THE NEW WAVES OF EUROPEAN CINEMA

THE NEW WAVES OF EUROPEAN CINEMA

Tuesday 10 de October

Among them we will see 9 Fingers, a Franco-Portuguese production in the form of a thriller which won the Best Director Award at the last Locarno festival for the writer, musician, singer and filmmaker F. J. Ossang, a rara avis who occupies a distinctive, unique place in the French film industry. Maryam Goormaghtigh presents Before Summer Ends, a vital road-buddy movie –which brings to mind Stranger Than Paradise, by Jarmusch- in which three young Iranians try to find themselves while traveling around the south of France. Leonardo di Costanzo moves to the outskirts of Naples in The Intrusion, for this ensemble work, a social, human portrait based around the character of a social worker and the ghetto collectives with whom she deals. Coming from the Critics’ Week at Venice to The New Waves we have Pin Cushion, the first film by the British director Deborah Haywood, a perverse look at the adolescent female world which investigates the cruel profile of small communities. Bojan Vuletić, after participating in the Special Panorama at the Berlinale, presents the black comedy Requiem for Mrs J. which revolves around a widow who tries unsuccessfully to commit suicide, and describes the influence of the social situation on people. Katharina Wyss presents in Seville her first film Sarah Plays a Werewolf, a film of initiation, premiered at the Critics’ Week in Venice, in which the protagonist exorcises her demons on stage in order to overcome the difficulties of adolescence. The German Julian Radlmaier practices surrealism and humour in Self-Criticism of a Bourgeois Dog, a sarcastic study of class society and the world of film production that was presented at the last edition of the Berlin Festival. Premiered at Venice, The Gulf is the first feature film as director by Emre Yeksan, a film with autobiographical references, in which the protagonist find answers to his life questions when an accident changes everything on his return to his home city. Also premiered in Venice was The Wild Boys, a first film by Bertrand Mandico, a stimulating journey featuring five boys, played by actresses, that talks openly about the limitations imposed by genders.

The New Waves includes three films that can also be seen in the Filmlovers of the Future Section which the festival has proposed for an adolescent public. In addition to the already announced Mrs. Hyde by Serge Bozon, there is Sicilian Ghost Story by Fabio Grassadonia and Antonio Piazza and Ava by Léa Mysius. Sicilian Ghost Story, winner of Best Script Award at Sundance and premiered at the Cannes Festival, takes the real case of a boy kidnapped by the mafia in order to tell the story of a first love between a Romeo and Juliet aged 13. The young director Léa Mysius mixes genres in her moving first film, Ava, premiered at the Critics’ Week in Cannes, to tell us of the sexual awakening of an adolescent who is about to lose her sight.

These films complete The New Waves along with the already announced titles in this section such as Niñato by Adrián Orr; Colo by Teresa Villaverde; Undergrowth by David Gutiérrez Camps; Milla by Valérie Massadian; Vitalium, Valentine! by Jean-Charles Fitoussi; Ayudar al Ojo Humano by César Velasco-Broca; or Algo muy Gordo by Carlo Padial which will open the competition in this section.

 


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