Seven years after the premiere of A Moment in the Reeds, Finnish-British director Mikko Mäkelä has followed up with the Sundance World Dramatic Competition Sebastian. For his second film, Mikko Mäkelä plunges the viewer into the life of a novelist who, first as research for his own novel and then for the thrills the double life grants him, enters the world of sex work. Editor Arttu Salmi, whose previous work includes the TIFF 2023 premiere The End We Start From and both the New Man and Degeneration installments of Dau, discusses the unique circumstances of editing Sebastian on two Avids and how he found the film in the […]
The post “I Was Keen to Challenge Myself with Film Language That I Hadn’t Tried”: Editor Arttu Salmi on Sebastian first appeared on Filmmaker Magazine.
The post “I Was Keen to Challenge Myself with Film Language That I Hadn’t Tried”: Editor Arttu Salmi on Sebastian first appeared on Filmmaker Magazine.
- 1/21/2024
- by Filmmaker Staff
- Filmmaker Magazine - Blog
Seven years after the premiere of A Moment in the Reeds, Finnish-British director Mikko Mäkelä has followed up with the Sundance World Dramatic Competition Sebastian. For his second film, Mikko Mäkelä plunges the viewer into the life of a novelist who, first as research for his own novel and then for the thrills the double life grants him, enters the world of sex work. Editor Arttu Salmi, whose previous work includes the TIFF 2023 premiere The End We Start From and both the New Man and Degeneration installments of Dau, discusses the unique circumstances of editing Sebastian on two Avids and how he found the film in the […]
The post “I Was Keen to Challenge Myself with Film Language That I Hadn’t Tried”: Editor Arttu Salmi on Sebastian first appeared on Filmmaker Magazine.
The post “I Was Keen to Challenge Myself with Film Language That I Hadn’t Tried”: Editor Arttu Salmi on Sebastian first appeared on Filmmaker Magazine.
- 1/21/2024
- by Filmmaker Staff
- Filmmaker Magazine-Director Interviews
“Rye Lane”, “Scrapper”, “All of Us Strangers”, “How to Have Sex” y “Femme” encabezan las nominaciones a los premios BIFA.
El jueves se anunciaron los nominados a los premios BIFA (British Independent Film Awards). Estos premios son galardones cinematográficos que se otorgan en el Reino Unido para destacar y honrar las películas independientes británicas. Los ganadores de los premios BIFA 2023 se darán a conocer el 3 de diciembre. Aquí os dejamos con la lista de los nominados de esta edición:
Mejor PELÍCULA Independiente BRITÁNICA
All Of Us Strangers, Andrew Haigh
Femme, Sam H Freeman & Ng Choon Ping
How To Have Sex, Molly Manning Walker
Rye Lane, Raine Allen-Miller
Scrapper, Charlotte Regan
Mejor PELÍCULA Independiente Internacional
Anatomy Of A Fall, Justine Triet
Fallen Leaves, Aki Kauriskmäki
Fremont, Babak Jalali
Monster, Hirokazu Kore-eda
Past Lives, Celine Song
Mejor DIRECCIÓN
Raine Allen-Miller, Rye Lane
Sam H Freeman & Ng Choon Ping, Femme
Andrew Haigh, All of Us Strangers...
El jueves se anunciaron los nominados a los premios BIFA (British Independent Film Awards). Estos premios son galardones cinematográficos que se otorgan en el Reino Unido para destacar y honrar las películas independientes británicas. Los ganadores de los premios BIFA 2023 se darán a conocer el 3 de diciembre. Aquí os dejamos con la lista de los nominados de esta edición:
Mejor PELÍCULA Independiente BRITÁNICA
All Of Us Strangers, Andrew Haigh
Femme, Sam H Freeman & Ng Choon Ping
How To Have Sex, Molly Manning Walker
Rye Lane, Raine Allen-Miller
Scrapper, Charlotte Regan
Mejor PELÍCULA Independiente Internacional
Anatomy Of A Fall, Justine Triet
Fallen Leaves, Aki Kauriskmäki
Fremont, Babak Jalali
Monster, Hirokazu Kore-eda
Past Lives, Celine Song
Mejor DIRECCIÓN
Raine Allen-Miller, Rye Lane
Sam H Freeman & Ng Choon Ping, Femme
Andrew Haigh, All of Us Strangers...
- 11/4/2023
- by Marta Medina
- mundoCine
It begins as a spatter of heavy rainfall — nothing out of the ordinary for acclimatized Brits, for whom an actual storm can even be cozily welcome after days of noncommittal drear and drizzle. But then it doesn’t stop, deep-set wet turns to invasive flooding, and what seemed a mere bout of inclement weather has swept you — and countless others like you — out of house and home. Megan Hunter’s speculative novel “The End We Start From” was a neat metaphor for the larger threat in seemingly minor signifiers of climate crisis; briskly adapted by screenwriter Alice Birch, Mahalia Belo’s fine film version matches its pragmatic, coolly urgent vision of a world coming apart slowly, gradually, and then all at once.
Tight in budget and focus, this isn’t disaster cinema of the lurid Hollywood school, revelling in the grand spectacle of destruction. For much of the film’s running time,...
Tight in budget and focus, this isn’t disaster cinema of the lurid Hollywood school, revelling in the grand spectacle of destruction. For much of the film’s running time,...
- 10/13/2023
- by Guy Lodge
- Variety Film + TV
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