Polish films in the Black Nights programme will include Family Life and The Foreign Body by Krzystof Zanussi, Field of Dogs by Lech Majewski and Last Floor by Tadeusz Krol as well as films by Jerzy Hoffman, Elwira Niewira, Kasia Adamik, Andrzej Waja, Aleksander Scibor-Rylski and Agnieszka Holland.
Following its 2013 debut the festival will also bring back its industry Confab strand.
Organized in partnership with Independent Cinema Office (UK) the event sees leaders of the international film festival circuit brought together to discuss topics including competition between festivals, programming and censorship, sponsorship, fundraising, and the role of festivals in creative economies.
Michał Oleszczyk’s first outing as the artistic director of the Gdynia Film Festival (Sept 15-21) will open tonight with the restored and re-edited version of Jerzy Hoffman’s 1974 classic The Deluge.
Under Hoffman’s supervision, the editor Marcin Kot Bastkowski has created Deluge Redivivus, a new, shortened version of the Oscar-nominated adaptation of the Henryk Sienkiewicz novel.
Speaking exclusively to ScreenDaily ahead of the festival’s 39th edition in the Polish city, Oleszczyk says that he has made “two significant changes” this year.
“I reinforced the Young Cinema Competition, which puts emphasis on film directors who have just graduated from film schools - I strongly believe that it’s very important to support the new generation of filmmakers,” he said.
“I have moved this competition into the main festival cinema venue of the Musical Theatre, so that, currently
Camerimage, the cinematography festival held in the Polish city of Bydgoszcz, is to pay tribute to the late Jerzy Lipman with a retrospective of his work.
Films shot by the Polish cinematographer will be screened as part of Camerimage’s Remembering the Masters series throughout the 22nd edition of the festival (Nov 15-22).
Included in the series will be Kanal (1957), Knife in the Water (1962), A Generation (1955), The Ashes (1965) and Colonel Wolodyjowski (1969).
Lipman, who died in 1983, is considered one of the most eminent cinematographers in Polish cinema history and is a co-originator of the Polish Film School movement.
Lipman endured occupation and imprisonment during the Second World War before he became a celebrated filmmaker. After his release in 1948, he joined the Cinematography Department of the National Film School in Łódź and graduated in 1952.
As a student, he was the
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Truth is famously the first casualty of war – and that goes double as soon as a film crew moves in. Turkey has discovered this with its recent bastion-storming blockbuster, Fetih 1453 (Conquest 1453). A scimitars'n'cgi blockbuster account of the fall of Constantinople to the Ottomans in the 15th century, it is the country's most expensive film ever ($17m budget), most popular (4.6m tickets in its first 18 days) and most lucrative ($29m and counting).
But if you think the smell of unanimity is in the air, think again. Plenty of folk have queued up to question Fetih 1453's take, with its gleaming portrayal of Mehmed II, all-conquering bringer of the Ottoman empire's golden age.
Conventional wisdom dictates that sequels can suffer at the box office when there is a significantly long gap between releases, but eight years after Johnny English, audiences have embraced the follow-up in huge numbers. Johnny English Reborn opened at the weekend with £4.96m, which compares with a debut of £3.44m for the original Rowan Atkinson spy caper in 2003. Another comparison: Mr Bean's Holiday began its run in 2007 with £4.50m plus £1.94m in previews. The Johnny English Reborn opening number is the best for any film since The Inbetweeners Movie arrived in mid-August.
With Johnny English clearly a hit with families, you might think there wouldn't be much room left in the market for a flick with kiddie appeal,
Stars: Michal Zebrowski, Marina Aleksandrova, Malgorzata Foremniak | Written by Jerzy Hoffman, Józef Hen | Directed by Jerzy Hoffman
The synopsis for Army of Valhalla goes something like this:
“In the 9th Century warring tribes fight for control of Poland. Each tribe will do anything to protect their land. But when a Prince plots to take control of the nation it’s left to the commander of the prince’s own army to stand in the way.”
You couldn’t have told that from watching the film alone, mostly because there isn’t a single time where it tells you the setting or the time frame, other than it being “a long, long time ago”. That’s a minor fault you could say, so on the film went. There’s a solid 45 minutes of betrayals and set-up before the armies choose their allegiances and begin their attempt to overthrow the prince,
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