By MCN Editor editor@moviecitynews.com

AMAZONAS FILM FESTIVAL UNVEILS 2010 JURORS AND LINE-UP

Award-winning films from around the globe will be screened
at this unique festival in the heart of the Amazonian rainforest

MANAUS, BRAZIL (October 28, 2010) – The seventh annual Amazonas Film
Festival today announced its 2010 line-up, which features award-winning
films from around the globe, and its jury of international stars and
filmmakers. The festival will run November 5-11 in Manaus, Brazil.
Screenings will be held at the Teatro Amazonas, the Belle-Epoque opera
house upon which Werner Herzog based his epic film, Fitzcarraldo.

35 films will competed in three sections, all vying for the Voo na
Floresta (Flight Over the Jungle) trophy. These include: the
International Feature Competition; the Brazilian Short Film Competition;
the Competition for shorts produced in the state of Amazonas; and the
screenwriting competition, for which there is a $40,000 prize.

The International Feature Competition will showcase eight films from a
diverse selection of countries, including: the Sundance Film Festival
Grand Jury Prize award-winner Winter’s Bone, the Brazilian documentary
Wasteland, which won the audience awards at both the 2010 Sundance and
Berlin Film Festivals, and After Shock, considered to be the most
successful Chinese movie of all time. The full line-up of films is below.

The jury will be presided over by Jean-Christophe Berjon, the Artistic
Director of the Cannes Film Festival Critics’ Week. He will be joined by
Brazilian film and television star Francoise Forton, renowned Spanish
director Miguel Hermoso (Fugitives, Lola, la pelicula), acclaimed Cuban
actor Jorge Perrugorria (Strawberry and Chocolate, Horn of Plenty, Che),
and veteran Brazilian director-producer, Jose Joffily (Who Killed
Pixote?).

The Amazonas Film Festival is a weeklong gathering for Brazilian cinema
enthusiasts, film industry insiders, international celebrities,
filmmakers, and journalists to celebrate art and film in an incredible
setting – the Amazonian rainforest.

Further information about the festival is available at
facebook.com/AmazonasFilmFestival

AMAZONAS FILM FESTIVAL 2010

INTERNATIONAL FEATURE FILM COMPETITION

• AFTERSHOCK, by Xiaogang Feng – 2010, China, Drama
• ELVIS E MADONA, by Marcelo Laffitte – 2010, Brazil, Fiction
• HABANA EVA, by Fina Torres – 2010, Venezuela / Cuba, Comedy
• LAS BUENAS HIERBAS, by María Novaro, 2010 – Mexico, Drama
• LIXO EXTRAORDINÁRIO (WASTELAND) by João Jardim, Karen Harley and Lucy
Walker – 2010, Brazil, Documentary
• LUZ NAS TREVAS A VOLTA DO BANDIDO DA LUZ VERMELHA, by Helena Ignez and
Ícaro C. Martins – 2010, Brazil, Fiction
• WINTER’S BONE, by Debra Granik – 2010, USA, Drama
• THE OATH, by Laura Poitras – 2010, USA, Documentary

BRAZILIAN SHORT FILM COMPETITION

• A CIDADE E O DESEJO Nº 5, by Gabriel Bitar – 2010, Brazil – São Paulo,
Animation
• AMIGOS BIZARROS DO RICARDINHO, by Augusto Canani – 2009, Brazil – Rio
Grande do Sul, Fiction
• BAILÃO, by Marcelo Caetano – 2009, Brazil – São Paulo, Documentary
• CACHOEIRA, by Sérgio José de Andrade – 2010, Brazil – Amazonas, Fiction
• CARRETO, by Marília Hughes e Cláudio Marques – 2009, Brazil – Bahia,
Fiction
• DOIS MUNDOS, by Thereza Jessouroun – 2009, Brazil – Rio de Janeiro,
Documentary
• ENSAIO DE CINEMA, by Allan Ribeiro – 2009, Brazil – Rio de Janeiro,
Experimental
• ENCICLOPÉDIA, by Bruno Gularte Barreto – 2009, Brazil – Rio Grande do
Sul, Fiction
• ESTAÇÃO, by Marcia Faria – 2010, Brazil – São Paulo, Fiction
• EU NÃO QUERO VOLTAR SOZINHO, by Daniel Ribeiro – 2010, Brazil – São
Paulo, Fiction
• EU QUERIA SER UM MONSTRO, by Marão – 2009, Brazil – Rio de Janeiro,
Animation
• FANTASMAS, by André Novais Oliveira – 2010, Brazil – Minas Gerais, Fiction
• GERAL, by Anna Azevedo – 2010, Brazil – Rio de Janeiro, Documentary
• JANELA MOLHADA, by Marcos Enrique Lopes – 2010, Brazil – Pernambuco,
Documentary
• NAIÁ E A LUA, by Leandro Tadashi – 2010, Brazil – São Paulo, Fiction /
Animation
• RECIFE FRIO, by Kleber Mendonça Filho – 2009, Brazil – Pernambuco, Fiction
• JUAINÁ – LÁGRIMAS DE VENENO, by Junior Rodrigues – 2010, Brazil –
Amazonas, Fiction

SHORTS COMPETITION -FOR FILMS PRODUCED IN AMAZONAS-

• ALGORITMO, by Michelle Andrews – 2009, Brazil – Amazonas, Experimental
• CONTO DE ADUACÁ, by Roberto Rogger – 2010, Brazil – Amazonas, Fiction
• CONTRA-FLUXO, by Valdemir de Oliveira – 2010, Brazil – Amazonas,
Experimental
• E AGORA O QUE NOIS RAMÚ CUMÊ?, by Daniel Luiz Batista – 2010, Brazil –
Amazonas, Animation
• LADY MURPHY, by Maria Elisa Souto Bessa – 2010, Brazil – Amazonas, Fiction
• MOSAICO ABSTRATO, by Sávio Stoco – 2010, Brazil – Amazonas, Animation /
Experimental
• CONTO DA ROSA, by Janssem Cardoso da Silva – 2010 – Brazil – Amazonas,
Animation
• ROCK QUE O Brazil NÃO VIU, by Bosco Leão, Caio de Biase, Clóvis
Rodrigues – 2009, Brazil – Amazonas, Documentary
• PERDIDO, by Zeudi Souza – 2010, Brazil – Amazonas, Fiction
• SARDINHAS EM LATA, by Keyla Serruya – 2010, Brazil – Amazonas, Documentary

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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.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

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