Pro Tools
•Register a festival or a film
Submit film to festivals Promote for free or with Promo Packages

FILMFESTIVALS | 24/7 world wide coverage

Enjoy the best of both worlds: Portal for Film & Festival News, exploring the best of the festivals community.  

An adventure to explore from imagination to reality,  the arts & talents to be discovered.

Started in 1995 connecting films to festivals, reporting and promoting festivals worldwide.

A brand new website will soon be available, hopefully beginning of next year. Totally restructured for a better user experience.

For any collaboration, journalists, participations, developers PHP, Javascript, CMS or more please send us an email here Same for publicity. Please include your complete information (email and phone number) if you want an answer.

User login

|FRENCH VERSION|

RSS Feeds 

A thousand generations live in you now. See Star Wars: The Rise of Skywalker in theaters December 20.

James Bond 007 No time to die 2020 Daniel Craig, Rami Malek

Trailors in 2020

 Edie is a 2017 British drama film directed by Simon Hunter and written by Elizabeth O'Halloran. Discovered at the SBIFF not to be forgotten.

Laura Blum


Laura is a festival correspondent covering films and the festival circuit for filmfestivals.com. She also publishes on Thalo

 


feed

Alfonso Cuaròn Explores "Gravity"

On a recent wintry night, the 13th snow storm of the season froze the Film Society of Lincoln Center's plans to host Alfonso Cuarón in a conversation about his new film Gravity. The acclaimed Mexican director, whose lift-off to New York was aborted, was instead astral-projected by video Skype.

Cuarón is perhaps best known to American audiences for his screen adaptation of the children's book A Little Princess; his Mexican road comedy Y Tu Mamá También; and his sleight of hand on a studio franchise, Harry Potter and the Prisoner of Azkaban. Children of Men added to his roster of Oscar nominations and won critical esteem as well as a science fiction fan base.

Science and invention surface anew in Cuarón's 3-D space odyssey co-scripted with his son, Jonás Cuaròn. It stars Sandra Bullock as Dr. Ryan Stone, a medical engineer on her maiden voyage aboard the Space Shuttle Explorer. George Clooney's veteran astronaut, Matt Kowalski, spacewalks around her with his usual flirty banter until things go horribly awry: Houston warns that a Russian missile has knocked out a satellite, and its detritus is barreling in their direction. The rubble quickly devastates both the Hubble Space Telescope they had come to service as well as the Explorer, whose crew is now dead. 

With 90 minutes to go until the space cloud reorbits their field -- and with dwindling fuel reserves -- the duo find their way to the blighted International Space Station. En route, Stone opens up about the traumatic death of her young daughter. Stone manages to latch onto the damaged ISS and to tether Kowalski's suit, but over her protests he detatches in order to save her from drifting away with him. Kowalski comes back to advise Stone just as she's giving up hope aboard a Soyuz capsule, though she soon realizes that his reappearance was just a hallucination. Armed with a new resolve, she connects with the Chinese space station Tiangong and commandeers its Shenzhou rocket designed to re-enter Earth.

The bulk of this taut survival tale orbits Ryan's isolation in the cosmos. Yet, the film itself is heaped with love. It has attracted 10 Oscar nods: Best Picture, Director, Actress, Cinematography, Editing, Production Design, Score, Sound Editing, Sound Mixing and Visual Effects.

The Q&A between Cuarón and Film Comment editor-in-chief Gavin Smith that followed the Lincoln Center screening gave the director a chance to delve into the bionic wizardry of the shoot and the all-too-human themes of the narrative.

Cuarón talked about inventing a "completely new way of making a movie" in the tradition of Stanley Kubrick, Steven Spielberg and James Cameron. He explained that"a traditional CGI approach was not possible because of the physics of being in zero gravity." After much trial and error, he and his team -- including Academy Award-winning cinematographer Emmanuel Lubezki and visual effects supervisor Tim Webber -- famously improvised a solution from scratch.

Cuarón recalled sending the script to "Chivo" (that's Lubezki's nickname), with the description that "it was just an intimate story of a woman dealing with her grief," requiring roughly a year to make "with some visual effects." As it happened, preproduction lasted two-and-a-half years, mostly to develop the technology. The shoot then straddled two summers: 11 weeks on the first go-round and back the following summer for another two weeks. The rig was just that complex. Cuarón joked about his own tech savvy, cracking that he "can google to look for a movie theater, but that's about it."

As for the actors' prep, Sandra Bullock put in five strenuous months. There were moves to work out with the stunt people and scenes to block with the animators, to say nothing of her efforts with the special effects department. Of the precise cues, positions and timings that Bullock had to reach amid virtual sets, Cuarón said she was like a dancer learning choreography, and the shoot, her performance. Not only did the regimen boost Bullock's strength, but it also chiseled her character's persona. Bullock "wanted to really be trim and give this androgenous feel throughout the first part of the film."

"The process allowed us to dig deeper and deeper into the emotional core of the scene," stressed the director. Explaining that Bullock was locked inside a 10' x 10' lightbox for her insular scenes, he noted that she opted to stay inside between takes. "She started using it as her own process," he marveled.

The Soyuz capsule was one of the production's only real sets. Yet far from delivering a respite from the demands of the virtual environment, it was the site of that particularly tough scene whereby Stone hallucinates Kowalski's return. And it's captured all in one take. "It's a big arc: it goes from the spirit of resignation to trying to kill herself to the moment of the epiphany of a new resolve," said Cuarón. "Because of the nature of shooting in a small space and the camera moving around, pieces of the set were floating in and out all the time," he added. "There were moments in which Sandra suddenly had to talk because the camera was passing; or the whole ship would have to rotate to allow Clooney to come in and rotate back for him to sit back down. In all those cues she would never miss one single emotional beat."

The audience hung on Cuarón's every word. Those who came for the shoptalk were ecstatic, and the questers of deeper meaning more than met their match in Cuarón.

"It's about this astronaut who's drifting between the void and the possibility of life on the other side: the Earth," he mused. To finetune the observation, Cuarón qualified his heroine as the "victim of her inertia" who is "getting far away from human communication." He tagged the film as a "story about rebirth...of gaining a new knowledge of herself."

Whatever the struggles of the protagonist, an ongoing drama for the filmmakers was the battle between good science and good storytelling. On this heady behind-the-scenes adventure, Cuarón reminisced:

"We had done a lot of research, so we finished the first draft feeling we were space experts. Then we engaged the advice of a scientist who works close to NASA. He just proved that we were morons. The script was so inaccurate in every way. So we started working very closely with several scientists and having conversations with astronauts to try to make everything as plausible and realistic as we could. We did a draft in which every single scientific fact was addressed, but it was a 300-page script filled with technicalities. And it was really boring. So we decided to just be as plausible as we can in the frame of our picture. What we were really concerned about is the behavior of objects in micro-gravity and no-resistance. For that there were a lot of computer simulations because it's very counterintuitive. (The final result) is full of holes. Look, it's a movie! I don't think that when Sandra goes into this fetal position...(and) rips off her clothes that she will have an adult diaper. So you have to make your choices."

Links

The Bulletin Board

> The Bulletin Board Blog
> Partner festivals calling now
> Call for Entry Channel
> Film Showcase
>
 The Best for Fests

Breaking News

Coming up:

This friday 6-13 December 2019

FF Palm Springs international film festival

January 2-13, 2020

SBIFF January 15 2020

Meet our fest partners 

Filmfestivals.com dailies live coverage from

> Palm Springs Film Festival
> Kustendorf
> Rotterdam
> Sundance
> Santa Barbara Film Festival SBIFF
> Berlin 
> Fantasporto
> Amdocs
> Houston WorldFest
> Cannes / Marche du film

> Lost World Film Festival
> Locarno
> Toronto
> Venice
> San Sebastian
> BFI London

> Film Festival Days
> AFM
> Side Film Festival
> Tallinn Black Nights
 

Venice Biennale 76. Mostra del Cinema - Pedro Almodóvar

labiennale

Useful links for the indies:

Big files transfer
> Celebrities / Headlines / News / Gossip
> Clients References
> Crowd Funding
> Deals

> Festivals Trailers Park
> Film Commissions 
> Film Schools
> Financing
> Independent Filmmaking
> Motion Picture Companies and Studios
> Movie Sites
> Movie Theatre Programs
> Music/Soundtracks 
> Posters and Collectibles
> Professional Resources
> Screenwriting
> Search Engines
> Self Distribution
> Search sites – Entertainment
> Short film
> Submit to festivals
> Videos, DVDs
> Web Magazines and TV

Tech Innovations in Film History

7 to 10 January 2020

> Other resources
+ SUBSCRIBE to the weekly Newsletter
+ Connecting film to fest: Marketing and Promote
Special offers and discounts
Festival Waiver service

 

User images

gersbach.net