Karlovy Vary International Film Festival
The Karlovy Vary International Film Festival is a film festival held annually in July in Karlovy Vary, Czech Republic. The Karlovy Vary Festival is one of the oldest in the world and has become Central and Eastern Europe’s leading film event; the pre-war dream of many enthusiastic filmmakers materialized in 1946 when a non-competition festival of films from seven countries took place in Mariánské Lázně and Karlovy Vary. Above all it was intended to screen the results of the nationalized Czechoslovak film industry. After the first two years the festival moved permanently to Karlovy Vary; the Karlovy Vary IFF first held an international film competition in 1948. Since 1951, an international jury has evaluated the films; the Karlovy Vary competition found a place among other developing festivals and by 1956 FIAPF had classified Karlovy Vary as a category A festival. Given the creation of the Moscow Film Festival and the political decision to organize only one "A" festival for all socialist countries, Karlovy Vary was forced to alternate year by year with Moscow IFF between 1959 and 1993.
The social and political changes that took place after the Velvet Revolution in November 1989 pushed concerns about organizing the Karlovy Vary IFF to the background. The program for 1990 was saved by the release of a collection of Czechoslovak films, locked up for years in a storage vault, and the appearance of a number of international guests such as Miloš Forman, Lindsay Anderson, Annette Bening and Robert De Niro helped as well. Future festivals were in doubt. Financial problems and a lack of interest on the part of the government and viewers ended the festival's long tradition in 1992. In 1994 the 29th Karlovy Vary IFF inaugurated an new tradition. After nearly forty years of alternating with the Moscow IFF, the festival began once again to take place every year; the Karlovy Vary Film Festival Foundation was set up in 1993 co-created by the Ministry of Culture, The City of Karlovy Vary, the Grand Hotel Pupp. Actor Jiří Bartoška was invited to be the festival's president, Eva Zaoralová became program director in 1995.
Since 1998 the organization of the festival has been carried out by Film Servis Festival Karlovy Vary, a joint stock company. The core of the program is the feature film competition; the documentary competition is an important festival event. The extensive informative program features both distribution pre-premiers and films awarded at other festivals, but it includes discoveries of artistic creations by independent directors, productions coming out of little known film industries, an overview of Czech film output during the past year. For the tenth straight year the festival will present Variety Critics' Choice: new and interesting films of European production selected by critics working at this prestigious magazine. Seminars focusing on European film are another important part of the festival. Thousands of visitors and the great variety of films testify to the effectiveness of the program team with program director Eva Zaoralová at its head. Due to their valiant efforts many films will be purchased at the festival for wider distribution or, thanks to receiving a festival award, will attract the attention of major producers and the media.
The festival program has the following sections: Official Selection - Competition – films never before shown in competition at any other international festival. East of the West - Competition – films from the former socialist bloc. Documentary Films - Competition – a competition divided into two parts: documentaries less than and longer than 30 minutes. Horizons and Another View – a selection of the most remarkable contemporary films. Imagina - films with an unconventional approach to narration and style and radical visions of film language. Out of the Past - classic, cult and unfairly overlooked films, screened in their original and restored versions. Future Frames: Ten New Filmmakers To Follow - ten directors, an upcoming generation of young European filmmakers, present their student films; the project is organized in cooperation with European Film Promotion. Midnight Screenings - a selection of the latest horror and action films, works that look at their genres in new humorous, ways. Czech Films – a representative selection of current Czech films.
Tributes, special focuses and retrospectives Since 1948, the Grand Prize has been the Crystal Globe – although its form has changed. As of the 35th Karlovy Vary IFF 2000 the Crystal Globe has taken on a new look: now the figure of a woman stands raising a crystal ball; the Feature Film Competition is divided into the following main awards: Grand Prix – Crystal Globe for best feature film Special Jury Prize Best Director Award Best Actress Award Best Actor AwardThe Documentary Competition is divided into the following main awards: Best Documentary Film in the category for film lasting 30 minutes or less Best Documentary Film in the category for film lasting above 30 minutes in lengthEach year, the festival presents the Crystal Globe for Outstanding Contribution to World Cinema. 1946: Nikolay Cherkasov, Rita Hayworth 1956: Dev Anand 1990: Miloš Forman, Robert De Niro, Annette Bening, Vojtěch Jasný, Maximilian Schell, Shirley Temple 1992: Coen brothers, Jason Connery, Aki Kaurismäki, Ken Loach, Agnieszka Holland 1994: Leonardo DiCaprio, Max von Sydow, Philippe Noiret 1995: Peter O'Toole, Fridrik Thór Fridriksson, Mia Farrow, Mika Kaur
The Valley of the Bees
The Valley of the Bees is a 1967 Czechoslovak historical drama film directed by František Vláčil. The boy Ondřej grows to manhood in a harsh religious order, with a hint of homoerotic tension, a Teutonic knight and veteran of the crusades becomes his mentor; when Ondřej flees this life to which he was forcibly consigned, settling in the castle of his childhood to marry his father’s young widow, it becomes clear that his unforgiving mentor is prepared to pursue him to the ends of the earth. This film was written by Vladimír Körner. Theodor Pištěk designed the costumes for the film. Th film is set in 13th century. Lord of Vlkov marries much younger Lenora, he kills his son Ondřej who scares her by his gift. He prays for the boy to survive, he promises to God. Ondřej is sent to the Baltic Sea when he joins Teutonic Order, he befriends Armin who becomes his protector. Armin participated in crusades to Jerusalem and is a fanatic, devoted to God. Knight Rotgier escapes. Ondřej, Armin and other members chase him.
He tries to convince Ondřej to leave the order. Ondřej declines. Rotgier steals his horse. Rotgier is captured and executed for attacking Ondřej. Ondřej is punished by penitence for his weakness. Ondřej decides to run away. Armin decides to track him down. Armin travels to Bohemia where he hears about Ondřej from charcoal burners who wanted to steal his sword. Armin joins them and when they surprise Ondřej, he attacks the one who wanted to steal his sword which makes the other charcoal burners attack him, but Armin kills or scares them away saving Ondřej's life. Ondřej's sword has been broken in the fight and Armin forces him to go with him. Near a brook when Armin bends over to drink, Ondřej hits him with a stone which causes Armin to fall unconscious and Ondřej escapes. Ondřej returns home only to find out his father, he feels remorse about what he did to Armin. Ondřej convinces local priest to marry them; when they are getting married, Armin shows up. Ondřej invites him to the wedding but tension between them runs out.
Ondřej convinces Armin to spend the night in Vlkov. During the night, Armin gets to Lenora's chambers and murders her, he gets caught and Ondřej decides to execute him in a similar manner as Rotgier was killed. Armin begs Ondřej to return to the order before his death; the film concludes with Ondřej's return to Teutonic Order. Petr Čepek as "Ondřej" Jan Kačer as "Armin" Věra Galatíková as "Lenora" Zdenek Kryzánek as "Lord of Vlkov" Miroslav Macháček as "Brown Friar" Josef Somr as "Rotgier" Václav Kotva as "Farmer" The film was produced after Vláčil's previous film Marketa Lazarová; the film was expensive and Barrandov Studios ordered Vláčil to make another film set in Medieval so properties and costumes would be used in another film. Crew couldn't shoot in the same location; the film was shot at Church Kuklov near Brloh. Some parts were shot in Poland. Jan Kačer was chosen to star as Ondřej, it proved to be technically impossible. Kačer suggested Petr Čepek to play Ondřej. Critical reception at the time of release was negative.
Critical opinion changed and The Valley of the Bees is considered one of Vláčil's best films. List of historical drama films The Valley of the Bees on IMDb DVD review at BFI Sight and Sound at http://old.bfi.org.uk/sightandsound/review/5430
Hibiscus Town is a 1986 Chinese film directed by Xie Jin, based on a novel by the same name written by Gu Hua. The film, a melodrama, follows the life and travails of a young woman who lives through the turmoil of the Cultural Revolution and as such is an example of the "scar drama" genre that emerged in the 1980s and 1990s that detailed life during that period; the film was produced by the Shanghai Film Studio. The film won Best Film for 1987 Golden Rooster Awards and Hundred Flowers Awards, as well as Best Actress awards for Liu Xiaoqing at both ceremonies, it was selected as the Chinese entry for the Best Foreign Language Film at the 60th Academy Awards, but was not accepted as a nominee. The village in Hunan province where the film was made, was known as Wang Village. In 2007, the village was renamed Furong zhen owing to this film. Liu Xiaoqing as Hu Yuyin, the film's heroine, a young woman, caught up in the political turmoil of China's Cultural Revolution, she sells rice beancurd with her husband.
Liu Linian as Li Guigui, Yuyin's first husband Jiang Wen as Qin Shutian, a "bourgeoisie" rightist who falls in love with Yuyin Zheng Zaishi as Gu Yanshan, the granary director Zhu Shibin as Wang Qiushe Xu Songzi as Li Guoxiang Zhang Guangbei as Li Mangeng The film follows Hu Yuyin, a young and hardworking woman in a small Chinese town on the eve of the Cultural Revolution. She is married and runs a successful roadside food stall selling spicy beancurd. Yuyin is supported by Party members Li Mangeng, who once wanted to marry her, Director Gu, a war veteran in charge of the granary, but in 1964 the Four Cleanups Movement sends a Party work-team to root out Rightists and capitalist roaders. The team is led by Li Guoxiang, a single woman, assisted by Wang Qiushe, a former poor peasant who has lost his land because of his drinking. At a public struggle session, Yuyin is declared to be a "new rich peasant." Both her home and business are taken from her and her husband, Li Guigui is executed for trying to kill Li Guoxiang.
After the first waves of the Revolution have ended, now relegated to a lowly street sweeper, returns to the town. She falls in love with Qin Shutian, who had come in the 1950s to collect local folksongs but was declared to be one of the Five Black Categories; when Yuyin becomes pregnant, this loving relationship attracts the outrage of Li Guoxiang and Wang Qiushe, who themselves are having a secret affair. Shutian is sent to reform through labor and it is not until Deng Xiaoping's reforms in 1978 that his case is reviewed and he is allowed to return and help Yuyin re-establish their food stall. At the end of the film, Li Guoxiang continues to hold a position in the bureaucracy while Wang Qiushe loses his mind; the film was well received domestically and was voted by Chinese film audiences as one of the three best films of 1987. It remains however quite obscure outside China. Gilbert Adair of Time Out magazine gave the film his endorsement, calling it "a potent blend of the political and personal": "Xie's portrait of China's traumatic, turbulent history ranges from'63 to the post-'Gang of Four' years, his palette the changing fortunes of an entangled group of individuals.
It's impressive both for the elegant precision with which the director fills his scope frame with small, significant details, for the discreet understatement that controls his own special brand of epic melodrama. In some ways similar to the classic romances of Frank Borzage, Hibiscus Town is a moving account of survival in the face of widespread social and political madness, told with clarity and insight." Golden Rooster Awards, 1987 Best Film Best Actress — Liu Xiaoqing Best Supporting Actress — Xu Songzi Best Art Direction— Jin Qifen Hundred Flowers Awards, 1987 Best Film — tied with Dr. Sun Yat-sen and Xue zhan Taierzhuang Best Actor — Jiang Wen Best Actress — Liu Xiaoqing Best Supporting Actor — Zhu Shibin Karlovy Vary International Film Festival, 1988 Crystal Globe, Grand Prix Cultural Revolution - background of the film List of submissions to the 60th Academy Awards for Best Foreign Language Film List of Chinese submissions for the Academy Award for Best Foreign Language Film Browne, Nick.
"Society and Subjectivity: On the Political Economy of Chinese Melodrama," in New Chinese Cinemas: Forms, Politics. Cambridge: CUP, 1994, 57-87. Hayford, Charles W. "Hibiscus Town: Revolution and Bean Curd." In Chris Berry, ed. Chinese Films in Focus: 25 New Takes. London: BFI Publishing, 2003, 120-27. Kipnis, Andrew. "Anti-Maoist Gender: Hibiscus Town's Naturalization of a Dengist Sex/Gender/Kinship System." Asian Cinema 8, 2: 66-75. Hibiscus Town on IMDb Hibiscus Town at AllMovie Hibiscus Town article from China.org Hibiscus Town from the Chinese Movie Database Overview and questions of Hibiscus Town from Ohio State University
Ukrainian Insurgent Army
The Ukrainian Insurgent Army was a Ukrainian nationalist paramilitary and partisan formation. During World War II, it was engaged in guerrilla warfare against Nazi Germany, the Soviet Union, the Polish Underground State and Communist Poland, its ultimate purpose was an independent and unified Ukrainian state. The insurgent army arose out of separate militant formations of the Organization of Ukrainian Nationalists—Bandera faction, other militant national-patriotic formations, some former defectors of the Ukrainian Auxiliary Police, mobilization of local populations and others; the political leadership of the army belonged to the Organization of Ukrainian Nationalists—Bandera. It was the primary perpetrator of the ethnic cleansing of Poles in Eastern Galicia, its official date of creation is day of the Intercession of the Theotokos feast. The Ukrainian People's Revolutionary Army at the period from December 1941 till July 1943 has the same name; the OUN's stated immediate goal was the re-establishment of a united, quasi-independent Nazi-aligned, mono-ethnic national state on the territory that would include parts of modern day Russia and Belarus.
Violence was accepted as a political tool against foreign as well as domestic enemies of their cause, to be achieved by a national revolution led by a dictatorship that would drive out what they considered to be occupying powers and set up a government representing all regions and social groups. The organization developed into a guerrilla army. In 1943, the UPA was controlled by the OUN and included people of various political and ideological convictions. Furthermore, it needed the support of the broad masses against the Soviets. Much of the nationalist ideology, including the concept of dictatorship, did not appeal to former Soviet citizens who had experienced the dictatorship of the Communist Party. Hence, a revision of the OUN ideology and political program was imperative. At its Third Extraordinary Grand Assembly on 21–25 August 1943, the OUN condemned "internationalist and fascist national-socialist programs and political concepts" as well as "Russian-Bolshevik communism" and proposed a "system of free peoples and independent states the single best solution to the problem of world order."
Its social program did not differ from earlier ones, but it emphasized a wide range of social services, worker participation in management, a mixed economy, choice of profession and workplace, free trade unions. The OUN affirmed that it was fighting for freedom of the press and thought, its earlier nationality policy, encapsulated in the slogan "Ukraine for Ukrainians". During its existence, the Ukrainian Insurgent Army fought against the Poles and the Soviets as their primary opponents, although the organization fought against the Germans starting from February 1943 – with many cases of collaboration with the German forces in the fight against Soviet partisan units. From late spring 1944, the UPA and Organization of Ukrainian Nationalists-B —faced with Soviet advances—also cooperated with German forces against the Soviets and Poles in the hope of creating an independent Ukrainian state; the OUN played a substantial role in the ethnic cleansing of the Polish population of Volhynia and East Galicia, preventing the deportation of the Ukrainians in southeastern Poland.
After the end of World War II, the Polish communist army—the People's Army of Poland—fought extensively against the UPA. The UPA remained active and fought against the People's Republic of Poland until 1947, against the Soviet Union until 1949, it was strong in the Carpathian Mountains, the entirety of Galicia and in Volhynia—in modern Western Ukraine. By the late 1940s, the mortality rate for Soviet troops fighting Ukrainian insurgents in Western Ukraine was higher than the mortality rate for Soviet troops during the Soviet occupation of Afghanistan. Between February 1943 and May 1945, unlike most resistance movements, it had no significant foreign support, its growth and strength were a reflection of the popularity it enjoyed among the people of Western Ukraine. Outside of Western Ukraine, support was not significant, the majority of the Soviet Ukrainian population considered, at times still viewed, the OUN/UPA to have been collaborators with the Germans; the UPA's command structure overlapped with that of the underground nationalist political party, the OUN, in a sophisticated centralized network.
The UPA was responsible for military operations while the OUN was in charge of administrative duties. The six main departments were military, security service, mobilization and the Ukrainian Red Cross. Despite the division between the UPA and the OUN, there was overlap between their posts and the local OUN and UPA leaders were the same person. Organizational methods were borrowed and adapted from the German and Soviet military, while UPA units based their training on a modified Red Army field unit manual; the General Staff, formed at the end of 1943 consisted of operations, training, logistics and political education departments. UPA's largest units, consisting of 500-700 soldiers, were equivalent to battalions in a regular army, its smallest units, with eight to ten soldiers, were equivalent to squads, and in Vo
True Friends (film)
True Friends is a 1954 dramatic comedy film directed by Mikhail Kalatozov. Alexander and Vasily are three old friends, who now see each other as they are busy with their professional life, they embark on long-planned voyage on a raft down the Volga river, which turns into a series of comical accidents but strengthens their friendship. Vasili Merkuryev as Vasili Nestratov Boris Chirkov as Boris Chizhov Aleksandr Borisov as Alexander Lapin Alexey Gribov as Nekhoda Mikhail Pugovkin as club entertainer True Friends was made in the aftermath of the death of Joseph Stalin, when political control over Soviet cinema relaxed considerably. Josephin Woll wrote that "his death liberated director Kalatozov... True Friends was his first Thaw project." Its script was submitted for approval in 1952, but it was only authorized for filming after Stalin's passing away. With 30.9 million tickets sold, True Friends was the seventh highest-grossing Soviet film of 1954. Together with Salt of the Earth, it was Ex aequo awarded the Crystal Globe in the 1954 Karlovy Vary International Film Festival.
The New York Times critic wrote that the film "makes for a relaxed and sometimes infectious adventure." Mira and Antonin Liehm commented that "it is incredible how fresh and new this film seemed, with its tame satirical theme." John Wakeman regarded it as a "subtle and very funny satire". David C. Gillespie opined that it is "an important successful attempt... in addressing the legacy of Stalinism and its effects on the psyche and behaviour of people." Josephine Woll concluded that True Friends "broke little new ground", reflecting the slow start of the Thaw in 1954, but that it satisfied the audience's "hunger" for films that, "banal plot and schematic characters notwithstanding, portrayed their life with some veracity." True Friends on the IMDb. True Friends on kino-teatr.ru. True Friends on kinoros.ru
Marketa Lazarová is a 1967 Czechoslovak historical film directed by František Vláčil. It is an adaptation of the novel Marketa Lazarová by Vladislav Vančura; the film takes place in an indeterminate time during the Middle Ages, tells the story of a daughter of a feudal lord, kidnapped by neighbouring robber knights and becomes a mistress of one of them. Marketa Lazarová was voted the all-time best Czech movie in a 1998 poll of Czech film critics and publicists. Theodor Pištěk designed the costumes for the film; the sons of the robber clan patriarch Kozlík ambush a small caravan travelling to the nearby Mladá Boleslav in winter. One man escapes, turning out to be the new Bishop of Hennau and an important ally of the Czech king, while the two captives the clan takes are the Bishop's son and his assistant. Mikoláš, one of the sons, encounters the neighboring clan leader Lazar scavenging at the site of the ambush, he threatens to kill Lazar, but spares him as he prays to Christ to forgive Mikoláš.
He returns to his settlement where his father, Kozlík, grows furious at him for allowing a man to escape, not killing Lazar, bringing captives. As Mikolas leaves Kozlik, Adam points out his other mistake in not capturing the old bishop when he had the chance and that their family could've used him as leverage to force the Czech king to comply to their demands. Kozlik overhears this exchange, orders Adam to leave and drags Mikolas back to the main house to confront him. Alexandra takes a liking to the Bishop's young son, much to Adam's detest. Kozlík reaches the settlement after being chased by wolves through a forest, he had answered summons from the king and upon his arrival to Mladá Boleslav, the king's captain attempted to take him into custody. Anticipating a regiment led by the captain, the clan abandons the settlement and moves deeper into the forest. Mikoláš visits Lazar's settlement. Lazar's young virgin daughter Markéta is shocked to see her father's men brutally beat Mikoláš, allowed to leave.
When he returns, Kozlík sends a small group of men to avenge the beating. They turn back upon finding that the regiment has arrived to Lazar's settlement and shoot down the captain's closest knight as he rides to meet them; the captain swears vengeance. Lazar and Markéta visit the nunnery, but Lazar has failed to bring the required amount of money to allow Markéta to take vows and explaining to the Abbess that he's had a rough year; when they return to their settlement, Mikoláš and his men have captured it. They kill Lazar begs for his life. Mikolas agrees to spare him as long. Despite his protest, Mikolas leaves with her in tow after nailing Lazar to the gate. Upon returning to his clan's forest stronghold, Mikoláš rapes Markéta and protects her from his father's wrath. Meanwhile, a romance has developed between the Bishop's captive son Kristián and Kozlík's daughter Alexandra, whom he impregnantes, she had some time ago had an affair with her brother, of which their mother, found out and told Kozlik.
As punishment for the incestuous affair, Adam lost an arm as a result and Alexandra has since refused another affair with him. Kozlík now chains Mikoláš and Markéta, who are falling in love, together with Kristián and Alexandra on a hill outside the fortress; when the captain's regiment arrives with Adam whom they had captured, Kozlík allows the four back inside. After an initial rash attack in which Adam dies is repulsed, the Captain mounts a second attack which succeeds. Kristián sees Alexandra chased by dogs and is torn in his loyalty to his father and his love for her, running off into the forest. Bernard having watched this encourages him to fight for Alexandra and he does. Mikoláš, Markéta, Alexandra escape while Kozlík is taken captive to Mladá Boleslav. Kristian confronts his father, explaining that they will have a child. On, she comes across Kristián with his head crushed by a rock and tries to bury his body. Alexandra is stopped by his father who blames her for the murder and she is arrested.
Markéta return home to her father, who survived his crucifixion. She travels to the nunnery and begins to take her vows just as Mikoláš attempts to free his father from the castle dungeon. One of Kozlik's grandsons takes her arm, she leaves during the ceremony to find Mikoláš dying in the castle courtyard from wounds suffered in the rescue attempt. The captain marries Mikoláš and Markéta on the spot before his men take Kozlík away and Mikoláš dies. Brother Bernard offers to travel with Marketa to find a new life. In the final scene, Markéta wanders the countryside as the narrator reveals that both she and Alexandra had sons. Markéta nursed both boys, implying that Alexandra died after giving birth committing suicide; the film is set in medieval Bohemia at a time when Christianity had not replaced Paganism. Conflict between Christianity and Paganism, mirroring a conflict between the clans and central authority, is a major theme; the Kozlík clan leans toward Paganism while the royal regiment represent authority.
Meanwhile, Lazar's clan is nominally Christian but politically neutral. Kozlík wants Lazar to support him in the fight but Lazar refuses and sides with the king, leading to the abduction of his daughter; the romance between Markéta and Mikoláš, who rapes her but protects and loves her, represents a meeting of purity and innocence with worldly violence. The film highlights Mikoláš's unrestrainment; this interplays with the romance between Mikoláš's sister Alexandra and Kristián, in which
Jiří Bartoška is a Czech actor and the president of the Karlovy Vary International Film Festival. Bartoška is a popular Czech actor, played a number of roles in Czech films. In 2000, he won the Best Supporting Actor Award at the Czech Lion awards for his performance in All My Loved Ones, being nominated for the same award the previous year for his performance in Sekal Has to Die. In 1994, he became the president of the Karlovy Vary Film Festival. Together with Eva Zaoralová he managed to return popularity and prestige to the dead festival. Filmography Jiří Bartoška on IMDb