Isabelle Giordano, the general director of the organization in charge of promoting French cinema around the world, talks to Flix about the ‘recipe for its success’.
It takes more than just making good films. The success and worldwide advancement of French cinema, has been accomplished by means of continuous and very focused work, the greatest part of which has been carried out by uniFrance. Last April, Isabelle Giordano took over as the organization’s general director and is now one of the main figures providing guidelines for French cinema’s extroversion and global propagation. Giordano, is a journalist and film critic and has presented film-themed TV shows for years. Along with uniFrance’s new president, the director Jean-Paul Salomé, Giordano has taken on a truly important task, continuing the work of a long list of distinguished predecessors.
Asimina Proedrou, was the undisputed star of the annual Drama Short Film Festival. She won the festival’s big award for ‘Red Hulk’. But even before Proedrou was honored, she had gained the admiration of those present, for the way she dealt with neo-fascism in the short duration of her urgent and thrilling film.
Pantelis Voulgaris brings the book of the same name by Ioanna Karistiani to the big screen, realizing a life-long dream. Flix made its way to the (spectacular) filming which took place on the island of Andros and here’s our account of what we experienced.
‘Little England’ began as words on paper for its author, Ioanna Karistiani. Even if the author and wife of director Pantelis Voulgaris had not written another book after this chronicle of life, love and death on the Andros of yesteryear, this would have been enough to rank her among the greatest of Greek novelists.
How did Greek producers fare at the Cannes Film festival? A conversation about veni vidi vici…under circumstances.
During the 66th Cannes Film Festival, Greece’s new generation of producers, those that sustain Greek cinema and keep it alive, came to the city in search of new international collaborations. Read their account of the festival below.
The Cannes Film Festival, apart from being a launchpad and springboard for movies that are already finished, is also a large movie market, where projects that are just starting or are in production already can find new allies, for funding and/or for promotion abroad. The process is tiring and costly but it can produce the most amazing results, especially for Greek movies that rarely have the opportunity to be made with only local means.
Many of Greece’s new brigade of movie producers, professionals that have been working towards the local industry’s extroversion, made their way to Cannes this year. Most of them financed their trips on their own and made their way to Europe’s most important film festival to claim a share of the market.
Read below how they fared and what they accomplished at the Côte d’Azur.
The omnipresent Flix camera caught Athina Rachel Tsangari in a confessional mood at the 53rd Thessaloniki International Film Festival, where “The Capsule” received its Greek premiere back in November, and recorded her every thought on artistic challenge, fashion, the short film format, animation and genre cinema. With Sundance in full swing and Tsangari back on the snowy slopes of the festival that first welcomed “Attenberg” in 2011, this interview couldn’t be more pertinent…
Has “Attenberg” opened the doors for Athina Rachel Tsangari’s idiosyncratic filmmaking? What were the challenges of creating a film “capsule” as part of an art project? What role does fashion play in perpetuating female stereotypes? Who is the Polish painter Aleksandra Waliszewska and how did her paintings function as a visual screenplay for Tsangari’s avant-garde short?