Rock documentaries about the likes of Sinead O’Connor, The Happy Mondays and The Towers of London as well as films about boxer Frank Bruno and Murakami Haruki make up the line-up of the Sheffield Doc/Fest’s pitch scheme MeetMarket.
The event runs in the northern British city from 6-11 June with execs from broadcasters and platforms including Netflix, A+E, BBC, Channel 4 and ESPN set to attend. Films that have previously found funding at the MeetMarket include Searching for Sugarman and The Act of Killing.
Westwood: Punk, Icon, Activist is producing Nothing Compares, a doc about controversial pop star Sinead O’Connor, that looks at her rise to worldwide fame, and how her iconoclastic personality resulted in exile from the mainstream. Focusing on her prophetic behaviour between 1987 and 1992, the film contemporaneously reflects on the legacy of this feminist trailblazer. It is directed by Kathryn Ferguson, who previously...
The event runs in the northern British city from 6-11 June with execs from broadcasters and platforms including Netflix, A+E, BBC, Channel 4 and ESPN set to attend. Films that have previously found funding at the MeetMarket include Searching for Sugarman and The Act of Killing.
Westwood: Punk, Icon, Activist is producing Nothing Compares, a doc about controversial pop star Sinead O’Connor, that looks at her rise to worldwide fame, and how her iconoclastic personality resulted in exile from the mainstream. Focusing on her prophetic behaviour between 1987 and 1992, the film contemporaneously reflects on the legacy of this feminist trailblazer. It is directed by Kathryn Ferguson, who previously...
- 4/10/2019
- by Peter White
- Deadline Film + TV
Projects include ’The Real Truman Show’, Sally Potter’s ’Oh Moscow’ and docs about Frank Bruno and Sinead O’Connor.
Sheffield Doc/Fest (June 6-11) has revealed the titles that will pitch for funding at the 15th edition of its MeetMarket initiative.
Among the line-up are films by Sally Potter and Mark Cousins, and docs about Frank Bruno and Sinead O’Connor.
62 project teams from 27 countries will pitch to international and UK decision makers for research, development and production funding. Over 300 delegates from 30 countries will attend the market, including executives from Netflix, BBC, Channel 4 and ESPN.
The festival has...
Sheffield Doc/Fest (June 6-11) has revealed the titles that will pitch for funding at the 15th edition of its MeetMarket initiative.
Among the line-up are films by Sally Potter and Mark Cousins, and docs about Frank Bruno and Sinead O’Connor.
62 project teams from 27 countries will pitch to international and UK decision makers for research, development and production funding. Over 300 delegates from 30 countries will attend the market, including executives from Netflix, BBC, Channel 4 and ESPN.
The festival has...
- 4/10/2019
- by Ben Dalton
- ScreenDaily
Sally Potter doesn't buy the dictum about how all you need to make a film is a girl and a gun. In the opening song for her 1983 debut feature The Gold Diggers, singing in tones that recall those of Dagmar Krause, Potter sings of violence (particularly male-perpetrated violence) as manifested in both film and literature, and how it messes with her head, and pleads, "Please give me back my pleasure!"
In its resolutely non-narrative way, and even with its convoluted dialogues involving the nature of capital and alienated labor, The Gold Diggers is, on at least one level, all about a feminist re-claiming of pleasure. But pleasure doesn't have to be soft, or undemanding. Here it is most definitely found in the awe-inspiringly austere landscapes captured in fabulous black and white by Potter and Babette Mangold Mangolte—the ground through which the film's titular diggers relentlessly toil, seeking the element...
In its resolutely non-narrative way, and even with its convoluted dialogues involving the nature of capital and alienated labor, The Gold Diggers is, on at least one level, all about a feminist re-claiming of pleasure. But pleasure doesn't have to be soft, or undemanding. Here it is most definitely found in the awe-inspiringly austere landscapes captured in fabulous black and white by Potter and Babette Mangold Mangolte—the ground through which the film's titular diggers relentlessly toil, seeking the element...
- 3/9/2010
- MUBI
Sally Potter doesn't buy the dictum about how all you need to make a film is a girl and a gun. In the opening song for her 1983 debut feature The Gold Diggers, singing in tones that recall those of Dagmar Krause, Potter sings of violence (particularly male-perpetrated violence) as manifested in both film and literature, and how it messes with her head, and pleads, "Please give me back my pleasure!"
In its resolutely non-narrative way, and even with its convoluted dialogues involving the nature of capital and alienated labor, The Gold Diggers is, on at least one level, all about a feminist re-claiming of pleasure. But pleasure doesn't have to be soft, or undemanding. Here it is most definitely found in the awe-inspiringly austere landscapes captured in fabulous black and white by Potter and Babette Mangold Mangolte—the ground through which the film's titular diggers relentlessly toil, seeking the element...
In its resolutely non-narrative way, and even with its convoluted dialogues involving the nature of capital and alienated labor, The Gold Diggers is, on at least one level, all about a feminist re-claiming of pleasure. But pleasure doesn't have to be soft, or undemanding. Here it is most definitely found in the awe-inspiringly austere landscapes captured in fabulous black and white by Potter and Babette Mangold Mangolte—the ground through which the film's titular diggers relentlessly toil, seeking the element...
- 3/9/2010
- MUBI
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