By Ray Pride Pride@moviecitynews.com

Tallying Telluride 2019

Telluride, CO (August 29, 2019) – Telluride Film Festival, presented by the National Film Preserve, today announced its official program selections for the 46th edition of the Telluride Film Festival. TFF’s celebration of artistic excellence brings together cinema enthusiasts, filmmakers and artists to discover the best in world cinema in the beautiful mountain town of Telluride, Colorado. TFF will screen over seventy-five feature films, short films and revival programs representing twenty-seven countries, along with special artist Tributes, Conversations, Panels, Student Programs and Festivities. Telluride Film Festival takes place Friday, August 30 – Monday, September 2, 2019.

46th Telluride Film Festival is proud to present the following new feature films to play in its main program, the SHOW:

  • THE AERONAUTS (d. Tom Harper, U.S. – U.K., 2019)
  • THE ASSISTANT (d. Kitty Green, U.S., 2019)
  • THE AUSTRALIAN DREAM (d. Daniel Gordon, Australia, 2019)
  • BEANPOLE (Kantemir Balagov, Russia, 2019)
  • THE CLIMB (d. Michael Angelo Covino, U.S., 2019)
  • COUP 53 (d. Taghi Amirani, U.K., 2019)
  • DIEGO MARADONA (d. Asif Kapadia, U.K., 2019)
  • FAMILY ROMANCE, LLC (d. Werner Herzog, U.S. – Japan, 2019)
  • FIRST COW (d. Kelly Reichardt, U.S., 2019)
  • FORD v FERRARI (d. James Mangold, U.S., 2019)
  • JUDY (d. Rupert Goold, U.K.-U.S., 2019)
  • A HIDDEN LIFE (d. Terrence Malick, U.S. – Germany, 2019)
  • THE HUMAN FACTOR (d. Dror Moreh, U.K., 2019)
  • INSIDE BILL’S BRAIN (d. Davis Guggenheim, U.S., 2019)
  • THE KINGMAKER (Lauren Greenfield, U.S., 2019)
  • LYREBIRD (d. Dan Friedkin, U.S., 2019)
  • MARRIAGE STORY (d. Noah Baumbach, U.S., 2019)
  • MOTHERLESS BROOKLYN (d. Edward Norton, U.S., 2019)
  • OLIVER SACKS: HIS OWN LIFE (d. Ric Burns, U.S., 2018)
  • PAIN AND GLORY (d. Pedro Almodóvar, Spain, 2019)
  • PARASITE (d. Bong Joon-ho, South Korea, 2019)
  • PORTRAIT OF A LADY ON FIRE (d. Céline Sciamma, France, 2019)
  • THE REPORT (d. Scott Z. Burns, U.S., 2019)
  • TELL ME WHO I AM (d. Ed Perkins, U.K., 2019)
  • THOSE WHO REMAINED (d. Barnabás Toth, Hungary, 2019)
  • THE TWO POPES (d. Fernando Meirelles, U.K., 2019)
  • UNCUT GEMS (d. Josh Safdie, Benny Safdie, U.S., 2019)
  • VARDA BY AGNÈS (d. Agnès Varda, France, 2019)
  • VERDICT (d. Raymond Ribay Gutierrez, Philippines, 2019)
  • WAVES (d. Trey Edward Schultz, U.S., 2019)

Also playing in the main program is COUNTRY MUSIC (d. Ken Burns, U.S., 2019); WOMEN MAKE FILM: A NEW ROAD MOVIE THROUGH CINEMA (d. Mark Cousins, U.K., 2019); and three short films: FIRE IN PARADISE (d. Zack Canepari, Drea Cooper, U.S., 2019), INTO THE FIRE (d. Orlando von Einsiedel, Iraq-U.K., 2019) and LOS AND FOUND (d. Orlando von Einsiedel, Bangladesh-U.K., 2019).

The 2019 Silver Medallion Awards, given to recognize an artist’s significant contribution to the world of cinema, will be presented to Academy Award winning actress Renée Zellweger (with JUDY), Oscar nominated actor Adam Driver (with MARRIAGE STORY and THE REPORT) and Oscar nominated Philip Kaufman (with newly restored THE UNBEARABLE LIGHTNESS OF BEING). Tribute programs include a selection of clips followed by the presentation of the Silver Medallion, an onstage interview and a screening of the aforementioned films.

Guest Director Pico Iyer, who serves as a key collaborator in the Festival’s program, presents the following revival programs:

  • LATE AUTUMN (d. Yasujirō Ozu, Japan, 1960)
  • THE MAKIOKA SISTERS (d. Kon Ichikawa, Japan, 1983)
  • MR. AND MRS. IYER (d. Aparna Sen, India, 2002)
  • UNDER THE SUN (d. Vitaly Mansky, Czech Republic-Russia-Germany-Latvia-North Korea, 2015)
  • WHEN A WOMAN ASCENDS THE STAIRS (d. Mikio Naruse, Japan, 1960)

Additional film revivals include THE WIND (d. Victor Sjöström, U.S, 1928), and a new 35mm print of THE PHANTOM CARRIAGE (d. Victor Sjöström, Sweden, 1921).

Telluride Film Festival annually celebrates a hero of cinema – an organization or individual – that preserves, honors and presents great movies. This year’s Special Medallion award goes to the company that revolutionized sound, Dolby Laboratories.

Backlot, Telluride’s intimate screening room featuring behind-the-scenes movies and portraits of artists, musicians and filmmakers, will screen the following programs:

  • 63 UP (d. Michael Apted, U.K., 2019)
  • BILLIE (d. James Erskine, U.K., 2019)
  • CHULAS FRONTERAS (d. Les Blank, U.S., 1976)
  • THE GIFT: THE JOURNEY OF JOHNNY CASH (d. Thom Zimny, U.S., 2019)
  • LINDA RONSTADT: THE SOUND OF MY VOICE (d. Rob Epstein, Jeffrey Friedman, U.S., 2019)
  • NOMAD: IN THE FOOTSTEPS OF BRUCE CHATWIN (d. Werner Herzog, U.S., 2019)
  • SOROS (d. Jesse Dylan, U.S., 2019)
  • UNCLE YANCO (d. Agnès Varda, France-U.S., 1967) + BLACK PANTHERS (d. Agnès Varda, France-U.S., 1968)

Additional Festivities will take place throughout the Festival including a Poster Signing with 2019 poster artist Edwina White; two Philip Kaufman classics including THE RIGHT STUFF (U.S., 1983) and THE WANDERERS (U.S, 1979); and Sydney Pollack’s long anticipatedAMAZING GRACE (U.S., 1972/2015).

“We are fortunate every year to share some the finest films created with our audience in Telluride” said executive director Julie Huntsinger. “This year is no exception. We are taken aback at the quality and variety of movies we’ve been lucky enough to include. We are excited for our attendees to be as thrilled as we are by this year’s program.”

Huntsinger goes on to praise the wonderful partnerships that help make the Festival successful year after year. “Collaborations with an incredible group of partners enhance and uplift our Festival experience each year. Of particular note this year are three expansions. Turner Classic Movies adds support to our Guest Director program in addition to the Palm. We will continue to enjoy Meyer Sound’s extraordinary audio experience not only at the Galaxy and Werner Herzog Theaters but at the Nugget as well. While Netflix will delight all with their presence at the Chuck Jones Cinema.

Corporate and institutional support at Telluride Film Festival plays a dynamic role in the life of the Festival and underscores the Festival’s commitment to quality, adventure and distinction in the art of cinema. TFF is honored to feature some of the world’s most renowned consumer and entertainment brands. We are filled with gratitude for their unique contributions and for exceptional long-term relationships with Turner Classic Movies, Meyer Sound, Amazon Studios, ARRI, Participant Media, the Academy of Motion Pictures Arts and Sciences, Dolby, Mandarin Oriental Hotel Group, UCLA TFT, Universal Studios, and Criterion Collection. And a special welcome to new sponsor Stanley, A Brand of PMI, and more!”

Telluride Film Festival’s shorts program, Filmmakers of Tomorrow, includes three sections: Student Prints, Calling Cards and Great Expectations from eighteen emerging filmmakers from around the globe.

Telluride Film Festival’s Student Programs present students the opportunity to experience film as an art and expand participants’ worldview through film screenings and filmmaker discussions. The Student Symposium provides 50 graduate and undergraduate college students with a weekend-long immersion in cinema. The City Lights Project, celebrating its 20th year, brings together 15 high school students and five teachers from three schools to participate in a concentrated program of screenings and discussions. FilmLAB offers a master-class program for ten UCLA School of Theater, Film and Television graduate filmmaking students. The FilmSCHOLAR program gives young film scholars and aspiring critics the opportunity to immerse themselves in a weekend of cinema and learn from some of the best in the field. Created in conjunction with the University of Wisconsin. University Seminars allows university professors to travel with students to the Festival and participate in special programming throughout the weekend.

Telluride Film Festival’s Talking Heads programs allow attendees to go behind the scenes with the Festival’s special guests. SevenConversations take place between Festival guests and the audience about cinema and culture, and three outdoor Noon Seminars feature a panel of Festival guests discussing a wide range of film topics. These programs are free and open to the public.

For more information about Telluride Film Festival, or to download the 2019 program guide, please visit: www.telluridefilmfestival.org.

About Telluride Film Festival

The prestigious Telluride Film Festival ranks among the world’s best film festivals and is an annual gathering for film industry insiders, cinema enthusiasts, filmmakers and critics. TFF is considered a major launching ground for the fall season’s most talked-about films. Founded in 1974, Telluride Film Festival, presented in the beautiful mountain town of Telluride, Colorado, is a four-day international educational event celebrating the art of film. Telluride Film Festival’s long-standing commitment is to join filmmakers and film connoisseurs together to experience great cinema. The exciting schedule, kept secret until just before Opening Day, consists of over three dozen filmmakers presenting their newest works, special Guest Director programs, major Tributes to guest artists, special events and remarkable treasures from the past. Telluride Film Festival is a 501 (c)(3) non-profit educational program. Festival headquarters are in Berkeley, CA.

About Our Sponsors

Telluride Film Festival is supported by Signature Sponsors: Turner Classic Movies, Meyer Sound; Major  Sponsors: Netflix, Amazon Studios, ARRI, Participant Media, Stanley, A Brand of PMI, Universal Studios, Mandarin Oriental Hotel Group, UCLA School of Theater, Film and Television; Festival Sponsors: Academy of Motion Picture Arts and Sciences, The Criterion Collection, Dolby, Dell Technologies, Boston Light & Sound;  SHOW Sponsors: Telluride Ski & Golf Resort, National Endowment for the Arts, Telluride Mountain Village Owners Association; Hospitality Partners: Telluride Alpine Lodging, The London West Hollywood at Beverly Hills, Madeline Hotel & Residences – Auberge Resorts Collection, New Sheridan Hotel; plus Fotokem, Piper-Heidsieck, Spectrum, Seghesio Family Vineyards, Anchor Brewing Company, the Town of Telluride, AESOP and Vimeo.

# # #

Be Sociable, Share!

Comments are closed.

Quote Unquotesee all »

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