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hollywedits · 1 year

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September 09, 2022 - Toronto International Film Festival.

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chicinsilk · 1 year

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Elizabeth Taylor and Gina Lollobrigida at a reception at the Grand Kremlin Palace during the Moscow International Film Festival, 1961. Photo Alexander Konkov/TASS

They both wear identical white organza dresses called "Marie-Anne", designed by Marc Bohan for Christian Dior from the Spring/Summer 1961 Haute Couture Collection.

Elizabeth Taylor et Gina Lollobrigida lors d'une réception au Grand Palais du kremlin lors du Festival international du film de Moscou, 1961.Photo Alexander Konkov/TASS

Elles portent toutes deux des robes identiques en organdi blanc baptisées "Marie-Anne", signées Marc Bohan pour Christian Dior de la Collection Haute Couture Printemps/Été 1961.

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cross-border-communications · 9 months

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The 80th Venice International Film Festival - 2023

The 80th. International Film Festival La Biennale di Venezia, August 30th to September 9th, 2023. The official poster.

The 80th International Film Festival La Biennale di Venezia this year unveiled a poster by renowned illustrator Lorenzo Matteotti. The poster is inspired by the tradition of cinema on the road and depicts an eclectic car driving through diverse and evocative landscapes. Matteotti's aim was to convey the feelings of freedom, curiosity, and openness that animate the cinema. Using bright colors and strong contrasts, he created a dynamic, original, and eye-catching image that invites viewers to participate in the Festival and be surprised by the artistic proposals on the program.

The Festival will take place from August 30th to September 9th, 2023, and will celebrate cinema as the art of vision and imagination toward the future. Directed by Alberto Barbera, the Festival will feature a selection of works by established and emerging auteurs from around the world, reflecting the trends and challenges of contemporary cinema. It will also be an opportunity to pay homage to the great masters of cinema with retrospectives, restorations, and exhibitions.

The Festival promises to be an unmissable occasion for lovers of the seventh art. So mark your calendars and get ready to experience the thrill of cinema as travel, adventure, and discovery! Here is The Line-Up of the 80th

🟠 via Italiens PR

📸 La Biennale di Venezia 2023

.⏩ The Board Behind ⏩

#the board behind #theboardbehind #Italiens PR #cinema #dance #music #historical archives of contemporary arts #biennale cinema 2023 #on the road2023 #international film festival #mostra internazionale cinematografica #Venezia 2023 #international relations

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crowleying · 2 years

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Ana de Armas

8 Ana de Armas wallpapers

1010 x 2048

For Android but can be used for iPhone

Please like and reblog if you save

Do not repost

Feel free to request icons, wallpapers or banners (for Tumblr or Twitter) with a character (or more) and a pride flag if you want!

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lunastar92 · 2 years

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#tiff #grace van dien #actress #twitch streamer #international film festival #tiff net #roost movie #tiff 2022 #Instagram post #instagram stories

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twilightteamm · 1 year

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#AnnaKendrick on Palm Springs International Film Festival's instagram stories | January 15, 2023

#anna kendrick #palm springs #international film festival

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blog-nstuff2 · 1 year

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His little sun kissed cheeks from Cabo 😭😍😘

#austin butler #austin butler elvis #brendan fraser #palm springs #international film festival #Jan 2023

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iffa-awards · 11 minutes

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The International Film Festival of Australia (IFFA) Wants Your Submissions for 2024!

The International Film Festival of Australia (IFFA) is now accepting film submissions for its 2024 edition. IFFA aims to recognise extraordinary talent from around the globe. Wherever you are in the world, we want you to submit your films to us! There are categories open for feature films, web series, documentaries, animation, short films and short films by youth under 18. We here at IFFA believe that films are an art that have the incredible ability to transcend boundaries and bridge the gap between cultures, nations and communities.

This year’s IFFA Awards has already received film submissions from filmmakers in Oman, Poland, the United States, Italy, Mexico, New Zealand, Bangladesh, and of course, Australia. With such a variety of films, filmmakers worldwide can find new audiences and connect with diverse cultures, enriching the global cinematic landscape. Submitting your film isn’t just about sharing your story with the world, it’s about contributing to a vast collection of human experiences.

IFFA proudly supports communities from First Nations, multicultural, LGBTQIA+, youth, ableist and marginalised backgrounds. We actively seek out and welcome films that amplify the voices and experiences of these communities, recognising the importance of diverse representation in cinema. Our submission process is inclusive and accessible, ensuring that filmmakers from all backgrounds have the opportunity to showcase their work on our platform.

IFFA 2024 promises to be a grand event for the ages. Packed with live performances, insightful panel discussions, and exclusive networking opportunities, it’s set to be an unforgettable celebration of cinema and creativity. Attendees can look forward to immersive experiences, interactive workshops, and engaging Q&A sessions with industry professionals, ensuring a memorable and enriching event for all.

Last year’s event changed the life of young and emerging filmmaker Jordan Berger. She won an award as the Best Director for Youth Under 18 for her film Have Some Respect. The film follows the life of Mrs Singh, a teacher who has become the victim of relentless bullying by her students. Have Some Respect aimed to expose the confronting reality that some teachers may face on a daily basis and encouraged students to reevaluate their own behaviour within the classroom. Berger claimed that she found “inspiration and validation among industry professionals” which encouraged her to further pursue her passion for filmmaking.

Let’s unite for this amazing once in a year awards night. This is your chance to make a breakthrough into the industry and find a name for yourself. Submit now via FilmFreeway. What are you waiting for?!

For more information, visit IFFA’s official website or

Connect on Instagram: IFFA Awards

#film #movies #celebrities #film festival #international #Australia #awards #international film festival #arts #culture #news #annual #night #celebs #actress #actor #director

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asiantimes-world-news · 3 months

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Schirkoa - In Lies We Trust

The International Film Festival of Rotterdam (IFFR) in 2024 will host the world premiere of a sci-fi animation movie from first-time filmmaker Ishan Shukla.

#animation #animation movies #animation film #international film festival #film festival #ishan shukla #filmmaker #entertainment #entertainment news #asiantimes #movies

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thesarahfiles · 5 months

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On December 1, 2019, Sarah performed at the opening ceremony of the 2nd “Hainan Island International Film Festival” in Sanya, Hainan province of China.

#Sarah Brightman #hainan #china #international film festival

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whileiamdying · 6 months

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‘Return to Dust’ Review: A Compassionate but Cautious Chinese Drama of Rural Lives Ennobled by Sacrifice

In a decimated Chinese village, a downtrodden couple in an arranged marriage forge an unexpected bond as they eke a living from the land.

By Jessica Kiang

Courtesy of Berlinale

A later-life love story of the gentlest kind, Li Ruijun‘s “Return to Dust” is an absorbing, beautifully framed drama that makes a virtue — possibly too much a virtue — of simplicity. The story is straightforward: Two lonely middle-aged people, each barely tolerated by their more worldly family members, are pushed into an arranged marriage, which quietly blossoms into a companionable love match. The lead characters are simple, or are believed to be by their scornful neighbors, as they pursue a punishingly traditional farming lifestyle with only a long-suffering donkey to lighten the backbreaking load. Crops grow, seasons turn and anything too biting or topical or politically charged, the film simply avoids.

Li’s sixth feature unfolds in a small village in Gaotai (the director’s home region), which is being whittled away as its inhabitants move to the cities for work. The towering sand dunes nearby provide an evocatively dusty metaphor for what the future holds: Due to a government edict encouraging the demolition of uninhabited structures, dwellings are worth more to their absent owners as piles of rubble. This is a worry for Youtie Ma (Wu Renlin) and his new wife Guiying Cao (Hai Qing) as upon their marriage, briskly arranged by family members no longer willing to support them, they move into one of those empty houses only to have to relocate to another when the municipal bulldozers show up.

Middle-aged Ma is first shown sharing his meal with his donkey while his relatives discuss his upcoming nuptials. Cao, who suffers from incontinence and a painful limp and is more taciturn even than Ma, later confesses that seeing him treat the animal with kindness was when she realized that marriage to him might be preferable to her current misery. “That donkey had a better life than me,” she states, so evenly it doesn’t feel like self-pity.

Indeed this pair are possibly the least self-pitying people on earth. Yoked together without much say in the matter, they quickly get to work on their small patch of land. The almost procedural interest Li has in the farming process provides some of the film’s most oddly mesemerizing sequences: Cao, sitting on the plow so that the plowshare bites deeper under her weight; Ma laying out mud bricks in a spiral to dry, or hand-scything wheat at harvest time. These scenes are also elevated by DP Wang Weihua’s camerwork, which finds grace and dignity in hard work, without overly romancing it. Exteriors are wide, with the couple often dwarfed by the natural world, interiors are warm despite their shabbiness. When Ma fashions an incubator for chicks from a cardboard box, the speckled, mirrorball effect of the light spilling out is subtly magical, cues picked up in the lovely score from Peyman Yazdanian.

The poignancy of their burgeoning relationship is the film’s patiently ticking driving force. Cao waits for Ma to return from town on a freezing night, clutching a flask of hot tea for him, and returning several times to the house to reheat it when Ma is late. When he finally shows up, it is a subtle turning point in their relationship: Neither seems able to believe their luck at the gift they have found in the other. There is a broad supporting cast of siblings and uncles and a catty Greek chorus of villagers gossiping at a crossroads, but the film is really a two-hander, and both Wu Renlin and Hai Qing are completely at one with their heroically decent characters.

But it’s a heroism based on a discomfiting level of self-sacrifice, of turning the other cheek and accepting without complaint the meager scraps from someone else’s banquet. Ma has the same rare blood type as an ailing local landlord-boss, and regularly gives pints of blood to help him: He’s literally being bled dry by the big guy. Cao works her frail body to its limits, often electing to walk rather than ride the cart to avoid overloading the donkey. “You were used by others for most of your life, haven’t you had enough?” Ma asks the unbudging animal when he finally decides to remove its ever-tinkling bell and set it free. But he could be talking about the conditioning he and Cao have undergone to believe that this hard, thankless life is all they could ever deserve.

As a portrait of the dying end of a traditional way of life and the rapid decimation of China’s outlying rural communities, “Return to Dust” is potent, often poetic in its encroaching-dustbowl imagery. As a meditation on the rewards of later-life companionship, it is elegiac, blessed with two unusually sympathetic, restrained performances. But the movie’s warm heart distracts from the absence of fire in its belly: Where is the anger at the injustice of any society demanding so much from people who ask from it so little? At one point, as they tend to their first crop, Cao cradles a lone green shoot that has been uprooted and looks to Ma in distress. “Don’t worry,” Ma says, in sage mode, “If a seedling dies, it nourishes the soil, so other things can grow.” That is true, of course, but it is pretty cold comfort for the seedling.

#Return to Dust #隐入尘烟 #隱入塵煙 #Li Ruijun #李叡珺 #李睿珺 #Hai Qing #海清 #Berlinale Berlin #International Film Festival #Mandarin #Film Movement #Berlinale #Berlin International Film Festival #The New York Times #China

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shadowboxerinc · 1 year

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MidWk Update: Cannes Film Festival 2023

5.17.23 Hello and Good Morning! We are moving along into Wednesday and it’s that time again for the 76th Annual Cannes Film Festival has now started in Cannes, France. The festivals runs from May 16 until the 27 and we can finally post this event on Shadowboxerinc. We will have updates of the festival, which last twelve days. Here is the opening cermony. The festival begins… And a few other…