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tv   [untitled]    October 21, 2011 8:01pm-8:31pm EDT

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scenes of violence across the country in response. u.s. president barack obama tells top iraqi officials by a video conference that all american troops will leave iraq by the end of twenty eleven pleas from baghdad to keep several thousand u.s. military personnel in the country as a training falls have been rejected despite containing. and makes its final step into space a russian soyuz rocket launchers a pair of european satellites from the spaceport in french guiana the key components of an ambitious european of a geisha system while americans are. coming right up to cinema challenge hollywood for a nonstop to this and many more questions on modern cinema joined. the director of that too in one international contemporary film festival the excitement of a tiff spotlight shows up next.
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the walk into spotlight begins to show on our team i'll bring our bank today my guest on the show. hollywood movies are dominating big screen. some incomes went to the budgets of small countries but the lasting success of noncommercial movies at various trustable shows that people are hungry for alternative cinema so can this provide anti-dote to spectacular blockbusters the two one international contemporary film festival is ongoing you must go and its program director. the. critics say cinema is going through his story. the so-called independent previews top box offices while hollywood blockbusters become we know profound amateurs take it on
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the whole critics complain cinema has become very predictable and it's hard to find a really a regional work that's why the two in one festival was created it's organizers say they don't choose on directors names or a critic's opinion they're pastoral only features music and surprised and perhaps. thank you very much for being with us thank you for inviting me welcome to the show well first of all to in one festival one is to me while actually it doesn't mean what you perhaps would have suggested it's not about how their shoulders from well definitely about. blurring the borders about different genres of cinema different kinds of cinema about blurring the border between cinema and content. art documentary and fiction and.
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commercialized cinema so this is about making cinema a unified space where we can explore when world can find something interesting where we can showcase the best findings in all their areas of creative work in cinema well i don't know that you call your first of all a contemporary thought for us to move but are all food first tools showing contemporary movies this is this idea of a festival on well not necessarily vinnell i mean there are wonderful film festivals that are that are concentrated on retrospective for example i don't know given some films that chalk is contemporary they are sometimes very attentive to retrospective partner example berlin and san sebastian film festival well we are not the biggest film festival in the world so we we are trying to concentrate on
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what is important for in our days when our show casing we're not presenting retrospectives a lot of them. we are sort of trying to focus our attention on the trance that are going to be particularly interesting in the nearest yes there is a will you can to improve your it which i personally dislike the wounds of this a format i don't really understand what form it means i think that i think that a piece of work including movies can be good or bad but well this is it it can also be forty three or sixteen why knowing well the world this is only seventy four met means but still they see professions like yourselves very that that every first of all today has its own format is there a format for your festival and what films what movies fit into the two in one for a while personally we are together because i. i hate the word might as well i mean . this is not about war much this is about the selection while selection of course
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is has to be done according to some critical area but our main course to your ear and we've got the strictest selection i believe out of all the first film festivals in the world either we like or dislike the movie either the works either doesn't work so or we it's not about format we can include. blockbuster movie in the competition if it if it's really a work of art for a work of for personal expression but you know it's like vodka vodka can be out a form of it so the cold or or or warm i mean. well the other word. makes you feel good. to feel bad sometimes it doesn't the found upon the quality of vodka depends upon the atmosphere i don't want to. well not only quantity but i mean the selection selection of fairly selection of company so
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there's a load. of this fuel for everything also to do a movie yeah exactly so ok let's let's drop for a minute so do you the atmosphere of your festival there is it does it suppose that you have to have some sort of some some special sort of movies because you said it could be anything including a blockbuster well it can be and if you only think about in terms of gas first of all i would like to say only guests who are really interested in what is coming up for example for well i can name you some names the you'd like to cause for as a president of the jury we've got for robert siegel a wonderful american filmmaker who was the scriptwriter of wrestler with grooved. main india is to invite people who are really interested to know what's going on we are not inviting people for money when not inviting people to stroll on
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a red carpet this is completely irrelevant for us if we're inviting someone this is going this is me this means that we are going to have press conferences master classes meeting with their audience and we mean the art we hope not only the audience but the people who are invited our guests will be satisfied with this experience because the first of all is a place for communication communication means communication between and the audience on the movies it means the communication between their audience and the filmmakers and between filmmakers themselves because this is the best place to make friends after all one of the papers quoted you as saying that that's your first of all your first of all the main feature is to surprise at least this year doesn't mean that you would show a movie that's all for aesthetically but sharky surprising well
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shocking doesn't necessarily about we have to earth see some shocking scenes of violence from the person being to some old in front of the camera now shocking only means we need to change the culture of codes for our movies because predictability i would say is the worst enemy of art in contemporary film and not only film because everything is predictable you know what to expect out of the newest show out of being used to exhibition out of the movie made by some well known filmmaker and what we really lack is a sense of surprise when you have something that delivers when you have something that really surprises you that can catch you unaware this is what we're searching for in the calm. addition and not on the condition or you know i guess. i do think
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that project predictability is so bad i mean for example if when characterizing a person when characterizing somebody who what will people usually say is political i mean i mean this is good it's very hard to deal with unpredictable people unpredictable countries and predictable situations in life so why do we want life to be predictable and films to be unpredictable does that mean that films should be shouldn't be close to life. while it means. you know you're saying well that's the point actually i mean you know we really like person and person's life for. everything that surrounds us to be reliable i don't say predictable but reliable when look we rely on on a certain kind of reaction. well we still need to explore something new because this is where we are here. for well this is for me this is this
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is the idea of life to explore the unpredictable areas of creative enough in life. art in everything because otherwise it would be simply boring so you have a program this year. called bollywood strikes back and these are the indian remakes of the most successful hollywood blockbusters are you showing these films just to satisfy the moscow public or why. are well. i want to loring whereas i have the unpredictability and while certainly certainly all the films a shilling to satisfy demand in moscow partly because of moscow audience because they are very particular very. specific audience with its very specific tastes bad . in terms of talking about this program hollywood's trying strikes back bollywood
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strides back i think it's very in cages in an interesting idea because. when i first heard of their remaining of my mantle amount is a cult movie by christopher nolan a famous hollywood director who took on the backward franchise was very famous in hollywood and all over the world and i've heard they may be a remake of near mt toba. is a very harsh and tough. bottom needier and it's gun of a thriller with very gripping one when i heard they made it three hour long we make of the heart with songs and dances in bollywood i couldn't believe my own ears when i saw it i couldn't believe my own heart is. so all this is
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a true battle them their original what's. now i mean what is important for this bollywood product program is in terms of imagination they are far beyond hollywood go. in there the program and know the project there within the framework of your festivals called generation campaigns who are the teachers and who are the students well the teachers are all well. everyone who wants to come you know i mean. i i hope that the president of the jury robert siegel the script try to offer a slow haul and i mentioned already he's going to be one of our lecturers and i'm sure that some people from new york film academy will show up and would there's a yeah. the students all the students from some schools around europe and around the world who are willing to comment who are willing to experience something you've
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. not only experienced something new about to make a few. short movies which are going to prove to be presented at the closing ceremony says alex if there is a program director of the twenty one in the national contemporary from the spotlight will be back shortly after we take a break so stay with us we'll be back with this interview and. i.
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i i i i i i . just. click
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click click. yeah there's no way to see the film on screen yeah if you want to have sex go and have sex. lives. welcome back to spotlight nerve and just a reminder that my guest on the show today is alex amy the visit program director
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of the two in one international contemporary film festival i would say we started talking about different features of your film festival well let's talk about another one big festivals have two faces as well to win one most of the festivals one is to promote non-conventional most of the festivals want to promote now conditional on it and noncommercial art and on the other hand they advertise movies for the wider public the they sort of are. show them to the air to the press to the public what do you see as the principal row for your first of all the two are you know what well what you are saying i think it's really relevant only for one from first of all in the world which is the council on the cannes film festival because. really really really
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launching launch in a film all are still in film or as the competition and we the count's film first of all the conserve european european distribution maybe venus very nice but. otherwise no i don't believe so i mean film festivals always like to stress the fact that films wear shorts and for example for the competition they were later distributed in the country and we have such successful examples for example we have michael from a film by my close friend poet of the land co one of the best czech film filmmakers who made a. very interesting contemporary version of current massively brothers by dostoyevsky and it was picked up by the destroyer russian distributors and it was released after we premiered at the film festival about
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a toll from first of all but i wouldn't overestimate this role mainly i would say the phone first of all is a noncommercial art launchpad for war films that can gain some profit in smalls for all but you know like like we don't need lots of footman's but without that amounts we can die you are told this is for this is the same thing goes for a so-called noncommercial movie so. yes see well actually the worst ten. years have seen a renaissance in russian cinema from the deep crisis spotlight in the mid to me there are reports on that issue. however you measure the success of the film industry box office or international awards contemporary russian cinema has a tall there are some successful attempts at emitted in hollywood like for derby
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wonder trucks epic historical dramas want to more but number of saif i blockbusters like man better of commercial success have been paved his way to hollywood however he's nightwatch grazed less money in europe than andres bergen civs the return which received the golden lion in venice the slow moving psychological drama managed to commercially beat a dance narrative with multiple twists and turns while russian commercial movies are quite rarely released outside the country then noncommercial counterparts keep on conquering the world the last few years have seen the example of a grab sixty's triumph knowledge this pull through a shot at a real station in the arctic reap the harvest of international awards another russian film silent good a triumphant premier with a twenty minute long stand in the vacation in venice last year this year the council film festival awards of against hibs you lana and that success was followed
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by alexander sycamore of snatching the venice is a golden lion with his false impressionistic philosophical works by contemporary russian filmmakers appear to have greater appeal to viewers worldwide after all holywood produces enough blockbusters on its own so maybe the right thing for a russian filmmakers is to stick to which same to rely on tradition of raising serious issues and focusing on the character's thoughts and feelings rather than their actions. well our reporter mentioned back when back of school in the films there's been lots of talk about on the on the one hand they really they really became popular he became popular in hollywood but on the other hand do you think that it makes sense for russian filmmakers to try to imitate blockbusters though there will never be better than that how he would blockbusters
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because because the the history of russian cinema is like thought provoking like like a very very meditative. films is the true. well it's a double me. sounds to imitate anything on especially hollywood style bart if people are inclined to make kind of action movies like like they make it in hollywood well the best ways to just to spend your last money for a ticket to california to i don't know to find a temporary job as a way turkey in mcdonald's some triton right on through the from just your scripts for projects already for an actor as go tool. and screen to our soul whatever because hollywood is indeed the best place to to to to to action films well if you are inclined to do something our us well i think russia is by far
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not the worst place in the world because we still have a significant states ward for debut films four or ter filmmakers. i would say you can you can make into some movie here still for. i don't know half a million dollars which would be impossible in america for a you were saying in one of the interviews i quote the problem with contemporary art movies is that they are mostly about the personality of their authors but it's almost impossible to say if the film is good or not what are the criteria for judges of such films. when you what when you're in the jury. well i used to the on the jury right now i'm not on the program director so i select the
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films where we like and thought of my judgment is that all the movies in the competition of torn in one film first of all are certainly of the best the best possible movies but. for the all for the jury members i would say first that the master important thing is to understand to feel if it's real or fake because it's very easy to make a fake or art movie not going to raise you just to make slow shorts for the moment no dialogue deliberated buildings around here you know like water dripping from it. one drop in five minutes here and that would probably cretin. the. russians on something artistic and it's really not cause we must look for can time of war for continents if there is none of them
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nothing can say let's talk about about multiplying your own thoughts and feelings should know it is today not only in movies men will norton general express anything else except his own feelings is their own personality well this is. his. we're coming back to your first question what does it actually to in one mean yeah when one of for means like a person and the world around it. because without regard to your world bank mr newman which is only a reflection of our own thoughts and ideas that wouldn't be interesting because they're so. self is an art form that helps you to use of reality while expressing yourself but you cannot. you cannot are met are the eyes
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a part of the question you cannot meet yourself because you need something to express and you need something to talk about but you cannot tell me trailers here because you have to use it if it's not there well it's a fable in the twentieth century the cinema was characterized i mean the cinema life was characterized by the existence of a number of living classics who is some of the made movies some of them quit making movies but they were around and they certainly reference as they set an example for everybody else to do a twenty first century is a time of the authority and i mean i mean authorities are overthrown with every new generation even where half a generation they overthrow their authority is is this do you have the same situation in cinema well i would say so because. because like all there all the authors who whom we really in line. and the
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war from the second part of the twentieth century of their own not getting younger you know like if we talk about woody allen or lost even lost from tree air or archita response or other famous european and american filmmakers they're already for over fifty and we don haven't you know what we have a new generation but it's not it's these names are not you know like brand names anymore he fuel distributor in your film by new filmmaker well nobody nobody would want to go and watch it otherwise there is a special reason thank you thank you very much for being with us and just a reminder that my guest today was like same with program director of the two in one international contemporary film. that's it for now from all of us here at
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a very warm welcome to you this is your news today protesters on holds true today at. least intensify the chance to set a good mood for example the status of the human experiment is exploding with. this in this rap music would expose the busy lives we trying to make sense of global economy and it's all changed things as financial templates the research scrambling to maintain zero confidence in long kids and thinking on the primitive wants to be seen trade imbalances recession looks b.p. nations close to collapsing a sub prime loans for close home people. to fail super late banks again feel level i think it's a us crash and imminent smash the ceiling seems to dislike all the classes in athens three the i.m.f. and put strikes me on just programs increase the total economy.
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this is o.t. coming to you live from moscow the head of. the un called for an investigation into the death of gadhafi up to gruesome footage suggest he may have been executed by. nato says it may be leaving the country by the end of the month but he's accused by russia of abusing the us to protect even the civilians. on the nato cheered the colonel's demise there is relief in some crucial is that the secret of his former dealings with the west will go with him to the grave and won't be revealed lately been because it was for many years a major custom of western.

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