بدون تاریخ، بدون امضاء [No Date, No Signature] (Vahid Jalilvand, 2017)

Jalilvand’s “Beyond the Wall” wins big at Iranian Film Festival New York

February 3, 2024 - 17:59

TEHRAN-The winners of the 2nd Iranian Film Festival New York (IrFFNY) were announced on the last day of the festival, which was held from January 25 to February 2.

This year’s edition of the festival presented a selection of acclaimed and award-winning films from one of the world’s most vital and distinguished national cinemas. From the total of 20 feature and short films presented at the event, five titles won the festival awards, ILNA reported.

“Beyond the Wall” written and directed by Vahid Jalilvand was the big winner of the festival as it won the Special Jury Award and also shared the Audience Award with “Subtraction” by Mani Haghighi.

The third and latest film by Jalilvand, “Beyond the Wall” is about a blind man named Ali who attempts suicide, but is interrupted by his building concierge; he then tells Ali about an escaped woman, named Leila, who is hidden in the building. Ali becomes determined to help Leila.

The film stars Navid Mohammadzadeh and Amir Aghaei, who both worked with Jalilvand in his previous film “No Date, No Signature,” which won the Orizzonti Award for Best Actor and Director at the 74th Venice Film Festival. The other members of the cast include Diana Habibi, Saeed Dakh, Danial Kheirikhah, and Alireza Kamali.

“Beyond the Wall” had earlier received several nominations at the 79th Venice International Festival and Asia Pacific Screen Awards.

The other movie that won the Audience Award, “Subtraction,” happens in downtown Tehran where Farzaneh, a young driving instructor, spots her husband, Jalal, walking into a woman’s apartment. When she confronts him, Jalal claims he was out of town for work. He decides to check out the building for himself. There, he meets a woman who is the spitting image of Farzaneh. Her name is Bita. Stunned, the two compare family photos: Bita’s husband also looks identical to Jalal.

Navid Mohammadzadeh, Taraneh Alidoosti, Ali Bagheri, Saeed Changizian, and Gilda Vishki are in the cast among others.

The Best Film Award went to “Empty Nets” by Behrooz Karamizade. An Iran-Germany co-production, it tells the story of Amir and Narges, who have found genuine love in their coastal hometown near the Caspian Sea. However, to gain the approval of Narges' wealthy family, Amir requires a significant amount of money urgently. Faced with limited options, he secures a job at a nearby fishery, embarking on a perilous yet profitable venture involving the illicit smuggling of black-market caviar.

Hamidreza Abbasi and Sadaf Asgari play the main roles in the film that won the special jury award at the 57th Karlovy Vary International Film Festival in Czech last July.

“A Childless Village” by Reza Jamali received the Artistic or Technical Achievement Award. As suggested by the title, the funny film-in-film comedy is about a small rural village, where no children have been born for a while and all the men assume that it is the fault of the women. 

Two decades ago, old filmmaker Kazem came to this remote rural village to make a documentary about the barrenness of the village women. But the village women wanted to protect their dignity, so they stole and burnt the footage.

By today, the villagers have found out that the men are sterile and there is nothing wrong with the women. With the help of his assistant, Kazem tries to record some interviews with the infertile men to unfold the truth in a new movie, but this turns out in many ways to be a Mission: Impossible.

The Best Short Film Award was given to “Nietzschean Suicide” written and directed by Payam Kurdistani. 

A suicide pharmacy owner tries to delay the suicide of the only midwife in his city until after his pregnant wife gives birth. Out of his efforts comes a novel suicide method that can revive his customers’ will to live.

Sal Galofaro, Tabassom Ostad, and Rory O’Brien play in the 15-minute flick

The Iranian Film Festival New York aims to unite two strands of Iranian moviemaking – the classic art-house Iranian cinema beloved by cinephiles around the world and new cutting-edge works that showcase the adventurousness and daring nature of younger Iranian directors.

SS/SAB

2017, no date no signature, vahid jalilvand, iran.

Beyond the Wall (2022), dir. Vahid Jalilvand

Ali, a blind man, is attempting to commit suicide when he is interrupted by the concierge of his building. He is informed that the police is in search of a woman who has escaped and hidden somewhere in the building. Little by little, Ali finds out that the fugitive woman, Leila, is inside his apartment. After participating in a workers’ protest that led to chaos, she is distraught about her four-year-old son who was lost when she was taken in a police van. Gradually, Ali becomes emotionally attached to her. Wishing to flee reality, helping Leila becomes a refuge in his own world of imagination.

VENEZIA 79 - 90 ANNI DI CINEMA al LIDO di VENEZIA

Manifesto Lorenzo Mattotti

COMPETITION of 79th Venice Film Festival

1. WHITE NOISE - OPENING FILM by NOAH BAUMBACH starring Adam Driver, Greta Gerwig, Don Cheadle, Raffey Cassidy, Sam Nivola, May Nivola, Jodie Turner-Smith, André L. Benjamin and Lars Eidinger/ USA / 136'

2. IL SIGNORE DELLE FORMICHE by GIANNI AMELIO with Luigi Lo Cascio, Elio Germano, Leonardo Maltese, Sara Serraiocco / Italy / 134'

3. THE WHALE by DARREN ARONOFSKY with Brendan Fraser, Sadie Sink, Hong Chau, Samantha Morton, Ty Simpkins / USA / 117'

4. L'IMMENSITÀ by EMANUELE CRIALESE with Penélope Cruz, Luana Giuliani, Vincenzo Amato, Patrizio Francioni / Italy, France / 97'

5. SAINT OMER by ALICE DIOP with Kayije Kagame, Guslagie Malanda, Valérie Dréville, Aurélia Petit / France / 122'

6. BLONDE by ANDREW DOMINIK with Ana de Armas, Adrien Brody, Bobby Cannavale, Xavier Samuel, Julianne Nicholson, Lily Fisher / USA / 165'

7. TÁR by TODD FIELD with Cate Blanchett, Noémie Merlant, Nina Hoss, Sophie Kauer, Julian Glover, Allan Corduner, Mark Strong / USA / 158'

8. LOVE LIFE by KÔJI FUKADA with Fumino Kimura, Kento Nagayama, Atom Sunada / Japan, France / 123'

9. BARDO, FALSA CRÓNICA DE UNAS CUANTAS VERDADES (BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS) by ALEJANDRO G. IÑÁRRITU with Daniel Giménez Cacho, Griselda Siciliani, Ximena Lamadrid, Iker Sanchez Solano, Andrés Almeida, Francisco Rubio / Mexico

10. ATHENA by ROMAIN GAVRAS with Dali Benssalah, Sami Slimane, Anthony Bajon, Ouassini Embarek, Alexis Manenti / France / 97'

11. BONES AND ALL by LUCA GUADAGNINO with Taylor Russell, Timothée Chalamet, Mark Rylance, André Holland, Chloë Sevigny, Jessica Harper, David Gordon Green, Michael Stuhlbarg, Jake Horowitz / USA / 130'

12. THE ETERNAL DAUGHTER by JOANNA HOGG with Tilda Swinton, Joseph Mydell, Carly-Sophia Davies / UK, USA / 96'

13. SHAB, DAKHELI, DIVAR (BEYOND THE WALL) by VAHID JALILVAND with Navid Mohammadzadeh, Diana Habibi, Amir Aghaee / Iran / 126'

14. THE BANSHEES OF INISHERIN by MARTIN MCDONAGH starring Colin Farrell, Brendan Gleeson, Kerry Condon, Barry Keoghan / Ireland, UK, USA / 109'

15. ARGENTINA, 1985 by SANTIAGO MITRE with Ricardo Darín, Peter Lanzani, Alejandra Flechner, Norman Briski / Argentina, USA / 140'

16. CHIARA by SUSANNA NICCHIARELLI with Margherita Mazzucco, Andrea Carpenzano, Carlotta Natoli, Paola Tiziana Cruciani, Luigi Lo Cascio / Italy, Belgium / 106' 

17. MONICA by ANDREA PALLAORO with Trace Lysette, Patricia Clarkson, Adriana Barraza, Emily Browning, Joshua Close / USA, Italy / 106'

18. KHERS NIST (NO BEARS) by JAFAR PANAHI with Jafar Panahi, Naser Hashemi, Vahid Mobaseri, Bakhtiar Panjeei, Mina Kavani, Reza Heydari / Iran / 106'

19. ALL THE BEAUTY AND THE BLOODSHED by LAURA POITRAS USA / 113'

20. UN COUPLE (A COUPLE) by FREDERICK WISEMAN with Nathalie Boutefeu / France, USA / 63'

21. THE SON by FLORIAN ZELLER with Hugh Jackman, Laura Dern, Vanessa Kirby, Zen McGrath, Anthony Hopkins, Hugh Quarshie / UK / 123'

22. LES MIENS (OUR TIES) by ROSCHDY ZEM with Sami Bouajila, Roschdy Zem, Meriem Serbah, Maïwenn, Rachid Bouchareb, Abel Jafrei, Nina Zem / France / 85'

23. LES ENFANTS DES AUTRES (OTHER PEOPLE'S CHILDREN) by REBECCA ZLOTOWSKI with Virginie Efira, Roschdy Zem, Chiara Mastroianni, Callie Ferreira / France / 104'

OUT OF COMPETITION

1. The Hanging Sun, by Francesco Cozzini - Closing Film of the Festival

2. Kapag Wala Nang Mga Alon (When the Waves are Gone), by Lav Diaz

3. Living, by Oliver Hermanus

4. Dead for a Dollar, by Walter Hill

5. Kone Taevast (Call of God), by Kim Ki-Duk

6. Dreamin' Wild, by Bill Pohlad

7. Master Gardener, by Paul Schrader

8. Drought, by Paolo Virzi

9. Pearl, by Ti West

10. Don't Worry Darling, by Olivia Wilde

OUT OF COMPETITION - NON FICTION

1. Freedom on Fire: Ukraine's Fight for Freedom, by Evgeny Afineevsky

2. The Matchmaker, by Benedetta Argentieri

3. The Last Days of Humanity, by Enrico Ghezzi and Alessandro Gagliardo

4. A Compassionate Spy, by Steve James

5. Music for Black Pigeons, by Jorgen Leth and Andreas Koefoed

6. The Kiev Trial, by Sergei Loznitsa

7. In viaggio, by Gianfranco Rosi

8. Bobi Wine Ghetto President, Christopher Sharp and Moses Bwayo

9. Nuclear, by Oliver Stone

OUT OF COMPETITION - TV SERIES

1. Riget Exodus (The Kingdom Exodus) - episodes 1-5, by Lars von Trier (1 September)

2. Copenhagen Cowboy - episodes 1-6, by Nicolas Winding Refn

OUT OF COMPETITION - SHORTS

1. Camarera de Piso (Maid), by Lucrecia Martel

2. Look at Me, by Sally Potter

3. As for Us, by Simone Massi

4. When the war is over, by Simone Massi

ORIZZONTI

1. Princess, by Roberto De Paolis - Opening film

2. Obet' (Victim), by Michal Blaško

3. En Los Margenes (On the Fringe), by Juan Diego Botto

4. Trenque Lauquen, by Laura Citarella

5. Vera, by Tizza Covi and Rainer Frimmel

6. Innocence, by Guy Davidi

7. Blanquita, by Fernando Guzzoni

8. Pour la France (For My Country), by Rachid Hami

9. Aru Otoko (A Man), by Kei Ishikawa

10. Chleb I Sol (Bread and Salt), by Damian Kocur

11. Luxembourg, Luxembourg, by Antonio Lukich

12. Ti mangio il cuore, by Pippo Mezzapesa

13. Spre Nord (To The North), by Mihai Mincan

14. Autobiography, by Makbul Mubarak

15. The Syndacaliste (The Sitting Duck), by Jean-Paul Salomé

16. Jang-E Jahani Sevom (World War III), by Houman Seyedi

17. Najsrekniot Čovek Na Svetot (The Happiest Man in the World), by Teona Strugar Mitevska

18. A Noiva (The Bride), by Sergio Trefaut

ORIZZONTI EXTRA

1. L'origine du mal (Origin of Evil), by Sebastien Marnier - Opening film

2. Hanging Gardens, by Ahmed Yassin Al Daradji

3. Amanda, by Carolina Cavalli

4. Zapatos Rojos (Red Shoes), by Carlo Eichelmann Kaiser

5. Nezouh, by Soudade Kaadan

6. Phantom Night, by Fulvio Risuleo

7. Bi Roya (Without Her), by Arian Vazirdaftari

8. Valeria Mithatenet (Valeria is Getting Married), by Michal Vinik

9. Goliath, by Adilkhan Yerzhanov

_________///_______////_______///_______///_______

Festival del Cinema di Venezia 2022, al via l'edizione numero 79

90 anni di Festival, 90 anni in questo 2022 per il Festival del Cinema a Venezia. 90 anni dove il mondo cinematografico si riunisce per uno degli appuntamenti più importanti dell'anno. Un po' di storia Sono 79 le edizioni per il Festival del Cinema di Venezia che festeggia anche i "90 anni di attività". Era, infatti, il 6 Agosto 1932 quando per la prima volta si aprì la Mostra internazionale d'arte cinematografica di Venezia. Di chi fu però l'idea di creare questa mostra? Il festival nacque da un'idea dell'allora presidente della Biennale di Venezia, il conte Giuseppe Volpi, dello scultore Antonio Maraini, segretario generale, e di Luciano De Feo, il già fondatore de L'Unione Cinematografica Educativa, ed a quel tempo direttore dell'Istituto internazionale per la cinematografia educativa, emanazione della Società delle Nazioni con sede a Roma. I tre furono concordi sull'idea di svolgere la rassegna nella città lagunare. Il successo della prima edizione fu anche grazie ai tanti personaggi di spicco che apparivano attraverso le pellicole proiettate. Si parla dei maggiori divi internazionali dell'epoca: Greta Garbo, Clark Gable, Fredric March, Wallace Beery, Norma Shearer, James Cagney, Ronald Colman, Loretta Young, John Barrymore, Joan Crawford, senza dimenticare l'idolo italiano Vittorio De Sica e Boris Karloff che tutti quanti noi ricordiamo soprattuto per il suo ruolo del mostro nel primo Frankenstein. Il primo film proiettato fu "Il dottor Jekyll (Dr. Jekyll and Mr. Hyde)" di Rouben Mamoulian Festival del Cinema di Venezia 2022, edizione numero 79 Torniamo al presente, però, per parlare di questa 79esima edizione e di cosa offrirà. Prima di tutto, dopo due anni di limitazioni, torna il "red carpet" in tutto il suo splendore. Addio, infatti, a tutti quei veti che non avevano fatto godere al pubblico della mostra la bellezza del tappetto rosso e dei grandi protagonisti del mondo del cinema. Si torna a fare foto e chiedere autografi ma soprattutto il grande spettacolo di un tappetto rosso splendente. A proposito di protagonisti, ecco a voi una rapida lista dei ben 23 film in concorso in questa 79esima edizione del Festival: - All the Beauty and the Bloodshed, regia di Laura Poitras (Stati Uniti d'America) - Argentina, 1985, regia di Santiago Mitre (Argentina) - Athena, regia di Romain Gavras (Francia) - Bardo, falsa crónica de unas cuantas verdades, regia di Alejandro González Iñárritu (Messico) - Bones and All, regia di Luca Guadagnino (Italia, Stati Uniti d'America) - Blonde, regia di Andrew Dominik (Stati Uniti d'America) - Un couple, regia di Frederick Wiseman (Francia) - Chiara, regia di Susanna Nicchiarelli (Italia) - The Eternal Daughter, regia di Joanna Hogg (Regno Unito) - I figli degli altri (Les Enfants des autres), regia di Rebecca Zlotowski (Francia) - L'immensità, regia di Emanuele Crialese (Italia) - Love Life, regia di Kōji Fukada (Giappone, Francia) - Les Miens, regia di Roschdy Zem (Francia) - Monica, regia di Andrea Pallaoro (Italia, Stati Uniti d'America) - Gli orsi non esistono (Khers nist), regia di Jafar Panahi (Iran) - Rumore bianco (White Noise), regia di Noah Baumbach (Stati Uniti d'America) - film d'apertura - Šab, dākheli, divār, regia di Vahid Jalilvand (Iran) - Saint-Omer, regia di Alice Diop (Francia) - Il signore delle formiche, regia di Gianni Amelio (Italia) - The Son, regia di Florian Zeller (Regno Unito, Francia) - Gli spiriti dell'isola (The Banshees of Inisherin), regia di Martin McDonagh (Regno Unito, Stati Uniti d'America, Irlanda) - Tár, regia di Todd Field (Stati Uniti d'America) - The Whale, regia di Darren Aronofsky (Stati Uniti d'America) La madrina e la giuria della 79esima Mostra del Cinema di Venezia Venezia è pronta, il film sono pronti: cosa manca? La madrina e la giuria. Partiamo con Rocío Muñoz Morales, l'attrice spagnola sarà la madrina di questa edizione della Mostra del Cinema di Venezia. Dopo aver calcato il palco di Sanremo, per l'attrice altro traguardo di grande importanza che saprà sicuramente gestire al meglio e senza problemi. La base di ogni festival è la giuria, quella di Venezia è sempre stellare e questo 2022 non fa assolutamente eccezione. A "capo" della giuria ci sarà Julianne Moore, star americana già Coppa Volpi nel 2003 per Lontano dal paradiso. Con lei avremo poi Audrey Diwan, vinci trice lo scorso anno del Leone d’Oro per il suo L’evenement – La scelta di Anne. Spazio per Kazuo Ishiguro, premio Nobel per la Letteratura nel 2017. E ancora, ci saranno Mariano Cohn, Leila Hatami, Rodrigo Sorogoyen e Leonardo Di Costanzo. Read the full article

No Date No Signature (Vahid Jalilvand, 2017)

NO DATE, NO SIGNATURE (2017) - Vahid Jalilvand

Un mercoledì di maggio

Un mercoledì di maggio

Cinema: Un mercoledì di maggio La caparbia resistenza di due donne disperate(mymonetro: 3,00) Regia di Vahid Jalilvand. Con Niki Karimi, Amir Aghaee, Shahrokh Foroutanian, Vahid Jalilvand, Borzou Arjmand, Afarin Obeisi, Saeed Dakh, Sahar Ahmadpour, Milad Yazdani. Genere Drammatico – Iran, 2015. Durata 102 minuti circa. Su un quotidiano di Teheran appare uno strano annuncio: un uomo di nome…

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Films watched in August, 2020

FIRST VISIONS:

Excalibur (1981). Directed by John Boorman

Casino (1995). Directed by Martin Scorsese

It Comes at Night (2017). Directed by Trey Edward Shults

The Delta Force (1986). Directed by Menahem Golan

Il nascondiglio (The Hideout), (2007). Directed by Pupi Avati

American Beauty (1999). Directed by Sam Mendes

Money Talks (1997). Directed by Brett Ratner

Contagion (2011). Directed by Steven Soderbergh

The Hills Have Eyes (1977). Directed by Wes Craves

The Mercenary (1968). Directed by Sergio Corbucci

The Ballad of Buster Scruggs (2018). Directed by Joel and Ethan Coen

The Big Lebowski (1998). Directed by Joel Coen

True Grit (2010). Directed by Joel and Ethan Coen

True Grit (1969). Directed by Henry Hathaway

Thelma & Louise (1991). Directed by Ridley Scott

Dallas Buyers Club (2013). Directed by Jean-Marc Vallée

Reservoir Dogs (1992). Directed by Quentin Tarantino

La isla minima (Marshland), (2014). Directed by Alberto Rodríguez

No Date, No Signature (2017). Directed by Vahid Jalilvand

Brimstone (2016). Directed by Martin Koolhoven

Blade: Trinity (2004). Directed by David S. Goyer

El Ángel (2019). Directed by Luis Ortega

REWATCHED:

The Magnificent Seven (1960). Directed by John Sturges

Psycho (1960). Directed by Alfred Hitchcock

The Blues Brothers (1980). Directed by John Landis

Space Jam (1996). Directed by Joe Pytka

The Revenant (2015). Directed by Alejandro G. Iñárritu

The Death of Stalin (2017). Directed by Armando Iannucci

Interstellar (2014). Directed by Christopher Nolan

‘Beyond the Wall’ Review: A Powerful, Twisty Drama About Iranian State Repression

Vahid Jalilvand's film revolving around a suicidal blind man and a runaway mother is one of two Iranian works in Venice competition, alongside Jafar Panahi's 'No Bears.'

BY LESLIE FELPERIN SEPTEMBER 9, 2022 9:35AM

COURTESY OF TIFF

Iranian director Vahid Jalilvand’s second film No Date, No Signature became Iran’s submission in 2019 for the Oscars’ Best Film Not in the English Language category. It would be a miracle if his latest, Venice competition entrant Beyond the Wall, gleaned the same honor, not because it wouldn’t be a worthy choice — it’s a ravaging, powerful work. It’s just that it’s impossible to imagine the Iranian authorities would approve submitting it.

Overtly critical of the repressive state apparatus, especially its capriciously cruel and violent police forces and merciless justice system, this feature played in Venice without Iranian government support and no doubt places Jalilvand in the ranks of audacious cinema dissidents, along with currently imprisoned filmmakers Jafar Panahi (whose latest No Bears also plays Venice this year), Mohammad Rasoulof and Mostafa Aleahmad.

For this twisty study of guilt and self-sacrifice, Jalilvand has reteamed with acclaimed actor Navid Mohammadzadeh, who co-stared in Jalilvand’s No Date as well as Saeed Roustayi’s recent Cannes competitor Leila’s Brothers. First met trying to kill himself with a wet shirt and a plastic bag in a concrete shower stall, his body covered in bruises and squinting through near-blind eyes, Mohammadzadeh’s lead character Ali pauses his suicide attempt to answer an aggressive knock at his door. It seems Ali lives in an apartment alone, where he’s struggling to cope with his recent loss of vision. But throughout the film he has a steady stream of visits, mostly from a gruff but sympathetic doctor (Amir Aghaee), a meddlesome building manager (Danial Kheirikhah) and a menacing police inspector (Saeed Dakh). The latter is looking for a mysterious woman being hunted by the authorities whom they suspect is hiding in Ali’s building.

It transpires that while answering the door, the woman, Leila (Diana Habibi, fantastic at channeling unhinged desperation) did indeed slip into Ali’s apartment through an unlocked back door, having ascended up a spiral staircase. The staircase is not only an effective fire escape, but also an obvious metaphor for the film’s spiral narrative, which keeps circling back in time to show earlier events from a different point of view.

Terrified for her life and nearly hysterical with worry about her young son, from whom she got separated in some kind of kerfuffle, Leila hides in Ali’s apartment in the shadows where he can’t see her and tries to call a friend for help. Ali can only sense her presence at first, but he leaves out food and gently calls out to her, trying to gain her trust. It would certainly be handy to have someone read the letters for him that keep getting slipped under his door that he can barely decipher. Eventually, Leila awakens from an epileptic fit to the sound of him playing back her voice messages, and slowly the events that brought her to his rooms are revealed.

Jalilvand started out as a theater director before moving into TV and then film, so the stagey feel of the scenes inside Ali’s apartment might seem like a deliberate call back to his earlier career at first, or a budget-saving use of a confined space. However, as the film goes on it gets progressively stranger in terms of time and space, with characters, especially Leila, slipping out one door and reappearing again moments later, having seemingly slipped back into the past, a change of reality that Ali just rolls with.

Meanwhile, the stage, as it were, expands to assimilate an outdoor scene by a closed factory where Leila came some time ago to collect her wages with other protesting workers, her mute son by her side. They get separated when a riot breaks out and the police started randomly arresting whomever they can grab. The noise of the knocking turns out to correspond to a completely different source — the sound design throughout is eerie — and nothing is quite what it seems. Mind you, the overhead shot of Ali’s door, in degraded digital black and white like the feed for a CCTV system, is an obvious early giveaway as to what’s going on.

Powerful though the subject matter is — and brave for all involved considering that a number of taboo subjects are touched on, from suicide to police brutality — Jalilvand’s editing in the final stretch loses some impact with a clunkier-than-necessary pace. Perhaps the filmmakers were challenged by the near two-year process it took to complete the shooting, forcibly put on pause as they were by Mohammadzadeh catching COVID — although that may have paid off as it helps him look almost like an entirely different person, plumper and healthier, when we see him in the plot’s deep past.

Despite any minor flaws, the film’s final bravura, deeply meaningful drone shot sends it out on a literally soaring high, fitting for a work of sly, ambitious accomplishment. For the record, the film’s international title Beyond the Wall is a poor substitute for the more evocative cinematic, screenplay-style language of its original Farsi title Shab, Dakheli, Divar, which means “night, interior, wall.”

TARİHSİZ, İMZASIZ 2017, İran Filmi Tür: Dram, Psikolojik Süre: 104 dk Yönetmen: Vahid Jalilvand * 📹 Film hakkındaki fikrim: 👍👏😨😔😟😢🏅 9⃣ Sağlam film... İzleme listenize alın derim. ℹ Yenikaynak sitesinden izlenebilir. 📽 Kısaca konusu: Namuslu ve ilkeli bir adli tabip olan Doktor Kave bir trafik kazası yapar ve 8 yaşında bir oğlanın yaralanmasına sebep olur. Ertesi gün, çocuğun öldüğünü öğrenir. Acaba bu ölüme kendi kazası mı yol açmıştır, yoksa konulan gıda zehirlenmesi teşhisi doğru mudur? Korkaklık, şüphe ve dürüstlük gibi kavramları ahlaki bir ikilem üzerinden sorgulayan Tarihsiz, İmzasız, özellikle oyuncularının çarpıcı performansları ve senaryosuyla dikkat çekerken İran sinemasının son yıllardaki yükselişinin nedensiz olmadığını vurguluyor. * #tarihsizimzasız #bedounetarikhbedouneemza ##بدون_تاريخ_بدون_امضا #فيلم_ايرانى #سينما_ى_ايرانى #iranfilmi #iranianmovie #iranfilmleri #VahidJalilvand #navidmohamadzadeh #AmirAghaee #HediyehTehrani #نويد_محمدزاده #امير_آقايي #هديه_تهراني #izledim #muhammedalibayram_film #film #movie #iransineması #Yenikaynak #tavsiyefilm #filmönerisi (Konya, Turkey) https://www.instagram.com/p/CB20OX2jfoj/?igshid=16pcjsbqzrg6g

2017 Venice Film Festival - lineup

Opening Night Film

“Downsizing,” dir. Alexander Payne (in competition)

Competition

“Human Flow,” dir. Ai Weiwei “mother!,” dir. Darren Aronofsky “Suburbicon,” dir. George Clooney “The Shape Of Water,” dir. Guillermo del Toro “Linsulte,” dir.  Ziad Doueiri “La Villa,” dir.  Robert Guediguian “Lean On Pete,” dir.  Andrew haigh “Mektoub, My Love: Canto Uno,” dir. Abdellatif Kechiche “The Third Murder,” dir. Koreeda Hirokazu “Jusqu’a la Garde,” dir.  Xavier Legrand “Ammore e Malavita,” dir. Manetti Brothers “Foxtrot,” dir. Samuel Maoz “Three Billboards Outside Ebbing, Missouri,” dir. Martin McDonagh “Hannah,” dir. Andrea Pallaoro “Downsizing,” dir. Alexander Payne “Angels Wear White,” dir. Vivian Qu “Una Famiglia,” dir. Sebastiano Riso “First Reformed,” dir.  Paul Schrader “Sweet Country,” dir. Warwick Thornton “The Leisure Seeker,” dir. Paolo Virzi “Ex Libris – The New York Public Library,” dir. Frederick Wiseman

Horizons (Competition)

“Disappearance,” dir. Ali Asgari “Especes Menacees,” dir. Gilles Bourdos “The Rape of Recy Taylor,” dir. Nancy Buirski “Caniba,” dir. Lucien Castaing-Taylor, Verena Paravel “Les Bienheureux,” dir. Sofia Djama “Marvin,” dir. Anne Fontaine “Invisible,” dir. Pablo Giorgelli “Brutti e Cattivi,” dir. Cosimo Gomez “The Cousin,” dir. Tzahi Grad “The Testament,” dir. Amichai Greenberg “No Date, No Signature,” dir. Vahid Jalilvand “Los Versos del Olvido,” dir. Alireza Khatami “The Night I Swam,” dir. Damien Manivel, Igarashi Kohei “Nico, 1988,” dir. Susanna Nicchiarelli “Krieg,” dir. Rick Ostermann “West of Sunshine,” dir. Jason Raftopoulos “Gatta Cenerentola,” dir. Alessandro Rak, Ivan Cappiello, Marino Guarnieri, Dario Sansone “Under the Tree,” dir. Hafsteinn Gunnar Sigurdsson “La Vita in Comune,” dir. Edoardo Winspeare

Out of Competition Fiction

“Our Souls At Night,” dir. Ritesh Batra “Victoria & Abdul,” dir. Stephen Frears “Il Signor Rotpeter,” dir. Antonietta de Lillo “La Melodie,” dir. Rachid Hami “Outrage Coda,” dir. Kitano Takeshi “Loving Pablo,” dir. Fernando Leon de Aranoa “Zama,” dir. Lucrecia Martel “Wormwood,” dir. Errol Morris “Diva!,” dir. Franceso Patierno “Le Fidele,” dir. Michael R. Roskam “Il Colore Nascosto Delle Cose,” dir. Silvio Soldini “The Private Life of a Modern Woman,” dir. James Toback “Brawl in Cell Block 99,” dir. S. Craig Zahler

Out of Competition Documentaries

“Cuba and the Cameraman,” dir. Jon Alpert “My Generation,” dir. David Batty “Piazza Vittorio,” dir. Abel Ferrara “The Devil and Father Amorth,” dir. William Friedkin “This is Congo,” dir. Daniel McCabe “Ryuichi Sakamoto: Coda,” dir. Stephen Nomura Schible “Jim & Andy: The Great Beyond. The Story of Jim Carrey, Andy Kaufman and Tony Clifton,” dir. Chris Smith

Out of Competition Special Events

“Casa d’Altri,” dir. Gianni Amelio “Michael Jackson’s Thriller 3D,” dir. John Landis “Making of Michael Jackson’s Thriller (1983),” dir. Jerry Kramer

Cinema in the Garden

“Manuel,” dir. Dario Albertini “Controfigura,” dir. Ra di Martino “Woodshock,” dir. Kate Mulleavy, Laura Mulleavy “Nato a Casal di Principe,” dir. Bruno Oliviero “Suburra – The Series,” dir. Michele Placido, Andrea Molaioli, Giuseppe Capotondi “Tueurs,” dir. Francois Troukens, Jean-Francois Hensgens

Special Documentary Screenings

“La Lunga Strada del Ritorno,” dir. Alessandro Blasetti “Barbiana ’65 La Lezione di Don Milani,” dir. Alessandro G. A. D’Alessandro “Lievito Madre, Le Ragazze del Secolo Scorso,” dir. Concita de Gregorio, Esmeralda Calabria

Biennale College

“Beautiful Things,” dir. Georgio Ferrero “Shadeed Martyr,” dir. Mazen Khaled “Strange Colours,” dir. Alena Lodkina

Venice Classics (Documentary)

“Light Years,” dir. Manuel Abramovich “Evviva Giuseppe,” dir. Stefano Consiglio “La Lucida Follia di Marco Ferreri,” dir. Selma Jean Dell’Olio “L’Utopie des Images de la Revolution Russe,” dir. Emmanuel Hamon “The Prince and the Dybbuk,” dir. Elwira Niewiera “La Voce di Fantozzi,” dir. Mario Sesti “This is the War Room!,” dir. Boris Hars-Tschachotin

41ª Mostra Internacional de Cinema em São Paulo divulga programação e inicia venda de ingressos

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A 41ª Mostra Internacional de Cinema de São Paulo acontece entre os dias 19 de Outubro e 01 de Dezembro e traz, além de filmes destacados nos festivais de Cannes, Berlim e Toronto, vários títulos que são apostas para a premiação da academia de 2017.

A lista completa dos filmes pode ser visualizada aqui, em que você pode selecionar os filmes por país, gênero ou formato, e aqui você pode buscar pela programação conforme sala de exibição – ocorrerão exibição no Auditório do Ibirapuera, Cine Caixa Belas Artes, Cinearte, Cinemateca, Cinesala Pinheiros, Cinesesc, Cinusp, Circuito SPCine, Centro Cultural São Paulo, entre outros.

As 14 obras indicadas por seus respectivos países para concorrerem a uma vaga do Oscar® 2018:

Argentina – Zama, Lucrecia Martel;

Áustria – Happy End, Michael Haneke;

Coreia do Sul – O Motorista de Táxi, Jang Hoon;

Geórgia – Scary Mother, Ana Urushadze;

Irã – Respiro, Narges Abyar;

Irlanda – Canção de Granito, Pat Collins;

Islândia – A Sombra da Árvore, Hafsteinn Gunnar Sigurðsson;

Nova Zelândia – Mil Cordas, Tusi Tamasese;

República Tcheca – Mãe No Gelo, Bohdan Sláma;

Rússia – Loveless, Andrey Zvyagintsev;

Senegal – Félicité, Alain Gomis;

Suécia – The Square, Ruben Östlund;

Suíça – Mulheres Divinas, Petra Volpe;

Venezuela – El Inca, Ignacio Castillo Cottin.

Quanto aos longas de festivais internacionais, Cannes possui grande destaque: The Square, de Ruben Östlund, que recebeu a Palma de Ouro; Loveless, de Andrey Zvyagintsev, vencedor do Prêmio do Júri; Esplendor, de Naomi Kawase, agraciado pelo júri ecumênico; Happy End, de Michael Haneke; O Dia Depois, de Hong Sang-Soo; Lover For a Day, de Philippe Garrel; e A Trama, de Laurent Cantet.

O Festival de Veneza também marca presença nesta edição da Mostra: Custódia, de Xavier Legrand, Leão de Prata de Melhor Direção; Emma, de Silvio Soldini, exibido hors concours; os premiados na seção Horizontes do festival italiano, Nico, 1988, de Susanna Nicchiarelli; Sem Data, Sem Assinatura, de Vahid Jalilvand; e Os Versos Esquecidos, de Alireza Khatami.

Filmes que se destacaram em Berlim, como Félicité, de Alain Gomis, ganhador do Grande Prêmio do Júri; O Outro Lado da Esperança, de Aki Kaurismaki, vencedor do Urso de Prata de Melhor Direção; Noites Brilhantes, de Thomas Arslan, que teve o ator premiado; 1945, de Ferenc Török, agraciado pelo público na seção Panorama; Ana, Meu Amor, de Calin Peter Netzer, cuja montagem foi premiada; e Django, de Étienne Comar, também integram a programação.

Três Anúncios para um Crime, terceiro longa de Martin McDonagh e agraciado com o prêmio de Melhor Filme no Festival de Toronto, está presente na seleção, assim como Doce País, de Warwick Thornton, eleito o melhor filme da Toronto Plataform, e Faces Places, de Agnès Varda e JR, nomeado como melhor documentário pelo público no festival.

Filmes premiados em Sundance (Livre e Fácil, de Jun Geng), Roterdã (Tempo de Qualidade, de Daan Bakker), Tribeca (Mulheres Divinas, de Petra Volpe) e South by Southwest (Inflamar, Ceylan Özgün Özçelik) fazem parte da seleção, sem contar os títulos brasileiros reconhecidos em premiações e seleções de festivais internacionais.

As credenciais para a mostra podem ser comprados diretamente na Central da Mostra, no Conjunto Nacional, ou pela internet pelo site veloxtickets.com. Já os ingressos avulsos podem ser comprados diretamente nas bilheteiras dos cinemas.

Central da Mostra Conjunto Nacional – Avenida Paulista, 2073 – Cerqueira Cesar – São Paulo

Ingressos avulsos –  R$ 20 (inteira) e R$ 10 (meia-entrada), às segundas, terças, quartas e quintas R$ 24 (inteira) e R$ 12 (meia-entrada) às sextas, aos sábados e aos domingos. Permanente Integral – R$ 500,00 Permanente Integral Folha (15% de desconto para o titular da assinatura, mediante apresentação da carteirinha de assinante) – R$ 425,00 Permanente Especial (para sessões de 2ª a 6ª até as 17:55; não contempla finais de semana nem sessões noturnas) – R$ 117,00 Permanente Especial Folha (15% de desconto para o titular da assinatura para sessões de 2ª a 6ª feira até as 17:55; não contempla finais de semana nem sessões noturnas) – R$ 99,45 Pacote de 40 ingressos – R$ 374,00 Pacote de 20 ingressos – R$ 220,00

The post 41ª Mostra Internacional de Cinema em São Paulo divulga programação e inicia venda de ingressos appeared first on Smiletic.com.

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