Bo Gunnar Widerberg was a Swedish film director, writer and actor. Widerberg was born in Malmöhus County, Sweden. Widerberg was the director of films such as Raven's End, Elvira Madigan, Ådalen 31, Joe Hill, The Man on the Roof, The Man from Majorca, The Serpent's Way and All Things Fair; the Serpent's Way was screened in the Un Certain Regard section at the 1987 Cannes Film Festival and in competition at the 15th Moscow International Film Festival. In 1966 at the 3rd Guldbagge Awards his film Heja Roland! won the award for Best Film. Widerberg died in Ängelholm, Sweden on 1 May 1997 of stomach cancer and was buried in the New Cemetery in Båstad, he had four children: Nina, Martin and Matilda. Johan has become an actor and his son Martin became a director; as a child, Nina Widerberg played as in five of her father's films, including Barnvagnen and The Man on the Roof. Johan played Kollberg's son in The Man on the Roof. In conjunction with the City Tunnel in Malmö, a small plaza around the southern entrance to the train, named Bo Widerberg place, was inaugurated in 2010.
The site is located near Widerberg's former residence in Malmö. He won a Silver Bear prize at the 46th Berlin International Film Festival for All Things Fair and a Special Grand Jury Prize at the Cannes Festival for Ådalen 31. Raven's End, Ådalen 31 and All Things Fair all received a nominations for the Academy Award for Best Foreign Language Film. For Ådalen 31 Widerberg won the Guldbagge Award for Best Director at the 6th Guldbagge Awards. For The Man on the Roof he won the award for Best Film at the 13th Guldbagge Awards. All Things Fair Tagning Alla är äldre än jag... Efter föreställningen Hebriana The Wild Duck En far The Serpent's Way The Man from Majorca Tagning Rött och svart Linje Lusta Missförståndet En handelsresandes död Måsen Victoria The Man on the Roof Stubby Joe Hill A Mother with Two Children Expecting Her Third Ådalen 31 The White Game Elvira Madigan Heja Roland! Love 65 Barnvagnen Raven's End Pojken och draken Media related to Bo Widerberg at Wikimedia Commons Bo Widerberg on IMDb Bo Widerberg at the Swedish Film Database "World Cinema Directors".
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Gillian May Armstrong is an award-winning Australian feature film and documentary director, who specializes in period drama. Her films feature female perspectives and protagonists. Armstrong was born in Melbourne, Australia on 18 December 1950, she went to a local high school, Vermont High School, was the middle child of a local real estate agent father and a primary school teacher mother who gave up work to have a family. Armstrong stated in The Australian that her parents were always supportive of their hopes and dreams, not always the way it was for women in the 1960s and 70s, her father was a frustrated photographer who wasn't allowed to follow his dreams professionally, yet always practised as an amateur. Armstrong reminisces of; when she first decided to go to art school, Armstrong didn't have a firm grasp on what she wanted to do. Armstrong grew up in the eastern suburb of Mitcham. Armstrong was a technical theatre student at Swinburne College while paying her tuition by working as a waitress.
She attended school to become a theatrical set designer but the school that she attended offered a film course. After she took it she was enamored by the great names of cinema and decided to enter the film industry, she won a scholarship to join the first 12 students at the country's first and only film school, the Australian Film and Television School. While she was in school, the Australian film industry was non existent, she recalls how weird the accent sounded in new films, because it wasn't American, it was Australian, she attended Swinburne Technical College with the intention of becoming a theatre costume designer, but it was here she became interested in film. During this time, she was exposed to a range of artistic films that differentiated from the commercial cinema and television she was used to. After graduating from art school in 1968, Armstrong was set on pursuing a career in film, she began making short films of 2–10 minutes, started work as an assistant editor in a commercial film house, which lasted a year.
In 1972 she entered, graduated from, the Australian Film Television and Radio School. She paid her tuition during this time through waitressing Following a string of small jobs within the Australian film industry, she achieved her first directorial recognition through her short film The Singer and the Dancer which won an award at the Sydney Film Festival. Armstrong became a film director at the age of 27. During the time of the development of Australian Cinema Armstrong recalls in a Washington Post interview that tremendous tax breaks led to a frightful overproduction. Everybody was interested in doing deals and stockbrokers were becoming directors; however few of them had the commitment to cinema that Armstrong and others had, the films would be shown for a week or two, or not released at all. After Armstrong's second film My Brilliant Career, she had offers from Hollywood but turned them all away, preferring to stay in Australia to make a deliberately small film called Starstruck. After the release of Starstruck, Armstrong went around giving interviews dressed in a large fuzzy blue sweater dress decorated with coloured beads, a black-and-white polka dot blouse, black tights and blue suede shoes all topped by a punk shag haircut.
Following this success, Armstrong was commissioned by the South Australian Film Corporation to make a documentary exploring the lives of young teenage girls living in Adelaide, South Australia. This became her first paid job as director. Armstrong's own interest in the girls led her to revisit them at ages 18, 26, 33 and 48, resulting in four more films in the style of the popular "Up Series"; these are Fourteen's Good, Eighteen's Better, Bingo and Braces, Not Fourteen Again, her most recent film Love, Lust & Lies Armstrong's first feature-length film My Brilliant Career, an adaptation of Miles Franklin's novel of the same name, was the first Australian feature-length film to be directed by a woman for 46 years. Armstrong received six awards at the 1979 Australian Film Awards including Best Director; the film brought considerable attention to its two main stars, Judy Davis and Sam Neill who were unknown at the time. Following the success of My Brilliant Career, nominated for an Academy Award in Best Costume Design, Armstrong directed the Australian rock-musical Starstruck which proved her ability to tackle more contemporary and experimental subject matter and styles.
She has directed a number of rock music videos in the early 1980s, including 1984's "Bop Girl" by Pat Wilson, which featured Nicole Kidman. Since Armstrong has specialised in period drama, she was the first foreign woman to be approached by the American film company MGM to finance her direction of a big-budget feature, which became Mrs. Soffel starring Mel Gibson and Diane Keaton; this film tells the true story of an affair between a prisoner and a prison warden's wife, was well received by audiences and critics. On returning to Australia, Armstrong continued to make both documentaries and feature films, she earned great recognition for High Tide and The Last Days of Chez Nous, for which she was nominated for Best Director at the 1987 and 1992 Australian Film Institute Awards. The Last Days of Chez Nous earned her a nomination at the Berlin Film Festival. Despite this, both films were unrecognised internationallyArmstrong discusses the making of High Tide in the 2003 Canadian documentary Complete Unknown co-directed by Griffin Ondaat
Robert Ivanovich Rozhdestvensky was a Soviet poet who broke with socialist realism in the 1950s–1960s and, along with such poets as Andrey Voznesensky, Yevgeny Yevtushenko, Bella Akhmadulina, pioneered a newer and freer style of poetry in the Soviet Union. Robert Rozhdestvensky was born to a military family in the village of Kosikha in Altai Krai. Following the outbreak of World War II, with both parents in the army, he found himself in the orphanage. After graduating high school, he attended Petrozavodsk University, he quit the University in order to attend Maxim Gorky Literature Institute, which he finished in 1956. In the time of the Khrushchev Thaw he worked alongside Voznesensky and Akhmadulina, they broke with the Social Realism, wrote emotional, lyric poems. Despite this, Rozhdestvenski was always careful not to criticize the government, thus remained in official favor through the 1960s and 1970s being awarded the Lenin Prize in 1979. In October 1993, he signed the Letter of Forty-Two. Rozhdestvensky died on 19 August 1994 in Peredelkino.
Flags of Spring, 1955 To My Contemporary, 1962 Dedication, 1970 In Twenty Years, 1973 Insomnia, 1991 Alyoshka's Thoughts, poems for children, 1991 Last poems of Robert Rozhdestvensky was published after his death. Collection of Robert Rozhdestvensky's Poems in English Translated from the Russian By Alec Vagapov.http://samlib.ru/a/as_w/robert-rozhdestvensky.shtml Robert Rozhdestvennsky poetry at the stihipoeta
Sergio Amidei was an Italian screenwriter and an important figure in Italy's neorealist movement. Amidei was born in Trieste, he worked with famed Italian directors such as Vittorio De Sica. He was nominated for four Academy Awards: in 1946 for Rome, Open City, in 1947 for Shoeshine, in 1949 for Paisà and in 1961 for Il generale della Rovere. In 1963 he was a member of the jury at the 3rd Moscow International Film Festival. In 1975 he was a member of the jury at the 9th Moscow International Film Festival; the city of Gorizia has established an international recognition dedicated to him, which rewards the best film screenwriters annually. He died in Rome. Don Bosco Pietro Micca The Count of Brechard Jealousy Don Cesare di Bazan The Queen of Navarre Sad Loves Crime News Pact with the Devil Sergio Amidei on IMDb Allmovie bio
Jean-Michel Folon was a Belgian artist, illustrator and sculptor. Folon was born on 1 March 1934 in Uccle, Belgium in 1934, he studied architecture at the Institut Saint-Luc. The first exhibition of his watercolors was in New York in 1969 in the Lefebre Gallery. One year he exhibited in Tokyo and in the Il Milione gallery in Milan, he participated in the XXVth Venice Biennale. In 1973 he joined the selection of Belgian artists in the XXVth São Paulo Biennale, where he was granted the Grand Prize in Painting. Over the years his work concentrated on different techniques, including watercolor, silkscreen, illustrations and stained glass, which showed the diversity of his art, his work Ein Baum stirbt - Un albero muore, 1974, is by Museo Cantonale d’Arte of Lugano. He designed numerous posters for humanitarian causes. Around 1988 he created, he moved on to creating sculptures in clay, plaster and marble, while continuing to paint. Several museums dedicated exhibitions to him, among them the Musée des Arts Décoratifs in Paris in 1971, the Museum Boijmans Van Beuningen in Rotterdam in 1976, the Institute of Contemporary Arts in London in 1977, the Musée Picasso in Antibes in 1984, the Museo Correr in Venice in 1986, the Museo de Bellas Artes in Buenos Aires in 1987, the Metropolitan Museum of Art in New York in 1990, La Pedrera in Barcelona in 1993, the Bunkamura in Tokyo in 1995, the Olympic Museum in Lausanne in 1996 and the Museo Morandi in Bologna in 1996–97.
In 1999 an exhibition of large sculptures was presented in the Galerie Guy Pieters, in Saint-Paul de Vence. In 2000 he opened the Fondation Folon, which presents the essentials of his work in the region he grew up in. In 2001 the city of Lisbon held a large retrospective of his sculptures in the Castelo de São Jorge, which dominates the city. In 2003 he created the designs for Puccini's La Bohème for the Puccini Festival in Italy; the president of the French Republic, Jacques Chirac, awarded him the Legion of Honour in the Palais d'Elysée. In 2004 he became a UNICEF ambassador. In 2005 the city of Florence held a grand retrospective of his work at the Palazzo Vecchio and the Forte di Belvedere. Folon published his drawings in newspapers in the USA, where he was recognized earlier than in Europe and illustrated books by Franz Kafka, Ray Bradbury, Jorge Luis Borges, Guillaume Apollinaire, Jacques Prévert, Boris Vian, Guy de Maupassant, Albert Camus, Herbert George Wells and Jean de La Fontaine.
He never changed his style, whose most famous emblem is the "bird-man" but used all kinds of supports. His artistic value was recognized by several exhibitions organized in the most famous galleries and museums in the world, he created a famous piece of television, screened in France for 30 years. It was first made for the Italiques TV show, by Marc Gilbert, which aired from 1971 to 1974; the music the soundtrack of Gott mit uns, was composed by Ennio Morricone. In the 1990s, Folon decided to create a foundation in La Hulpe. In 2005, under the direction of Marilena Pasquali, Fabio Mochi organised the exhibition of Jean-Michel Folon in Florence which six years gave rise to the creation of the permanent Folon exhibition in the Giardino delle Rose in Florence. Another piece of television quite famous and remembered is a commercial about methane for SNAM; the soundtrack is Dolorosa by Michel Colombier. Folon settled in the outskirts of Paris in 1955. In 1985, he moved to Monaco. Jean-Michel Folon died in Monaco on 20 October 2005, at the age of 71.
He was buried at the Monaco Cemetery. Media related to Jean-Michel Folon at Wikimedia Commons Full biography of his life The Folon Foundation in La Hulpe
The Hussy is a 1979 French drama film directed by Jacques Doillon. It was entered into the 1979 Cannes Film Festival. François a misfit kidnaps Mado, an odd 11-year old, a story of stockholm syndrome forms in the attic where Mado is locked. Claude Hébert - François Madeleine Desdevises - Mado Paulette Lahaye - La mère de Mado Juliette Le Cauchoix - La mère de François Fernand Decaean - Le beau-père de François Dominique Besnehard - L'instituteur Odette Maestrini - L'epicière Ginette Mazure - La photographe Denise Garnier - La secrétaire de Mairie Norbert Delozier - Le beau-frère de François Janine Huet - La soeur de François Marie Sanson - La vieille dame aux Cailloux Edouard Besnehard - Le boulanger Henriette Adam - Une femme Jean Brunelière - Le juge d'instruction Jacques Thieulle - L'avocat Christian Bouillette - Un gendarme The Hussy on IMDb
André Téchiné is a French screenwriter and film director. He has a long and distinguished career that places him among the best post-New Wave French film directors, he belongs to a second generation of French film critics associated with Cahiers du cinéma who followed François Truffaut, Claude Chabrol, Jean-Luc Godard and others from criticism into film-making. Téchiné is noted for his elegant and charged films that delve into the complexities of emotions and the human condition. One of the trademarks of his filmography is the lyrical examination of human relations in a sensitive but unsentimental way, as can be seen in his most acclaimed films: My Favorite Season and Wild Reeds. André Téchiné was born on 13 March 1943 at Valence-d'Agen, a small town in the Midi-Pyrénées region, department of Tarn-et-Garonne, France, his family, of Spanish ancestry, owned a small business making agricultural equipment. He grew up in the south west French country side and in his adolescence acquired a passion for films.
From 1952 to 1959 he went to a Catholic boarding school in Montauban. He was allowed to leave the school only on Sunday afternoons when he would go to the cinema, although he had to return before the screening ended. From 1959 he attended a secular state school, which exposed him to a different culture, with Marxist teachers, a cine club and a film magazine, La Plume et l'écran, to which he contributed. "Films were my only opening to the world," Téchiné explained in an interview. "They were my only possibility of escaping my boarding school. It was dangerous because, through movies, I learned how the world works and how human relations work, but it was magical, I was determined to follow the thread of that magic."At nineteen he moved to Paris in order to look for a career in filmmaking. He failed the entrance examination at France's most prominent film school, but started to write reviews for the prestigious Cahiers du cinéma where he worked for four years, his first article was about Truffaut’s The Soft Skin, published in July 1964.
Téchiné's first filmmaking experience emerged from a theatrical milieu. He went on to become assistant director for Marc'O in Les Idoles, a film version of an experimental play; this film was edited by Jean Eustache. Téchiné was assistant director to Jacques Rivette, on L'amour fou. Téchiné is noted for his elegant and charged films that delve into the complexities of human condition and emotions. An intimist flavor pervades his work. One of the trademarks of his filmography is the lyrical examination of human relations in a sensitive but unsentimental way. Influenced by Roland Barthes, Bertolt Brecht, Ingmar Bergman, William Faulkner and the cinematic French New Wave, the originality of Téchiné's films lies in his subtle exploration of sexuality and national identity, as he challenges expectations in his depictions of gay relations, the North African dimensions of contemporary French culture, the center-periphery relationship between Paris and his native Southwest. Shy and ascetic-looking, Téchiné does not opine on political issues and appears on television.
Fear of flying prevents him from attending most film openings or festivals more than a train ride from his Paris apartment overlooking the Luxembourg Garden."I never know how each film will end," Téchiné explains. "When I'm filming, I shoot each scene. It's only. My objective is to tell a story, but that's the final thing I do." André Téchiné made his debut as director with: Paulina s'en va in which the title character drifts aimlessly, struggling to find a way out of her disenchantment and find her calling in life. Conceived as a short, the film was shot in two periods, over one week in 1967 and two weeks in 1969; the film, shown at that year's Venice Film Festival, disconcerted audiences and was not released until 1975. In the meantime, Téchiné experimented with references to different genres and auteurs while providing screenplays for other directors, including Liliane de Kermadec's Aloïse. After working in television and theater, Téchiné first came to prominence with his second film: Souvenirs d'en France a mix of black comedy, romantic drama and nostalgia with a distinctly Brechtian imprint.
The film was inspired by Orson Welles’s The Magnificent Ambersons and filmed in the director's native village. It is a compressed history of a small-town family from early in the century through the Resistance and on to May 1968. Téchiné explored the relationship between the grand scope of more personal histories. Notably, the film stars Jeanne Moreau. Téchiné's demonstrated his flair for richly textured, atmospheric storytelling with his next film, the aptly titled thriller Barocco, a crime drama, rooted in expressionist surrealism. A boxer who has accepted and turned down a huge bribe from a politician to tell a lie that will influence an election is killed by a hired assassin; the boxer's girlfriend falls in love with the killer while trying to remake him into the image of her slain lover. The film elicited critical plaudits for its elegant look. Three years Téchiné took on biography with Les sœurs Brontë The Bronte Sisters. A profile of the famous Brontë sisters; the film’s heavy, repressive mood evokes the harshness and injustice of the life that the Brontë sisters endured.
The passion and color, so vivid