French producer worked with Wong Kar Wai, Wayne Wang, Nikita Mikhalkov, Zhang Yimou, Peter Greenaway and Jonathan Glazer.
France-born, Hong Kong based producer Jean Louis Piel, who worked with international filmmakers including Wong Kar Wai, Wayne Wang, Nikita Mikhalkov, Zhang Yimou, Peter Greenaway and Jonathan Glazer, has died of cancer at the age of 69.
Piel’s credits included Mikhalkov’s Close To Eden, which won the Golden Lion at the Venice film festival in 1991 and was nominated for the best foreign-language Oscar, and the Russian director’s Burnt By The Sun which won the Grand Prix at Cannes in 1994 and...
France-born, Hong Kong based producer Jean Louis Piel, who worked with international filmmakers including Wong Kar Wai, Wayne Wang, Nikita Mikhalkov, Zhang Yimou, Peter Greenaway and Jonathan Glazer, has died of cancer at the age of 69.
Piel’s credits included Mikhalkov’s Close To Eden, which won the Golden Lion at the Venice film festival in 1991 and was nominated for the best foreign-language Oscar, and the Russian director’s Burnt By The Sun which won the Grand Prix at Cannes in 1994 and...
- 12/21/2018
- by Louise Tutt
- ScreenDaily
News Ltd chief executive Kim Williams has called on the government to strengthen legislation to stop rampant piracy.
Williams, speaking at the Australian International Movie Convention on the Gold Coast, called on the government to revamp the existing copyright framework to reflect the industry's shift from analogue to digital.
"What the Australian production and distribution industry needs are renovated legal underpinnings that acknowledge the primary right of copyright owners to exploit their work in the certain knowledge that theft will be prevented and punished equally," Williams said.
"Without that core commercial underpinning the outlook for our industry . the digital entertainment industry . is grim indeed. Whilst there is endless talk about the Nbn there is yet to be any formal acknowledgement that the legislative and enforcement frameworks are disastrously outmoded and defective to sustain any relevance in confronting a modern high speed digital delivery world.
"Without immediate and wholesale makeover we...
Williams, speaking at the Australian International Movie Convention on the Gold Coast, called on the government to revamp the existing copyright framework to reflect the industry's shift from analogue to digital.
"What the Australian production and distribution industry needs are renovated legal underpinnings that acknowledge the primary right of copyright owners to exploit their work in the certain knowledge that theft will be prevented and punished equally," Williams said.
"Without that core commercial underpinning the outlook for our industry . the digital entertainment industry . is grim indeed. Whilst there is endless talk about the Nbn there is yet to be any formal acknowledgement that the legislative and enforcement frameworks are disastrously outmoded and defective to sustain any relevance in confronting a modern high speed digital delivery world.
"Without immediate and wholesale makeover we...
- 8/21/2012
- by Brendan Swift
- IF.com.au
Helen Mirren, Sylvia Syms in Stephen Frears' The Queen The European Film Awards usually don't have much of an influence on the Academy Awards. Part of the reason is that many of the European Academy's nominated movies aren't eligible for the Hollywood Academy's awards, whether because they were in the running earlier in the year or because they won't have their qualifying Los Angeles run in time for the following year's Oscars. In fact, some may never even get that chance. Besides, it's unclear how many of the Academy of Motion Picture Arts and Sciences' insular members actually know about the existence of the European Film Academy. Last year's Best Film and Best Director winner, Roman Polanski's The Ghost Writer, failed to receive a single Academy Award nomination despite mostly positive reviews from U.S. critics. Of the other five 2010 Best European Film nominees, only Juan José Campanella...
- 11/6/2011
- by Andre Soares
- Alt Film Guide
Tokyo -- The Tokyo International Film Festival will begin Saturday with Takeshi Kaneshiro and Tony Leung Chiu Wai, the stars of John Woo's historical epic "Red Cliff," walking a "green" carpet of recycled plastic in support of the environmental theme of the event's 21st edition.
Considering the current global economic crisis, the screening of "Red Cliff" -- the most expensive Asian movie ever made -- might seem counter to the intended tone of the nine-day festival.
But organizers hope Tiff's timely Earth-friendly focus, increased registration and splashy opening screening will help the event make its mark, sandwiched as it is between such major international film events as Pusan and Afm -- and overlapping with the Rome International Film Festival.
Following criticism that it was merely playing the green card with its eco theme, organizers said Wednesday that the festival will offset 23 tons of carbon dioxide emissions with the purchase...
Considering the current global economic crisis, the screening of "Red Cliff" -- the most expensive Asian movie ever made -- might seem counter to the intended tone of the nine-day festival.
But organizers hope Tiff's timely Earth-friendly focus, increased registration and splashy opening screening will help the event make its mark, sandwiched as it is between such major international film events as Pusan and Afm -- and overlapping with the Rome International Film Festival.
Following criticism that it was merely playing the green card with its eco theme, organizers said Wednesday that the festival will offset 23 tons of carbon dioxide emissions with the purchase...
- 10/16/2008
- by By Gavin J. Blair
- The Hollywood Reporter - Movie News
An odd but entrancing tale of civilizations in conflict, "Close to Eden, '' the story of a traditional family in Chinese-held inner Mongolia, may require some patient handling. However, the combination of unusual setting and warm, accessible tone may turn it into a profitable select-site performer.
Set in the very recent past, the film centers around the family of Gombo (Bayaertu), his wife Pagma (Badema), their two children and his mother. They live the centuries-old life of Mongolian nomads, tending their small herds of sheep, cattle and horses and living in a large tent.
The outside world has impinged only slightly on their lives, largely through the accordion that daughter Bourma (Bao Yongyan) has been given by a city-dwelling uncle. However, one day a Russian contract worker, Sergei (Vladimir Gostukhin), falls asleep at the wheel of his truck, becomes stranded and ends up the guest of Gombo and Pagma.
Because Gombo and Pagma have reached the government-imposed limit of three children, Pagma has been urging her husband to go to town and buy condoms and, while he's at it, a television. So Gombo and two horses hitch a ride with Sergei and travel off to a nearby city, a vast jury-rigged collection of apartment blocks, huge industrial plants, and stores crammed with the latest in consumer goods.
For the opening sequences, director Nikita Mikhalkov uses relaxed and patient rhythms to great effect. Typically, he spends as much time watching Gombo catch a dragonfly in flight and showing it to his son Bouin (Wurinile, a tremendously appealing natural talent) or on how the family slaughters a sheep as on more plot-oriented material.
Once Gombo and Sergei get to the city, the pace quickens as the two -- singly and together -- engage in a series of seriocomic escapades. When Gombo leaves for home, the film segues into an elaborate dream sequence in which a drunken uncle (Baoyinhexige) appears as Genghis Khan at the head of a column of soldiers and chastises Gombo for straying from Mongol ways.
The lament for a passing culture is a familiar one, but Mikhalkov has appeared to capture the whole nature of Mongolian life so successfully, the film is unusually persuasive.
Also, by keeping the love between Gombo and Pagma the central focus, Mikhalkov ensures that the prevailing tone will be warm and the issues intensely personalized rather than abstract. Even the vast rolling landscape of the Steppes becomes intimate.
CLOSE TO EDEN
MIRAMAX
Director-Original idea Nikita Mikhalkov
Supervising producer Michel Seydoux
Executive producer Jean-Louis Piel
Story Nikita Mikhalkov, Roustam Ibraguimbekov
Screenplay Roustam Ibraguimbekov
Director of photography Villenn Kaluta
Production designer Aleksei Levtchenko
Editor Joelle Hache
Music Eduard Artemiev
Color
Cast:
Gombo Bayaertu
Pagma Badema
Sergei Valdimir Gostukhin
Running time -- 106 minutes
No MPAA rating
(c) The Hollywood Reporter...
Set in the very recent past, the film centers around the family of Gombo (Bayaertu), his wife Pagma (Badema), their two children and his mother. They live the centuries-old life of Mongolian nomads, tending their small herds of sheep, cattle and horses and living in a large tent.
The outside world has impinged only slightly on their lives, largely through the accordion that daughter Bourma (Bao Yongyan) has been given by a city-dwelling uncle. However, one day a Russian contract worker, Sergei (Vladimir Gostukhin), falls asleep at the wheel of his truck, becomes stranded and ends up the guest of Gombo and Pagma.
Because Gombo and Pagma have reached the government-imposed limit of three children, Pagma has been urging her husband to go to town and buy condoms and, while he's at it, a television. So Gombo and two horses hitch a ride with Sergei and travel off to a nearby city, a vast jury-rigged collection of apartment blocks, huge industrial plants, and stores crammed with the latest in consumer goods.
For the opening sequences, director Nikita Mikhalkov uses relaxed and patient rhythms to great effect. Typically, he spends as much time watching Gombo catch a dragonfly in flight and showing it to his son Bouin (Wurinile, a tremendously appealing natural talent) or on how the family slaughters a sheep as on more plot-oriented material.
Once Gombo and Sergei get to the city, the pace quickens as the two -- singly and together -- engage in a series of seriocomic escapades. When Gombo leaves for home, the film segues into an elaborate dream sequence in which a drunken uncle (Baoyinhexige) appears as Genghis Khan at the head of a column of soldiers and chastises Gombo for straying from Mongol ways.
The lament for a passing culture is a familiar one, but Mikhalkov has appeared to capture the whole nature of Mongolian life so successfully, the film is unusually persuasive.
Also, by keeping the love between Gombo and Pagma the central focus, Mikhalkov ensures that the prevailing tone will be warm and the issues intensely personalized rather than abstract. Even the vast rolling landscape of the Steppes becomes intimate.
CLOSE TO EDEN
MIRAMAX
Director-Original idea Nikita Mikhalkov
Supervising producer Michel Seydoux
Executive producer Jean-Louis Piel
Story Nikita Mikhalkov, Roustam Ibraguimbekov
Screenplay Roustam Ibraguimbekov
Director of photography Villenn Kaluta
Production designer Aleksei Levtchenko
Editor Joelle Hache
Music Eduard Artemiev
Color
Cast:
Gombo Bayaertu
Pagma Badema
Sergei Valdimir Gostukhin
Running time -- 106 minutes
No MPAA rating
(c) The Hollywood Reporter...
- 10/19/1992
- The Hollywood Reporter - Movie News
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