The Göteborg Film Festival's 8th Nostradamus Report, Transforming Storytelling Together, was presented at the festival's annual Nostradamus seminar. The annual report looks into the future of the screen industries three to five years from now through research and interviews with industry experts. The 2021 report expects the industry to go through an extensive reality check moving from streaming to reality warfare, and from pandemic to green issues.
Claudia Raschke is an award-winning New York City based cinematographer best known for such films as Oscar-nominated and Emmy winning RBG (Magnolia/ Participant/ CNN), Oscar-nominated God is Bigger Than Elvis (HBO), Peabody Award-winning Black Magic (ESPN), Oscar short-listed Mad Hot Ballroom (Paramount), Particle Fever (Bond), Atomic Homefront (HBO), and The Freedom to Marry (Argot Pictures). Her latest film, which screened at this year’s Sundance Film Festival, is My Name is Pauli Murray. Fifteen years before Rosa Parks refused to surrender her bus seat, and a full decade before the U.S. Supreme Court overturned separate-but-equal legislation, Pauli Murray was already knee-deep fighting for social justice. A pioneering attorney, activist and dedicated memoirist, Murray shaped landmark litigation—and consciousness— around race and gender equity. As an African American youth raised in the segregated South—who was also wrestling with broader notions of gender identity—Murray understood, intrinsically, what it was to exist beyond previously accepted categories and cultural norms. The film was made by the same team that made RBG including directors Julie Cohen and Betsy West, producer Talleah Bridges McMahon and editor Cinque Northern. My conversation with Raschke, via email, began with that team.
Erin Vassilopoulos’ directorial feature debut, Superior, is having its world premiere in the U.S. Dramatic Competition at this year’s Sundance Film Festival. Superior was inspired by a short film of the same name that she wrote and directed in 2015 when she was working on her MFA from New York University’s Tisch School of the Arts. While both films explore the relationship of identical twins and feature the same actresses, they tell very different stories. In the feature length version, when Marian is on the run, she goes to the only place she knows is safe: her childhood home. She is greeted by her estranged sister, Vivian, a stay-at-home housewife struggling to conceive and on the verge of a failing marriage. Though the two are identical twins, they live opposite lives. Marian’s mysterious return disrupts Vivian’s small-town routine, and the sisters must learn to reconnect and reconcile. When Marian's haunting past finally catches up to her, their separate worlds collide, catapulting both sisters into grave danger. I spoke with Vassilopoulos by email during the Festival. Our conversation began with what it was about twins that captured her imagination as a storyteller.
Last month, when the Göteborg Film Festival announced that one person would have the opportunity to watch this year’s festival at Pater Noster lighthouse without family, friends or mobile phone, the idea turned out to be immensely appealing. In less than two weeks, the festival committee received more than 12,000 applications from more than 45 countries. After a comprehensive process involving interviews and tests, one person has finally been selected for the coveted place: emergency nurse and film enthusiast Lisa Enroth from Skövde, Sweden.
The 44th Portland International Film Festival has announced the first wave of titles and special events. Taking place March 5-14, PIFF 44 is a program of the Portland Art Museum’s Northwest Film Center, one of the oldest and most distinguished media arts centers in the country. The festival centers on both artists and cinematic storytellers who are bold enough to interrupt the status quo, and focuses on those changing for whom, by whom, and how cinematic stories are told
iWoman TV has partnered with New York Women in Film & Television and Go Indie TV to showcase the work of female filmmakers and content creators through the 4th Annual NYWIFT Online Shorts Festival. Submissions are being screened throughout the month of January on iWoman TV and Go Indie TV.
Continuing its long-time support for independent film, Goldcrest Post provided post-production sound and/or picture services for six films screening in this year’s Sundance Film Festival. They include four films taking part in the U.S. Dramatic Competition, and one each including in the NEXT and Shorts tracks. All are world premieres. The festival will be held via new proprietary streaming platform from January 28 to February 3.
The global pandemic has forced the world’s cinemas to close down. The biggest film festival in Scandinavia is therefore creating The Isolated Cinema on the lighthouse island of Pater Noster. One film enthusiast will be able to enjoy the festival in total isolation on a rock far out at sea, with film as his or her only companion. There will also be exclusive one-person film screenings at two iconic venues in Göteborg. Our world looks very different today, and so too does the Göteborg Film Festival. The 2021 festival will be digital, with audience having access to all the films, premieres and talks via a digital platform. Some participants will also get a real-life experience with the opportunity to watch the films in total seclusion: The Isolated Cinema.
For the fifth consecutive year, the award for outstanding writing of a Nordic drama series, funded by Nordisk Film & TV Fond, will be handed out during TV Drama Vision, Göteborg Film Festival’s conference event and series market. Five drama series from Denmark, Finland, Iceland, Norway and Sweden have been nominated for the prize, which will be awarded to the main writer.
Fugitive Dreams, based on the play by Caridad Svich, is an allegorical road movie touching on themes of homelessness, mental health and addiction, as two lost souls embark across a dreamscape America. Their darkly strange journey confronts them with their traumatic pasts, and bonds them in compassion and love. For cinematographer Peter Simonite, ASC, CSC lensing the film meant needing a vintage look — but a look that was also consistent between lenses.