it heightens this emotional rhythm. “For these crowd scenes, it made sense. The figures seem to hover or drift in space, and the installation amplifies that effect,” she notes.


While staging the paintings outside her studio, she realized that by not hanging them flat on the wall the viewer could see their backs—the wooden stretchers, sketches and raw marks behind the surface. They became living metaphors for the relationship between inner world and external space. “I liked that transparency, that glimpse into process. Light passed through them in interesting ways, giving them a smoldering depth,” she acknowledges. “When people walked around, the paintings seemed to move with them. It became immersive. You could almost walk into the composition.”
In the space, the unified spectral presences of Pade’s choreography found their living essence again, becoming interlocutors with the viewers. And if painting is, first of all, an open conversation, an expansive narrative field where everyone can identify and project their own meanings, the universal power of connection offered by Eva Helene Pade’s painterly storytelling and its endless variations is proof of how her art can still evolve. Even the “failed” works contribute to her evolution, as painting remains for her both a necessity and an urgency, a means to confront and process the multifaceted reality of the world. “You learn technique, rhythm and restraint from them.”
The potentially continuous evolution of the canvases on view reveals Pade’s enduring excitement for painting. “I don’t plan big conceptual changes. It evolves organically with each new piece,” she reflects. “Some paintings fail; I destroy or hide them if they don’t resonate. I think it’s crucial to be self-critical. A work that doesn’t move me won’t move anyone else.”


[ad_2]
Elisa Carollo
Source link
[ad_1]
TOKYO (AP) — Japan’s economy sank at an annualized rate of 1.8% in the July-September period, government data showed Monday, as President Donald Trump’s tariffs sent the nation’s exports spiraling.
On a quarter-by-quarter basis, Japan’s gross domestic product, or GDP, or the sum value of a nation’s goods and services, slipped 0.4%, in the first contraction in six quarters, the Cabinet Office said.
The annualized rate shows what the economy would have done if the same rate were to continue for a year. The fall was still smaller than the 0.6% drop the market had expected.
A big decline during the quarter came in exports, which were 1.2% down from the previous quarter.
Some businesses had sped up exports, when they could, to beat the tariffs kicking in, inflating some of the earlier data for exports.
On an annualized basis, exports dropped 4.5% in the three months through September.
Imports for the third quarter slipped 0.1%. Private consumption edged up 0.1% during the quarter.
Tariffs are a major blow to Japan’s export-reliant economy, led by powerful automakers like Toyota Motor Corp., although such manufacturers have over the years moved production abroad to avert the blunt of tariffs.
The U.S. now slaps a 15% tariff on nearly all Japanese imports. Earlier the tariffs were 25%.
Japan also faced political uncertainty recently, until Sanae Takaichi became prime minister in October.
___
Yuri Kageyama is on Threads: https://www.threads.com/@yurikageyama
[ad_2]
[ad_1]
Robbie Ryan, the winner of the inaugural THR Visionary in Cinematography Award at this year’s EnergaCamerimage festival, is one of the most inventive, adaptable, and quietly influential DPs working today.
The 55-year-old Irish lenser has built a career defined by radical range: Staring from the raw, handheld urgency of Andrea Arnold — his first major collaborator — to the fixed-tripod, long-lens approach of kitchen sink master Ken Loach, to the wild, rule-breaking experimentation of Yorgos Lanthimos and the actor-centered, classically composed approach of Noah Baumbach.
The throughline isn’t a signature look but a signature philosophy: That the story dictates the style. Ryan has shot on a 4:3 ratio [for Arnold’s Fish Tank] and on VistaVision [Lanthimos’ Bugonia]. He’s experimented with Ektachrome stock and tiny 6mm vignetted lenses [on Poor Things]. But the goal has never been to show off. “Lens choice isn’t about proving something, but about emphasizing an aspect of the film story,” he notes.
Ryan spoke to The Hollywood Reporter about his beginnings as a Super 8-obsessed kid, the lessons he’s carried from Arnold, Loach, and Lanthimos, and why celluloid remains his creative North Star. “Film has an identity… There’s an alchemy, a magic, to it.”
I’ve read you decided to become a cinematographer when you were 14. Did you already know then you wanted this to be your life’s work?
Well, I certainly didn’t know what a cinematographer was back then. I remember being in a library when I was about 17, and finding a cinematography handbook and thinking, “Oh, that sounds like a good word: Cinematographer.” But at 14/15, I didn’t have an iota of what cinematography was.
I just loved making short films. Me and my cousins and my friends had a Super 8 camera, and we’d just wait for the holidays so we could shoot another short film. It was our way of getting through school, knowing we’d be making some silly movie in the holidays. My brother would write these scripts, and we’d film them. It hasn’t changed much for me in 40 years.
I think in my generation, you see a lot of directors who landed here in the same way, Spike Jones and such. We were all doing the same thing, making mad little movies. It has a bit to do with the technology being more accessible to us than to the generation before. It’s essentially what the TikTokers are doing these days. We were the weirdo kids on the street, hanging around on our bikes and also making movies.
Director Yorgos Lanthimos, cinematographer Robbie Ryan and Emma Stone on the set of ‘Bugonia’
Atsushi Nishijima/Focus Features
Your first major collaboration was with Andrea Arnold on her short film Wasp. How has working with her shaped your approach and your overall career?
It’s fundamental to the way I am. Where I’m at now is through working with Andrea. It was a blessing to have crossed paths and started working and collaborating when we did. She was still doing shorts. It was an important juncture in her career, as well as mine. A junction in our lives, really. We’re fast friends. We’re very close.
Andrea loves telling the story of our first day shooting that short, Wasp. She shoots consecutively, and that first shot is following these little kids, running downstairs backwards. She’s like: I’d like to get the shot where I’m you’re in front of them going down backwards. I was like: Sure, I’ll give it a go. She’s still impressed I was able to do that without falling over. I passed the test of the Andrea Arnold School of Filmmaking.
Her style is really distinct. Like all great directors, she really knows what she likes, and she kind of zones in on that, creates a rule book for herself, even if the rules are there to be broken. I’ve worked with a lot of different directors since then, and I’ve learned that if you can kind of figure out what ingredients each director likes and what they’re hoping to do for this particular film, you can really hook in as a DP.
For example, all of Andrea’s films are very handheld. She hates tripods. Her edit choices within the handheld world are very restrictive to a certain style. She doesn’t make many films; she makes one about every five years. So you’ve forgotten about the system by the time the new one comes around. But if you’d watched them all back to back, you’d see they are similar in a certain way. It’s her film style, which I find totally honest, which is what she is as a person, and why, I think, her films resonate with so many people.

‘Bird,’ directed by Andrea Arnold, shot by Robbie Ryan
Mubi
From Arnold, you started working with Ken Loach, also a realist filmmaker, but with a very different style.
I remember going into an interview with Ken, and he goes: “If you were to film this, us sitting here, what would you do?” I’m like: I don’t know. I had no clue, really. I didn’t know much about Ken’s films, except maybe My Name is Joe, that era, the 90s ones. I was a newbie in the Ken world.
He cut across me and went: “What I do is put a long lens, a 50 mm or 75 mm lens, in the corner over there. I was like: Kind of the complete opposite to Andrea Arnold, but also trying to achieve a kind of realism and doing it extremely well. They are both realist filmmakers, but they come at it from a different way. Ken, if he could, would have the camera in another room. He doesn’t want a camera near his actors to get them distracted.
He doesn’t want lights, but he loves lighting. He loves backlight. Look at his work with Chris Menzies (Kes, Black Jack, The Gamekeeper). It’s so beautiful, so thought through. Ken would go on a recce and would say no to a location if the light wasn’t naturally coming in as backlight. I found that fascinating, because Ken’s films tend to be Northern England and Scotland, which is pretty gray. There’s a 70 percent chance there’s not going to be any light. But if there’s that 30 percent chance there, he’ll get it.

Ken Loach’s ‘I, Daniel Blake’
Courtesy of TIFF
Ken’s approach is really austere, and he is very camera-centric. In a way, Ken and Yorgos (Lanthimos) are quite similar, because they always know what lens they want to use. I remember working on I Am Daniel Blake, and Ken would start a scene on a 75 mm lens, and then he realized that he hadn’t used the 50 mm yet, so we had to re-shoot the whole scene from the beginning. Because he needed to start with the 50 and then move up the ranks.
He’s got a big notebook, where he’s written notes on exactly where the camera will be and what lens he’s going to use. In Ken Loach films, I’m literally the operator, and it’s a joyful place to be, just watching this master choreograph the reality he wants, grasping the honesty and the truth he sees.
He’s usually on a long lens, and what’s great is you’re following the protagonist all the time. So the camera always feels like it’s moving; it never feels static. If you’re on a 100 mm lens following somebody walking around, you feel like a fly on a wall. And because the cameras are way off in the distance, the actors are in the middle of their little world. It’s a technique I never would have wanted to do on my own, but with Ken, I got more and more into it and really enjoy it.
How did you move from Andrea Arnold and Ken Loach to Yorgos Lanthimos, who seems to have a completely different visual style and approach in his films?
We had a couple of meetings and tried to work together on a short film, then on The Killing of a Sacred Deer, but the schedules didn’t work out. Then Yorgos came back and asked: “Would you like to do The Favourite?” And I was weirdly stupid about it. I thought: “You have your own DP (Thimios Bakatakis)”. You’ve got a relationship there. I didn’t want to be, like, the new girlfriend. And I was cautious because The Favourite was a biopic. I don’t like biopics. And it’s about a Queen, royalty. And I hate royal films. I didn’t really know Yorgos’ approach to filmmaking, so I was a little bit reticent, a little bit cautious about signing up to it.
I remember doing prep on The Favourite, and he said, “I don’t want to use any lights.” And I was like: “Yeah, but can that work?” I’ve noticed over the years with Yorgos is if you ask a question, you might get an answer, but if you don’t ask, you’re not going to get much information. So you try and offer up the best you can within what brief you’ve been given.

Emma Stone on the set of ‘The Favourite’ with Robbie Ryan (far right)
Yorgos Lanthimos/Twentieth Century Fox
On the first day of The Favourite, Yorgos came up to me — he had a digital stills camera at the time — and he was taking stills. He’d get the shot he wanted, show me the picture, and say: “We’ll go for this.” I realized he was going to offer up shots and tell me what way we are going to approach it. That’s when I breathed a sigh of relief.
That’s the way we do it all the time now. He sets up the film set with everything at his disposal, where we’re in a room where we can literally shoot 360, without any paraphernalia in the way. We’ve got all the lenses we’ve chosen. We’re on the camera we want to use. We’re on a dolly or whatever camera support system we’re using. And then he’s free to do what he feels is the right thing on that day. He wants to have an element of spontaneity. And I love that. It’s a matter of getting everything ready to go at the last second. His filmmaking is not elaborately complicated. It’s one camera shooting most of the time. There are no crazy techno cranes everywhere. And it’s always on film.
He’ll be sitting there with a handheld monitor, very close to the action. Most of the directors I work with use a small monitor. Ken doesn’t use a monitor at all. All those directors are very close to the action, and I think that’s really important.

Emma Stone and Mark Ruffalo in ‘Poor Things’
Atsushi Nishijima/Searchlight Pictures
What led to the lens experimentation – the wide-angles and fisheyes — on The Favourite and Poor Things?
Yorgos was going through quite a period of curiosity for wide-angle lensing, and we researched. We went to Panavision and researched their wider lenses. We happened upon the 6 mm fisheye when lensing The Favourite, which he loved, and is amazing, and suits that film so well because of the architecture and the fact that Queen Anne (Olivia Colman) is this tiny element within the massive space of her world. I think ironically, the lensing makes her world look very claustrophobic, her very isolated.
Usually, lens choice isn’t about proving something but about emphasizing an aspect of the film’s story. With Poor Things, he wanted to go further, to almost have, like a portal into that world. That vignetted wide-angle lens makes it feel like you’re looking in from another world. That’s one of the times when I felt I actually came up with a good idea.
We went with a 16 mm wide lens, and we used it on a 35 mm format. So essentially, the aspect ratio of the lens wouldn’t cover the whole 35 mm negative. So you had this natural vignette, and at the same time, it’s a very wide angle. That was something we used on Poor Things, and I think it’s used very cleverly.
Anytime a scene felt like it was a little bit lacking, Yorgos would go: “Let’s get the 4 mm out.” And the actors would all be a bit like: “Oh, we haven’t done well enough, we’re going to be sentenced to the 4 mm,” because they’re just tiny in it.
Poor Things is a film that totally leans into that world. It’s kaleidoscopic, very otherworldly. I love the idea of the wide-angle 4 mm, as a portal into that world. But when you use those lenses, everything is in vision, so you’ve got to be on a very simple camera support system. Usually on a tripod or a dolly. The dolly is even in shot on those lenses. So you have a really small footprint for the camera support system. We shot Poor Things very simply, really.

Jesse Plemons and Emma Stone during the production of ‘Bugonia’
Atsushi Nishijima/Focus Features
With Bugonia, you made another jump, to shooting in VistaVision.
When we were filming Poor Things, I remember Yorgos saying he wanted to try out VistaVision. We found a camera and we tested with that. But it was very noisy. Yorgos does not do ADR on his films. He said: “This is a good camera, but I need to be able to shoot sync [sound].” There is a scene in Poor Things where there’s no sync sound, so we used it for that.
I love to think we were one of the first to bring back VistaVision, because nobody else had a big feature film on it at that stage, in 2021. We also shot it on Ektachrome, which was even more of a challenge, using this old camera with a very old stock that we didn’t know much about. But the results were phenomenal.
That planted the seed to try and endeavor to shoot a film on VistaVision. I was doing a bit of research on Poor Things, and I met with this guy called Scott Smith, who’s a large-format technician in Hollywood. He told me about this other camera, the only “sync sound film” VistaVision camera. The Wilcam W11 camera. We wanted to try it out, but it was still getting renovated with the electronics; it wasn’t up to speed.
But about year later, two years later, I did test with that camera. And it was great. We were worried about the noise, but it’s actually quite a quiet camera, relatively, for what it’s doing.
The lens choice on Bugonia is really interesting, because it’s such a large-format camera, but he decided to shoot the majority of the time on faces. The whole film is these portrait shots of faces. It’s a shrewd choice, because the landscape quality of that camera lends itself to the close-up as well. It renders the close-up more beautiful in a way. There’s a fall off to the image that is really special. It elevates the film to another level. Yorgos wanted to go in a different direction, so we went with a large format with a tighter lens.

Robbie Ryan shooting a close-up of Emma Stone on ‘Bugonia’
How do you see the state of film versus digital today?
The majority of the films are digital, obviously. It’s a bit like how a lot of people love Mac and Apple, but Dell and Microsoft are still the majority of computers. I looked at the list of what films have been shot on what this past year, and everybody seems to be shooting on the ARRI Alexa 35. Now it’s purely my opinion, but I think it still doesn’t really get close to what film does, straight out of the can.
Film, even if it’s overexposed, underexposed, or correctly exposed, has a unique quality to it. It’s hard to make digital look horrible, though I have seen a lot of horrible digital stuff, whereas film, if you made a mistake, looks wrong. Though I still find those “film mistakes” really beautiful. For me, film has an identity. It lands with the viewer without them necessarily knowing it was shot on film. There’s an alchemy, a magic, to it.
Ironically, if you shoot on an old chunky format like VistaVision or 70mm or IMAX these days, that creates a big bump in sales for getting people into cinemas. You can charge a little bit more, and you get people interested. I think the work Paul Thomas Anderson did on his film [One Battle After Another] by promoting the way to watch his film in the cinemas was genius. I haven’t been to an opening night of a film for a long, long time that was as exciting as it was to go see the Paul Thomas Anderson film.
Which film felt like the best “dance” between you and your actors?
If we’re talking literally about dancing, it’d be Andrea’s films. She loves dancing. In American Honey, the way Sasha Lane moves was really special. That was one of the rare digital films I’ve done, because we were shooting on the road a lot in America, and shooting on film was just going to be too complicated. We ended up shooting on an Alexa camera, one of the older, chunky Alexas. So I’m bearing down on Sasha all the time, and she never once looked in the camera. She was just brilliant and free and fluid.
Obviously, Yorgos also loves a dance. Every film he does has a dance. Emma [Stone] in Poor Things was really good fun. We had a lot of fun doing the dance in that film.

Robbie Ryan filming Emma Stone’s dance scene in ‘Poor Things’
Atsushi Nishijima/Searchlight Pictures
I also have to think of a static “dance” you shot: The breakup scene in Marriage Story.
Oh my God, yeah. That was amazing. Noah [Baumbach] likes to go through quite a lot of takes. For that scene, it was me, Scarlett Johansson, Adam Driver, and a grip, Jose [Santiago] in a room. That was it. We just went at it. At the end of it, Jose and I are like: “I feel like we’ve been through this breakup as well.” The acting in that is phenomenal, and they really pushed it. I can only imagine where an actor goes. We spent a whole two days filming that scene.
Beyond your own work, were your favorite-shot films of this year?
Scott, I’m so glad you asked me. I go to a lot of film festivals and try to catch up on films before everyone else is talking about them. Ready? I’ll give you five.
There’s The Heart That Remains by Hlynur Pálmason. He made the film Godland. He shoots his own stuff. He’s a bit like an Ingmar Bergman. He lives in Iceland. He shoots all his own films on 35mm.
There’s Motel Destino. I love anything that [cinematographer] Hélène Louvart does. That woman is the most prolific DP of our time. She shoots at least 3-4 films a year, and they’re all superb. Motel Destino is another way-out-there movie. It’s neo-noir Brazil, and it’s just no bullshit; it just goes for it.
There’s a film I saw, which I thought was great, called To the West, in Zapata. It’s a film shot by a guy on his own [David Bim]. It’s an ethnographic movie, shot on a Sony FX6, or whatever it’s called, and he just follows this couple in Cuba during COVID, and it’s black and white. It’s about this guy who hunts alligators to sell the meat or something.
And there’s a shot in it that’s like 20 minutes long of this guy getting an alligator, but the camera guy is in the water as well. I’m watching that, going “Fair fucking dues to you. There are alligators in those waters, and you’ve not moved the camera for 20 minutes.”

(L to R): Scarlett Johansson, Robbie Ryan and Noah Baumbach on the set of ‘Marriage Story’
Netflix
Of course, there’s One Battle After Another, which is phenomenal, absolutely inspiring. He’s a very Zeitgeist director. He knows what he’s doing.
And the other film I loved this year was Mark Jenkin’s Rose of Nevada. All shot on a Bolex and it looks amazing!
What advice would you give to young cinematographers starting out today?
I get this one a lot. I think: Just be enthusiastic. Always be filming. Don’t try and second second-guess what your path will be to get you to where you want to go. Just try and enjoy the work and try and meet with like-minded people.
That’s why I think colleges are so important, because you’re kind of immersed with a group of people all doing this for the first time, all learning together. You’ll bump into people and can bounce ideas off each other, and maybe start a collaboration. It’s a collaborative art form.
I still think film school was so fundamental for me. I was never a cinephile at all. I didn’t really watch films. I just loved making them. So I don’t think you need to know anything about other films. Just be instinctive and enjoy the process.
The fact that AI is coming along and might take away the most fun bit of filmmaking, which is being on a film set, makes me very sad. My advice would be: Make sure you’re out there shooting stuff and just having a laugh. It’s an enjoyable thing to do in life. That’s why I’m still doing it at my age.
[ad_2]
Scott Roxborough
Source link
[ad_1]
Stop the presses! There’s a new monarch in town. Long live the king and his queen! Where, you ask? Well, in Versalles. What, you ask? Well, that’s the title of the new movie from Andrés Clariond (Hilda), which world premieres Sunday in the main competition lineup of the 29th edition of the Tallinn Black Nights Film Festival (PÖFF).
So, what in the world are we talking about? “After losing his chance at the Mexican presidency, ambitious politician Chema retreats with his elegant wife Carmina to a countryside hacienda,” reads a synopsis for the film. “Exile soon turns into delusion: they crown themselves king and queen of a fabricated realm, household staff are recast as courtiers, halls transform into stages of decadent ceremony, and fantasies spill into cruel punishments and bizarre rituals.”
Absurdity and megalomania satire, with some inspiration from former French rulers (yes, “Versalles” is nearly “Versailles”!), ensue. “Inspired by works like The Death of Stalin, The Favourite and The Discreet Charm of the Bourgeoisie, Versalles reimagines the decadence of French aristocracy through the lens of modern Mexican politics,” the PÖFF website explains. “With irony, theatrical exaggeration, and striking visual symbolism, it explores how power corrupts, how perception shapes reality, and how civility crumbles under an unrestrained ego.”
In case you are wondering: no, this is not a documentary. Cuautli Jiménez and Maggie Civantos star in the movie from Pimienta Films (Roma), for which MMM Film Sales is handling world sales. The Tallinn festival promises “magnetic” performances by the lead actors.
Alfonso Herrera Salcedo is responsible for the cinematography, the production designers are Hania Robledo, and editing was handled by Alejandro Lozano, Julián Sarmiento and Enrique Pérez.
THR can now unveil an exclusive clip from Versalles that gives a sneak peek at the ego trips in the dark fable, which seems well-suited for our times. Check out the clip below. But beware: don’t upset the monarchs!
[ad_2]
Georg Szalai
Source link
[ad_1]
When Steven Spielberg’s Jurassic Park burst onto screens in 1993, audiences were swept away (to the tune of around $914 million) by its dinosaurs, drama — and location.
Jurassic Park looked like it had been shot on the far reaches of another world entirely, but what many of the film’s scenes were showcasing — as they would across the franchise’s next three installments — was the absolutely stunning splendor that filmmakers have been finding on the Hawaiian island of Kauai since the 1930s.
“There is a sense you get in some movies that you’ve really traveled somewhere, and Jurassic Park has that, largely because of Kauai and the power of its imagery and diversity,” the blockbuster’s production designer Rick Carter would later explain in the Making of Jurassic Park book. “There is a very romantic quality about the island, but it is not all benign. There are areas which are some of the most beautiful pasture land in the world; other areas are more mountainous, with rougher terrain. For Jurassic Park, we took everything Kauai had to offer and jam-packed it into our own little island.”
Spielberg had first been lured to the island by friend and frequent collaborator George Lucas, and the pair used Kauai for the iconic opening frames of 1981’s Raiders of the Lost Ark, which feature Harrison Ford as the intrepid archaeology professor Indiana Jones running out of a cave and into the jungle with a boulder in hot pursuit. Other productions through the years to use the 552-square-mile island — also known as “the Garden Isle” — as a location have included 1958’s South Pacific, 1976’s King Kong and 2008’s Tropic Thunder.
“Growing up in the ’80s and ’90s, we had quite a few big productions here — Jurassic Park, Indiana Jones,” explains Sandy Kaauwai, Kauai film commissioner. “We had a mix of movies in the past before those big ones, including South Pacific, but it wasn’t really until Jurassic Park hit that we were actually put on the block.
“We were still a relatively unknown place at that point, and it was George Lucas who vacationed here and saw all this potential,” she adds. “He was actually a huge part of our development as a location thanks to his friendship with Steven Spielberg and them working on Jurassic Park. When that film came out, we were really on the map.”
Lilo & Stitch
Notable destinations on Kauai in Jurassic Park — now deeply etching into cinema folklore — include the majestic Manawaiopuna Falls. Other destinations on the island featured in major productions include the 14-mile-long Waimea Canyon — also known as “The Grand Canyon of the Pacific” — in Honeymoon in Vegas as well as the jungles and mountains around Ha‘ena (Raiders of the Lost Ark and South Pacific). Meanwhile, Hanapepe Town and the Hanapepe Valley were used as the model for the town that’s featured in the Disney animated hit Lilo & Stitch.
It’s a history that has been charted in local writer Chris Cook’s in-depth The New Kauai Movie Book, which goes to great lengths to share filmmakers’ experiences of Kauai through the years, with those tales of the Jurassic Park shoot and a little gem from producer Jerry Bruckheimer, who used the island for Pirates of the Caribbean: On Stranger Tides after deciding the film “required landscapes so beautiful they’re almost otherworldly.”
The state of Hawaii has recognized the importance of the film industry to both Kauai and the archipelago as a whole, with the tax benefits offered for shoots first introduced in 1997 having grown incrementally since. Currently, they sit at a 27 percent rebate for spending over $100,000 on Kauai — higher than the 22 percent offered for shoots on nearby Oahu — with caps at $17 million per project and $50 million per year. Kaauwai reports that there are hopes to improve the tax credit further during this year’s state legislative session.
Support for cinema has become deeply entrenched in the local economy, too, with Hawaii’s Department of Business, Economic Development and Tourism estimating in a 2024 study (based on tax credits from 2022) that film shoots accounted for $260 million in contributions to the state’s GDP (via $68 million in credit claims). The Hawaii Film Alliance — an organization formed this year in an effort to “revitalize the state’s film industry” post-pandemic — says the rebates “generate a five-fold return in economic activity, supported 2,247 jobs in 2024, led to an estimated 15 percent to 20 percent increase in tourism for locations featured onscreen and resulted in an additional $1.3 billion in Hawaii visitor spending,” according to Hawaii News.
“In recent years, more destinations have realized how important location shooting can be — and that’s why today the market is so competitive,” says Kaauwai. “But we have a long-established support system so that the support we give is not really just a bunch of numbers. We can help with locations, we can help arrange hotel rooms, catering or pretty much the gamut of things that happen during a shoot. We have the experience — and we have our island.”
Kaauwai grew up immersed in all that beauty and watched as the film world started to explore her home and to make use of what it offers.
“I think probably our jungle, our greenery, is our main selling point,” she says. “It’s just beautiful here. But we also have beaches, beautiful beaches. We have incredible valleys and waterfalls and mountainous regions. From the north side, which is completely green and lush, to the west side, which is more of a dry area, desert-type place, there are just so many different landscapes to work with.”
[ad_2]
Mathew Scott
Source link
[ad_1]
A new generation of collectors is determined to take control and rewrite the rules of an art system they don’t identify with, finding its hierarchies outdated and its codes sluggish compared to the speed at which they now share information, discover artists and shape their own passions. During a frenetic Paris Art Week, Parisian collector Raphaël Isvy opened his collection to Observer, reflecting candidly on what no longer works in the traditional art world and how things could evolve—much as other markets already have.
Isvy picks us up from the opening of Paris Internationale on his motorcycle—the only sensible way to cut through the week’s gridlocked traffic—and takes us to his apartment in the elegant 16th arrondissement, directly across the river from the Tour d’Eiffel, where his two young daughters greet us at the door. Between the roar of the ride and the quiet of home, he begins not with art but with life: how becoming a father reshaped everything—his outlook, his sense of time and his focus on what truly holds value behind the mirror.
Born in 1989 and raised in Paris, Raphaël Isvy studied mathematics and statistics, worked in finance and asset management and later consulted for major tech firms. He followed the path laid out by family and convention before discovering art—a revelation that slowly but completely redirected his life toward his passion. He began collecting around 2016 and didn’t know much about art, beyond living in a city surrounded by it. “I didn’t grow up in an art-oriented family—everyone around me was a doctor, either a dentist or an eye doctor—I was the only one who ended up working in finance. I’d studied mathematics and statistics, but I had always been very curious by nature,” Isvy tells me. Curiosity is often enough to start someone down the collecting path, but he was also becoming bored with straight finance. “I loved the idea of owning something that others had tried—and failed—to get. I was drawn to the fact that art could be bought online, and I was good at that. I was fast, quicker than most people.”
That’s how Isvy ended up buying an Invader print. “When it arrived and I saw it at home, I completely changed my mind about selling it, even though I was getting crazy offers,” he says. It was an early Invader, but there was already a strong market for his work—though at vastly different price levels than today, when unique mosaics (his large “alias” works, one-offs or very limited editions) sell for hundreds of thousands of euros (one piece recently sold for about €480,000) and at auction for as much as US$1.2 million, while prints now trade in the thousands rather than the hundreds Isvy paid at the time.


What first hooked him was the thrill of opening the tube. “Putting on the white gloves, seeing the number, realizing that this specific number was mine and no one else’s and then framing it,” he recounts. “I even went down the rabbit hole of reading forums about how best to frame it flat. That’s when I realized I was in love with the whole process.”
Isvy freely admits he began collecting art with little knowledge of the Old Masters or anything related to deceased artists. “I’m lucky to live in a city where there’s everything, but I really didn’t know much at all,” he says. Instead, he represents the new generation of collectors identified in the latest Art Basel and UBS report—those who educate themselves and gather information primarily online through forums and social media.
“I taught myself—from Instagram, collectors’ accounts, Facebook groups, forums, whatever was available back then,” Isvy explains. “It all started with buying prints and hanging them on my walls, but when people came over and started talking about the pieces—debating them, arguing whether they were too simple, saying things like ‘my kid could do that’—I realized that was exactly what I loved about art: it sparked conversation.”
From there, Isvy began buying more prints and drawings, learning everything he could online and relying on the only tool he truly trusts—his eyes. “At some point I thought, okay, my wallet can do better than this,” he says as we sit in his living room, where the walls showcase the results of his less-than-decade-long collecting journey: above the fireplace hangs a work on paper by George Condo, paired with a sculpture by Sterling Ruby and a painting by Naotaka Hiro. On the floor, smaller works by once-emerging artists now internationally recognized, such as Sara Anstaiss and Brice Guilbert, sit alongside pieces by established figures like Peter Saul. Hanging in the entryway above a Pierre Paulin sofa is a blue neon by Tracey Emin that reads “Trust Yourself”—a phrase that neatly sums up Isvy’s path into art.
Greeting us at the entrance are a Tomoo Gokita painting and a hanging sculpture by Hugh Hayden, while elegantly nestled between books in the dining room’s library are smaller gems by rising painters who have quickly gained attention—from an early Eva Pahde (who just opened her debut solo at Thaddaeus Ropac in London) to Adam Alessi, Robert Zehnder, Elsa Rouy, Jean Nipon and Alex Foxton. Even the rooms of his two daughters hold small contemporary treasures, including a painting by Tomokazu Matsuyama and a drawing by Javier Calleja, while beside the couple’s bed stands an elegant surrealist figure—a woman with an octopus on her back by Emily Mae Smith.


Before turning to art, Isvy had already collected sneakers and Pokémon cards, though never on a large scale. When he began collecting art, he approached it with a similarly modest budget. “I used to find artists selling directly from their studios, offering small drawings for $500 or $600,” he recalls. One of his first paintings was by mike lee, purchased from Arsham/Fieg Gallery (AFG)—a small gallery on the second floor of the Kith store at 337 Lafayette Street in New York. Opened in 2021 as a collaboration between Ronnie Fieg and artist Daniel Arsham, AFG was a natural extension of Fieg’s brand and its crossover between fashion, design and art—a combination that perfectly matched the taste of Isvy’s generation. “When it arrived—with the crate, the white gloves and the realization that it was a one-of-one—it completely shifted my perspective. I thought: Okay, I want to do this forever.”
From that moment, Isvy began connecting with more people. “I think that’s what really defines me and the way I’ve been collecting. I’m someone who connects,” he says. “I talk to everyone the same way, I react to stories, ask questions and exchange views. Because in the art world, if you’re alone, you’re nothing. Without perspective, without taste, without access—even if you’re a billionaire—you’re still nothing without people.”
Convinced that community was essential to both access and understanding, he created a Facebook group devoted to prints and drawings. It became a space for collectors to share advice on buying, selling, framing and promoting new releases and studio drops. Over time, it evolved into a global network that brought people together both online and offline.
“People began organizing meetups in different cities and I remember traveling to Los Angeles to meet fifty collectors, then to New York to meet a hundred and later to Asia to meet hundreds more,” Isvy recalls. His story underscores a growing need for connection and dialogue among young collectors—a desire for shared discovery that drives collectible cultures popular with Gen Z and Millennials but is too often constrained by the rigid hierarchies of the traditional art world. The community he built around him includes collectors aged 18 to 35 who neither identify with nor seek to conform to those old rules. From there, the network grew organically—one introduction leading to another—spanning continents and forming a parallel ecosystem of its own.
Immersed in this community, Isvy began hearing about artists before they reached broader recognition. “When both Asian and American collectors were mentioning the same names, I knew it was a signal worth paying attention to,” he says. Those insights, combined with his instinct, led him to make early acquisitions that proved remarkably prescient: a large Robert Nava painting bought for $9,000 before gallery representation; an Anna Park piece purchased while she was still an undergraduate for $900; and an Anna Weyant work acquired at NADA in 2019 for $3,000. “People often say I got lucky—but it wasn’t luck. I did my homework. I have a process and I’m meticulous about it.”


When Isvy buys art, it’s never entirely spontaneous—he reads, researches and cross-checks everything. “We see about twenty new artists a day now and most are talented—but the real challenge is spotting the exceptional ones, the ones who will last,” he notes. As seasoned collectors know, that requires more than recognizing talent; it’s about identifying the right combination: an artist with originality, supported by the right gallery, at the right moment. “Those indicators are hard to find, but they form your own recipe—your personal algorithm. That’s what drives me. It’s not luck; it’s preparation meeting opportunity.”
For Isvy, his goal as a collector soon became clear: to own remarkable works. He first drew inspiration from older collectors—the kind he saw in books, magazines and on Instagram—showcasing homes filled with art. “When you start collecting, you get obsessed with the books, the magazines, the collectors you see online,” he says, explaining that what fascinated him was how art, furniture and architecture could merge to form a complete aesthetic statement. “It’s not about showing off; it’s about assembling design furniture, an apartment and artworks in a way that feels balanced. It’s actually really hard.” But that, he says, is what defines true taste. “You can be a billionaire and still ruin everything with bad lighting or the wrong couch. That’s why I wanted white walls, simplicity, space for the works to breathe.”
Although his collection now includes more than a hundred works (some co-owned with friends) the display in his apartment feels cohesive, with the art integrated naturally into the space, in dialogue with both furniture and architecture. To achieve this, Isvy collaborated with architect Sophie Dries, a close friend, who designed the interiors around the collection rather than the other way around, ensuring it remained a home first—a place where his daughters could live and move freely. The result preserves the apartment’s historic Haussmannian details while infusing it with the lightness and understated elegance of contemporary design.
Over time, Isvy also began selling some works—but always within his community and with full transparency. “The one rule I’ve stuck to is reaching out to the gallery first. Most of the time, when they couldn’t help me resell, I would wait or find a responsible way to do it,” he explains, showing he understands the rules of the game. He recalls one case involving a painting by Anna Weyant that he bought at NADA in 2019 for $3,500. Two years later, as her market soared, he received offers as high as $400,000 from collectors in Korea. Out of loyalty to the artist and her gallerist, he refused to sell privately. “It was still my early years collecting and I was terrified of being canceled,” he recounts. He asked 56 Henry, where he had purchased the piece, to handle the resale, but they couldn’t, as Weyant had since joined Gagosian. He then consigned it to the mega-gallery, which held it for six months without success. “Later I learned they’d doubled the price—asking nearly $400,000 without even showing it properly. Of course it didn’t sell. They never even brought me an offer. They didn’t care; they had other inventory to push.” He eventually took it to auction because the offer was life-changing. Still, this decision caused backlash with the artist, despite the fact that he had followed every protocol.
Isvy is openly critical of how written and unwritten rules often constrain the healthy circulation of art and value in the market. “The art world is an economic cycle like any other asset class. If you want it to stay healthy, you can’t break the links. Every time I sold an artwork, it was to buy another one to keep the cycle moving,” he explains. “When collectors reinject liquidity into the market, it benefits everyone. Instead of shaming people for selling, galleries should teach them how to do it properly, how to reinvest in a way that sustains the ecosystem.”


Isvy believes when a collector consigns a work back to a gallery—choosing to avoid auction and protect the artist’s market—the gallery should reciprocate that gesture. Offering trade-in credit or discounts toward another piece, for instance, would help sustain mutual trust. “That’s how you build trust and keep the wheel turning,” he says.
For him, the cause of today’s stagnation is clear. Between 2019 and 2022, everyone was buying, often under restrictive three-year no-resale agreements, and collectors were afraid to act. No one wanted to break those rules, even as the market overheated. “The fear came not from greed, but from the culture of silence that galleries built around selling,” he notes. Now that those agreements have expired, the market is flooded with works—and many aren’t good. “Galleries were taking everything out of studios instead of curating and showing only what was great. During that period, there was no real filter—no accountability. There was too much abundance,” he says. Even when artists asked galleries not to show weaker works or to limit annual price increases to no more than 10 percent, few listened. “Everyone got greedy. Collectors, galleries, artists—we all played a part in pushing things too far. That’s why the market looks the way it does now.”
When asked if this disillusionment has dulled his enthusiasm, Isvy admits that some of the magic has faded. “When you see how things really work behind the scenes, it’s not as enchanting as you once thought. It’s not disgusting, but it changes your perspective.”
Still, surrounded by art in every corner of his home, he insists the passion remains. He’s simply more deliberate now—more thoughtful and selective. “I still love the emotion of collecting, that instinctive excitement,” he says. “But now I feel like my role is to help others see what needs to change—to make the system better. I have hope because there’s a new generation that wants to do things differently. When the old dinosaurs are gone, we’ll finally have a chance to rebuild.”
Raphaël Isvy represents a new generation of collectors determined to claim agency by reshaping the system from within. Like many millennials, he sees his role in the art world as deliberately fluid—collector, curator, advisor and connector all at once. “I do deals, I buy, I sell, I help people collect, I introduce them to artists,” he explains. For him, those boundaries are artificial. “In the past, collectors were patrons; today, we can be activators,” he says, recalling how last year he curated a large cultural exhibition in the South of France, set in a vineyard, which received an enthusiastic response. He insists he doesn’t fit neatly into any single label. “I don’t have a defined role. I just love art and people.” Yet, he admits, the traditional art world resists those who refuse to stay in one box. “The truth is, the more dynamic you are, the more everyone benefits; more activity means more liquidity, more buyers, more fairs, more growth.”
For Isvy, even the distortions that have plagued the market reveal that the system’s old rules no longer fit its global scale and speed. With production volumes far exceeding what the traditional model can absorb, he argues, the only way forward is to broaden the collector base and rethink how art circulates.
He finds hope in younger galleries already experimenting with new models. “Many organize events that have an actual purpose—not just hanging a Rothko and waiting for the wire to come through. There’s a sense of responsibility and intent that wasn’t there before.”
If given the chance to introduce concrete reforms, Isvy says he would start with enforceable rules—beginning with banning auction houses from selling works less than three years old. “This rule alone would already make a huge difference,” he argues. “It would bring more stability, discourage speculation and give artists time to grow before being thrown into the market machine.”
In his view, part of the market’s instability stems from its lack of structure and accountability. Auction houses should face stricter limits—fewer sales per year, fewer lots per sale—to prevent oversaturation. Similarly, mega-galleries should adopt principles borrowed from finance, employing in-house risk managers responsible for ensuring artists are paid consistently and reserves are properly maintained. “Setting aside around 30 percent of income for operational stability, salaries and artist payments would bring the professionalism this sector urgently needs,” he explains. These are not radical reforms, he adds, but necessary corrections.


At the same time, transparency remains the art market’s greatest weakness. Coming from a background in risk management, Isvy has seen firsthand how chaos unfolds when an unregulated system operates without rules. He recalls helping a friend sell a large painting that set a world record at Christie’s last October. “Everyone was celebrating, talking about millions of euros. What people don’t know is that the work wasn’t paid for in the end. There’s a huge lack of transparency in this market. No one realizes how many auction sales actually fall through, or how many so-called records are never settled,” he says.
While auction data are theoretically the only public numbers the market can rely on, prices are often published without verification and used as benchmarks even when deals collapse. “That work eventually sold for a third of the supposed record price—but in the meantime, that inflated figure distorted the entire market,” Isvy notes. To him, as a former finance professional, the outcome is predictable. “Without a serious purge and some structural reforms, I don’t see how the market can restart.”
He often describes the art market as “an ocean dominated by predators.” “Dealers are the sharks; collectors are the fish,” he says. “It’s almost impossible to navigate without getting eaten along the way. You get layers of intermediaries adding price on top of price and I’ll sometimes get three different offers for the same work, each one higher because it’s passed through multiple hands. It’s absurd. I’ve even had people steal images from my Instagram to pretend they’re selling my pieces.”
Yet he doesn’t exempt anyone from blame. “We can’t really complain about the market’s current state—we all knew what was happening. But what’s different now is that younger collectors aren’t coming in blind. They research, they cross-check and they know the system before they buy. The old guard was drawn by instinct; they lived in a smaller art world, with a handful of galleries and fairs. For us, information is everywhere—and that changes everything.”
For Isvy, the solution begins with greater liquidity and openness. The art market, he argues, must operate as fluidly as other collectible markets, because the old formula of engineered scarcity and opaque pricing—supercharged during the pandemic—has eroded trust.
He compares the art world to the Pokémon card market, where transparency and liquidity keep everything in motion. “In that world, inventory changes hands every day. Payments can be made through crypto, PayPal, cash or trades—it’s fluid. People post story sales on Instagram, with clear prices and everything sells in minutes,” he explains. “Imagine trying that with art—everyone would freak out, say you’re breaking the rules. But it would work.”
For Isvy, this kind of openness could reinvigorate the entire ecosystem. “If someone sells a $3,000 work, that person will probably reinvest that money in another artist. The wheel keeps turning. Liquidity creates opportunity—for collectors, for dealers and for artists who can produce new work. That’s how you sustain an ecosystem, not by freezing it.”
When Isvy brings up this comparison, he leads us to what he calls his “little secret”—a private room that reveals another side of his personality. “The world knows me as a collector, but there’s another part of me. I’m a gamer, a geek. I collect Pokémon cards, NFTs and sneakers. I play PlayStation 5 every night. I love Lord of the Rings, Harry Potter and Final Fantasy. I couldn’t imagine my home without that side of who I am.”
When he moved in, he told his designer he needed an office for remote work but also a personal space. Since her aesthetic was more classic, his architect introduced him to a younger, eccentric designer known for creating gaming and YouTuber rooms. “He had orange diamonds on his teeth,” Isvy laughs. “I told him my story and we figured out how to make a small space work as both an office and a world of my own.” Together, they designed the room from scratch. “He called it The Glitch—like a bug in a video game—because it doesn’t fit with the rest of the apartment.”


Inside, the space feels like a cross between a gaming den and a cabinet of curiosities. There’s a retro bench upholstered in tapestry, a BS Invader console, manga shelves, Pokémon cards, Rubik’s cubes and a miniature painting by Robert Nava—his favorite artist. The walls are covered in wallpaper that mimics the black-and-white static of an old television screen, paired with ceramic terrazzo tiles forming a custom mosaic floor. “It’s vintage, weird and perfect,” Isvy says.
This hidden office and private room capture the spirit of an entire generation of collectors like Isvy—for whom contemporary art, Pokémon cards, anime and manga, video games and collectible figurines coexist within the same cultural imagination. It’s the universe that shaped their childhood and, ultimately, their identity. For this generation, these objects are not mere toys or décor but artifacts that equally express contemporary culture and their idea of collecting and supporting it.
For Isvy, the space is more than an ode to nostalgia—it’s a statement. “The contemporary art world still struggles to accept that someone can collect a Condo and also Pokémon cards,” he says. “But that’s going to change. Our generation grew up with gaming and pop culture; it’s part of us. You can’t tell people to shut off that side of themselves. That’s how the next generation of collectors will come in—through openness, not hierarchy.” Gesturing toward the Nava painting behind him, he adds, “If I cared only about money, I would have sold it—I’ve had offers. But I paid $9,000 for it and to me, it’s priceless. He’s one of the most important artists of our generation. This room reminds me why I started collecting in the first place.”
[ad_2]
Elisa Carollo
Source link
[ad_1]
Beta Cinema has secured a series of key international presales for Nordic conspiracy thriller Operation Napoleon – Tears of the Wolf, which is currently in production across Finland, Iceland, and Germany.
Magnolia Pictures acquired rights for North America, with additional deals concluded for the UK and Ireland (Signature Entertainment), France (Mediawan), Spain (Twelve Oaks), and Poland (Hagi Film).
The film is a sequel to Operation Napoleon, which sold to more than 40 territories, including to Magnolia for the U.S., and was a major success in Germany in 2023. The English-language sequel reunites Vivian Ólafsdóttir (It Hatched), Jack Fox (Riviera), and Ólafur Darri Ólafsson (Severance, True Detective). Jyri Kähönen (Trackers, Bordertown) returns to direct, from a screenplay by original Operation Napoleon scribe Marteinn Thorisson and Tom Weston-Jones (True Things, Warrior, Copper). Laura Birn (Void, The Crow, A Walk Among the Tombstones, Foundation) has joined the cast.
Ólafsdóttir stars as Kristin Jóhannesdóttir, a lawyer sucked into an international conspiracy after being accused of a murder she didn’t commit. The sequel follows Kristin and her team as they pursue the mythical “Tears of the Wolf,” a cache of Nazi diamonds hidden during World War II. After witnessing a murder, Kristin uncovers encrypted codes and musical clues that lead the group across Iceland, Finland, and Germany, culminating in a confrontation set in Helsinki’s wartime bunkers and the Finnish archipelago.
The production is led by Anita Elsani and Alexander Klein of Germany’s Splendid Entertainment, Kjartan Thor Thordarson of Sagafilm (Sweden and Iceland), and Eero Hietala and Sara Norberg of Take Two Studios (Finland), with Elsani Film co-producing.
Sam Film will release the film theatrically in Iceland, Splendid Film in Germany, and Cinemanse in Finland. Beta Cinema is presenting the first promo reel of Operation Napoleon – Tears of the Wolf at the American Film Market this week.
[ad_2]
Scott Roxborough
Source link
[ad_1]
Up-and-coming Estonian writer-director Eeva Mägi (Mo Mamma, Who Am I Smiling for?) is on Thursday world premiering her new feature film, Mo Papa, an unscripted drama about the scars of childhood trauma and prison, kicking off the Critics’ Picks lineup at the 29th edition of the Tallinn Black Nights Film Festival (PÖFF) with a bold, raw, and emotional cinematic experience about trauma and our hopes of healing.
Mo Papa follows Eugen, 28, who has just been released from prison after serving 10 years for a tragic accident, in which he killed his younger brother. Haunted by a childhood “marked by abandonment and unresolved trauma,” he returns to a world that has moved on without him. His only social ties are his estranged father and two childhood friends he knows from an orphanage. Eugen looks for forgiveness and a second chance, but old wounds threaten to trap him in a cycle of self-destruction.
Starring Jarmo Reha, Ester Kuntu, Rednar Annus, and Paul Abiline, the PÖFF website promises “a deeply human story about the scars we carry, the people we push away, and the redemption we crave.”
Mägi wrote and directed the movie, and produced it with Sten-Johan Lill, who is also responsible for the cinematography. The production design is courtesy of Allan Appelberg, Ulvi Tiit, Jette-Krõõt Keedus is the editor, while Tanel Kadalipp was in charge of sound and composition. The movie will next travel to its international premiere in the main competition of the Torino Film Festival on Nov. 25.
THR talked to Mägi about Mo Papa, living, breathing, and experiencing cinema rather than scripting it in detail in her trilogy, or “movement,” of super-low-budget unscripted films, and what is next for her.
Why did you want to put the spotlight on these social issues and characters, including the challenges they face?
I usually have an idea that I want to make into a film, but it takes time. It’s a long process, and at some point, it clicks in my head and everything comes together. I was a law student, but I wanted to become a psychiatrist or psychologist, so I worked in a psychiatric clinic as caretaker when I was 21. And after three months, it was enough for me. I didn’t want to be a psychologist anymore because what I saw was so difficult. I saw so many children there, and even grown-ups, with this inherited cycle of trauma that you can’t escape. You’re born into a family where you are deprived of paternal care. You’ve been abandoned since the day you were born, and this just starts piling up.
So, I didn’t become a psychiatrist, but this experience had a very strong impact on me. I was writing a script for an experimental film. I was investigating an ancient Greek myth about Kronos and Uranos, this father-son story where the father kills his son. And then I also ended up reading a news article about a son who killed his father because of a poor upbringing. I was so curious about what happened there. And then, a boyfriend of my friend also had a very interesting past. His real father was killed because he was in the mafia, and then his stepfather, who was also a mafia guy, supported him and his mother. But the mother committed suicide because she couldn’t stand it.
All these things piled up, and somehow they clicked, and then I got a rejection for the experimental film, so it never got funded, and that ended up being the start of Mo Papa. I was sitting at a wine bar with a friend who’s the main actor in the film, Jarmo. We started with the character of Eugen, and somehow it started unfolding from there.
There is a lot of raw emotion in the film that grabs you and doesn’t let you go any time soon. How much of Mo Papa, which translates as My Father, did you script, and how much did you improvise?
It’s totally unscripted. Well, when we were already shooting, I had some notes to remember thoughts that came into my head. But it’s totally unscripted, and we just drifted on the same wave of chaos. I like to call it “struggling through the chaos.” So we had the character of Eugen, and Jarmo lived in that character.
‘Mo Papa,’ courtesy of PÖFF
That may explain why I was torn between wanting to hug Eugen and being scared of him…
Jarmo is extremely talented. We started creating the character together, and then it was a process. First, we had his haircut done. It was an improvisation by a makeup designer. We first had an idea of giving him a bald look, no hair at all. But then the makeup designer had an idea she wanted to try, because Jarmo had long hair at that time. She tried it and made this haircut, which we ended up using. It was perfect. Jarmo felt so much in character. And then there was the costume. He went to second-hand stores with the costume designer, and we created the costume. And then he lived with this haircut and was wearing the costume.
We also went to the Tallinn prison together and talked to people there, and they were very nice to us. We were afraid that this story was too grim and too dark, especially since he had killed his younger brother in a reckless accident because he wanted him to feel the same kind of abandonment he had felt all his life. But then the people in the prison said that was totally a thing that would happen. They understood the story, and it seemed very realistic, and they even helped us to develop the story, including when you’re released, after 10 years, what do you actually go through, and how difficult is it to rehabilitate into society. You have no money, you have no parents, you have only this estranged father, and friends from the orphanage. So, you start building up your life again. You start from zero, you start to do these odd jobs. So, that’s what we did. We found these places where Eugen could do these odd jobs.
And Jarmo did those odd jobs as well?
He was actually living in his own apartment, where everything was cleaned out. It was totally empty. He just had a mattress, a water kettle, and an old-school phone with buttons, because as a former prisoner, you don’t have money to buy anything. And then he started doing these odd jobs, like shoveling snow and working for a funeral company and a moving company.
He was there working with real people, and they took him as Eugen. Our crew was so small when we were filming him doing these odd jobs that other people thought he was really Eugen. I remember we had a lunch break, and one guy asked Jarmo: “Eugen, how do you feel? Do you feel free of guilt now, or will you be carrying it until the end of your life?”
And it was a very interesting moment when I understood that this is what the viewer is hopefully interested in as well. So, the film was unscripted, and it unfolded in real life, and all these real-life situations also affected it. Then we started having more characters, because people asked him about his father and about his friends. So, I got in contact with the different actors, and they joined us, and they started developing their characters. It was all a random, a very natural process.
The characters seem very complex and multidimensional. How did you get to that complexity?
If you let chance and life guide you or direct you, then it keeps on adding these layers. If you’re writing a script and have a certain character, you don’t even know all these layers. I think life and chance are super-good directors.
Was there any particularly difficult scene?
A lot of it was emotionally difficult because they all lived in their character. I think the most difficult one was a scene when they go to visit Riko (Paul) in a psychiatric clinic. Eugen (Jarmo) and Stina (Ester) tell him that everything’s going to be okay, and we’ll all go to Brazil. The actors were so in character. At the end of the scene, they’re waving, and then they walk downstairs. And the actors were just crying. They just couldn’t come out of it, because everything felt so realistic.
I also went downstairs to talk to them. And it was really, really difficult. And I felt that it was all on the edge and that I pulled the actors into this centrifuge of trauma that it was my responsibility now to help them come out of it.
That and several other scenes show the characters whistling certain melodies, seemingly as a way to deal with their struggles and connect with their friends. Was that part planned and “scripted”?
No, we didn’t know that. It’s the magic of this method that you don’t have dialogue. Everything is unscripted, and you’re in the moment with the actors, and I’m guiding them behind the camera, and it’s very often that my head is completely empty. And then suddenly, out of nowhere, something happens. I call it the divine impulse. It’s not chance. Chance is external, and we use chance a lot as well. But this divine impulse is internal, and everybody shares it and knows how to act, but you have to wait for it. You can’t force it. You have to go through the struggle, through the chaos. Then it suddenly comes. This divine impulse told me that they should whistle because this is the way the characters can calm down.

‘Mo Papa,’ courtesy of PÖFF
Do you consider Mo Papa as part of a trilogy? You made the 2023 movie Mo Mamma, and I heard there is another film?
Yeah, they use the same approach, which emerged from Mo Mamma. It was also due to not getting funding, but I still wanted to make the film because this is my way of expression. Then, we made Mo Papa, and then Mo Amor [which also stars Jarmo Reha and Ester Kuntu].
Theme-wise, they are totally different, and style-wise as well. I had an idea of making a trilogy after Mo Mamma. I thought that a love story maybe somehow unites them all, but they ended up being totally different. So they are not connected, but they are made using the same unscripted method. We have very little money. It’s almost not a low-budget, but no-budget process. It’s unscripted with a very low budget, very small team, and just directing together with chance and life and waiting for this divine impulse to come.
We’ve been lucky that after shooting a film, we’ve been able to prove that it’s actually worthy of some budget. So for both films, for post-production, we have received some funding from the Cultural Endowment Fund.
Are you working on anything new?
For years, I was applying for money for a Werewolf project, but it got final rejection from the Estonian Film Institute this spring. So, again, I had another idea that I am doing instead.
It is called Mo Hunt, which is a story about three characters, but in the film we only show two. It’s a story of a burned-out ballerina who’s been feeling pain for a very, very long time since. She decides to go for an extreme and push it as far as he can. She decides to become an illegal surrogate for a lonely priest, so that for once, that pain might have a feeling. The film only covers four days with her boyfriend, who is a theater director. They go to an island to prepare for the conception of the child. As they are poor artists, they are doing it for money, but it’s also a divine act. The film only shows the four days before the conception of the child and what their relationship goes through. So, I guess it’s not a trilogy anymore, it’s more a movement. I don’t want to call it a method, because you can’t have a method to struggle through the chaos.
Is there anything else you would like to share?
As a director, I’m super thankful for the possibilities that life has guided me to, so that I can make films in a way I’m making them, and we don’t need big budgets and scripted stories that are designed to perfection. It was Joseph Campbell who talked about the myth that is inside of us, and we are able to dance to it, even if we don’t know the tune. It’s just more about trusting. It’s not only trusting yourself, but it’s trusting the creativity and divine impulses. And it’s about creating art, films and stories that touch people and that are empathetic.
[ad_2]
Georg Szalai
Source link
[ad_1]
Launched in 2020 by the Onassis Foundation and NEW INC, the incubator of the New Museum, Onassis ONX Studio has evolved into one of New York’s leading hubs for artists working at the intersection of extended reality (X.R.), A.I. and performance. Closely connected to Onassis Stegi in Athens, the two organizations form a dynamic international channel for creative exchange within the broader Onassis Foundation ecosystem. In New York, Onassis ONX provides an accessible acceleration space for ambitious productions, while at Onassis Stegi—founded in 2010—the focus is on education and professional development, nurturing a rapidly expanding arts-and-technology scene. Rooted in Greece’s long tradition of theater and dramaturgy, this has inspired compelling intersections of theater, dance and technology.
To mark its fifth anniversary, Onassis ONX has announced its relocation from its original venue in the Olympic Tower on Fifth Avenue, just above the Onassis Foundation’s U.S. headquarters, to an expanded 6,000-square-foot space in the heart of Tribeca at 390 Broadway, which also houses PPOW and Matthew Brown Gallery. Set to open in January, the new facility will continue to operate as a hybrid residency, research lab and production studio, offering additional space for exhibitions and public programming that extend the reach of the work developed within the organization.
The new studio includes a motion-capture stage twice the size of the previous one, a three-wall seamless projection room designed for museum-scale installations and an expanded sound studio—four times larger than the original—equipped with a high-fidelity system for immersive sonic environments. It also features enhanced computational infrastructure, including a new server array designed to support A.I. and generative media.


“It’s been amazing to see how much interest, focus and support for art and technology has expanded in New York City and around the world,” Jazia Hammoudi, program director of Onassis ONX, told Observer ahead of the announcement. “It’s been a long journey for many of us, but witnessing this evolution now feels incredibly rewarding.”
Created as an arm of Onassis Culture—the cultural branch of Greece’s leading philanthropic organization, which has championed “aid, progress and development” since 1975—ONX quickly became central to the foundation’s mission as a cultural innovator and supporter of contemporary art. From the outset, the foundation has operated from a deeply humanist perspective, Hammoudi explained. “It’s an organization that takes its lead from artists rather than dictating from the top down, continually looking to understand what’s actually happening across the cultural and intellectual landscape. It’s about paying close attention to what artists and audiences are thinking about, interested in and in need of. That same responsiveness to artistic and technological innovation is what inspired the foundation’s expansion in both New York and Athens.”
At its core, ONX is first and foremost an accelerator. Its foundation lies in the production space, tools and technical consultation it provides—but beyond that, it functions as an aesthetic and intellectual incubator. “We offer extensive creative consultation and curatorial support to artists, so they’re not only producing work here but also developing its conceptual and public trajectory,” Hammoudi added. “An artist can come to ONX, build their work and we’ll help them find the right platform for it—whether that’s a festival, an exhibition within our own programs in New York or Athens, or through one of our partner institutions.” Onassis ONX also helps artists secure additional funding, either through internal seed grants and commissions or through its global network of partners.


Since its founding, ONX has supported an impressive roster of artists and collectives redefining the intersection of performance and technology, including LaJuné McMillian, Peter Burr, Stephanie Dinkins, Sutu (Stuart Campbell) and Jayson Musson. Projects developed at ONX often blur the boundaries between theater, gaming environments, installation and live performance—echoing the Onassis Foundation’s broader mission to explore the future of culture and human experience through technology.
“Our goal is to provide holistic support for artists working in new media because we recognize that many traditional museums and cultural institutions weren’t designed to meet their needs,” Hammoudi said. “Our work is twofold: to provide artists with the resources and infrastructure they need and to help institutions evolve into what 21st-century creativity actually looks like.”
ONX currently supports about 85 member artists worldwide who have full access to production facilities, seed grants, funding opportunities, internal open calls and ongoing staff consultation. This membership model ensures long-term, sustained support for artists working in new media. “We know that this kind of work takes time—and often requires many different minds and kinds of intelligence to bring to completion,” Hammoudi explained. “As advocates and field builders, we see these ongoing relationships with artists as essential to the growth and vitality of the field itself.”
The new space will also enable the organization to deepen and expand its global partnerships. As part of its mission as a field builder, Onassis ONX collaborates with international partners to develop residencies, exchange programs, fellowships, exhibitions, funding initiatives and distribution channels.


For example, Onassis ONX is a partner on Lincoln Center’s Collider Fellowship, runs a residency exchange with MIT’s Open Documentary Lab and maintains a core partnership with NEW INC, where artists track work within the ONX space. Looking ahead, Hammoudi said the goal is to continue expanding these partnerships to support a growing cohort of artists. “It’s important for us to maintain a deep, ongoing connection with our 85 member artists while also creating ways to offer short-term, project-based support to those who come to us with a specific challenge or need. This expansion allows us to do both.”
Inaugurating Onassis ONX’s new space will be “TECHNE: Homecoming,” an exhibition uniting six visionary artists whose multimedia installations explore hybrid identity shaped through biological, mythological and digital kinships. “The show reflects our belief that technology can deepen the ways we connect—with one another, with our histories and with the stories we choose to tell about the future,” Hammoudi said.
The artist lineup embodies the kind of interdisciplinary, cross-knowledge collaboration the foundation has long supported, featuring works that range from Andrew Thomas Huang’s two-channel video installation and sculptural environment—rooted in a Buddhist folktale and informed by his collaborations with Björk and FKA Twigs—to Tamiko Thiel’s Atmos Sphaerae, a video installation tracing Earth’s atmospheric evolution from primordial void to Anthropocene through a poetic translation of molecular data into visual form that collapses conventional timescales. Meanwhile, Damara Inglês’s “phygital” installation reimagines the afterlife of Queen Nzinga of Angola through the lens of Cyber-Kimbandism, merging Bantu cosmology, A.I. and 3D design to position technology as both a spiritual conduit for ancestral connection and a tool of anti-colonial resistance.


In a similar spirit, Natalia Manta’s looping animations, digital tombs and hybrid sculptures oscillate between the archaeological and the alien, provoking transhistorical reflections on human time across geographies and collective memory. Sister Sylvester presents Drinking Brecht, an experimental work of automated theater and performance-as-installation that functions as a Marxist-feminist laboratory. Finally, Miriam Simun’s generative three-channel projection Contact Zone Level 2 brings the Swiss Alps into collision with the artist’s own intestines beneath an A.I.’s gaze, continuously reconfiguring to explore the symbiosis between organic and artificial life—a visionary intersection of nature, technology and consciousness beyond human perception. “Technology becomes the mediator for this imagining, allowing a hybrid being—a new chimera—to emerge between nature and self. It’s a wild and deeply thought-provoking work,” Hammoudi said.
In each case, technology enables artists to construct more expansive worlds around their practice, extending the reach of their bodies and presence while dissolving the traditional genre boundaries that once defined art-making. “Those old taxonomies—this artist does that, that one does this—are becoming almost irrelevant,” Hammoudi noted, emphasizing that many of these works use digital tools not as spectacle but as instruments for expanding how we sense, perceive and experience reality—or move beyond its human limits.


The exhibition will be part of the annual Under the Radar Festival, which this year includes two Onassis ONX performances—We Have No Need of Other Worlds (We Need Mirrors) by Graham Sack and ¡Harken! by Modesto Flako Jimenez—as well as MAMI, a mainstage production conceived and directed by Mario Banushi and commissioned by Onassis Stegi. Together, these works underscore the foundation’s multifaceted support for artists working at the intersection of performance and new technology—an ever-expanding field as creators increasingly experiment with digital embodiment, exploring performance, the shifting boundaries between analog and digital and what it means for the body to exist in real time and space within contemporary digital culture.
Looking ahead, Onassis ONX will continue to balance its mission of providing a dedicated workspace for artists with a growing commitment to public engagement. Beginning in 2026, ONX will host two in-studio exhibitions each year—one in January and another in the fall—along with quarterly public programs developed in collaboration with organizations such as NEW INC, Pioneer Works, Rhizome and Lincoln Center. The foundation also plans to continue its major annual off-site exhibition each June, following last year’s presentation at Tribeca Immersive. “This model allows us to keep the studio primarily a development space while maintaining a consistent public presence through exhibitions and thought-leadership events announced on our website and newsletter,” Hammoudi said.


In Athens, the focus remains educational, with ongoing incubation programs such as ONX Futures and the annual A.I. Summer School each July. The Athens space will also present an ONX showcase in May and contribute to the foundation’s broader cultural calendar, which includes the Borderline Festival in April. The foundation also produces Plásmata, its large-scale digital art biennial in Pedion tou Areos Park. Held every two years, it is one of the few outdoor digital art biennials in the world, combining large-scale installations, performances and music with works by both Greek and international artists, including recent participants such as John Fitzgerald, Jiabao Li, William Kentridge and Johan Bourgeois.
Ultimately, ONX’s mission—across both New York and Athens—is to expand the understanding of art and technology not only as mediums but as frameworks for examining how we live today. As traditional genres continue to dissolve, the foundation remains committed to supporting artists working at these frontiers, where art and life increasingly intersect.


[ad_2]
Elisa Carollo
Source link
[ad_1]
This Oscar season, you may find yourself falling in love with an eight-year-old maid and celebrating Happy Birthday. That is the title of the coming-of-age drama film, directed and co-written by Sarah Goher in her feature directorial debut, which is Egypt’s submission for the best international feature category at the 2026 Oscars. Jamie Foxx is a producer on the movie, starring newcomer Doha Ramadan, Nelly Karim, Hanan Motawie, Sherif Salama, and Aly Sobhy.
It was co-written by Goher’s life and creative partner, Mohamed Diab. The duo previously also worked together on the Marvel series Moon Knight, starring Oscar Isaac, as well as Diab’s Clash and Bus 671. Happy Birthday was produced by Ahmed El Desouky for SkyLimit Production.
The film tells the story of Toha, the already-mentioned young maid, who works for an upper-class family and Cairo and is determined not to let anyone stop her from throwing a great birthday party for her friend, her employer’s daughter. In the process, Happy Birthday explores “issues of class, power, and belonging through the eyes of an innocent child,” as a preview for the movie on the website of the 29th edition of the Tallinn Black Nights Film Festival (PÖFF), where it starts screening on Saturday, notes.
The movie premiered at the Tribeca Film Festival in June, where it won the awards for best international narrative feature and best screenplay in such a feature, along with the Nora Ephron Award.
For Goher, the film came from personal experience. The Egyptian was born and raised in New York, but would spend summers with her grandmother in Cairo. “The only other kid my age in my grandma’s apartment was this little girl, and I thought she was extended family,” the filmmaker tells THR. “We would play, and she was the most fun thing for me whenever I’d go to Egypt. And then after a couple of summers, I realized she was my grandma’s maid.”
The girl one summer was no longer there, and Goher later realized that noone was talking about this because having young maids was not legal but common. “Child labor is not allowed in Egypt, but there’s this gray area where families in Egypt, if not in this generation, in a previous generation have a child around them that was in this limbo,” Goher explains. “So that became the inspiration for this film.”
She knew that casting the young lead was key. “I knew very well early on that I had to cast the girl right, or else the whole thing would fall apart, and I wanted a girl who understood the socio-economic world of the character,” Goher shares. She and the creative team used street casting, Facebook, TikTok and the like.
‘Happy Birthday’
Courtesy of PÖFF
In the end, she asked to meet 60 girls at the Cairo Opera House for about eight hours. “I wanted them all dressed the same so no one would know who was from the nice neighborhood and who was from the [poorer] neighborhood,” Goher recalls. “I had these girls dancing and singing, doing mirror exercises, breathing exercises, and improvisations around the film. And then, very quickly, when you have kids by themselves, away from their parents, and with other kids, they really open up in a way that you start to see a lot about them quickly.”
Young Doha Ramadan stood out. “She’s such a confident and creative girl,” says Goher. “She would tell me these crazy stories about herself, her friends, and about things in her neighborhood, and these scary stories that they tell each other. And I realized that the kids who are really good actors are really good storytellers.”
The two worked closely throughout the process. “I needed her to understand that this is fiction,” Goher explains. “And I wanted to have her input into her character, because I did not want to be projecting a story from my imagination about someone like her.”
The filmmaker hopes that audiences will fall in love with the character of Toha just like some of her friends who are not into children did. “They don’t want kids, but they fell in love with Doha and Toha. Neither has any sense of self-pity,” Goher tells THR. “Toha doesn’t see the tragedy of her life. She just wants to live it like, and that’s something I think we all need to see.”
The filmmaker didn’t want to wrap the film and send Ramadan back to her own life without paying back time and effort for all the young talent’s work on the movie, so she created an “enrichment program.” After all, Ramadan didn’t know how to read when they started filming, even though she memorized the entire script, including all the other actors’ lines. “As soon as we finished shooting the film, I got her a private tutor to teach her reading and writing,” Goher tells THR. “And I also enrolled her at the Opera House, which has a gifted youth center, so she’s been taking ballet there.”
Concludes the Happy Birthday director: “I wanted her to see herself as an artist, because in her socio- economic class, art is not something that’s a priority. I needed to give her an outlet that she could continue to follow. And I’m very grateful for her mother and her family, who have been completely supportive and cooperative throughout this entire process.”
[ad_2]
Georg Szalai
Source link
[ad_1]
Al LaFleur has been cast in Kim Magnusson’s upcoming short Fire Lily.
Two-time Oscar winner Magnusson is producing the film alongside British music star and Britain’s Got Talent Judge Alesha Dixon, as well as actor-producer Theresa Godly (Bridgerton, Law & Order) and Joyce Allen from Women in Film & Television Ohio.
The Danish producer is best known for his Academy Award-winning shorts Election Night (1998) and Helium (2013).
His newest short film, written and directed by Phil Dunn, follows the wrongful detainment of a dancer by a police officer and soon transforms into a “a surreal epiphany of poetry, music and dance, forcing them to confront their shared humanity and the unseen forces that shape them.”
Filming is set to kick off shortly in Cleveland, with hopes for a premiere at the 2026 Cannes Film Festival before its 2027 Academy Award and BAFTA campaign.
LaFleur, a rising star based in L.A., has appeared in the likes of Speakeasy, Wild West Chronicles and The Night Passenger. On stage, he has just completed a sold-out Hollywood run opposite Alretha Thomas (This is Us) in A Girl’s Guilt Trip.
“This is a dream come true.” LaFleur said. “Fire Lily is timely and stunningly unique. I’m ecstatic to be part of this project and the world-class team bringing it to life so close to my hometown.”
Dunn added: “Al’s talent and screen presence blew the team away; I could see immediately why he is a rising star. I am so thrilled to have him join the family and I’m looking forward to working closely with him as we bring Fire Lily to life.”
[ad_2]
Lily Ford
Source link