By MCN Editor editor@moviecitynews.com

THE 4TH ABU DHABI FILM FESTIVAL ANNOUNCES COMPLETE LINEUP

Secretariat and Detective Dee and the Mystery of the Phantom Flame Bookend Three Feature Competitions and Exciting Sidebar Sections

September 27, 2010, New York, NY – The 4th Abu Dhabi Film Festival will present 70 feature films from over 28 countries. 12 films will have their World Premieres, 4 of which were co-produced with SANAD, the Festival’s new fund that provides development and post-production support for films from the Arab world. The Festival will open on October 14 with Secretariat, directed by Randall Wallace and starring John Malkovich and Diane Lane.  Detective Dee and the Mystery of the Phantom Flame by Tsui Hark will close out the Festival with a screening preceding the Black Pearl Awards ceremony on October 23.

Executive Director Peter Scarlet remarked, “This has been a year of numerous exciting developments for our young festival, from our name change and rebranding to the addition of the New Horizons Competition and the launch of our fund SANAD. Our program is the culmination of all the work of our programmers, who sifted and sleuthed their way through over 2,000 submissions for this edition, twice as many as last year.  The enthusiastic response to last year’s edition from the international and regional film community raised the bar on what we aimed to offer in 2010 and we’re proud to be unveiling another strong program in which international cinema and films from the Arab world meet “at the same table” again.  Showing films from the likes of Abbas Kiarostami, Julian Schnabel, Olivier Assayas, François Ozon and Patricio Guzmán, to name just a few, is always a pleasure.  But it’s particularly gratifying to see these directors’ films alongside works from the region.  And in particular, we’re very excited to be showing the first fruits of SANAD in the form of several films in our competition sections.  As the Festival plays an ever-greater role in helping develop and promote filmmaking from the Arab world, we look forward to seeing even more new discoveries, whether from familiar names or new talents.”

The 12 World premieres in the Festival are Here Comes the Rain by Bahij Hojeij (Lebanon, UAE), Taming by Nidal Al-Dibs (Syria), Homeland by George Sluizer (Netherlands), A Man’s Story by Varon Bonicos (UK), Back Door Channels: The Price of Peace by Harry Hunkele (USA), In/Out of the Room by Dina Hamza (Egypt), Living Skin by Fawzi Saleh (Egypt), OK, Enough, Goodbye by Rania Attieh and Daniel Garcia (Lebanon, UAE), Qarantina by Oday Rasheed (Iraq, Germany, UAE), Sun Dress by Saeed Salmeen (UAE), Wrecked by Michael Greenspan (Canada), and Paan Singh Tomar by Tigmanshu Dhulia (India).

The Festival has three competitions for features that offer cash awards totalling 1 million USD. The Narrative and Documentary Competitions are joined this year by the New Horizons section, a competition for first- and second-time directors. Other sections of the Festival include Showcase, an international selection of outstanding films eligible for the $30,000 Audience Award, and “What in the World Are We Doing to Our World?”, films devoted to broadening awareness of significant environmental issues.

The Festival’s highly anticipated special programs include a selection of restored classics and several films from the series “Mapping Subjectivity: Experimentation in Arab Cinema” presented in partnership with The Museum of Modern Art and ArteEast.

The Festival’s short film programs were previously announced.

To mark its 4th addition the Festival is pleased to host two prestigious international juries, the International Federation of Film Critics (FIPRESCI – Fédération Internationale de la Presse Cinématographique) and the Network for the Promotion of Asian Cinema (NETPAC), which will present awards to films chosen from the Festival’s program.

COMPLETE LIST OF FEATURE FILMS BELOW

COMPLETE LIST OF FEATURE FILMS

Narrative Feature Competition

The Awards

Films in this section compete for Black Pearl Awards in these categories:

–       Best Narrative Film ($100,000)

–       Best Narrative Film from the Arab World ($100,000)

–       Best Actor ($25,000)

–       Best Actress ($25,000)

The selected films in the Narrative Feature Competition:

Carlos
by Olivier Assayas
France, Germany

Chico & Rita (Chico y Rita)
by Fernando Trueba, Javier Mariscal, Tono Errando
Spain, UK

Cirkus Columbia
by Danis Tanović
Bosnia and Herzegovina

The Ditch (Jiabiangou)
by Wang Bing
People’s Republic of China, Belgium, France

Here Comes the Rain (Chatti Ya Dini)
by Bahij Hojeij
Lebanon, UAE
WORLD PREMIERE
Co-produced with SANAD

In a Better World (Hævnen)
by Susanne Bier
Denmark, Sweden

Incendies
by Denis Villeneuve
Canada, France

The Life of Fish (La vida de los peces)
by Matías Bize
Chile

Messages from the Sea (Rassayel El Bahr)
by Daoud Abdel Sayed
Egypt
GALA SCREENING

Miral
by Julian Schnabel
France, India, Italy
GALA SCREENING

Never Let Me Go
by Mark Romanek
UK, USA

Potiche
by François Ozon
France
GALA SCREENING

Silent Souls (Ovsyanki)
by Aleksei Fedorchenko
Russia

Taming (Rodage)
by Nidal Al-Dibs
Syria
WORLD PREMIERE

Virgin Goat (Laadli Laila)
by Murali Nair
India

Documentary Feature Competition

The Awards

Films in this section compete for Black Pearl Awards in these categories:

–       Best Documentary ($100,000)

–       Best Documentary from or about the Arab World ($100,000)

The selected films in the Documentary Feature Competition:

Che – un hombre nuevo
by Tristán Bauer
Argentina

Children of the Stones – Children of the Wall (Kinder der Steine – Kinder der Mauer)
by Robert Krieg
Germany

China, the Empire of Art? (Chine, l’empire de l’Art?)
by Sheng Zhimin, Emma Tassy
France

Earth Made of Glass
by Deborah Scranton
USA

Homeland
by George Sluizer
Netherlands
WORLD PREMIERE

How Bitter My Sweet! (Bahebak Ya Wahsh!)
by Mohamed Soueid
Lebanon, UAE

A Man’s Story
by Varon Bonicos
UK
WORLD PREMIERE

Nostalgia for the Light (Nostalgia de la luz)
by Patricio Guzmán
Chile, France, Germany

Pink Saris
by Kim Longinotto
UK, India

Queen of the Sun: What Are the Bees Telling Us?
by Taggart Siegel
USA

This film is also part of “What in the World Are We Doing to Our World?”

Tears of Gaza (Gazas tårer)
by Vibeke Løkkeberg
Norway

We Were Communists (Sheoeyin Kenna)
by Maher Abi Samra
Lebanon, France, UAE

Work in Progress (Out of Competition):
In My Mother’s Arms
by Mohamed Al-Daradji, Atia Al-Daradji
Iraq, UAE
Co-produced with SANAD

New Horizons Competition

The Awards

Films in this section compete for Black Pearl Awards in these categories:

–       Best New Narrative Film ($100,000)

–       Best New Narrative Film from the Arab World ($100,000)

–       Best New Documentary ($100,000)

–       Best New Documentary from the Arab World ($100,000)

The selected films in the New Horizons Competition:

Back Door Channels: The Price of Peace
by Harry Hunkele
USA
Documentary Feature
WORLD PREMIERE

Bill Cunningham New York
by Richard Press
USA
Documentary Feature

El Ambulante
by Eduardo de la Serna, Lucas Marcheggiano, Adriana Yurcovich
Argentina
Documentary Feature

Furious Force of Rhymes
by Joshua Atesh Litle
USA
Documentary Feature

Gesher
by Vahid Vakilifar
Iran
Narrative Feature

In Your Hands (Contre toi)
by Lola Doillon
France
Narrative Feature

In/Out of the Room (Dakhal Kharag El Ghorfa)
by Dina Hamza
Egypt
Documentary Feature
WORLD PREMIERE

The Kingdom of Women (Ein El-Hilweh)
by Dahna Abourahme
Lebanon
Documentary Feature

Living Skin (Jald Hayy)
by Fawzi Saleh
Egypt
Documentary Feature
WORLD PREMIERE

Ok, Enough, Goodbye (Tayeb, Khalas, Yalla)
by Rania Attieh, Daniel Garcia
Lebanon, UAE
Narrative Feature
WORLD PREMIERE
Co-produced with SANAD

Once Again (Marra Oukhra)
by Joud Said
Syria
Narrative Feature

Orion
by Zamani Esmati
Iran
Narrative Feature

Qarantina
by Oday Rasheed
Iraq, Germany, UAE
Narrative Feature
WORLD PREMIERE
Co-produced with SANAD

Slackistan
by Hammad Khan
Pakistan, UK
Narrative Feature

Sun Dress (Thawb Al-Shams)
by Saeed Salmeen
UAE
Narrative Feature
WORLD PREMIERE
Co-produced with SANAD

Wrecked
by Michael Greenspan
Canada
Narrative Feature
WORLD PREMIERE
GALA SCREENING

Zephyr (Zefir)
by Belma Baş
Turkey
Narrative Feature

Showcase

Films in this section are eligible for the Abu Dhabi Film Festival Audience Award ($30,000).

Certified Copy (Copie conforme)
by Abbas Kiarostami
France, Italy
Narrative Feature
GALA SCREENING

Detective Dee and the Mystery of the Phantom Flame (Di Ren Jie zhi Tong Tian Di Guo)
by Tsui Hark
People’s Republic of China, Hong Kong
Narrative Feature
CLOSING FILM (out of competition)

Fair Game
by Doug Liman
USA
Narrative Feature
GALA SCREENING

I Travel Because I Have to, I Come Back Because I Love You (Viajo porque preciso, volto porque te amo)
by Marcelo Gomes, Karim Aïnouz
Brazil
Narrative Feature

Kings of Pastry
by Chris Hegedus, D.A. Pennebaker
USA, UK
Documentary Feature

Let Me In
by Matt Reeves
USA
Narrative Feature
GALA SCREENING

The Oath
by Laura Poitras
USA
Documentary Feature

Paan Singh Tomar
by Tigmanshu Dhulia
India
Feature Narrative
WORLD PREMIERE
GALA SCREENING

Secretariat
by Randall Wallace
USA
Narrative Feature
OPENING FILM

West Is West
by Andy De Emmony
UK
Narrative Feature
GALA SCREENING

Women Are Heroes
by JR
France
Documentary Feature

“What in the World Are We Doing to Our World?”

Films devoted to broadening awareness of significant environmental issues.
Sponsored by MASDAR.

Cane Toads: The Conquest
by Mark Lewis
Australia, USA
Documentary Feature

Jane’s Journey
by Lorenz Knauer
Germany
Documentary Feature

Queen of the Sun: What Are the Bees Telling Us?
by Taggart Siegel
USA
Documentary Feature
This film is also part of the Documentary Feature Competition

Submission (Underkastelsen)
by Stefan Jarl
Sweden
Documentary Feature

Think Global, Act Rural (Solutions locales pour un désordre global)
by Coline Serreau
France
Documentary Feature

To the Sea (Alamar)
by Pedro González-Rubio
Mexico
Narrative Feature

Waste Land (Lixo Extraordinario)
by Lucy Walker
Brazil, UK
Documentary Feature

Special Programs

Restored Classics

The Circus
by Charlie Chaplin
USA 1928

Metropolis
by Fritz Lang
Germany 1927, restored 2010

The Mummy / The Night of Counting the Years (Al Momia)
by Shadi Abdel Salam
Egypt 1969, restored 2009
This film is also part of Mapping Subjectivity: Experimentation in Arab Cinema

Mapping Subjectivity: Experimentation in Arab Cinema

The Abu Dhabi Film Festival is proud to partner with the Museum of Modern Art (MoMA) and ArteEast in New York to present a selection of the program Mapping Subjectivity: Experimentation in Arab Cinema.

Chronicle of a Disappearance
by Elia Suleiman
Palestine, USA, Germany, France 1996

Divine Intervention (Yadon Ilahiya)
by Elia Suleiman
France, Morocco, Germany, Palestine 2002

Domestic Tourism II
by Maha Maamoun
Lebanon 2009
Experimental Video

The Mummy / The Night of Counting the Years (Al Momia)
by Shadi Abdel Salam
Egypt 1969, restored 2009
This film is also part of Restored Classics

Al Yazerli
by Kais Al Zubaidi
Syria, Iraq 1974

For complete program information visit www.abudhabifilmfestival.ae.

FIPRESCI and NETPAC Juries at the Abu Dhabi Film Festival

Marking its fourth edition, the Abu Dhabi Film Festival is pleased to host two prestigious international juries, which will present awards to films chosen from the Festival’s program.

The presence of the International Federation of Film Critics (FIPRESCI – Fédération Internationale de la Presse Cinématographique) and the Network for the Promotion of Asian Cinema (NETPAC) is sure to broaden the Festival’s collaborative network and enhance the cinematic discourse at the Festival.

FIPRESCI will award the International Film Critics’ Award (also known as the FIPRESCI Prize) at the Abu Dhabi Film Festival for the first time in 2010.

A jury of five FIPRESCI members, headed by the federation’s Honorary President, Andrei Plakhov, film critic, historian of cinema and columnist for Moscow’s Kommersant newspaper, will choose a winner from among the Arabic works in the Festival’s three competitions for feature-length films: Narrative Features, Documentary Features and New Horizons.

FIPRESCI was created in 1930 to promote and develop international film culture and safeguard the professional interests of film critics and journalists. With the protection of the freedom and ethics of the film press as its main objective, the federation’s worldwide network of national committees also works to expand the idea of cinema as an art form as well as a tool of cultural education. The International Film Critics’ Award was established to promote film art and support innovation in cinema.

The NETPAC Award will go to the best Asian film at the Abu Dhabi Film Festival, chosen by a jury of three NETPAC members from among the entire Festival selection.

The jury will be chaired by Alberto Elena Díaz, Director of the Granada Film Festival “Cines del Sur” (Cinemas of the South).

Founded in 1990, NETPAC has established itself as a leading platform for the discovery and promotion of Asian cinema. Drawing attention to the emergence of a new wave of Asian cinema at an early stage, the network helped Asian filmmakers gain international exposure by launching the quarterly publication Cinemaya and the NETPAC Award. Now presented at 28 film festivals on five continents, the NETPAC Award has become a yardstick for quality in Asian cinema.

ABOUT THE FESTIVAL

The Abu Dhabi Film Festival (formerly the Middle East International Film Festival) was established in 2007, with the aim of helping to create a vibrant film culture throughout the region. The event, presented each October by the Abu Dhabi Authority for Culture and Heritage (ADACH) under the patronage of its chairman H.E. Sheikh Sultan Bin Tahnoon Al Nahyan, is committed to curating exceptional programs to engage and educate the local community, inspire filmmakers and nurture the growth of the regional film industry.

With its commitment to presenting works by Arab filmmakers in competition alongside those by major talents of world cinema, the Festival offers Abu Dhabi’s diverse and enthusiastic audiences a means of engaging with their own and others’ cultures through the art of cinema. At the same time, a strong focus on the bold new voices of Arab cinema connects with Abu Dhabi’s role as a burgeoning cultural capital in the region and marks the festival as a place for the world to discover and gauge the pulse of recent Arab filmmaking.

The Abu Dhabi Film Festival is being held concurrently with the The Circle Conference, which takes place October 13-15, 2010. The Circle Conference is organized by the Abu Dhabi Film Commission. For more information visit: www.film.gov.ae.

With the generous support of our sponsors: L’Oréal (Official Beauty Partner); Emirates Palace and InterContinental Hotels (Hospitality Partners); Abu Dhabi Media Company and Abu Dhabi Airports Company (Contributing Sponsors); Robert WAN and CineStar (Suppliers); Zee Network, Zee Television, Radio 1, Radio 2 and MUBI (Media Partners).

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

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My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon