One standout speech during the winners' press conference came from director Christian Mungiu , who praised the diversity of small films in a commercial social media-driven age. It was one of the few defenses for the arthouse biz expressed during what was largely a backslapping panel. As an aside, Personal Shopper director Olivier Assayas was all too pleased to share the director win with Mungiu. Said Mungiu, "If we can't preserve this, smaller films might disappear in matter of a few years. It's really important to preserve the diversity in cinema. Commercial cinema is wonderful, but cinema wasn't born to produce commercial cinema alone. It's good to have voices and points of views... We need to make an effort to educate the audience." The director further praised Cannes as an oasis that supports the global stage of moviemaking, especially the small films.
The road-trip movie explores the subject of the "itinerant sellers" and took ispiration from a a New York Times article describing the world of the magazine crews. There was no story there—everything from then on was my imagination and partly what I learned—but that was the nut that started me of wanting to do something about it. There are still a lot of crews who are doing that job and it's a bit like people who stop you [on the street] and try and get you to buy things for charity. You're not really buying the magazine. You're buying the person who is selling you the magazine. That's what you're selling. You're selling yourself. It's actually really hard work....I take most of my inspiration for each film based on the world that I'm exploring. I do a lot of research and immerse myself in the places and with the people that I'm going to make the film about. That's absolutely where I get my inspiration from. I find real life and real people really inspiring.".
Even more movie which take inspiration from the real life are winning the most renomated prices ... is this what moviegoers would like to watch ?
The great director his second Palme d'Or victory for a drama with a noble, emphatic message. But it also illustrates the differences between the Cannes crowd and the wider film audience.
Single mum Kattie (Hayley Squires) was moved up from London with her two kids (by different dads) after her local council was unable to find her a flat in the capital. She's exhausted and famished and – left alone as a kindly volunteer sorts her nippers out some juice and a biscuit – she grabs a tin of beans, pries off the lid and starts eating. It's a basic, desperate act based, according to Loach, on a real-life incident. It's here, as Kattie swallows handfuls of cold beans and starts to cry, that Loach is universally powerful. Whoever you are, wherever you're from, you can't help but feel sad and angry that it's come to this.
The 69th annual Cannes Film Festival is currently being held from to 22 May 2016.
" 69th Palme d'or " View the list of winners ...
I, DANIEL BLAKE
Ken LOACH GRAND
JUSTE LA FIN DU MONDE
(IT'S ONLY THE END OF THE WORLD)
AWARD FOR BEST DIRECTOR (EX-AEQUO)
AWARD FOR BEST DIRECTOR (EX-AEQUO)
AWARD FOR BEST SCREENPLAY
FORUSHANDE (THE SALESMAN)
AWARD FOR BEST ACTRESS
AWARD FOR BEST ACTOR
VULCAIN PRIZE FOR AN ARTIST TECHNICIAN,
AWARDED BY THE C.S.T.
UN CERTAIN REGARD
PRIZE OF UN CERTAIN REGARD
(THE HAPPIEST DAY IN THE LIFE OF OLLI MÄKI)
JURY PRIZE - UN CERTAIN REGARD
FUCHI NI TATSU
DIRECTING PRIZE OF UN CERTAIN REGARD
PRIZE FOR BEST SCREENPLAY -UN CERTAIN REGARD
DELPHINE COULIN, MURIEL COULIN
VOIR DU PAYS
Delphine COULIN, Muriel COULIN
UN CERTAIN REGARD SPECIAL PRIZE
LA TORTUE ROUGE
(THE RED TURTLE)
Michael DUDOK DE WIT
1ST PRIZE CINÉFONDATION
2ND PRIZE CINÉFONDATION
IN THE HILLS
3RD PRIZE CINÉFONDATION (EX-AEQUO)
A NYALINTÁS NESZE
(THE NOISE OF LICKING)
DIVINES Houda Benyamina
The CEO of Cinépolis Mr. Alejandro Ramirez has launched the works of CinemaCon 2016, the International Convention which is a annually meets for exhibitors, distributors, suppliers and movie stars in one place: Las Vegas.
Cinépolis has more than 4,000 screens around the world in countries like Mexico, India, United States, Brazil, Chile, Costa Rica, Panama, Colombia and Spain and is ranked at number four in the number of screens worldwide.
Ramirez described the film exposition as "a field of more than 120 years that is more dynamic than ever" and where China is indiscutuble leaders today.
The eastern nation has quickly achieved 13% of the worldwide box office and now owns nearly 20 percent.
What is surprising is that Mexico already has a market share of 15% of overall attendance at theaters, followed by Germany.
But what currently exists was done well? What has allowed the industry to survive and thrive may still face competition from digital platforms?
According to his analysis: technology, production and distribution are positive key elements.
-the industry has taken advantage of technological innovation whcich always provide the most impressive and attractive movie for viewers 3D but it'is going down and what was promised to the exhibitors and spectators wasn't maintened: the 3D experience would be improved over the years.
The few cases of successful movies was "Gravity" by Alfonso Cuarón and "Pi Life" by Ang Lee who were films for which people were willing to pay for a 3D vision;
-positive element are "genres". Hollywood has been able to capitalize on superhero movies, action and animation, but also had some success with dramas that have exceeded all expectations at the box office;
-some ideas have helped to grow the industry as the "day and date." In English it is known as the "day and date" is the simultaneous premiere of a film. That means that a movie is in many (or all) of the international markets the same day of its release in the United States.
Ramirez says this has shown positive results, so much so that eight of the ten biggest hits of 2015 were projected, in the case of Mexico, on the same day in the United States. In 2016 this is repeated again: the three examples to date are "Deadpool", "Zootopia" and "Batman vs. Superman: Dawn of Justice".
During one of the most prominent CinemaCon 20016 moments, Alejandro Ramirez asked the representatives of the major studios and distribution companies around the world, not to experiment further with simultaneous launches in VOD, streaming services or other digital platforms.
Alejandro Ramirez believe that the movietheatre must be the starting point in the life of the movie.
" INFORMADOR.MX "
The 69th Cannes Film Festival is scheduled from 11 to 22 May 2016 and Woody Allen's new movie "Café Society" will open the most famous International Film Festival. This movie will be Allen's 14th film to screen out of competition at the festival but will be the first Amazon film to occupy that coveted position. This participation doesn't guarantee major box-office takes, but command automatic attention, which is probably what Amazon wants as it looks to make its name as distributor.
"Café Society" will get a theatrical rollout from Amazon before jumping to streaming. Anyway, cineplexes remain loudly hostile to the incursion of online movie distributors into their business.
The Tribeca Film Festival is a film festival founded in 2002 by Robert De Niro, Jane Rosenthal and Craig Hatkoff in a response to the September 11, 2001 attacks on the World Trade Center and the consequent loss of vitality in the TriBeCa neighborhood in Lower Manhattan.
The festival now draws an estimated three million people—including often-elusive celebrities from the worlds of art, film, and music—and generates $600 million annually.
Tribeca Film Festival has now become one of the most watched festivals in the US offering a mix of independent and mainstream US premieres. Recently Tribeca has been involved of Qatar's £3bn investment funding into arts through the Doha Tribeca Film Festival, as well as supporting documentary filmmakers through the Gucci Tribeca Documentary Fund. This year at Tribeca, movies are only part of the story. The addition of other forms of media, though, is also a way to open doors to new audiences. Geoff Gilmore, chief creative officer of Tribeca Enterprises, says festivals need to adapt to increasingly tech-savvy moviegoers.
The Screening Room concept involves consumers buying a $150 device that will attach to their home entertainment system so that they can pay $50 to watch first-run movies in a 48-hour window at the same time as initial theater play.
The plan attempts to include from the start exhibitor participation (unspecified revenue sharing, two admissions for each purchase to theaters where concessions would be bought), recognizing that without theater incentives and approval NAPSTER-founder Sean Parker's proposal would have no chance to get studios, much less the theater owners, on board.
NATO has consistently called on movie distributors and exhibitors to discuss as partners release models that can grow the business for everyone. More sophisticated window modeling may be needed for the growing success of a modern movie industry. Those models should be developed by distributors and exhibitors in company-to-company discussions, not by a third party."
The Art House Convergence, a specialty cinema organization representing 600 theaters and allied cinema exhibition businesses, strongly opposes Screening Room, the start-up backed by Napster co-founder Sean Parker and Prem Akkaraju. The proposed model is incongruous with the movie exhibition sector by devaluing the in-theater experience and enabling increased piracy.
Festival organizers say: the choice shows that Cannes "is reiterating its founding commitment: to pay tribute to the history of film, and to welcome new ways of creating and seeing."
Hollywood Reporter writes: "It's notable, given the current battle over digital distribution and Sean Parker's home-cinema Screening Room proposal, that Cannes picked a film unabashedly celluloid. Contempt was shot in CinemaScope and is a love letter to the traditional cinema."
The poster for the 69th Cannes Film Festival takes its inspiration from Jean-Luc Godard's "Contempt" . This movie is generally regarded as a masterpiece of the world of cinema.
The thema reguard the conflict between artistic expression and commercial opportunity.
Contempt is credited as one of the first-ever self-reflective movies, a film about films.
It inspired the generations of filmmakers that came after it, including Rainer Werner Fassbinder, Quentin Tarantino and Martin Scorsese.
Contempt (released in the UK as French: Le Mépris) is a 1963 French satirical drama film written and directed by Jean-Luc Godard, based on the Italian novel Il disprezzo ("A Ghost at Noon") by Alberto Moravia. It stars Brigitte Bardot, Michel Piccoli, Jack Palance, and Giorgia Moll.
Contempt was filmed in and occurs entirely in Italy, with location shooting at the Cinecittà studios in Rome and the Casa Malaparte on Capri island. In a notable sequence, the characters played by Piccoli and Bardot wander through their apartment alternately arguing and reconciling. Godard filmed the scene as an extended series of tracking shots, in natural light and in near real-time.
Casa Malaparte (also Villa Malaparte) is a house on Punta Massullo, on the eastern side of the Isle of Capri, Italy. It is one of the best examples of Italian modern and contemporary architecture. The house was conceived around 1937 by the well-known Italian architect Adalberto Libera for Curzio Malaparte. Casa Malaparte is a red masonry box with reverse pyramidal stairs leading to the roof patio. On the roof is a freestanding curving white wall of increasing height. It sits on a dangerous cliff 32 metres above the sea overlooking the Gulf of Salerno. Access to this private property is either by foot from the Town of Capri or by boat and a staircase cut into the cliff. Casa Malaparte's interior and exterior (particularly the rooftop patio) are prominently featured in Jean-Luc Godard's 1963 film, Contempt (Le Mépris).
We know which movie won the Oscar for the Best Picture ... but which of all the nominees win the box-office battle?
Spotlight is the the WINNER for "The Best Picture"
The Martian is the the WINNER at the Box-Office
Spotlight is the WINNER for "The Best Picture" reached at the Worldwide Box Office (as of Mar. 9, 2016) $ 74,006,242.
-Spotlight – Michael Sugar, Steve Golin, Nicole Rocklin and Blye Pagon Faust.
Opening / Theaters Before the 88th Oscars: $ 295,009
American Box Office Total as of Mar. 9, 2016: $ 42,107,224
International Box Office Total as of Mar. 9, 2016: $ 31,899,018
Worldwide Box Office Total as of Mar. 9, 2016: $ 74,006,242
Release Date: Nov 06, 2015:
Production Budget: N/A
The Martian, a Nominee for "The Best Picture" reached at the Worldwide Box Office (as of Mar. 9, 2016) $ 639,985,783.
− The Martian – Simon Kinberg, Ridley Scott, Michael Schaefer and Mark Huffam
Opening / Theaters Before the 88th Oscars: $ 54,308,575
American Box Office Total as of Mar. 9, 2016: $ 228,416,202
International Box Office Total as of Mar. 9, 2016: $ 411,569,581
Worldwide Box Office Total as of Mar. 9, 2016: $ 639,985,783
Release Date: October 02, 2015
Production Budget: $ 108 million