By Ray Pride Pride@moviecitynews.com

Reykjavík Fest Opens Thursday with Queen of Montreuil

PRESS RELEASE, SEPTEMBER 26, 2012

Reykjavík International Film Festival opens on Thursday with a screening of Queen of Montreuil by Sólveig Anspach in Harpa Music Hall. The festival runs for eleven days, until October 7th. The award ceremony takes place on October 6th. RIFF was founded in 2004, making this its ninth edition. Honorary guests include Dario Argento, Susanne Bier and Marjane Satrapi. Geoff Gilmore leads jury.

The competitive section ‘New Visions’ is limited to progressive debut and sophomore works like The Interval by Leonardo di Costanzo (Italy) and Eat Sleep Die by Gabriela Pichler (Sweden), while ‘Open Seas’ focuses on successful films from the festival circuit like Lore by Cate Shortland (Germany/Britain/Australia) and Everybody in Our Family by Radu Jude (Romania).

On the doc front, ‘A Different Tomorrow’ foregrounds environmental concerns with pics like Jeff Orlowski’s Chasing Ice (USA), while a general ‘Documentaries’ section is arranged by topics ranging from ‘digital’ (Indie Game: The Movie, Five Star Existence) to ‘world’ (China Heavyweight, Italy: Love it or Leave it) to ‘music’ (Freddie Mercury: The Great Pretender, Searching for Sugar Man) and ‘art’ (Marina Abramovic: The Artist is Present).

German filmmaking is given special prominence this year with a special screening of Metropolis with music performed live by Damo Suzuki, former singer of the legendary psychedelic rock group CAN, and an exhibition of photography by Ulrike Ottinger, whose latest film Under Snow is also playing. Christian Petzold’s Barbara – Germany’s representative at the Oscars’ – is screened, and newcomer Pola Schirin Beck has her world premiere of Breaking Horizons.

Icelandic Panorama is a selection of new Icelandic shorts, docs and features.

Honorary guests this year are Susanne Bier and Dario Argento. She receives the festival’s ‘Creative Excellence Award’ and attends a screening of her latest film, Love Is All You Need. He is awarded for his lifteime achievement and attends Q&A screenings of Suspiria, Inferno and Dracula 3D while also giving an open masterclass. This year’s ‘Emerging Master’ is Marjane Satrapi, who attends screenings of Persepolis and Chicken With Plums and speaks about her work alongside her editor Stéphane Roche.

Leading the RIFF jury this year is Geoffrey Gilmore, the director of Tribeca Enterprises and former director of the Sundance Film Festival. He is joined by Cedomir Kolar, producer of No Man’s Land (2001) and Erna Kettler, acquisitions manager from the Icelandic National Television.

RIFF is Iceland’s major annual film event, focusing on quality independent cinema and progressive filmmaking from all over the world every year. It is well attended by a number of international guests, including press, media and film personalities. RIFF’s past honorary guests include Jim Jarmusch, Milos Forman, Peter Greenaway, Costa-Gavras, Hanna Schygulla, Béla Tarr, Aki Kaurismäki, Hal Hartley, Shirin Neshat, Atom Egoyan, Abbas Kiarostami and numerous other names from the international film scene. Acclaimed Icelandic filmmakers Fridrik Thor Fridriksson (Children Of Nature, nominated for Best Foreign Language Film at the Oscars in 1992), Valdis Oskarsdottir (BAFTA winner for Best Editing, Eternal Sunshine of the Spotless Mind) and Baltasar Kormákur (Little Trip To Heaven, Jar City, Contraband) are members of RIFF’s festival committee.

Our webpage: www.riff.is

Programme (PDF). Catalogue (PDF).

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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