Fan Bingbing Returns To Global Stage With ‘Green Night’: “It’s Like A Restart For Me” – Berlin

Sofia Kourtesis has shared a new single – listen to the openhearted and upbeat ‘Madres’ below.The track marks the Peruvian artist’s first new music of 2023, following the release of her Manu Chao collaboration ‘Estación Esperanza’ in January last year.“This song is about my mother, her mother, my sisters who are mothers, my brothers who are mothers, and all the LGBTQIA+ members who are mothers to their communities,” says Kourtesis. “Madres has no gender.

Nick Vivarelli International Correspondent Netflix has acquired global rights to Italian rom-com “Era Ora” (“Still Time”), marking a rare instance in which an Italian comedy is set to gain worldwide visibility. “Still Time” is directed by Alessandro Aronadio, a Los Angeles Film School graduate whose first work “One Life, Maybe Two” launched from Berlin’s Panorama section. The concept comedy stars Edoardo Leo (“Perfect Strangers”) as a workaholic named Dante who is perpetually late to everything important and Barbara Ronchi, soon to be seen in Marco Bellocchio’s “La Conversione,” as his girlfriend Alice with whom Dante winds up leaping ahead a year every few hours, just as he wants to slow down.

Nick Vivarelli International Correspondent Saudi Arabia’s Red Sea Film Festival has announced a dozen projects from young filmmakers from Saudi, and the wider Arab and African region, selected for its development program, the Red Sea Lodge, in collaboration with TorinoFilmLab and sponsored by the Film AlUla film commission. The Lodge is a 10-month mentorship program that has now opened up to African works along with Saudi and Arab projects. Winners will take home a portion of the total $200,000 pot in prizes that will be awarded during the fest’s 2023 edition in December.  The selected projects from Saudi Arabia are:

Fan Bingbing had all eyes on her at the 2023 Academy Awards!

Nick Vivarelli International Correspondent Italian sales company True Colours has closed a raft of sales following Berlin’s European Film Market. Italy’s box office hit “La Stranezza” (“Strangeness”) got picked up for a dozen territories and queer romantic drama “Norwegian Dream” also sold widely, including to North America. Directed by Roberto Andò, “Strangeness” (pictured) toplines Toni Servillo (“The Great Beauty”) as Nobel-prize-winning playwright Luigi Pirandello. This tragicomic period piece about how Pirandello found inspiration to write his masterpiece “Six Characters in Search of an Author” has been a sleeper hit at the Italian box office, coming from nowhere to pull more than €5.5 million ($5.8 million) and becoming the local 2022 box office champ.

Tunisian Murder Mystery ‘Ashkal’ Triumphs At FESPACOTunisian director Youssef Chebbi’s investigative thriller Ashkal has won the top prize at the Panafrican Film and Television Festival of Ouagadougou (FESPACO). The festival, which ran from February 25 to March 4, unfolds every two years in Burkina Faso’s capital of Ouagadougou and is regarded as Africa’s equivalent of Cannes. Chebbi’s murder mystery revolves around a series of killings at a construction site on the outskirts of the Tunisian capital of Tunis. The film world premiered at Cannes Directors’ Fortnight and then played a raft of other festivals including Toronto and London. The FESPACO jury head, producer Dora Bouchoucha, praised the film’s pairing of a strong aesthetic with a politically tuned-in storyline. Burkinabe filmmaker Apolline Traore won the Silver Stallion for Sira, about a woman kidnapped by Jihadists, and Kenyan director Angela Wamai took home the Bronze Stallion for Shimoni, about a schoolteacher rebuilding his life in his remote village after a harsh stint in jail.

Christopher Vourlias Stories of war and its devastating human toll, migration across borders, the struggle for human rights and the battle to save a rapidly warming planet are among the themes that take center stage on March 6 during the Thessaloniki Pitching Forum, the co-production and co-financing platform of the Thessaloniki Documentary Film Festival. Fourteen projects representing filmmakers from 21 countries will be pitching before an audience of international industry guests including producers, broadcasters, funding bodies and festival programmers, as well as a jury comprised of Eleni Chandrinou, a consultant and producer from Cigale Films; Nevena Milašinović, a sales and acquisitions executive from Lightdox; and Sara Rüster, international distribution manager at the Swedish Film Institute.

Fan Bingbing and Jared Leto were among the stars at the Schiaparelli show at Paris Fashion Week!

Fan Bingbing is going glam for Paris Fashion Week!

fan footage, the embattled entertainer selects a ticketholder to take a seat while he sensually performs his 2007 song “Take You Down.”The excited woman pulls out her phone and positions it selfie-style to try and record Brown standing behind her. Unimpressed, he calmly takes the phone out of her hand and places it in her lap, so she can fully enjoy the moment. A short time later, she tries again — and Brown quickly grabs the phone and launches it into the crowd.

Bill Murray and star Jeannie Berlin set foot on the red carpet of the 2023 SAG Awards holding hands.Murray and Berlin appeared quite close when they arrived together for Sunday's soiree at the Fairmont Century Plaza in Los Angeles. The star wore a black tuxedo with a colorful bow tie, while Berlin sported an all-black suit and shades.Berlin, who portrayed Hadassah Fabelman in the Steven Spielberg film, was there for the film's nomination in the Best Ensemble Cast in a Motion Picture category.

The films of Jennifer Reeder have an unmistakable vibe. Her acclaimed short films, including “All Small Bodies” and “Crystal Lake,” have been shown on The Criterion Channel, and her feature film “Knives and Skin” has been shown at Berlin and Tribeca.  READ MORE: ‘Inside’ Review: Vasilis Katsoupis’ Heist Thriller With Willem Dafoe Is Formulaic Yet Never Dull [Berlin] Reeder’s films, which have been described as the meeting point between David Lynch and John Hughes, share little in terms of plot, but all bear an unmistakable eeriness, an otherworldliness that could only be Reeder.

Guy Lodge Film Critic Trends in documentary-making have shifted radically since Nicolas Philibert’s “Être et Avoir” was a surprise arthouse hit two decades ago: That sweetly observational little film, following the ins and outs of a village elementary school over the course of a year, seems a quaintly modest proposition beside today’s more slickly immersive and narrativized nonfiction breakouts. If times have changed, however, Philibert has not. “On the Adamant,” his first feature in 10 years, finds him once more examining the human workings of a care-based institution from a reserved but compassionate distance, avoiding commentary and editorialization in favor of real-life character portraiture. It turns out to be the right approach for the institution under scrutiny: The Adamant, a day-care center in central Paris for adults with a variety of mental disorders, offering its visitors a range of therapy, education and cultural activity. The human subjects here are both expressive and highly vulnerable, open to the low-key, non-invasive presence of Philibert’s camera, and the film is content to be an undulating patchwork of their everyday moods and moments, rather than anything more strenuously conceptual. Suited to specialist distributors and streaming platforms, “On the Adamant” might not achieve the crossover success Philibert has found in the past, but it’s a warm reminder of his perceptive gifts: A premiere slot in Berlin’s main competition, alongside much sleeker, more formally ambitious fiction fare, effectively welcomes him back to the auteur leagues.

Super LTD presents Best International Feature Oscar nominee The Quiet Girl and, as the Academy Awards approach, RRR ramps up again and Navaly returns to theaters for one-week run.

Fan Bingbing is back on the global stage for her first major appearance in years.

Naman Ramachandran Berlin’s just concluded European Film Market (EFM), which had a physical edition this year after two online editions in 2021 and 2022 due to the pandemic, has reported “record results” according to the organizers. There were 230 stands and 612 companies from 78 countries and more than 11,500 market participants from 132 countries. Some 773 films were shown in 1,533 screenings, including 647 online screenings and 599 market premieres. The total number of buyers also rose to 1,302. 629 film projects were presented on the new Producers & Project Pages. “After the past two irregular years, we’re pleased to return to the physical in full force, and with a vibrant, bustling and strong market. The exhibition areas at Gropius Bau and the Marriott Hotel were sold out, and the exhibitors reported strong sales and good business. The decision to group all the market happenings together with the Berlinale Series Market and the market screenings at Potsdamer Platz, and to provide the industry with an efficient infrastructure, was extremely well-received by our market participants,” said EFM director Dennis Ruh.

GQ magazine in an interview published on Tuesday that the possibility of bidding farewell to the character after the fourth season would “feel like a death, in a way.” However, he said that he envies some of his peers who have had “that freedom to just shoot yourself out of some different cannons.”“Sometimes Kendall feels like the same cannon over and over again,” Strong added.An HBO spokesperson declined to comment.In addition to Strong, the show’s ensemble cast includes Brian Cox, Sarah Snook, Kieran Culkin, Alan Ruck, Matthew Macfadyen, Nicholas Braun, J. Smith-Cameron, Peter Friedman, David Rasche, Fisher Stevens, Hiam Abbass, Justine Lupe, Dagmara Domińczyk, Arian Moayed, Scott Nicholson, Zoë Winters, Annabelle Dexter-Jones, Juliana Canfield and Jeannie Berlin.

Patrick Frater Asia Bureau Chief The Vesoul International Film Festival of Asian Cinema has unveiled its 85-title lineup for the edition that starts later this month (February 28 to March 7, 2023). Elements include a 10-film competition section, a 10-film documentary film section, a tribute to the Turkish director Semih Kaplanoglu; a thematic section “Asian Diaspora Cinema” offering a panorama of works by directors from Asian countries living in exile; and a Philippines cinema sidebar. Fiction films in competition include: Azerbaijan’s “Cold as Marble,” by Asif Rustamov; China’s “In Our Prime,” by Liu Yulin; Korea’s “A Letter from Kyoto,” by Kim Min-ju; India’s: “Behind Veils,” by Praveen Morshhale; Iran’s “No End,” by Nader Saievar; Mongolia’s “The Sales Girl,” by Sengedorj Janchivdorj; The Philippines’s “Feast,” by Brillante Mendoza; Singapore’s “#LookAtMe,” by Ken Kwek; and Vietnam’s “Memento Mori: Earth,” by Marcus Vu Manh Cuong. The president of the jury is Lee Yong-kwan, president of the Busan film festival.

With an admirable cohesiveness, Mexican-Salvadoran director Tatiana Huezo (“Prayers for the Stolen”) has curated a body of work that often returns to familiar questions, subjects, and even precise images of evolving girlhood and untarnished nature. The filmmaker’s most fixed preoccupation is the spaces women carve for themselves and each other in communities where their safety, needs, and aspirations often suffer the tacitly violent tactics of patriarchal social norms.  Back to her documentary roots, Huezo follows her acclaimed fiction debut, “Prayers for the Stolen” (“Noche de Fuego”), with another multigenerational saga of mothers and daughters in a remote locale.

Even in the horror world there’s never been much love for torture porn, and with the possible exception of Canada’s Soska sisters, few female directors have been inclined to try to reclaim it. Jennifer Reeder’s Perpetrator begins with all the icky tropes of the genre—the blood-spattered credit sequence literally looks like the intro to a particularly grisly episode of CSI—and for a time it looks like it’s really going to go there. Instead, it proves to be something much more striking and bizarre, a high-school body-horror movie for the gender-fluid Bones and All generation.