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Международный фестиваль кино в Торонто
История кинофестиваля в Торонто

Международный фестиваль кино в Торонто (TIFF) - один из самых престижных кинофестивалей мира, он проводится в Канаде с 1976 года, а его первое название – «Фестиваль Фестивалей». Первоначально на данном фестивале принимались к участию кинокартины, ранее уже представленные на других кинофестивалях мира, а местом проведения фестиваля являлся канадских город Йорквилл, впоследствии саму церемонию кинофестиваля перенесли в Торонто – один из крупнейших городов страны.

Особенности кинофестиваля в Торонто

Фестиваль в Торонто по традиции проходит ежегодно в сентябре, а его начало приурочено к первому понедельнику месяца, когда в Канаде празднуется День Труда. Кинофестиваль продолжается в течение одиннадцати дней, хотя награждение конкурсантов проводится уже на десятый вечер фестиваля, всегда выпадающий на субботу, а его последний день – это уже подведение его итогов, а также церемония закрытия фестиваля. В деловой части Торонто устанавливают 37 больших экранов, на которых и производится показ фильмов, представленных на конкурс. К участию в конкурсе принимаются и ретроспективы, и кинокартины, снятые на американской киностудии Голливуд, канадские фильмы, киноленты из стран Азии, Африки и Южной Америки.

Фестиваль в Торонто в настоящее время

Для многих кинолент участие в кинофестивале в Торонто является своего рода «разминкой» перед номинированием на самую известную американскую премию – «Оскар». Благодаря последовательной инвестиционной деятельности и продвижения его организаторами и спонсорами, фестиваль в Торонто превратился в жизненно важный компонент маркетинговой машины Голливуда.

Номинации и награды кинофестиваля в Торонто

Главный приз кинофестиваля достается полнометражным игровым кинофильмам, а победителя выбирает жюри, таких номинаций, как лучшие актеры и актрисы, на данном фестивале не существует. Приз зрительских симпатий выдается победителю по итогам рейтинга, который удается набрать той или иной киноленте. Рассматриваются и короткометражные фильмы как отдельная категория, несколько номинаций уделено канадскому кинематографу – отдельно для игровых и неигровых кинолент.
официальный сайт: http://tiff.net

THE LAST BLACK MAN IN SAN FRANCISCO is an Ode to Male Friendship | TIFF 2019
Before TIFF’s special 25th anniversary screening of Wayne Wang's groundbreaking adaptation of Amy Tan's novel, actor Tamlyn Tomita breaks down why THE JOY LUCK CLUB was such a significant milestone for Asian American representation on film and celebrates the new wave of Asian American talent — both on- and off-screen — gaining traction in the industry after the watershed success of CRAZY RICH ASIANS, the first film since THE JOY LUCK CLUB by a major Hollywood studio to feature a cast of majority Asian descent.In 1993, we had no way of knowing just how historic the world premiere of The Joy Luck Club would become. Wayne Wang's adaptation of the Amy Tan bestseller brought together a terrific cast of eight Asian American women to take rare lead roles in a Hollywood studio movie. For the next quarter century, independent films and films from Asia would fill a void of under-representation — but so would repeat viewings of The Joy Luck Club in countless homes across North America. The Toronto International Film Festival was thrilled and honoured to present 2019’s special 25th-anniversary reunion event in the same Elgin Theatre where it all started.http://tiff.net

Before CRAZY RICH ASIANS there was THE JOY LUCK CLUB | TIFF 2019
Co-director Daniel Schmidt on the saving grace of post-production and writing satire in the Age of Trump for his and Gabriel Abrantes’ genre-blending and gender-bending DIAMANTINO, one of the year’s most original and infectiously silly comedies (vividly photographed in Super 16mm).When big-hearted but vacuous Portuguese soccer hunk Diamantino (Carloto Cotta) learns about the European refugee crisis, it shatters his sheltered worldview and drains him of the idyllic ignorance that fuels his athletic prowess. Becoming a national embarrassment overnight, he resolves to make amends by adopting an African refugee — only to find that his new “son” is actually an undercover lesbian tax auditor investigating him on the suspicion of corruption.http://tiff.net

DIAMANTINO's co-director Daniel Schmidt on finding the film in post-production | TIFF 2019
Master filmmaker Zhang Yimou (House of Flying Daggers) brings a completely original cinematic style to SHADOW, a wuxia epic that fuses next-level fighting sequences with intricate visuals that draw on China's centuries-old tradition of ink-wash painting.Zhang's film — which played the Toronto International Film Festival in 2018 — once again pushes the boundaries of the wuxia genre to create a swordplay epic like no other. In an empire ruled by a wild and dangerous young king (Zheng Kai) whose court is a hive of politicking and treachery, the monarch’s brave military commander (Deng Chao) has cultivated a secret weapon to aid his survival: a “shadow,” a lookalike who can fool both his enemies and the king himself as the commander prepares for a dangerous final assault against the forces of a rival kingdom.

In the SHADOW of Zhang Yimou | TIFF 2019
Director Chris Butler (Paranorman, Missing Link) discusses the difference between shooting on "ones" and shooting on "twos" in stop motion animation.Chris Butler is a writer, director, and head of story for Laika, where he worked on Coraline (09) and Kubo and the Two Strings (16). Prior to working for Laika, Butler amassed a decade’s worth of experience designing and storyboarding on numerous high-profile animated projects, including Corpse Bride (05). His work has been nominated for an Oscar, a BAFTA, several Annie Awards, and a GLAAD Media Award. He made his directorial debut with ParaNorman (12), which he also wrote. Missing Link (19) is his latest film.http://tiff.net

Shooting on "ones" vs. "twos" in stop motion animation | MISSING LINK | TIFF 2019
Girls of the Sun — the latest from Eva Husson (Bang Gang: A Modern Love Story) — follows an impassioned war correspondent, Mathilde (Emmanuelle Bercot), into the Daesh battleground of northwestern Iraqi Kurdistan, where she is embedded with a unit of female peshmerga fighters. Led by Bahar (Golshifteh Farahani), the unit is made up of women formerly held captive — many as sex slaves — by Daesh following the massacre of their husbands and the kidnapping of their children. Seamlessly weaving between the harrowing pasts that brought them together and their perilous present, Husson highlights the shared suffering that strengthens their bond and their will to fight to get their village, and their families, back.http://tiff.net

Filming war through a female gaze with Eva Husson | GIRLS OF THE SUN | TIFF 2019
David Gordon Green discusses his journey from directing small indie movies to huge blockbusters. In 2000, David Gordon Green received universal acclaim for his feature debut, George Washington, and it wasn’t long before some in the industry started referring to Green — then 26 years old — as “the next Terrence Malick.” However, after a string of well-received, but financially unsuccessful indie films, Green decided to pivot with the 2009 stoner smash hit Pineapple Express. Since then, Green’s filmography has become as varied as you’ll see from a modern Hollywood director, from low-brow fantasy epics (Your Highness) to emotional biographical dramas (Stronger) to horror reboots (Halloween).http://tiff.net

David Gordon Green on how he became Hollywood’s most eclectic filmmaker | TIFF 2019
Tananarive Due is a filmmaker, author, and educator steeped in Black horror. She recently introduced a class at UCLA called "The Sunken Place," which was inspired by the movie Get Out (17) and delves into the history of Black horror. Before the premiere of Horror Noire (19) — for which she serves as executive producer — Due visited TIFF to have a spoiler-filled conversation about the beginning and end of Jordan Peele’s directorial debut.Described by its first-time writer-director as “The Stepford Wives meets The Help,” Jordan Peele’s slyly satirical take on the feel-good liberalism of Guess Who’s Coming to Dinner revitalized the American horror film, re-establishing the genre as a vehicle for radical social and cultural critique. African American photographer Chris (Daniel Kaluuya) reluctantly accompanies his white girlfriend Rose (Alison Williams) on a visit to her parents (Bradley Whitford and Catherine Keener) at their tranquil country retreat. Squirming through the micro-aggressions and tone-deaf platitudes of this clan of good white liberals, Chris begins to divine that something much stranger is going on; and in short order, his hosts’ veneer of progressive values peels back to reveal their true, deadly intentions. From its tense opening sequence — where a Black man experiences the real fear of walking through a deceptively peaceful white suburb — through to its Grand Guignol finale, Peele’s Oscar-winning “social thriller” brilliantly decentres our culture’s fear of the Other and skewers white liberal racism. Welcome to the Sunken Place.http://tiff.net


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