Agata Trzebuchowska - News Poster


11 Polish Eagles have landed for Corpus Christi - Festivals / Awards - Poland

11 Polish Eagles have landed for Corpus Christi - Festivals / Awards - Poland
Jan Komasa’s Oscar-nominated film about a fake priest dominated the Polish Film Awards, while Yorgos Lanthimos’ The Favourite was voted Best European Film. Unlike the American Academy’s ceremony held last month — where Jan Komasa’s Corpus Christi was a Best International Film hopeful — the 22nd Polish Film Awards gala had very few surprises in store. The only twist was the first ex aequo verdict in the Best Supporting Actor category, but more because of the baffling way it was presented than anything else. Agata Trzebuchowska, announced only one winner, Łukasz Simlat (Corpus Christi), before the second winner Robert Więckiewicz (The Coldest Game) was called to the stage a few minutes later. Still, it was far from the infamous 2017 Oscars La La Land/Moonlight debacle. That rainy Warsaw evening, as actor Maciej Stuhr, the host of the...
See full article at Cineuropa »

Sundance 2017 Shorts Program

Sundance 2017 Shorts Program
Direct from Sundance Blogs:

Come Swim

Credit: John GuleserianNight Shift

Credit: Estee OchoaThe Robbery

Credit: Lowell Meyer

Sixty-eight short films will complement the lineup of longer fare at the 2017 Sundance Film Festival. The short film slate aligns thematically with other Festival categories, including Midnight and The New Climate, the Festival’s new programming strand highlighting climate change and the environment. The Festival hosts screenings in Park City, Salt Lake City and at Sundance Mountain Resort January 19–29.

The Institute’s support for short films extends internationally and year-round. Select Festival short films are presented as a traveling program at over 50 theaters in the U.S. and Canada each year, and short films and filmmakers take part in regional Master Classes geared towards supporting emerging shorts-makers in several cities. Sundance Institute’s Documentary Film Program, supported by the John D. and Catherine T. MacArthur Foundation and in partnership with The Guardian and The New York Times’ Op-Docs,
See full article at SydneysBuzz »

New Shorts Directed by Kristen Stewart, Laura Poitras & More to Premiere at Sundance 2017

With their feature film line-up now set (see here and here), Sundance have unveiled their 2017 short program, which in past years has included such gems as World of Tomorrow, Glove, and Damien Chazelle’s Whiplash. This year’s line-up includes Kristen Stewart‘s Come Swim, featuring a score by St. Vincent, as well as Project X, the latest film from Citizenfour director Laura Poitras.

Check out the full line-up of 68 films below, along with the first look at Stewart’s film.

U.S. Narrative Short Films

American Paradise / U.S.A. (Director and screenwriter: Joe Talbot) — A desperate man in Trump’s America tries to shift his luck with the perfect crime in this story inspired by true events.

Cecile on the Phone / U.S.A. (Director: Annabelle Dexter-Jones, Screenwriters: Annabelle Dexter-Jones, Ellen Greenberg) — Overwhelmed by doubt and confusion after her ex-boyfriend’s return to New York, Cecile embarks on
See full article at The Film Stage »

Sundance 2017: Short Films Lineup Includes Kaiju Bunraku, Dawn Of The Deaf & More

  • DailyDead
Sundance Film Festival just gave attendees 68 new reasons to look forward to the January event with the announcement of their short films program that features several titles for genre fans to keep an eye on, including the creature short feature Kaiju Bunraku, the suburban satanic cult-centric Fucking Bunnies, and the post-apocalyptic Dawn of the Deaf.

We have the official press release below with full details, and stay tuned to Daily Dead for our upcoming coverage of the festival.

Press Release: Park City, Ut — Sixty-eight short films, announced today, will complement the lineup of longer fare at the 2017 Sundance Film Festival. The short film slate aligns thematically with other Festival categories, including Midnight and The New Climate, the Festival’s new programming strand highlighting climate change and the environment. The Festival hosts screenings in Park City, Salt Lake City and at Sundance Mountain Resort January 19-29.

The Institute’s support for
See full article at DailyDead »

Sundance 2017 Announces Short Selections, With New Films From Kristen Stewart, Laura Poitras and Many More

Sundance 2017 Announces Short Selections, With New Films From Kristen Stewart, Laura Poitras and Many More
Short film lovers, never fear, the Sundance Film Festival has not forgotten about you. After rolling out their various feature categories, the annual winter festival has now announced their full short film lineup, including narratives, documentaries, animated offerings and midnight chillers. The slate is packed with picks from such diverse filmmakers as Laura Poitras (who will screen her latest, “Project X,” co-directed with Henrik Moltke, at the festival) and Kristen Stewart (who will make her directorial debut with “Come Swim”), along with Annabelle Dexter-Jones, Zachary Zezima, E.G. Bailey and many, many more.

If you’re hoping to find the next big thing in independent filmmaking, start here. Among the shorts the festival has shown in recent years are “World of Tomorrow,” “Thunder Road,” “Whiplash,” “The Tsunami and the Cherry Blossom” and “Gregory Go Boom.”

Read More: Sundance 2017 Announces Competition and Next Lineups, Including Returning Favorites and Major Contenders

Mike Plante,
See full article at Indiewire »

Ida movie review: alas poor Poland?

A beautiful film, and a mysterious one. I don’t quite know what to make of it, but I have been seduced by its evasive intrigue. I’m “biast” (pro): nothing

I’m “biast” (con): nothing

(what is this about? see my critic’s minifesto)

Ida is a beautiful film, and a mysterious one. Two viewings have not given me the first inkling of what to make of it, except to realize that I have been seduced by its evasive intrigue.

Polish filmmaker Pawel Pawlikowski (who wrote the screenplay with Rebecca Lenkiewicz) returns to his native Poland for the first time onscreen with a story of two women: 20ish orphan Ida (Agata Trzebuchowska), who has been raised by nuns and is about to take vows herself, and her aunt, 40s-ish Wanda (Agata Kulesza), her only living relative whom the Mother Superior insists Ida meet before making her lifelong commitment to the order.
See full article at FlickFilosopher »

'Ida' cinematographer was as surprised by his nomination as you were

  • Hitfix
'Ida' cinematographer was as surprised by his nomination as you were
One of the bigger surprises for many (ahem, not all) people when the Oscar nominations were announced was the inclusion of a little Polish indie called "Ida" in the Best Cinematography category. But the story of how the film came to feature two DPs — Ryszard Lenczewski and Lukasz Zal — is an interesting one itself. Unfortunately, Lenczewski has been unavailable lately, but I wrangled up an email chat with Zal about his good fortune. (That's him on the right next to director Pawel Pawlikowski in the photo at the top.) And it's double the excitement for him, too, as he shot the Oscar-nominated documentary short "Joanna" as well. The Polish Film School is taking over! Seriously, though, it was a truly unexpected moment for Zal, of course, to land an Oscar nomination for his feature debut, particularly after the unusual circumstances that led to his assuming the role of cinematographer. What's more,
See full article at Hitfix »

'Ida' director Pawel Pawlikowski on Oscar nod and 'right-wing' opposition [Exclusive Video]

'Ida' director Pawel Pawlikowski on Oscar nod and 'right-wing' opposition [Exclusive Video]
"There's more in it than just something about Polish history, all sorts of things about faith, identity, love," says director Pawel Pawlikowski, explaining why his film "Ida," Oscar-nominated for Best Foreign Language Film, is more personal than political (watch our complete video interview below). "I also wanted to make a film in Poland and set it in the early '60s, which is a time I find I'm very close to. I was a kid at the time, quite young, absorbing the world quite intensely." -Break- 'Leviathan's' Andrey Zvyagintsev, Alexander Rodnyansky on 'radical' backlash in Russia [Exclusive Video] The film tells the story of a novice nun (Agata Trzebuchowska), who discovers her Jewish heritage and learns what happened to her family during the Nazi occupation of Poland during World War II. But the Polish Anti-Defamation League has claimed the film is "anti-Polish" and may lead vie...
See full article at Gold Derby »

The 2014 RopeofSilicon Movie Awards

The 2014 RopeofSilicon Movie Awards It's hard to believe I've been doing my own brand of "awards" for seven years now. Perhaps because film awards seem to have grown increasingly irrelevant, but when you watch as many movies as I do per year it is nice to sit back and remember the finer moments of the past year, especially when we're stuck in the doldrums of the early year releases, dealing with the likes of Jupiter Ascending, Taken 3, Blackhat and Seventh Son. So, as we are now only a few weeks away from the 87th Annual Academy Awards, it's time to hand out the 2014 RopeofSilicon Movie Awards, looking back on a year that turned out to be much better than it initially appeared it may be. A hard question I'm trying to answer is just what kind of year in movies was 2014c Like previous years, blockbusters came and went.
See full article at Rope Of Silicon »

Jordan's Top Ten Movies of 2014

Spoiler alert, but Birdman or (The Unexpected Virtue of Ignorance) was, in fact, not my favorite film of the year. I figured I should just get that out of the way at the start for those of you who feared I might have the same #1 film as Brad and Mike, both of whom listed Alejandro Gonzalez Inarritu's latest as their favorite film from 2014. Don't get me wrong, I really liked Birdman, but in a surprise to even myself, it didn't make my list, which I think you can pretty much chalk up to the surprisingly good year 2014 wound up being. I was certainly among the scoffers last fall about it being a bit of down year, and just a month or so ago I was of the opinion 2014 offered a lot of films to like, but very few to love. After going through and finalizing my list, I'd like to retract that statement.
See full article at Rope Of Silicon »

Mike's Top Ten Films of 2014

I think a good way to judge whether or not you thought the past year of film was a good one is how difficult it was to compile your top ten of the year. Did you struggle to fill spots or were there a bunch of films vying for positionsc 2014 ended up in the latter category for me, which is a very good thing. I was impressed with the slate of films released this year, mainly from the smaller side. Major Hollywood studios did manage to crank out a couple of high quality, blockbuster entertainments, like Edge of Tomorrow and X-Men: Days of Future Past, which, in my opinion, is two more than they usually produce. Obviously, we are not far away enough to know how remembered 2014 will be, and if it is, for whatc Will people remember this as the year Marvel could put out whatever and people would
See full article at Rope Of Silicon »

Interview: Dir. Pawel Pawlikowski on His Oscar-Shortlisted Film 'Ida'

Golden Globes are considering “Ida” directed and co-written by Pawel Pawlikowski (“Last Resort", “My Summer of Love"), a moving and intimate drama about a young novitiate nun in 1960's Poland who, on the verge of taking her vows, discovers a dark family secret dating from the terrible years of the Nazi occupation. The film premiered at the 2013 Telluride Film Festival and was also featured at the 2013 Toronto and 2014 Sundance film festivals.

Ida” won the 2014 European Film Awards for Best European Film, Best European Director, Best European Screenwriter, Best European Cinematographer and the People’s Choice Award. The film was named the Best Foreign Language Film by the New York Film Critics Circle and won the 2014 Los Angeles Film Critics Association Awards for Best Supporting Actress (Agata Kulesza) and Best Foreign Language Film. "Ida" is also nominated for the 2014 Film Independent Spirit Award for Best International Film. It's also the Polish Oscar® entry and has made the 9-film shortlist.

Below is my interview with director Pawel Pawlikowski published last year prior to the film theatrical release:

I happen to love Jewish films and so when I saw "Ida" was playing in Toronto, it was first on my list of “must-sees”. However, I am no longer an “acquisitions” person, nor am I a film reviewer. My work keeps me out of the screening room because we work with filmmakers looking to get their films into the hands of those who will show their films. In other words, we advise and strategize for getting new films into the film circuit’s festivals, distributors' and international sales agents’ hands.

So I missed Ida at its Tiff debut. In Cartagena, where I was invited to cover the festival for SydneysBuzz and where I was gathering information for the book I have just completed on Iberoamerican Film Financing, it showed again in the jewel-box of a theater in this jewel-box of a city. But when I saw the first shots – and fell in love with it – I also saw it was subtitled in Spanish and rather than strain over translating, I left the theater. Later on, Pawel Pawlikowski and I sat next to each other at a fabulous dinner in one of Cartagena’s many outdoor squares, and we discussed the title of my book rather than his films which was a big loss on one hand but a big gain for me on the other because we got to speak as “civilians” rather than keeping the conversation on a “professional” level.

Read More: Review 'Ida' by Carlos Aguilar

Now Music Box is opening Ida in L.A. on May 2, 2014 at the Laemmle in L.A. and in N.Y. and I made sure to take advantage of my press status, not only to see the film but to interview Pawel on himself and the film.

There were two ways to look at this film: as a conceit, as in, “what a great story – a girl about to take her vows in the convent which raised her discovers she is Jewish and returns to the society which destroyed her family” -- or as a journey of a fresh soul into the heart of humanity and finds that she is blessed by being able to decide upon her own destiny within it.

Parenthetically, this seems to me to be a companion piece to the Berlinale film "Stations of the Cross", another journey of a fresh soul into the spiritual life of religion as she struggles in the society which formed her.

And so I began my interview with Pawel:

I could look at this film in two ways, I’ve heard the audiences talk about whether the film is Anti-Polish or Anti-Semitic, but that is not my concern, I want to know if it is just a great story or does it go deeper than that?

Pawel immediately responded, I Think he said, “I am not a professional filmmaker, and I do not make a ‘certain type of film’. I make films depending on where I am in life. A film about exile, a film about first love. Films mark where I am in my life.

In the '60s, when I was a kid and first saw the world this was how I depicted it in this film…seeing the world for the first time…life is a journey and filmmaking marks where you (the audience) are in life and it marks where I am in life. Each film is different as a result.

After making "Woman on the 5th," about the hero’s (in my own head) being lost in Paris, a weird sort of production – directed by a Polish director with a British and an American actor and actress, I craved solid ground, a familiar place or a “return” to important things of the past, and I returned to a certain period in Poland which I found very much alive, for myself then and again as I made this movie and in Polish history itself.

Ida takes place 17 years after the war and shortly after after Stalin’s crimes were being made public by Krushchev. The Totalitarian State of Poland bent a bit; censorship was lifted a bit and a new culture was developing. Music was jazz and rock and roll. Poland was very alive then: the spirit of going your own way, not caring what anyone thinks, creating a style in cinema, in art, music...

I myself was a young boy in the '60s and I left Poland in '71 when I was 13 to stay with my mother in England where she had married a Brit. My father lived in the West; they were divorced and I went for a holiday and stayed.

I went to school in the U.K. but at 13, I was thrown out and I went to Germany where my father lived and matriculated there. I couldn’t go back to Poland as I had left illegally and was only allowed back in to visit in the late '70s. I returned in 1980 during Solidarity and from 1989 to the fall of the Wall, I went back often.

Ida is a film about identity, family, faith, guilt, socialism and music. I wanted to make a film about history that wouldnʼt feel like a historical film— a film that is moral, but has no lessons to offer. I wanted to tell a story in which ʻeveryone has their reasonsʼ; a story closer to poetry than plot. Most of all, I wanted to steer clear of the usual rhetoric of the Polish cinema. The Poland in "Ida" is shown by an ʻoutsiderʼ with no ax to grind, filtered through personal memory and emotion, the sounds and images of childhood…

I read you are going to make another film about Poland…

It is not about Poland but it is set in Poland. I am working on three projects, which is how I work. I keep writing and find one of them has the legs to carry me…which one is not yet known.

You mentioned in an interview with Sight and Sound your top 10 films…

Yes, which ones did you like? They ask me this every year and every year the list changes for me. There are other good ones, like Once Upon a Time in Anatolia…they are not all the old classics and they are not necessarily my favorites or what I think are “the best”. Again they depend on where I am in my own life.

The ones I like on your list were Ashes and Diamonds which I saw in New York in my freshman year in college, "La Dolce Vita" …"One Flew Over the Cuckoo's Nest" and "Some Like It Hot."

I actually think "8 ½" is more remarkable than "La Dolce Vita." I also like "Loves of a Blonde" very much….

I found "Ashes and Diamonds" so extraordinary, I then had to see the actor in "Man of Marble" which took me to the next "Man of Steel" and Man of…whatever... until I thought I knew Wadja. What did you make of this film?

I saw it later as I was too young when it came out in the '60s. I saw it in the '70s when it was already a classic. Its impact on me was that it was well-done and about something. It is a comment about a man who decides whether to fight or to live. It could be remade in any country coming out of civil war.

To return to Ida, I noticed stylistic choices you made that I would like you to comment on.

The landscapes and interiors were very large and sparse. Interiors always had someone in the back ground moving, arranging or walking by in silence.

Yes there is always some life and the movements of people in the background are like music in the film, though it is not really music…

Yes, the music in the film is great. The magnificence of the classical music someone is playing, like the aunt…

Yes I only want to use real music at times that real music is part of the story. I didn’t want film music. I wanted it to come out of silence. It is part of the scene like the background movement of people. Each piece means something. The pop songs were key from the start. They were fatally imprinted on my childhood memory. They really color the landscape. Coltrane and stuff came from my adult self.

Incidentally, the late '50s and early '60s were great for jazz in Poland. There was a real explosion: Komeda, Namyslowski, Stanko, Wroblewski... Apart from telling Idaʼs story, I wanted to conjure up a certain image of Poland, an image that I hold dear. My country may have been grey, oppressive and enslaved in the early '60s, but in some ways it was 'cooler' and more original than the Poland of today, and somehow more universally resonant.

Iʼm sure that lots of Poles with a chip on their shoulder, and there are many, will fail to notice the beauty, the love that went into our film—and will accuse me of damaging Poland's image by focusing on the melancholy, the provincial, the grotesque… And then there's the matter of a Polish farmer killing a Jewish family… thereʼs bound to be trouble. On the other hand, thereʼs also a Stalinist state prosecutor of Jewish origins, which might land me in hot water in other quarters. Still, I hope the film is sufficiently specific and un-rhetorical enough to be understood on its own terms.

The music Ida’s aunt was playing before she…what are your thoughts about her aunt?

Neither Ida nor her aunt is typical. Wanda’s imprimatur is that she has no self-pity, no regrets, no sentimentality.

She had fought in the resistance rather than raise a family. She had been a super idealistic Marxist, became a part of the New Establishment and got drawn into the games and hypocrisy, sending people to death for “impeding progress”.

She reminds me of my father in some ways. Her acerbic sense of humor. I gave her some of my father’s lines.

Where Did The Character Of Wanda Come From?

When I was doing my post-graduate degree at Oxford in the early '80s I befriended Professor Brus, a genial economist and reformist Marxist who left Poland in ʻ68. I was particularly fond of his wife Helena, who smoked, drank, joked and told great stories. She didn't suffer fools gladly, but she struck me as a warm and generous woman. I lost touch with the Bruses when I left Oxford, but some 10 years later I heard on BBC News that the Polish government was requesting the extradition of one Helena Brus-Wolinska, resident in Oxford, on the grounds of crimes against humanity. It turned out that the charming old lady had been a Stalinist prosecutor in her late twenties. Among other things, she engineered the death in a show trial of a completely innocent man and a real hero of the Resistance, General ‘Nil’ Fieldorf. It was a bit of a shock. I couldn't square the warm, ironic woman I knew with the ruthless fanatic and Stalinist hangman. This paradox has haunted me for years. I even tried to write a film about her, but couldnʼt get my head around or into someone so contradictory. Putting her into Idaʼs story helped bring that character to life. Conversely, putting the ex-believer with blood on her hands next to Ida helped me define the character and the journey of the young nun.

By 1956, illusions about society were gone. Stalin’s crimes were revealed in 1961, there was a change of government, a new generation was coming of age. Wanda was a judge they called “Red Wanda” and had sent enemies of the state to their deaths. The older generation was left high and dry. Communism had become a shabby reality. Her despair was apparent– she had been heroic and now the system was a joke.

And then some creature from the past pops up and makes her reveal all she had swept under the carpet. She drank too much, there was no love in her life, only casual sex. But still she was straight-ahead, directed and unstoppable.

And then after the revelations of what had become of their parents and her child, her sister returns to the convent. There is nowhere for her to go. She hits a wall. She is heroic and there is no place for her in society anymore.

And Ida? Why did you choose such a person?

Ida has multiple origins, the most interesting ones probably not quite conscious. Let's say that I come from a family full of mysteries and contradictions and have lived in one sort of exile or another for most of my life. Questions of identity, family, blood, faith, belonging, and history have always been present.

I'd been playing for years with the story of a Catholic nun who discovers sheʼs Jewish. I originally set it in ʻ68, the year of student protests and the Communist Party sponsored anti-Semitic purges in Poland. The story involved a nun a bit older than Ida, as well as an embattled bishop and a state security officer, and the whole thing was more steeped in the politics of the day. The script was turning out a little too schematic, thriller-ish and plotty for my liking, so I put Ida aside for a while and went to Paris to make The Woman In The Fifth . I was in a different place at the time.

When I came back to Ida, I had a much clearer idea of what I wanted the film to be. My cowriter Rebecca Lenkiewicz and I stripped the whole thing down, made it less plotty, the characters richer and less functional. Ida became younger, more inexperienced, more of a blank slate, a young girl on the brink of life. Also we moved the story to ʻ62, a more nondescript period in Poland, but also a time of which I have most vivid memories, my own impressions as a child - unaware of what was going on in the adult world, but all the more sensitive to images and sounds. Some shots in the film couldʼve come from my family album.

In the course of the film, Ida undergoes a change. She becomes energized. When she returns to the convent you can see it in her body movements. It is the only time we used a hand-held camera to depict the new energy she has acquired. She is going into the spiritual in a different way. The old way elicited a giggle from her; she had seen the sensuality of the novice nun bathing…whether she is returning to the convent to stay is left to the viewer to decide.

The viewer is brought into a space of associations they make on their own, the film is more like poetry where the feeling of the viewer is the private one of the viewer, not one the film imposes.

Yes, each woman enters a new reality and comes out changed, and I was left thinking there was nothing better of the two life choices, the “normal” life of love and family and the “spiritual” life of simple living and silent devotion. There needs to be some balance between the two, but what is that? I still don’t know.

On a last note: I noticed in the end credits you thanked Alfonso Cuarón. Why was that?

Yes he liked the film a lot. There were many people I thanked, like Agnieszka Holland. These are friends I can show my work to. They protect me against critics and festivals. This group of friends can also be nasty, but they are honest friends.

Thank you so much Pawel for your insights. I look forward to meeting you again “on the circuit”.

To my readers, here are the nuts and bolts of the film:

Music Box Films is the proud U.S. distributor of "Ida," the award-winning film written and directed by Pawel Pawlikowski. Ida world premiered at Telluride 2013 and Toronto International Film Festival, where it won the Fipresci Award for Best Film; then played the London Film Festival where it won Best Film, and was the Grand Prix winner at the Warsaw Film Festival. It played as an Official Selection in the 2014 Sundance and New York Jewish Film Festivals.

Poland 1962. Anna (newcomer Agata Trzebuchowska) is a beautiful eighteen-year-old woman, preparing to become a nun at the convent where she has lived since orphaned as a child. She learns she has a living relative she must visit before taking her vows, her mother’s sister Wanda. Her aunt, she learns, is not only a former hard-line Communist state prosecutor notorious for sentencing priests and others to death, but also a Jew. Anna learns from her aunt that she too is Jewish - and that her real name is Ida. This revelation sets Anna, now Ida, on a journey to uncover her roots and confront the truth about her family. Together, the two women embark on a voyage of discovery of each other and their past. Ida has to choose between her birth identity and the religion that saved her from the massacres of the Nazi occupation of Poland. And Wanda must confront decisions she made during the War when she chose loyalty to the cause before family.

Following his breakthrough films "Last Resort" and BAFTA-award winning "My Summer of Love," "Ida" marks Polish-born, British writer-director Pawel Pawlikowski's first film set in his homeland. Ida stars Agata Trzebuchowska and Agata Kulesza. It will open in Los Angeles on May 2 at the Laemmle's Royal. (Music Box Films, 80 minutes, unrated).

Its international producers, Eric Abraham (Portobello Pictures), Ewa Puszczynska (Opus Film), Piotr Dzieciol (Opus Film) and coproducer, Christian Falkenberg Husum of Denmark sold about 30 territories in Toronto and to date it has sold to 43 territories where the film has opened.

Argentina - Cdi Films, Australia - Curious Film, Austria - Polyfilm is still playing it and to date it has grossed Us$10,733. Benelux – Cineart where it is also still playing and has grossed Us$185,026 in Belgium and Us$131,247 in The Netherlands, Canada – Eyesteelfilm and Films We Like, Czech Republic – Aerofilms, Denmark - Camera Film, Denmark - Portobello Film Sales, France - Memento Films Distribution where in three weeks it grossed $3,192,706, Germany - Arsenal and Maxmedien where it grossed $24,010, Greece - Strada Films, Hungary - Mozinet Ltd., Israel - Lev Films (Shani Films), Italy - Parthenos where it grossed $681,460., Norway – Arthaus grossed $59,920, Poland – Soloban where it grossed $333,714, Portugal - Midas Filmes, Spain - Caramel Films is still playing it and to date it has grossed $408,085, Sweden - Folkets Bio, Switzerland - Frenetic, Taiwan - Andrews Film Co. Ltd, U.K. - Artificial Eye and Curzon, U.S. – Music Box and Film Forum.


(Poland) An Opus Film, Phoenix Film production in association with Portobello Pictures in coproduction with Canal Plus Poland, Phoenix Film Poland. (International sales: Fandango Portobello, Copenhagen.) Produced by Eric Abraham, Piotr Dzieciol, Ewa Puszczynska. Coproducer, Christian Falkenberg Husum.


Directed by Pawel Pawlikowski. Screenplay, Pawlikowski, Rebecca Lenkiewicz. Camera (B&W), Lukasz Zal, Ryszard Lenczewski; editor, Jaroslaw Kaminski; production designers, Katarzyna Sobanska, Marcel Slawinski; costume designer, Aleksandra Staszko; Kristian Selin Eidnes Andersen; supervising sound editor, Claus Lynge; re-recording mixers, Lynge, Andreas Kongsgaard; visual effects, Stage 2; line producer, Magdalena Malisz; associate producer, Sofie Wanting Hassing.


Agata Kulesza, Agata Trzebuchowska, Dawid Ogrodnik, Joanna Kulig.
See full article at SydneysBuzz »

Ten Oscar-Nommed Foreign-Language Films About Jewish WWII Experiences

By Anjelica Oswald

Managing Editor

Set in 1960s Poland, Pawel Pawlikowski’s black-and-white drama Ida focuses on faith and identity after family secrets are revealed. Anna (Agata Trzebuchowska) is a young orphan brought up in a convent preparing to take her vows to become a nun. When told she must visit her aunt, her only living relative, Anna discovers she’s Jewish, her name is actually Ida and her parents were killed in WWII. Anna/Ida and her aunt embark on a journey to learn more about the family’s history and discover the truth about what happened.

The film landed on the Oscar shortlist for best foreign-language film and was nominated for a Golden Globe in the same category.

A number of foreign films focused on WWII have done well at the Oscars throughout the years. Ones based on real events include The Counterfeiters (2007), about the Nazis’ attempt to
See full article at Scott Feinberg »

50 Best Films of 2014, Part 2

40. Night Moves

Since 2006, Kelly Reichardt has found a way to reach inside of the hearts of her audiences, plucking out strings one by one with desolate re-imaginations of the American Pacific Northwest, seen through the eyes of people not so different than ourselves. With Meek’s Cutoff, she departed from her typical genre and moved in to the Old West, but you could still see her stark realism, perfectly imagined on-screen. Now, Reichardt has shifted gears again, this time to present day (still in the Pacific Northwest), following three environmental activists as they plan to blow up a dam. But this time Reichardt has eschewed all sense of dry, dirty characterization for a much more flowing story where the characters emerge from their settings more fully. It’s still methodical, but somewhere in between the planning and heist itself, Reichardt’s star Jesse Eisenberg finds notes we haven’t seen
See full article at SoundOnSight »

2014: An Explosion of Art, Alienation, and Self-Drive in Film

After a summer season of blockbusters that gave the cinematic landscape of jewels and gems worthy of inspection a shake, “awards season,” from which some worthy contenders showed themselves, came roaring. Likewise, a backlog of more movies in the thick of this holiday season growing, certain timely realities proved elusive, in terms of getting to see everything 2014 — a year with more discoveries on my part than planned anticipation — had to offer. For that reason, potential favorites may turn up by the time some people, including myself, get to see those.

Yet, among the larger blockbusters (Interstellar, Godzilla, Guardians of the Galaxy) and widely lauded releases (Gone Girl, Boyhood, Whiplash, Birdman), surveying every crevice of that landscape, there were a lot of movies that were released, watched, podcasted about and reviewed here on Sound on Sight.

(Look for Sound on Sight’s finalized, staff-wide list of this year’s best on December 28.)

In fact,
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Foreign Language Oscar Shortlist: A Preview Of Possibilities, Part 2

Foreign Language Oscar Shortlist: A Preview Of Possibilities, Part 2
Below is Part 2 of my annual look at the films that have a shot at making the Foreign Language Oscar shortlist. There are 83 submissions this year with some truly remarkable films in the bunch — and no 100% frontrunner. Here’s a refresher on how the nine films are chosen for the shortlist which is expected to be revealed tomorrow: The phase one committee determines six of the candidates, and the other three entries are selected by the Foreign Language Film Award Executive Committee. For the profiles below and yet to come, I spoke with the directors of the films about their inspirations and expectations. In many cases, I also checked in with the U.S. distributor about why they acquired the movies. Below is a look at the second group of four titles that have generated serious buzz over the past several weeks of screenings, Q&As and consulate lunches. For
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Pawel Pawlikowski’s 'Ida' Wins Big At European Film Awards

Good morning, it's mid-December, and we even more awards for you. Over the weekend, the European Film Awards were handed out, and while the results usually have pretty much zero bearing on what will happen at Oscar in a couple of months time, the big winners just happens to be a movie that's in the race for Best Foreign Film as well. Poland's Oscar entry, Pawel Pawlikowski’s "Ida," took home the major prizes — Best European Film, Best European Director, Best European Screenwriter, Best European Cinematographer, and the People's Choice Award — in a near sweep of the European Film Awards, with Agata Trzebuchowska missing out on Best European Actress to Marion Cotillard for "Two Days, One Night." Other wins of note include Timothy Spall for Best European Actor for his work in "Mr. Turner," and Steve McQueen honored with a World Cinema award. Agnes Varda used the occasion of her
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'Birdman' leads Chicago critics nods with 'Life Itself' love meaning a little more

  • Hitfix
'Birdman' leads Chicago critics nods with 'Life Itself' love meaning a little more
"Birdman" is coming out really strong with the critics awards nominations lately, heading up another list this weekend with the Chicago Film Critics Association. The film picked up nine tips of the hat, with fellow critical darlings "Boyhood" and "The Grand Budapest Hotel" not far behind. And a lovely note: naturally, "Life Itself," about the life of Chicago staple Roger Ebert, was nominated for Best Documentary as it continues to be one of the top contenders of that field. I picture him giving a hearty thumbs up to that. Check out the full list of nominees below. Winners will be announced on Dec. 15. And remember to track it all at The Circuit. Best Picture "Birdman" "Boyhood" "The Grand Budapest Hotel" "Under the Skin" "Whiplash" Best Director Wes Anderson, "The Grand Budapest Hotel" David Fincher, "Gone Girl" Alejandro González Iñárritu, "Birdman" Richard Linklater, "Boyhood" Christopher Nolan, "Interstellar" Best Actor Benedict Cumberbatch,
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And the winners of the 2014 European Film Awards are…

The 2014 European Film Awards took place in Latvia yesterday, with Pawel Pawlikowski’s Polish drama Ida scoopuing the top prize, European Film, as well as winning the awards for Best Director, Best Cinematographer and Best Screenwriter. Meanwhile, in the acting categories Timothy Spall was named Best European Actor for Mr. Turner, while Marion Cotillard was honoured with Best European Actress for Two Days, One Night.

Check out a full list of the nominees here, with the winners highlighted in red…

European Film

Force Majeure



“Nymphomaniac Director’s Cut — Volume I & II”

Winter Sleep”

European Comedy

“Carmina & Amen”

“Le Week-End”

“The Mafia Only Kills in the Summer”

European Director

Nuri Bilge Ceylan (“Winter Sleep”)

Steven Knight (“Locke”)

Ruben Ostlund (“Force Majeure”)

Pawel Pawlikowski (“Ida”)

Paulo Virizi (“Human Capital”)

Andrey Zvyagintsev (“Leviathan”)

European Actor

Brendan Gleeson (“Calvary”)

Tom Hardy (“Locke”)

Alexey Serebryakov (“Leviathan”)

Stellan Skarsgård (“Nymphomaniac Director’s Cut — Volume
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Film News: ‘Birdman’ Tops Chicago Film Critics Association 2014 Best Film Nominees

Chicago – The best movies of 2014 were on display as the Chicago Film Critics Association (Cfca) announced their nominees in several categories of film excellence. Leading the pack was director Alejandro G. Inarritu’s “Birdman,” Wes Anderson’s “The Grand Budapest Hotel” and newcomer Damien Chazelle’s “Whiplash.” The best in each category will be announced on Monday, December 15th.


Photo credit: Fox Searchlight Pictures

The Chicago Film Critics Association is an organization that oversees many events in the Chicagoland area, including the Chicago Film Critics Awards, the Chicago Critics Film Festival and various film discussions and events around the city and surrounding suburbs. The nominees for the Cfca best of 2014 films are…

Best Picture



“The Grand Budapest Hotel”

Under the Skin


Best Director

Wes Anderson - “The Grand Budapest Hotel”

David Fincher - “Gone Girl

Alejandro G. Inarritu - “Birdman

Richard Linklater - “Boyhood

Christopher Nolan
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