By MCN Editor editor@moviecitynews.com

The Awards of The 51st Thessaloniki International Film Festival

The International Jury of the 51st Thessaloniki Film Festival comprised of:

Michel Demopoulos, Jury President, Film critic (Greece)

Mohamed Al-Daradji, Director (Iraq)

Scandar Copti, Director (Palestine)

Behrooz Hashemian, Producer (Iran/USA) and

Martin Schweighofer, Managing Director Of The Austrian Film Commission

Bestows:

THE AWARDS

Best Feature Film AwardGolden Alexander (20.000 euros)

PERIFERIC (OUTBOUND) By BOGDAN GEORGE APETRI, Producer Alexandru Teodorescu, Screenwriters Tudor Voican, Bogdan George Apetri – based on an idea by Ioana Uricaru & Cristian Mungiu, Romania/Austria, 2010

Special Jury AwardSilver Alexander (10.000 euros)

ATTENBERG By ATHINA RACHEL TSANGARI, Producers Angelos Venetis, Iraklis Mavroidis, Yorgos Lanthimos, Athina Rachel Tsangari, Maria Hatzakou, Screenwriter Athina Rachel Tsangari, Greece, 2010

Special Jury Award for Originality and Innovation Bronze Alexander (5.000 euros)

JEAN GENTIL By LAURA AMELIA GUZMAN & ISRAEL CARDENAS, Producers Pablo Cruz, Bärbel Mauch, Israel Cardenas, Laura Amelia Guzman, Screenwriters Israel Cardenas, Laura Amelia Guzman, Mexico/Dominican Republic/Germany, 2010

Best Director Award to MARIAN CRISAN for MORGEN, Producer Anca Puiu, Screenwriter Marian Crisan, Romania/France/Hungary, 2010

Best Screenplay Award to MAREK LECHKI for ERRATUM by Marek Lechki, Producer Marek Lechki, Poland, 2010

Best Actress Award to Ana Ularu in PERIFERIC (Outbound), by Bogdan George Apetri, Producer Alexandru Teodorescu, Screenwriters Tudor Voican, Bogdan George Apetri – based on an idea by Ioana Uricaru & Cristian Mungiu, Romania/Austria, 2010

Best Actor Award ex aequo to ANDRAS HATHAZI and YILMAZ YALCIN in MORGEN by Marian Crisan, Producer Anca Puiu, Screenwriter Marian Crisan, Romania/France/Hungary, 2010

Artistic Achievement Award ZEFIR (ZEPHYR) By BELMA BAS, Producers Seyhan Kaya, Birol Akbaba, Screenwriter Belma Bas, Turkey, 2010

FIPRESCI AWARDS

The 51st International Thessaloniki Film Festival FIPRESCI (International Federation of Film Critics) jury comprised of:

Annika Gustafsson, President (Sweden)

Dubravka Lakic (Serbia)

Minou Moshiri (Iran)

Chris Patmore (UK) and

Tasos Retzios (Greece)

Bestows the FIPRESCI awards:

For a film in the International Competition Section 2010 to

MORGEN By MARIAN CRISAN, Producer Anca Puiu, Screenwriter Marian Crisan, Romania/France/Hungary, 2010

For a film in the Greek Films 2010 section to

APNIA (APNEA) By ARI BAFALOUKA, Producers Ari Bafalouka, Elisavet Tsouhtidi, Screenwriter Yiannis Tsiros, Greece, 2010

HUMAN VALUES AWARD (7.500 euros)

The Hellenic Parliament TV Channel bestows the award to a film of the Independence Days ID-10 section,

LOS LABIOS (THE LIPS) by IVAN FUND & SANTIAGO LOZA, Producers Ivan Eibuszyc, Ivan Fund, Santiago Loza, Screenwriters Ivan Fund & Santiago Loza, Argentina, 2010

FISCHER AUDIENCE AWARDS

For a film in the International Competition section

(3.000 euros)

For a film in the Greek Films section (3.000 euros)

KANENAS (NOBODY) By CHRISTOS NIKOLERIS, Producer Yiannis Exintaris, Screenwriter Panayiotis Iosifelis, Greece, 2010

For a film in the Balkan Survey section

(2.000 euros)

CIRKUS COLUMBIA By DANIS TANOVIC, Producers Cedomir Kolar, Amra Baksic Camo, Marc Bachet, Mirsad Purivatra, Screenwriters Danis Tanovic, Ivica Dikic – based on the novel Cirkus Colombia by Ivica Dikic, Bosnia&Herzegovina/France/UK/Germany/Slovenia/Belgium, 2010

For a film in the Open Horizons section (2.000 euros)

EN GANSKE SNILL MAN (A SOMEWHAT GENTLE MAN) By HANS PETTER MOLAND, Producers Finn Gjerdrum, Stein B. Kvae, Screenwriter Hans Petter Moland, Norway, 2010

CINEMA AND THE CITY AWARD (10.000 euros)

The Municipality of Thessaloniki bestows the award to a film of the International Competition section,

JO POUR JONATHAN (JO FOR JONATHAN) By MAXIME GIROUX, Producer Paul Barbeau, Screenwriters Alexandre Laferriere, Maxime Giroux, Canada, 2010

THE GREEK FILM CRITICS ASSOCIATION (PEKK) AWARD

The PEKK award for is given to PERIFERIC (OUTBOUND) By BOGDAN GEORGE APETRI, Producer Alexandru Teodorescu, Screenwriters Tudor Voican, Bogdan George Apetri – based on an idea by Ioana Uricaru & Cristian Mungiu, Romania/Austria, 2010

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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