The latest film and festival news
Film Fest Gent unveils the festival’s official poster featuring British style icon Twiggy in honour of this year’s British focus.
British director Alan Parker will be presiding over the international jury during the 42nd edition of Film Fest Gent (13 - 24 October). Joining him on the jury will be Marjane Satrapi, Caroline Strubbe, Boyd van Hoeij and Franco Lolli.
The Board of Directors of Film Fest Gent has appointed Martijn Bal Managing Director of the film festival in Ghent. He will be assuming his duties officially on 1 October 2015.
The 42nd edition of Film Fest Gent will open on Tuesday October 13th with Robin Pront’s debut film ‘The Ardennes’ starring Kevin Janssens, Jeroen Perceval and Veerle Baetens.
After its successful focus on France last year, Film Fest Gent is to include a British focus as part of its next edition. Following this focus, Film Fest Gent will also celebrate the rich tradition of British film music by organising the concert GREAT BRITISH FILM MUSIC at Music Centre the Bijloke, that will provide an anthology of the work of both classical and contemporary film composers, whom have made a remarkable contribution to the image and success of British cinema.
The Port of Ghent Public Choice Award goes to ‘Pride’ by Matthew Warchus and the Canvas Public Choice Award goes to ‘Il Capitale Umano’ by Paolo Virzì. Raphaël Crombez’ short film ‘Perdition County’ took home the ACE Image Factory Audience Award for Best Belgian Student Short Film.
Film Fest Gent’s Oct. 18 screening of ‘Suspiria’ didn’t boast an original print of Dario Argento’s 1977 horror classic, and offered no retrospective discussions, yet it was the best experience imaginable for the film. This was due to the presence of Italian prog-rock band Goblin, who crafted ‘Suspiria’s’ much-lauded score and performed it live in sync with the images. While Jessica Harper stumbled her way through a creepy dance academy and witches’ coven onscreen, the band power-blasted their keyboard and bass guitar, banged on the timpani and whispered raspy nonsense into the microphone.
Bas Devos’ first full-length film is one of the most realistic and sensitive portrayals of grief ever depicted on screen. ‘Violet’ is steady, calm, not without some emotional climaxes, but otherwise quiet in its representation of youth coming to terms with death.
It's never easy to see a grown man cry, and if seen, best seen by as few eyes as possible. “Could you please – please – give us some privacy?” The command is directed to the unwanted onlooker who isn't supposed to stare at the walls of the bourgeois fortress crumbling. In 'Turist,' a hotel cleaner in an Alpine skiing resort witnesses the breakdown of a pater familias. It is only one of the many examples where director Ruben Östlund fools around with what should best be kept behind closed doors, but fails to remain hidden.
Part of growing up is about learning how to deal with complex themes such as love and death, about adjusting to your surroundings, and above all about accepting that things don't always go by your standards. In ‘Still the Water,’ we follow the young protagonist Kaito in his coming of age.
On Wednesday the 22nd of October the international jury of Film Fest Gent announced the winners in different competitions.
Kornél Mundruczó’s animal fable ‘White God’ depicts the stray dogs of Budapest rising up against their human tormenters after putting up with one too many abuses. The film was clearly made by dog lovers: Mundruczó shoots often from his canine stars’ eye level and allows them to band together in a kind of squatters’ community on an abandoned lot. When they rebel, the language of Cinema Apocalyptica – empty streets, people falling over each other in their mad rush to escape, wind howling through hastily made barricades – emboldens their cause. Nevertheless, the film shows dogs being shot, drugged, and tortured for sport, making a mockery of DoesTheDogDie.com.
Franco Lolli's debut feature is a contemporary exercise in Neorealism that concerns itself with the misfortunes of a slightly disheveled pair. Ten-year-old Erik seems nothing short of a hoodlum in the making. His father Gabriel is a lethargic layabout who means well but cannot get his finances straight.
Review: An Educator’s Devotion and the Wrong Kind of Intimacy in ‘The Kindergarten Teacher’ - Fran Hoepfner
Educators are tasked with a great responsibility: inspiring a thirst for knowledge and a passion for art and science in each generation’s youth. Nadav Lapid’s new film ‘The Kindergarten Teacher’ takes this mission to a new extreme. The story itself is simple. The teacher Nira (Sarit Larry) discovers that one of her students Yoav (Avi Shnaidman) – a quiet, stoic child – will recite his own poems whose brilliance goes above and beyond her own abilities as a writer. In turn, she deems it her mission to nurture his ability at the risk of his and her wellbeing.
'Reality' is like a graphic by M.C. Escher: a film that'll actively approach your viewing experience and its conventions. It might leave the viewer puzzling though, as every attempt to make sense of the story is countered with ever more complex layers of metafiction and internal references. Several layers of reality are presented without a clear coherency in space and time, leading the unsuspecting viewer into elusive paradox. The film's form ties ends together in an impossible way and thereby hints to the artificial and dream-like nature of cinema.
The only thing slicker than the ice that coats the ground in Diao Yi’nan’s ‘Black Coal’ is the heavy aestheticism that has dominated the neo-noir genre of late. Ablaze with colored lights in nearly every frame, Diao’s northern Chinese detective puzzler holds on to the stylish tendencies of American counterparts like Drive, but grounds them in a world that feels ultimately more livable.
What makes a life function and move forward? The quote is a question that is visually posed in Jauja, an existential parable that uses the outlines of a Western to treat us to a profusion of iconic shots, toned in deeply saturated colors to resemble vintage photographs, or painted stills from a 19th century novel.
Nothing in this world comes for free. Even love and sex come at a heavy personal and financial cost. David Lambert’s film 'Je Suis à Toi' explores this notion of what humans pay and receive through the story of three people living in a Belgian village.
To start a film with a dead body is an audacious choice, typically reserved for pulpy murder mysteries or stories about, well, death. Une Nouvelle Amie, the latest effort from François Ozon, purports to be the latter while remaining something squarely its own through the French filmmaker’s hallmark playful dissection.
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