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ESSAY FILM FESTIVAL 2020

Given the current circumstances, we have decided to cancel the Essay Film Festival, due to run 26 March-4 April, with a view to rescheduling the programme at a later date. This applies to all screenings and events due to take place at Birkbeck, ICA, Goethe-Institut, Institut Français, and Close-Up. Michael Temple, Director, on behalf of Essay Film Festival & Birkbeck Institute for the Moving Image
The Essay Film Festival, now in its sixth edition, presents a global range of contemporary and restored essayistic works, each exploring the critical and creative zone of possibilities that lies between experimental and documentary modes of filmmaking.
FULL PROGRAMME HERE
This year's programme features several key themes and strands:

New work by the Otolith Group and restored essay films by Ruchir Joshi and the Yugantar Collective engage with the cultural history and politics of India, providing imaginative and insightful perspectives on the educational projects of Rabindranath Tagore, the wandering Baul musicians, the changing cities of Ahmedabad and Kolkata, and the political struggles of Indian women. A symposium on the work of author and filmmaker Joshi will take place during the festival with guests from India, France and the USA, while Yugantar member Deepa Dhanraj will join researchers from Berlin Arsenal and Goldsmiths to discuss the restoration of the collective's films.

From Argentina, France, UK and the Philippines come challenging found footage experiments by Leandro Listorti, Frank Beauvais, Sarah Wood and John Torres, which critically examine the status and uses of images today while transforming them into moving and fascinating new creations. A student-led research workshop with guest filmmakers will analyse the theory and practice of found footage in the digital age.

US artists Garrett Bradley and Cauleen Smith investigate and celebrate the depth and diversity of African-American lives, past and present, with works that, like all good essays, both question the viewer and invite us into an ongoing conversation. Both Bradley and Smith will give lecture-workshops about their practice alongside the screenings of their films.

Developing the theme of 'the living archive', a series of events will address the cultural politics of film restoration, featuring works by Jocelyne Saab, Mostafa Derkaoui, Ingemo Engström and Gerhard Theuring, in addition to the restored films of Ruchir Joshi and the Yugantar Collective.

Finally, Israeli filmmaker Tamar Rachovsky will join the festival to present and discuss Home in E Major, which looks at complex questions of identity and belonging through the deceptively simple lens of the diary film.

Simple and complex, contingent and reflective, hybrid and critical, the essay film that we celebrate at our festival is a constantly renewed invitation to engage with the world and to see it in new ways.

Michael Temple (Director), on behalf of the Essay Film Festival group: Matthew Barrington (Manager), Kieron Corless, Nicolas Freeman (CHASE intern), Catherine Grant, Ricardo Matos Cabo, Janet McCabe, Raquel Morais, and Laura Mulvey.

The Essay Film Festival is a collaboration between the ICA and Birkbeck Institute for the Moving Image, with support from the CHASE Doctoral Training Partnership.

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ESSAY FILM FESTIVAL 2020 Given the current circumstances, we have decided to cancel the Essay Film Festival, due to run 26 March-4 April, with a view to rescheduling the programme at a later date. This applies to all screenings and events due to take place at Birkbeck, ICA, Goethe-Institut, Institut Français, and Close-Up.

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From 15 Jan to Feb, online edition.

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MyFrenchFilmFestival is the world's first online French-language film festival.

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2021 GFF will take place from 24 February - 7 March online. Personal recommendation would be Spring Tide and Minari =)

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Take a look at what's screening at this year's Glasgow Film Festival.

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Hybrid HKIFF 2021

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Pater Noster Skaren, Klädesholmen, Sweden

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Pater Noster Skaren, Klädesholmen, Sweden

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Pater Noster Skaren, Klädesholmen, Sweden

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The Göteborg Film Festival will carry out the ultimate social distancing experiment, inviting a single movie fan to spend a week alone on the lighthouse island of Pater Noster in the North Sea, with only the waves, and lots of movies, for company.

Sweden's Göteborg Film Festival is set to carry out cinema's ultimate social distancing experiment.

For its 2021 event, Göteborg is inviting a single film fan to spend seven days alone on an isolated island in the North Sea with only the festival's films for company.

The successful applicant -interested fans can apply online at Göteborg's website -will be sent to Pater Noster, a small, rocky island off Sweden's west coast, to stay in a converted lighthouse (now a boutique luxury hotel). The festival will set up a screening room in the lighthouse where the visitor can screen up to 60 films, all from the official 2021 Göteborg line-up.

"You have everything you need - great food, great drink, a nice bed - this isn't about survival. But you can't bring anything with you: no phone, no computer, not even a book," says Göteborg festival artistic director Jonas Holmberg. "You can watch the waves and you can watch the films." Holmberg says the successful applicant will meet a few criteria: "They have to be a film enthusiast; they have to agree to record a daily video blog about the experiment; and they have to be emotionally and psychologically suited to spend a week in this kind of isolation."

From the initial online applicants, the festival will select a handful of candidates and carry out one-on-one interviews before picking the "lucky" winner.

The lighthouse experiment came about in response to the COVID-19 pandemic, which has shut cinemas and forced millions worldwide into isolation in their homes. Göteborg, Scandinavia's largest film festival, wanted to examine the impact of this isolation on individuals, and the role of film in the post-pandemic world.

"We are all watching films in isolation now and that changes our relationship with movies," Holmberg says, "we have seen new types of films resonate in this lockdown period, and films take on a different meaning. A scene where people hug a stranger feels very different in a moment when you can't do that yourself."

The lighthouse experiment will take isolated cinephilia to the extreme but the 2021 Göteborg festival, which will be held online between Jan. 29 - Feb. 8, will also offer isolated, one-person film screenings at the Draken cinema in Göteborg (capacity 707) and at the Scandinavium arena, the city's 12,000-capacity ice hockey stadium. Several of the Draken screenings will include in-person introductions from the movies' director and cast - the festival expects filmmakers from Sweden and, conditions permitting, from across Scandinavia - to attend.

"It will be a strange experience, having a gala screening for one person, but that's also part of the new world we are in, that places famous for being crowded and full of life are now suddenly empty," says Holmberg.

In another nod to the new normal under COVID-19, Göteborg will have a special festival focus on the theme of social distances, featuring films that examine the impact the pandemic has had on the world and our perspective of it. They include Molecules, Andrea Segre's new documentary shot in Venice before and during the first lockdown period.

In addition to putting the bulk of the festival online, Göteborg has sharply reduced its line-up for 2021, to 60 films, compared to around 450 screenings in an average year.

But the festival will still be holding its industry events - virtually - including the TV Drama Vision section, which runs Feb. 3-4, the Nordic Film Market (Feb. 4-6), and the Nostradamus report (Feb. 4), a multi-year international initiative which documents and analyzes changes to the global film industry and makes predictions for its future. One safe prognosis this year: it will be all about COVID-19.

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Swedish Festival Invites Film Fan to Spend 7 Days Alone Watching Movies on Isolated Island

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Sweden's Göteborg Film Festival is set to carry out cinema's ultimate social distancing experiment. For its 2021 event, Göteborg is inviting a single film fan to spend seven days alone on an isolated island in the North Sea with only the festival's films for company.

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Each year, the Sundance Film Festival serves as a tentpole event for marketers looking to directly target independent film lovers. Next month, sponsors will look to deepen customer relationships online versus on the slopes of Utah. Here's a look at what brands are planning.
What do DoorDash, Zoom, AMC, Documentary+ and White Claw have in common? They are five new sponsors of the Sundance Film Festival. Despite the fact that the 120,000-plus people who typically descend upon the festival will be staying home, Sundance and its sponsors are saying the show must go on.

Beginning 28 January, Sundance will be offering an online proprietary platform that will give indie film lovers access to its roster of films, and the chance to sit in on panels with the filmmakers, among other new activations. The aim is to provide one-stop access that offers the participatory element, normally delivered at Park City, Utah, to a global audience. It will also offer independent cinema-goers access to its films in art houses across the country via 'Satellite Screens.'

Mary Sadeghy, head of corporate partnerships at the Sundance Institute says its 85% sponsor renewal rate remains intact despite the circumstances at hand: "The Festival's rapid evolution, including a nationwide expansion through a network of 'Satellite Screens,' has enabled us to continue our longstanding partnerships with the majority of our Festival sponsors," she says.

"Almost all of our sponsors from prior years have renewed and leaned into the reimagined Festival. They are collaborating closely with our corporate partnerships team on creating and launching activations that will run during the Festival on our new, custom-built online platform to provide digital offerings on our 'Main Street section.'" Park City's Main Street is the main drag in where much of the action typically happens: brands leverage the high traffic area to create studios, lounges and parties.

Neil Carty, events consultant and founder of The Uncommon, a network of innovators and creative incubator, says the continued interest "has really proven that the power of community has become paramount to everything else," he says. Carty says that it's not about selling product but creating the desire among consumers to actively engage. "[Brands] must embrace those passion areas and bring people together in meaningful ways."

Acura and Canon's plans come into focus

Acura, a presenting sponsor and the official vehicle of the festival, now in its 11th year, has embraced the current challenges. "For Acura, our presence at the Festival has always been about creating immersive experiences that celebrate independent thinkers and align with Acura as a challenger brand," says Greg Dewein, Manager, Acura Regional Marketing.

Part of its sponsorship activation in years past was to create the Acura Festival Village, providing attendees with a place to rest and refuel, and meet and network with others. In 2021, one way the automotive company will seek to fulfill its mission is to bring both virtual and live film premiere events to the masses. With its home base in Southern California and a long-standing relationship with the Tournament of Roses Parade, Acura will be integral to presenting the live drive-in premieres at the Rose Bowl and Mission Tiki Drive-In in Los Angeles, says Dewein.

"This past year has been difficult and challenging for people the world over, so being able to share the joy of film and the creative arts is just one way we can bring some happiness to movie fans, while also supporting the Sundance Film Festival community and the immeasurable opportunities it offers the film community."

Another longtime sponsor is Canon USA. Its relationship with Sundance began in 2011, and it is planning to leverage the event to connect with cinematographers, operators and others among the below-the-line community.

Canon is intrigued by the great potential that comes with the virtual event. Elizabeth Pratt, director, Canon ISB Marketing, highlights the brand's ability to reach people it might not otherwise at a physical event: "Film crews often can't travel to Park City - usually because they are off working on their next projects", she says. "We're excited to connect with an even bigger community of creatives, wherever they may be, in this remote world."

Canon first debuted its dedicated space for the creative community, the Canon Creative Studio, in 2013. Pratt notes that plans are still being finalized for the virtual festival, but the overall goal remains the same. "The connection with our customers, and potential customers, is one of the best parts of our Sundance experience every year," says Pratt. "We work closely with the festival to identify the camera gear that was used on Sundance projects so we can deepen our relationships with the below-the-line community. That will continue to be the primary focus of our activities in 2021."

Overall, Canon's Pratt emphasizes the need for marketers to focus on putting customers first and finding ways to deepen their connections with their community, especially under Covid-19. "As a company founded in expanding human creativity and helping people understand the world around them through imaging technology, we are listening closely to our customers on social media and through direct channels, and learning about their priorities."

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The 'new' Sundance activates its community online, draws first-time sponsors

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Each year, the Sundance Film Festival serves as a tentpole event for marketers looking to directly target independent film lovers. Next month, sponsors will look to deepen customer relationships online versus on the slopes of Utah. Here's a look at what brands are planning.

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IDFA (International Documentary Film Festival Amsterdam is taking place (Nov18-Dec6), and here is an interesting article about the masterclass of Gianfranco Rosi with Orwa Nyrabia.

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Taking to the stage of the eerily quiet Tuschinski cinema in Amsterdam-just after the sad news of the death of Italian documentary filmmaker Valentina Pedicini, at the age of 42, had been made public- Gianfranco Rosi, Guest of Honor at documentary festival IDFA, put on a brave face as he settled down for his masterclass with the festival's artistic director Orwa Nyrabia.

Rosi's latest film "Notturno," a mosaic of war stories from the Middle East, was lucky to premiere to a live and present audience at the Venice Film Festival in September, before Italy returned to lock down. But, for the most part, he is becoming as acquainted with the mechanics of Zoom meetings as the rest of us are, and IDFA was no different: the audience for this thoughtful and enlightening one-on-one-some 250 people or more-were watching from the comfort, or perhaps confines, of their own homes.

What quickly became apparent is that, over his 27-year career, Rosi, 56, has made a name for himself as a director of quality rather than quantity: the accompanying retrospective consists of just six films, starting with 1993's "Boatman," Rosi's account of a boat trip along the Ganges. "Sometimes I hate that my life is basically [that]," he laughed. "[People say] 'So what have you been doing all these years?' Basically, six films. That's it! And my life is [determined] by this, because it takes so much time to do it."

Nyrabia's first question was blunt and to the point: why do you do this? Rosi didn't waste much time coming up with an answer. "For me," he mused, "cinema is maybe a pretext-a pretext to meet, to encounter. Without an encounter, my movies wouldn't exist, because my films, they are never born on a table, they are never born with a pen. They are born [from] a very small idea, and that idea becomes a big need, and that need then becomes a necessity, and that necessity becomes a journey-a huge journey."

He recalled that, in his early days after leaving NYU, those decisions could not be taken lightly. "When I [first] started filming, I was filming in 16mm, so everything was so precious and so heavy. To capture 10 minutes was a huge amount of work. It was also very expensive." Surprisingly, however, that doesn't mean that Rosi plans his shoots. "When I start any project," he admitted, "I never know where it's going. When I started "Boatman," when I started "Below Sea Level" (2008), when I started "El Sicario..." (2010), when I started "Sacro GRA" (2013), when I started "Fire at Sea" (2016), when I started "Notturno," it was a very small, tiny idea. [It] started with very few pages. And then those few pages became the film, at the end of a long, long journey, which lasted three years in case of "Notturno," and in the case of "Boatman" five years. "El Sicario..." was only three days of shooting, but, when I put the camera down, I never know what's going to happen in front of me. And this is what I think I love about documentary."

Warming to his theme, Rosi went further, adding that his affection for the genre was enhanced by its flexibility. "It has an enormous range of experimentation," he noted. "For me, every film is a matter of finding the right language in order to be able to tell that story-the story that I will encounter, which I don't [yet] know. When you put the camera down, things happening in front of you. Things start to have their own shape, their own narration. And that takes time. I say always that time is my big ally."

Rosi spoke a lot about time, and specifically about having the patience to wait for the right moment, a luxury that has caused him plenty of headaches as a self-producing director. "Frankly, I don't like filming," he deadpanned. "I have enormous anxiety [about it], and then, once you start filming, the fear goes away and you start discovering something that is so magic and so fantastic and unique."

But perhaps the most memorable takeaway from the exchange came from Rosi's deliberations on the concept of objective truth. You'd think that someone who goes in for the long game might be staking it out, but that's not what this director is looking for, apparently. "Cameras change things, constantly," he said. "When you put the camera down, it changes the dynamic. It changes the relationship. I don't believe in observational cinema, in truth. Once the camera is there, you change the dynamic and you change the relationship, and everything that happens after that is something else, no matter what. So it doesn't exist, objectivity. It doesn't exist, the reality of the things. What exists is the truthfulness of what you're filming and why you're filming what [you're filming]. That's why, for me, it's not important, the difference between fiction and documentary-what's important is the difference between true and false.

"It's not about beauty," he decided, with an almost triumphant finality. "It's about what [Roberto] Rossellini used to call the splendor of reality."

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Documentary Filmmaker Gianfranco Rosi: 'I Don't Believe in Observational Cinema'

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Taking to the stage of the eerily quiet Tuschinski cinema in Amsterdam-just after the sad news of the death of Italian documentary filmmaker Valentina Pedicini, at the age of 42, had been made public- Gianfranco Rosi, Guest of Honor at documentary festival IDFA, put on a brave face as he settled down for his masterclass with the festival's artistic director Orwa Nyrabia.

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In an interview with the media group on October 18, Jia Zhangke announced that he would withdraw from the Pingyao International Film Exhibition starting from next year and hand over the hosting right and related facilities to the Pingyao government, hoping that the government could find a good team to continue the undertaking.

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在10月18日的媒体群访中，贾樟柯宣布自明年开始将退出平遥国际电影展，把举办权和相关设施一起移交给平遥政府，希望政府能找到好的团队继续承办。他说要让平遥电影展摆脱贾樟柯的"阴影"，焕发生命力，"所以要在它有最强壮的生命力时离开。

媒体群访实录

提问：从第一年到平遥，到今年最大的感受是媒体场有点近乎饱和的感觉，就比如说像今年《野马》其实是临时开了第二个媒体场才满足了媒体的要求，想问一下贾导，就是在以后的媒体场上现在有没有什么新的打算。

贾樟柯：好，谢谢！新说一下媒体场，我记得在第三届闭幕的时候我们当时就意识到平遥的观众的人数，媒体的人数是呈几何状的增长，当时我们就希望今年能够扩建三个厅，让放映空间进一步扩大，满足电影节观众的需求。但是因为今年经历了疫情，所以所以场馆的六块银幕没有变化，但是报名人数有变化，今年疫情期间我们后台报名的媒体超过了五百多家，就是我们也是有个很矛盾的地方，原来想要不要审核严格一些，因为不是不欢迎大家来，是来了也没地方住，票也拿不到，但是后来还是觉得尽量满足大家，看不到这场可以看另一场，它跟平遥电影宫自身继需要扩充放映空间是有关联的。这个我们也意识到了，包括咱们最大的是1500座的露天剧场，像刁亦男那场的大师班，1500座还是不给坐的，必然有一些观众还得到门厅听直播，通过网络听直播。这没办法，总会有一些这方面的遗憾，希望未来疫情过去之后场馆进一步丰富，然后进行有必要的审批流程，过去流程仍然存在，但是今年因为防疫，有很多新的规定，有很多新的步骤，我们是10月10日屏幕的，平遥国际电影展是9月30日走完了全部流程，所以有很多紧张、匆忙的地方，包括我们要做很完善的防疫的步骤、措施。大家都没经历过疫情，也不知道电影节怎么搞防疫，做了很多方案，后来我们叫五马进城。

提问：有很多媒体，包括很多影院的从业者也都是焦急地等待复工的信息，然后我们也在微博上看到了，这个有什么样的特殊的意义。第二个问题就是说今年因为平遥的开票比较晚，很多人抢票可能有一些小问题，想问一下，您这边会不会考虑明年跟一些比较大的票务平地，比如淘票票，这样跟他们去合作开票，这样能确保抢票的流程更加顺畅一点。谢谢贾导。

贾樟柯：谢谢，这可能是目前一个矛盾，这个可能大家作为观众不太理解背后影展组织，我们也是有一些难度的，这个难度在于如果我们想抢先放映最新鲜的电影，那么我们需要耐心等待，等待这些影片手续的完成，最终我们也得等待片方的回复，人家来不来，愿意不愿意来，几乎每次我们都是到了一个临界点，最后影展必须关门了，必须定节目了我们才定。这样的话带给平遥国际电影展就是百分之百的国内首映率，还有接近90%今年的亚洲首映，接近50%的全球首映，保证了平遥国际电影展的新鲜度。但是它的弱点就是没时间上票台，因为如果上猫眼、淘票票需要很长时间的提前量，我们的选片周期跟片方谈判讨论的周期就会缩短，可能如果按照现在的操作步骤，如果这样的话，可能我们八月底就得定节目单了，九月份新鲜的电影就全部进来了。这样我们方便换取影片的新鲜度。现在有些人看到，觉得被人关注到的电影现象介绍给观众。

特殊的意义，其实今年的意义对我们团队来说很特别，跟疫情也没什么太大关系，今年的意义，因为我们这是第四届，我们一路走过来，可能今年是我们这个团队做的最后一届平遥国际电影展。我们没有花政府一分钱，全部是社会的资本，我们已经把这个品牌打造好了。

提问：山西电影学院是注重实践现实主义风格的电影学院，然后你在这个电影学院会分配多长的时间和精力。

贾樟柯：山西电影学院还在筹建，当然我们还没有开始教学，它肯定是一个注重创作的电影学院，因为电影学院一般分为两种，一种是研究类型的，偏文化研究，一种是创作类型的，我作为一个导演创办电影学院肯定是比较兴趣在偏创作的这样一个学院上，我们现在目前也希望组织到国内一流的创作团队、导演、编剧、制片人、摄影师、录音指导、美术指导，我们来做这样的一个偏创作实践型的学院。这是第二个定位。

第三个定位，我们希望能够激发学生主动性，我们可能在大学一年级二年级并不一定分专业，因为大部分同学都高中刚毕业，他只感兴趣电影，电影里面那一个工种他喜欢确实还没有成型，我们希望能在一二年级让学生树立起一个全面的电影经验、电影观、电影知识，到三四年级我们通过工作室的方法再进行一次选择，那时候可能感觉兴趣编剧的就去学编剧了，感兴趣导演的就去学导演了，而不是从进校第一天就分了专业，我们希望能够学习这些新的先进的电影教学方法来进行教学。再一个，我们主要的教学基地目前是定在山西汾阳贾家庄，那是一个很美丽的村庄，我们整个教学会是书院式的教学，大概800-1200学生，很小的一个学院，希望大家能在那进入到专业的世界，很快成长为合格的电影工作者。

当地的数字应该还没对于出来，但是去年已经超过了百分之三十几。

老乡们站在门口，不知道里面发生了什么，也不知道该不该进来。到现在他们能够很熟悉地在网上买票，提前通过媒体了解今年有什么电影。

我觉得感受到来自平遥，特别是平遥人民全方位的支持，交通、防疫，公安、消防，方方面面，一个大型活动所需要得到的支持都得到了支持，特别是今年大家一起克服困难，因为有防疫的需求。我也在这希望有更年轻一代的策展人、影展的组织者他们能够接棒，接过平遥国际电影展，让第五届第六届办得更好，我们在精神上我们团队会一直支持这个影展。

提问：贾导，您好，我是山西的媒体，我今年参加了你的旅发大会，又参加咱们这个电影展，觉得咱们做得非常好，要说再见确实有点不舍得，那么作为山西媒体特别关注于你下一步的工作，吕梁文学季是不是也要提上议程了。谢谢！

贾樟柯：同样也是因为今年是一个特别的年份，文学季我们应该是四月份举行，今年因为疫情到现在也没有举办，各项筹备工作其实策展团队已经基本完成，因为我们每年会有一个吕梁文学奖，有一个马烽文学奖，提名名单已经都出来了，我们会尽快地用一个好的办法来让第二届吕梁文学季发声，目前还在筹备的阶段。

提问：贾导，想再问一个问题，其实刚才您说得那件事情其实我们都挺惊讶的，就说第五届可能不是这一拨人来做这个电影节了，那我想问一下，你以后的参与度是怎样的呢，就是会以怎样的身份来参与平遥国际电影展。

贾樟柯：我希望我以后会是一个观众吧，我会提前定票，提前关注平遥国际电影展入选了什么影片，能来参加尽量来参加，我非常想看电影，我四年电影节我几乎没看过电影，我想回到一个观众。

提问：你好，贾樟柯导演，我想问一下，在最近的两三年里面，我们看你做了很多的事情，包括电影展，包括文学季，包括之后的学院，我想问，你做了这么多事情，你是为了什么，这是第一个问题。第二个问题，第五届平遥国际电影展你不参与，这个是计划内的事情吗，是在最开始办这个电影展的时候的计划吗？

贾樟柯：对，我记得去年张艺谋导演在开幕式上勉励平遥国际电影展要办下去，要办一个有影响力的影展。电影展是一代一代人要往下办的，它不是一个人，这个机制也不应该是离开一个人就不能再办了，所以我觉得我们早离开，早培养新的团队，让新的团队接手，让平遥国际电影展摆脱贾樟柯的阴影，让它获得独立的生命力这是非常急需的，所以我们选择在它强壮的时候离开。

提问：贾樟柯导演，您好，我有两个问题要问您，您是怎么看待今年平遥国际电影展大家对影片质量的一个质疑呢？还有第二个问题，你说一代导演的作品是对那个时代的思考，然后抛开你身上的标签，你有想过创作聚焦当代形式现状的电影吗？

贾樟柯：我也是一个当代人，只不过是一个当代中年。我对当代很感兴趣，但是我不一定对当代的青年感兴趣，当然也会感兴趣，因为我过去的影片也有很多关于年轻人的，像2002年的《任逍遥》，这些都跟青年人有关，我想关注年轻人肯定是电影始终的一个很重要的命题，我明白你为什么问这个问题，因为我过去的两个影片，《山河故人》到《江湖儿女》，基本上都是从青春一直拍到中老年，它有比较长的时间跨度，特别是他会讲人的生老病死，比较长的时间阶段，短时间的青春的书写已经有四五年没有拍了，我相信当代生活这么多姿多彩，这么活跃当代年轻人的故事一定会仍然吸引我，我肯定还会有这方面的电影创作，一定会有的，因为年轻人身上所具有的是社会最敏感的这种信息部分，通过年轻人我们可以看到社会最活泼最敏感的情况。这个我觉得不会不拍年轻人。

另外一方面，对于一个影展来说它最主要的就是要秉承一种开放包容的姿态，因为实际上大家要知道一个影展最主要的是要发现新的电影现象，这些新的电影现象可能是大家非常拥戴的，就像我们这些一票难求的评价很高的电影，也有一些电影需要我们关注、注意，它可能有极大的争议，或者我们对它有极大的陌生感，或者我们判断不了它，但是它是一个新的情况，就是国际电影展就是提供新的电影情况观察的一个观察站，所以我们会把不同的电影选进来，让人们了解当代电影的全貌和最新的情况。

提问：前两天的大师的对话里面站在导演背后的任总提到说是要把中国故事讲给世界听，就是让世界能听得进去中国的故事，说中国电影在这方面还要努力，我想请您以您的个人从业经历为例，包括您四年创办电影展的经验来谈一谈，应该如何通过国际视野去表达中国灵魂。然后我还想了解一下今年办这个影展因为特别不容易，因为有疫情这样一个背景，能够顺利办下来，相信背后一定克服了很多困难，想请您简单说两句。

贾樟柯：其实今年电影展的困难也谈不上是困难，就是要面对新的情况，因为大家都是前所未有的，以前不存在防疫的问题，以前电影的互联信息都很畅通，今年很多东西是新的课题，我们的特点是国际电影展，每年我们的卧虎的导演都会请来，他们面对面地跟中国观众交流，今年因为疫情，国际旅行没有了，这些影片选来之后怎么介绍这些影片，我们想过很多方法，比如连线的方法，连线的方法又有一个问题，就是时差有问题，咱们这里的放映时间有可能是人家睡觉的时候，那怎么解决？最后我们就想出了提前录制视频，让导演通过视频来问候观众。那么怎么录呢？又面临新的课题，让他自己拿个手机这么录下来，还是找一个策展人去给他聊呢？最后我们就是在各个区域找了电影评论家、电影制片人、策展人，找了我们的朋友，发动朋友关系去采访这些导演，形成了这些国际电影前面的讲述和介绍。所以工作想是浩大的。过去可能导演来了我们有翻译团队，就是现场同声传译就可以了，现在要提前字幕翻译，而且在电影院怎么放这些视频，最后我们全部制作了DCP，就是把那些视频也打成DCP来播映。要克服各种各样新的挑战，这些事情你去解决它，一件一件解决它其实不难，但是没遇到过，你得想这个路径，要想最终怎么做它。我觉得这是今年很大的一个挑战。

山西电影的进步有目共睹，我们当然也很骄傲，平遥国际电影展我觉得也在其中参与到了推波助澜发展的进程，因为我们从一开始就在几方面希望助力山西电影，因为它毕竟是山西本土的一个电影展，是山西人民帮助下建立起来的电影展，我们有职责推动山西电影的发展，我们首先是从教育上，我们前三届一直有一个单元叫做平遥一角，我们邀请省内的像山西大学、山西传媒学院，山西太原师范大学，就是有电影专业的这些学校我们每年都有定额的名额请学生来参与活动，参与平遥一角交流，带着他们的短片，然后跟同龄人来交流，其他的院校，包括国内著名的学院，北京电影学院、中央戏剧学院，让我们山西的同学跟电影教育和电影工业发达地区的孩子们能有这种密切互动的这样一个机遇，让他们觉得自己也是整个大的电影环境的一部分，就是一个举措。第二个举措，我们说实话，每个单元都在尽力寻找山西人的声音，除了我们有一个单元叫从山西出发，直接就是跟山西有关的电影之外，我们本着鼓励本土电影的这样一个原则，只要影片质量有让我惊喜的地方就会选到各个单元里面，让山西的电影人能够全面参与平遥国际电影展。从今年来说，山西出发这个单元的影片的反响特别好，包括像刘泽导演（音）的作品，我看了很多评论，那天谢飞老师去看了，看完以后他很惊艳，他很喜欢这部电影，觉得山西还真是一个出导演的地方，所以从这个角度我们也很开心，因为这部影片去年作为培育阶段参与了我们的产业部分，也算是平遥国际电影展产业培养出来的山西本土的制作。我觉得未来新的平遥国际电影展团队如果说有一种精神能够传递的话，我希望他们能够继续支持本土电影，因为毕竟是在山西做的电影展，不能忘了这个土地。

我们拍片没太想视野的问题，我觉得就是感情的问题吧，感情真挚了，别人能进入到你的世界里面，那个世界就是开放的，感情不真挚那个世界就是封闭的。

女：谢谢大家，今天的群访就到此结束。

在昨晚，平遥国际电影展官方微信号发布的第四届获奖名单也遭到删除。

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贾樟柯团队告别平遥国际电影展

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在10月18日的媒体群访中，贾樟柯宣布自明年开始将退出平遥国际电影展，把举办权和相关设施一起移交给平遥政府，希望政府能找到好的团队继续承办。他说要让平遥电影展摆脱贾樟柯的"阴影"，焕发生命力，"所以要在它有最强壮的生命力时离开。 媒体群访实录 ...

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Chutian Metropolis Daily, October 12 (Reporter Wang Ronghai, Correspondent Zhang Li) The reporter learned today that the 15th Chinese Youth Film Week will be held in Wuhan from October 24-27

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*Overview*
2020The ONE project still adopts two selection stages from primary election to final election by the road shows. We aim to provide creators and projects with various resources of incubation、 production and promotion respectively, so before and after two contests, activities such as proposal coaching、 film promotion and roadshows will be added.

*Notes*
1. In order for a project to qualify, The script should focus on women's issues， or a woman must hold the role of the following: Producer, or Director, or Writer.
2.Applicants are required to submit the profile of the director, screenwriter or producer.
3.Applicants are required to submit a treatment.(Chinese:2000 word limit;English:3000 word limit)
4.Applicants are required to submit complete scripts or 15 consecutive scenes.

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The One International Women's Film Festival

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Overview* 2020The ONE project still adopts two selection stages from primary election to final election by the road shows. We aim to provide creators and projects with various resources of incubation、 production and promotion respectively, so before and after two contests, activities such as proposal coaching、 film promotion and roadshows will be added.

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西宁FIRST青年电影展 - FIRST International Film Festival

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©2006-2020 FIRST International Film Festival. All rights reserved. Site by FIM. 京ICP备18024674号-1

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The 4th West Lake International Documentary Festival (IDF2020)

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Hainan Island International Film Festival

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Pingyao International Film Festival (PYIFF) has unveiled the full line-up for its fourth edition (October 10-19), which like many Asian festivals during the Covid-19 pandemic is taking place as a physical event without international guests.

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Lincoln Center for the Performing Arts, Lincoln Center Plaza, New York, 纽约州美国

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The 58th New York Film Festival takes place at NYC drive-ins and virtually in the USA.

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The 58th New York Film Festival takes place at NYC drive-ins and virtually nationwide! See venue details and the complete schedule below.

Film at Lincoln Center Virtual Cinema

Virtual screenings are available in the U.S. or U.S. territories (Puerto Rico, U.S. Virgin Islands, Guam, American Samoa, Northern Mariana Islands).

Virtual screenings have a capacity limit similar to the amount of tickets that would be available for in-theater screenings. These limits are negotiated with each film team, as these are their festival premieres and therefore limited-not the official release.

To watch films on your TV, you can use Chromecast, AirPlay, or HDMI.

For last-minute rentals, you will still have 24 hours to view the film. See exceptions and more information in our FAQ.
Rentals ending tonight at 8pm ET:

Rentals ending Saturday at 8pm ET:

Rentals ending Sunday at 8pm ET:

Rentals ending Monday at 8pm ET:

Rentals ending Tuesday at 8pm ET:
Meeting the Man: James Baldwin in Paris Muhammad Ali, the Greatest

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Welcome to the schedule for the the 58th New York Film Festival, featuring drive-in and virtual screenings. All ticket sales will be streamlined via online purchase; physical box office sales are not available at any venues at this time. Outdoor screenings will have extensive health and social distancing procedures in place.

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financial support to local cinema

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- The French state commits exceptional resources to all levels of the film sector, whether exhibition, production, distribution, technical industries, internationalisation, future talent or heritage

Following on from French Prime Minister Jean Castex's revelation of the broader lines of the recovery plan for the national film industry in late August (read our article), Minister for Culture Roselyne Bachelot has now provided greater detail on these support measures, on the occasion of the Annual Exhibitors Congress which took place in Deauville.

In addition to the €50m in exceptional compensation put forward by the government in order to counter losses in cinema ticket sales, and the €50m it contributed to the guarantee fund for the revival of film shoots, launched back in June, a further €165m will be allocated to the CNC with the aim of shoring up the audiovisual and film sectors.

(The article continues below - Commercial information)

As anticipated, this €165m will comprise a sum of €60m aimed at replenishing the CNC's coffers, fully compensating the group's net revenue losses and thereby ensuring the continuation of all their creation and distribution initiatives, at their current level.

Of the remaining €105m, €34.3m will go towards film exhibition, including €30m to cover the needs of movie theatres in terms of cashflow, modernisation costs and bank charges (via the equivalent of one year's worth of automatic support for small and mid-sized exhibitors, and nine months' assistance for the seven larger channels, partly in the form of a non-repayable subsidy and partly in the form of a recoverable advance), €2m to shore up the selective aid offered to art house cinemas, bringing their overall total up to €18m, €1m in free tickets for film education sessions, helping teachers and their classes find their way back to the film world, and €0.8m to cancel the remaining debt linked to aiding the digitalisation of cinemas.

In exchange for the support which they are lending movie theatres - which have been particularly hard hit by the health crisis' impact - the public authorities are also hoping that exhibitors will demonstrate some flexibility in the current renegotiation of media chronology rules, which will ultimately see the introduction of obligations on SVOD platforms (Netflix, Amazon, Apple, Disney, etc.) to fund and broadcast French and European productions, following the transposition into law of Europe's Audiovisual Media Services Directive (AMS) which is due to come into force on 1 January 2021.

€12.2m, meanwhile, will be ploughed into encouraging the production of new films (by way of an automatic support bonus over the next seven months, and an increase in the CNC's selective aid), as well as inciting producers to release their finished films between now and the end of December. In the same vein, €26.2m will be dedicated to the revival of audiovisual production.

€17.7m has been earmarked for film distributors, with a view to encouraging them to exhibit their films in cinemas during the recovery period (until the end of December 2020) and to invest in MG in new works between January and April 2021.

Technical industries will be allocated exceptional aid up to a value of €10m, while internationalisation strategies will be stimulated by way of an additional €8.3m (including €2.3m to bolster automatic support for the exportation of film and audiovisual products, €3m in additional support for UniFrance and TVFI, and an extra €2m for the Aide aux Cinémas du Monde fund).

Future talent hasn't been forgotten either, with €6m pledged to the cause in the form of further CNC funds for the author programme (which lends support, over the course of one year, to those writing original and innovative projects), additional resources for film schools (notably Fémis, Cinefabrique and Kourtrajmé), the creation of a Young Talent grant for author-producer pairs who graduated in 2020, dedicated support for distribution and promotion activities targeting 15-25 year olds, and consolidation of the support available to short and new formats.

Last but not least, the heritage sector will benefit from an additional €1.8m (including €1m for the National Film Archive and an extra €0.8m in selective aid for physical video editing).

(The article continues below - Commercial information)

(Translated from French)

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An all-out recovery plan is announced for French cinema

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The French state commits exceptional resources to all levels of the film sector, whether exhibition, production, distribution, technical industries, internationalisation, future talent or heritage Following on from French Prime Minister Jean Castex's revelation of the broader lines of the recovery plan for the national film industry in late August (read our article), Minister for Culture Roselyne Bachelot has now provided greater detail on these support measures, on the occasion of the Annual Exhibitors Congress which took place in Deauville.

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Odeon cinema chain (part of US giant AMC) closes a quarter of its UK cinemas and reduces screenings in others to weekends only

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AMC Theatres-owned Odeon cinema chain is shuttering a quarter of its U.K. cinemas during the week and will operate on a weekend-only model from Friday. Variety understands the company emailed their affected loyalty program customers with the information late last week.

"We look forward to reopening full-time when the big blockbusters return," said the email. "But in the meantime, we promise to bring you a great choice of big-screen films to enjoy at the weekends."

Consequently, some customers have decided not to renew their membership.

"I've just canceled my Odeon card and they just sent an email to say they are reducing opening from Friday to Monday at my local. Hated doing it as had my limitless for 4 years but cannot justify the cost with nothing to watch," one customer tweeted.

I've just canceled my Odeon card and they just sent an email to say they are reducing opening from Friday to Monday at my local. Hated doing it as had my limitless for 4 years but cannot justify the cost with nothing to watch

- 🎃Jiggsaw-puff 🤡 (@barontedbear) October 2, 2020

Odeon operates some 120 cinemas across the U.K. and Ireland. The company declined to comment for this article.

The news comes as rival chain Cineworld confirmed the temporary closure of all their cinemas in the U.K. and U.S.

Tim Richards, CEO of the Vue chain did not rule out closing some venues as the distribution industry reels from the postponement of James Bond title "No Time To Die," to Apr. 2, 2021. "We're being forced right now to look at options," Richards told Sky News.

The independent cinema sector in England received a boost last week with a government cash injection administered by the British Film Institute as part of its Culture Recovery Fund. U.K. Culture Secretary Oliver Dowden visited an independent cinema recently and has requested patrons to return to cinemas.

"Support your cinema," Dowden tweeted. "Last week I went to an independent cinema that we are supporting through our £1.5bn #CultureRecoveryFund. Cinemas are open. They are taking every step to keep everyone safe. So please support your local cinema by visiting."

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AMC-Backed Odeon Reduces U.K. Screen Opening Times

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AMC Theatres-owned Odeon cinema chain is shuttering a quarter of its U.K. cinemas during the week and will operate on a weekend-only model from Friday. Variety understands the company emailed their affected loyalty program customers with the information late last week. "We look forward to reopening full-time when the big blockbusters return," said the email.

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The impact of international cinema chain Cineworld closing all UK and US cinemas until at least the start of 2021.

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Working at Cineworld "sometimes just doesn't feel like work," says an employee who's just heard the cinema chain is temporarily shutting down.

She hasn't been told what will happen to her job but the company employs about 5,500 people in the UK.

The worker, who wants to stay anonymous, is a manager at a Cineworld in the north of England.

"Every single cinema I've worked at, it's a family," she says.

The worker says she heard the news "just like everybody else did - via the press."

It came as "a little bit of a shock, but not a surprise, because it has been been tough.

"Since we reopened [in July] the numbers haven't been what they were pre-pandemic.

"Part of the excitement of coming to the cinema is to see something new... and there is nothing new."

Cinemas - along with other event spaces like theatres and live music venues - have had a tough time since lockdown.

Cineworld made the announcement a few days after the new James Bond film, No Time To Die, was delayed again until next Easter.

That film was expected to bring in a lot of customers.

But the truth is cinemas were struggling even before that announcement.

A number of big releases have been delayed, including Black Widow, Wonder Woman 1984 and Fast and Furious 9.

And Disney released its $200m (£154m) blockbuster Mulan online instead of in theatres.

Sci-fi epic Tenet is the biggest film to get a cinema release - which did give cinema workers hope.

"When Tenet came out, it was fantastic. And a lot of people came to see that and are still coming to see that today," says the Cineworld employee.

"It did give me hope you know that this isn't forever."

However, the film's so far failed to make back its big budget - partly because of Covid restrictions in the US.

Cineworld is not the only cinema to have made cuts.

Odeon says about a quarter of its 120 cinemas will only be open on weekends because of a lack of customers.

It could have knock-on effects for other businesses, too.

Many cinemas attract customers who then go for food or drinks nearby afterwards.

"We are part of a kind of entertainment facility, we have ten-pin bowling, a casino and multiple restaurants," says the Cineworld worker.

Hannah Aylett, 27, works in a cocktail bar next to Cineworld in Loughborough.

"A fair bit of our weekday evening trade comes from people having a few cocktails and a bit of food, both before and after going to the cinema," she tells Newsbeat.

"It's really hard to say at the moment, but it does make me nervous for the future of hospitality at the moment."

Why are cinemas so important?

One person who knows the importance of having a healthy film industry is Steven Ryder from the educational film charity Into Film.

Steven helps pick films which fit in with the curriculum to screen to schools.

"Usually, we do focus on the big releases, but at the moment, there's been less and less of those," he says.

He says his job shows him "just how powerful cinema is," adding: "Cinema is, at its heart, a collective experience.

"We get to sit in a room with people and experience a window to the world - or this dream - all at the same time."

That's been missing during the pandemic - with packed-out cinema screenings on hold right now.

But, Steven says, there's still plenty on offer in cinemas.

"The more we tell people in the media that it's not worth going to the cinema until James Bond is out, the more we're missing the point of what cinemas should be."

He's been to see a few low-budget and indie movies since cinemas reopened, and while he admits it's different to usual, he says it's still worth it.

"The film is still the film, it's still amazing to see on that giant screen and, you know, in a dark room with other people. And that's the power of cinema."
Additional reporting by Annabel Rackham.
Listen to Newsbeat live at 12:45 and 17:45 weekdays - or listen back here.

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'My Cineworld job doesn't feel like work'

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Working at Cineworld "sometimes just doesn't feel like work," says an employee who's just heard the cinema chain is temporarily shutting down. She hasn't been told what will happen to her job but the company employs about 5,500 people in the UK.