Yol is a 1982 Turkish film directed by Şerif Gören. The screenplay was written by Yılmaz Güney, it was directed by his assistant Şerif Gören, as Güney was in prison at the time; when Güney escaped from prison, he took the negatives of the film to Switzerland and edited it in Paris. The film is a portrait of Turkey in the aftermath of the 1980 Turkish coup d'état: its people and its authorities are shown via the stories of five prisoners given a week's home leave; the film has caused much controversy in Turkey, was banned until 1999. However, it won numerous honours, including the Palme d'Or at the 1982 Cannes Film Festival. In Turkey, several prisoners are granted furlough. One, Seyit Ali, travels to his house and finds that his wife has betrayed him and turned to prostitution, she was caught by her family and held captive for eight months in order for Seyit Ali to end her life in an honour killing. Though determined at first, he changes his mind when his wife starts to freeze while travelling in the snow.
Despite his efforts to keep her alive, he fails. His wife's death relieves Seyit Ali from family pressure. Another prisoner, Mehmet Salih has been arrested for his role in a heist with his brother-in-law, whom he abandoned as he was being shot by police, his in-laws have disowned him, he is forced to tell his wife Emine the truth. Emine and Mehmet Salih decide to run away on a train. On the train, they are caught in the washroom about to have sex, they are held in a cabin. A young boy from Emine's family who has boarded the train shoots both Emine. Ömer returns to his village sitting near the border between Turkey and Syria, arranges to cross the border to escape prison. Ömer finds his village in a battle between Turkish soldiers. Though Ömer is determined, he gives up after his brother, who took part in the battle, is shot dead. Through his brother's death, Ömer has inherited the responsibilities of his brother's wife and children as dictated by tradition. Güney wrote the screenplay, which contained elaborate detail, but could not direct as he was in prison.
Güney recruited Erden Kiral as his surrogate director but, displeased with Kiral's work, had it destroyed and fired him. This became the basis of Kiral's film, Yolda. Güney subsequently hired Serif Gören. There were rumours that several prisoners, including Güney, watched much of Gören's footage on a wall at the prison. Güney broke out of prison to edit Yol in Switzerland. Zulfu Livaneli made the musics of the movie, but due to political atmosphere in Turkey, he used a nickname Sebastian Argol in order to avoid from possible sanctions from Turkish courts which were operating under 1980 Turkish coup d'état; the film was banned in Turkey because of its negative portrayal of Turkey at the time, under the control of a military dictatorship. More controversial was the limited use of the Kurdish language and culture, forbidden at the time, as well as the portrayal of the hardships Kurds live through in Turkey. One scene in the movie calls the location of Ömer's village "Kürdistan". A new version of Yol was released in 2017, called Yol: The Full Version in which many of these controversial parts and scenes have been taken out, to make the film suitable for release in Turkey.
In order to be shown at the Turkish stand at Cannes 2017 the Kürdistan insert was removed. In what critics say goes against the director Yılmaz Güney's wishes and call "censorship", the frame showing "Kürdistan" as well as a political scene where Ömer speaks about difficulties of being Kurdish were removed. Another new version exists for the international market with all the politically controversial scenes included; the rights to Yol were disputed for a long time. During Yilmaz Güney's lifetime, there were major conflicts about the ownership of the film between Güney and Donat Keusch, the head of a Swiss-based service company called Cactus Film AG, who claimed to own the entire rights of the film. After Güney's death, the dispute escalated between Güney's widow; when Keusch filed for bankruptcy with his Cactus Film AG in 1999, the situation became more complicated and resulted in numerous lawsuits in both Switzerland and France. There still are numerous sellers in the market claiming to be the sole owner of the world rights to Yol, the film is offered in different versions through different distribution channels.
According to the bankruptcy office Zurich Aussersihl Keusch received the rights which still remained in Cactus Film on March 4, 2010. This happened without a cash reward so to speak for free. Keusch sent this contract to the RCA-directory of the French CNC trying to use it as a proof that he has rights; however it is questionable if and what rights Cactus Films still had at this point. In any case Keusch could only get from the bankruptcy office rights that cactus film had since no bankruptcy office can create non existing rights. Vincent Canby, writing for The New York Times, wrote that while the film addressed significant issues, this did not make it great art. Canby described it as "a large, ponderous panorama". Time critic Richard Corliss declared Güney "a world-class moviemaker". In his 2015 Movie Guide, Leonard Maltin gave it three stars, describing it as "Incisive". In 2016, The Hollywood Reporter ranked it the 65th best film to win the Palme d'Or, saying the production was a better story than that on screen.
The film won three honours at the 1982 Cannes Film Festival, tying for the top prize, the Palme d'Or, with Miss
Angel (1982 Irish film)
Angel is a 1982 film directed by Neil Jordan and starring Stephen Rea. The film was Neil Jordan's directorial debut, the executive producer was John Boorman. Danny, a saxophonist with a travelling band, witnesses the gangland murder of the band's manager and that of a deaf and mute girl witness at a dancehall in South Armagh. Danny tries to hunt down the murderers and in doing so his relationship with Deirdre, the singer in his band, falls apart and he becomes a murderer himself. Stephen Rea as Danny Veronica Quilligan as Annie Honor Heffernan as Deirdre Alan Devlin as Bill Peter Caffrey as Ray The film is set in Northern Ireland and it is implied that the extortionists/murderers are loyalist paramilitaries. However, there is little specific reference to the Northern Ireland Troubles; the film was made in Jordan's native Bray. In the sequences where the band play in a seaside resort Bray Head is visible in some background shots. Other locations include the former Butlin's holiday camp in Mosney, County Meath, the former St. Brendans Hospital, Grangegorman.
The dance and crowd scenes from the Mosney ballroom had to be re-shot due to a problem with the film processing. Angel on IMDb
La Boum is a 1980 French comedy film directed by Claude Pinoteau and starring Sophie Marceau, appearing in her film début. Written by Danièle Thompson and Claude Pinoteau, the film is about a thirteen-year-old French girl finding her way at a new high school and coping with domestic problems; the film was an international box-office hit. The music was written by Vladimir Cosma, with Richard Sanderson singing the song "Reality". A sequel movie, La Boum 2, was released in 1982. Thirteen-year-old Vic is new at her high school, she makes friends with Pénélope and together they check out the boys at their school, looking for true love. Vic is frustrated by her parents, who will not allow her to attend a big party, her great-grandmother, helps her out, Vic ends up falling in love with Matthieu. While Vic is busy finding her true love, her parents' marriage faces a crisis when her father's ex-lover demands a last night together. Claude Brasseur as François Beretton Brigitte Fossey as Françoise Beretton Sophie Marceau as Vic Beretton Denise Grey as Poupette Alexandre Sterling as Matthieu Jean-Michel Dupuis as Étienne Sheila O'Connor as Pénélope Fontanet Alexandra Gonin as Samantha Fontanet Dominique Lavanant as Vanessa Bernard Giraudeau as Éric Thompson Jean-Pierre Castaldi as Brassac Jacques Ardouin as Père de Raoul Evelyne Bellego as Éliane Richard Bohringer as Guibert Jean-Claude Bouillaud as Père Boum 2 Micheline Bourday as Journaliste'VSD' Florence Brunold as Femme enceinte Vladimir Cosma as himself "Reality" by Richard Sanderson – 4:45 "It Was Love" by The Regiment – 4:30 "Formalities" by Orchestra Vladimir Cosma – 3:40 "Gotta Get a Move On" by Karoline Krüger – 2:58 "Swingin' Around" by The Cruisers – 2:47 "Gotta Get a Move On" by The Regiment – 4:42 "Formalities" by The Regiment – 3:41 "Gotta Get a Move On" by Orchestra Vladimir Cosma – 3:00 "Murky Turkey" by Richard Sanderson – 3:48 "Go On Forever" by Richard Sanderson – 3:43 La Boum was an international box-office hit, earning 4,378,500 admissions in France, 1,289,289 admissions in Hungary, 664,981 admissions in West Germany.
In his review for Allmovie, Hal Erickson called the film "disarmingly diverting" and a "real audience pleaser". A sequel movie, La Boum 2, was released in 1982. In the sequel, Vic is without a boyfriend, but her parents are back together, her great-grandmother is considering marriage to her long-term boyfriend; when Vic meets a young boy and is attracted to him, she faces the important decision of making love for the first time, as her friends have done. La Boum on IMDb La Boum at AllMovie
Das Boot is a 1981 German submarine film written and directed by Wolfgang Petersen, produced by Günter Rohrbach, starring Jürgen Prochnow, Herbert Grönemeyer, Klaus Wennemann. It has been exhibited both as a theatrical release and as a TV miniseries, in several different home video versions of various running times, in a director's cut version supervised by Petersen in 1997. An adaptation of Lothar-Günther Buchheim's 1973 German novel of the same name, the film is set during World War II and follows German U-boat U-96 and its crew, as they set out on a hazardous patrol in the Battle of the Atlantic, it depicts both the excitement of battle and the tedium of the fruitless hunt, shows the men serving aboard U-boats as ordinary individuals with a desire to do their best for their comrades and their country. Development began in 1979. Several American directors were considered three years earlier. During production, Heinrich Lehmann-Willenbrock, the captain of the real U-96 and one of Germany's top U-boat "tonnage aces" during the war, Hans-Joachim Krug, former first officer on U-219, served as consultants.
One of Petersen's goals was to guide the audience through "a journey to the edge of the mind", showing "what war is all about". Produced with a budget of 32 million DM, the film's high production cost ranks it among the most expensive films in the history of German cinema; the film grossed $84.9 million worldwide. Columbia Pictures released both a German version and an English-dubbed version in the United States theatrically, but the film's German version grossed much higher than the English-dubbed version at the United States box office; the film received positive reviews and was nominated for six Academy Awards, two of which went to Petersen himself. Today, the film is seen as one of the greatest of all German films. Lt. Werner, has been assigned as a war correspondent on the German submarine U-96 in October 1941, he is driven by its captain, chief engineer, to a raucous French bordello where he meets some of the crew. Thomsen, another captain, gives a crude drunken speech to celebrate his Ritterkreuz award, in which he mocks Adolf Hitler.
The next morning, the U-96 sails out of the harbour of La Rochelle and Werner is given a tour of the boat. As time passes, he observes ideological differences between the new crew members and the hardened veterans the captain, embittered and cynical about the war; the new men, including Werner, are mocked by the rest of the crew, who share a tight bond. After days of boredom, the crew is excited by another U-boat's spotting of an enemy convoy, but they are soon spotted by a British destroyer, are bombarded with depth charges, they escape with only light damage. The next three weeks are spent enduring a relentless North Atlantic gale. Morale drops after a series of misfortunes, but the crew is cheered temporarily by a chance encounter with Thomsen's boat. Shortly after the storm ends, the boat encounters a British convoy and launches four torpedoes, sinking two ships, they are spotted by a destroyer and have to dive below test depth, the submarine's rated limit. During the ensuing depth-charge attack, the chief machinist, Johann and has to be restrained.
The boat sustains heavy damage, but is able to safely surface when night falls. A British tanker they torpedoed is still afloat and on fire, so they torpedo it again, only to learn there are still sailors aboard; the crew swim towards them. Unable to accommodate prisoners, the captain orders the boat away; the worn-out U-boat crew looks forward to returning home to La Rochelle in time for Christmas, but the ship is ordered to La Spezia, which means passing through the Strait of Gibraltar—an area defended by the Royal Navy. The U-boat makes a secret night rendezvous at the harbour of Vigo, in neutral although Axis-friendly Spain, with the SS Weser, an interned German merchant ship that clandestinely provides U-boats with fuel and other supplies; the filthy officers seem out of place at the opulent dinner prepared for them, but are warmly greeted by enthusiastic officers eager to hear their exploits. The captain learns from an envoy of the German consulate that his request for Werner and the Chief Engineer to be sent back to Germany has been denied.
The crew finishes resupplying and departs for Italy. As they approach the Straits of Gibraltar and are just about to dive, they are attacked and damaged by a British fighter plane, wounding the navigator, Kriechbaum; the captain orders the boat directly south towards the North African coast at full speed determined to save his crew if he loses the boat. British warships begin shelling and they are forced to dive; when attempting to level off, the boat does not respond and continues to sink until, just before being crushed by the pressure, it lands on a sea shelf, at the depth of 280 metres. The crew works to make numerous repairs before running out of oxygen. After over 16 hours, they are able to surface by blowing their ballast tanks, limp back towards La Rochelle under cover of darkness with only one engine still operational; the crew is exhausted when they reach La Rochelle on Christmas Eve. Shortly after Kriechbaum is taken ashore to a waiting ambulance, Allied planes bomb and str
The film industry or motion picture industry, comprises the technological and commercial institutions of filmmaking, i.e. film production companies, film studios, animation, film production, pre-production, post production, film festivals and actors, film directors and other film crew personnel. Though the expense involved in making films immediately led film production to concentrate under the auspices of standing production companies, advances in affordable film making equipment, expansion of opportunities to acquire investment capital from outside the film industry itself, have allowed independent film production to evolve; as of 2018, the global box office is worth $41.7 billion. When including box office and home entertainment revenue, the global film industry is worth $136 billion as of 2018. Hollywood is the world's oldest national film industry, remains the largest in terms of box office gross revenue. Indian cinema is the largest national film industry in terms of the number of films produced and the number of tickets sold, with 3.5 billion tickets sold worldwide annually and 1,986 feature films produced annually.
The worldwide theatrical market had a box office of US$38.6 billion in 2016. The top three continents/regions by box office gross were: Asia-Pacific with US$14.9 billion, the U. S. and Canada with US$11.4 billion, Europe, the Middle East and North Africa with US$9.5 billion. As of 2016, the largest markets by box office were, in decreasing order, the United States, Japan and the United Kingdom; as of 2011, the countries with the largest number of film productions were India and the United States. In Europe, significant centers of movie production are France, Italy and the United Kingdom. Distinct from the centers are the locations; because of labor and infrastructure costs, many films are produced in countries other than the one in which the company which pays for the film is located. For example, many U. S. films are filmed in Canada, many Nigerian films are filmed in Ghana, while many Indian films are filmed in the Americas, Singapore etc. The cinema of the United States generally referred to as Hollywood, has had a profound effect on cinema across the world since the early 20th century.
The United States cinema is the oldest film industry in the world which originated more than 121 years ago and the largest film industry in terms of revenue. Hollywood is the primary nexus of the U. S. film industry with established film study facilities such as the American Film Institute, LA Film School and NYFA being established in the area. However, four of the six major film studios are owned by East Coast companies; the major film studios of Hollywood including Metro-Goldwyn-Mayer, 20th Century Fox, Paramount Pictures are the primary source of the most commercially successful movies in the world, such as Star Wars, Titanic. American film studios today collectively generate several hundred films every year, making the United States one of the most prolific producers of films in the world. Only The Walt Disney Company — which owns the Walt Disney Studios — is based in Southern California, and while Sony Pictures Entertainment is headquartered in Culver City, its parent company, the Sony Corporation, is headquartered in Tokyo, Japan.
Most shooting now takes place in California, New York, Louisiana and North Carolina. Hollywood is the most popular film industry with the highest number of screens, is the highest-grossing film industry in the world. Between 2009-2015, Hollywood grossed $10 billion annually. Hollywood's award ceremony, the Academy Awards known as The Oscars, is held by the Academy of Motion Picture Arts and Sciences every year and a total of 2,947 Oscars have been awarded since the inception of the award; the earliest documented account of an exhibition of projected motion pictures in the United States was in June 1894 in Richmond, Indiana by Charles Francis Jenkins which makes United States cinema the earliest cinema in the whole world. Jenkins used his Phantoscope to project his film before an audience of family and reporters; the film featured a vaudeville dancer performing a Butterfly Dance. Jenkins and his new partner Thomas Armat modified the Phantoscope for exhibitions in temporary theaters at the Cotton States Exposition in the fall of 1895.
The was sold to Thomas Edison, who changed the name of the projector to Edison's Vitascope. Nestor Studios was Hollywood's first film studio, founded on 27 October 1911, it was built by David Horsley for Nestor Motion Picture Company. It was owned and operated by David Horsley and his brother, William Horsley; the first motion picture stage in Hollywood was built behind the tavern. Other East Coast studios had moved production to Los Angeles, prior to Nestor's move west; the California weather allowed for year-round filming and the ambitious studio operated three principal divisions under its Canadian-born general manager, Al Christie. Other filmmakers began opening studios in the Hollywood area; the Horsleys operated the Nestor Studios at the Sunset and Gower location until 20 May 1912, when the Universal Studios was formed, headed by Carl Laemmle. Nestor, along with several other motion picture companies, including Laemmle's Independent Moving Pictures, was merged with Universal; the Cinema of China is one of three distinct historical threads of Chinese-language cinema together with the cinema of Hong Kong and the cinema of Taiwan.
Cinema was introduced in China in 1896 and the first Chinese film, Dingjun Mountain, was made in 1905, with the film industry being cent
Magic in the Water
Magic in the Water is a 1995 family film directed by Rick Stevenson and starring Mark Harmon, Joshua Jackson and Sarah Wayne. It is about a fictional lake monster in British Columbia; the film was produced by Triumph Films. Ashley Black is depressed because her father Jack spends all his time focusing on his job instead of her and her older brother Joshua, she records his radio show and listens to it. One day, her father takes them to a remote Canadian lake, popular with tourists due to a myth about an aquatic monster named Orky, they rented a cabin next to an elderly First Nations man. Jack meets a local psychiatrist, Dr. Wanda Bell, trying to aid some local men who claim that they have been possessed by Orky; when Ashley runs away, Jack has the same experience while looking for her. As a result, he becomes more devoted to his children. Ashley and Joshua find out that the reason that Orky is possessing people is to try and tell them that he is dying because a businessman is dumping toxic waste into the lake.
Ashley and Joshua help the old man in the cabin next to theirs to find a totem pole in the woods. With the help of Hiro, the son of Japanese monster seekers, they expose the businessman's illegal dumping. Orky, still dies from the poisonous waste; the old man summons a lightning bolt. Ashley and Hiro leave some cookies out; when she realizes that the cookies have been eaten Ashley screams with joy which suggests that Orky is still alive, or reincarnated. Mark Harmon as Jack Black Joshua Jackson as Joshua Black Harley Jane Kozak as Wanda Sarah Wayne as Ashley Black Willie Nark-Orn as Hiro Adrien Dorval as Wright Hardy Mark Acheson as Lefty Hardy Anthony Towe as Taka John Procaccino as Frank Magic in the Water received poor reviews from critics and holds a 21% rating on Rotten Tomatoes based on 24 reviews. Critic Leonard Maltin wrote in his book. Routine family film feels like recycled Spielberg." Roger Ebert criticized the film's special effects, describing the creature Orky as an "ashen Barney".
He notes that Orky appears in the film at all. At the 16th Genie Awards, the film won for sound. Loch Ness Mee-Shee: The Water Giant The Water Horse: Legend of the Deep Magic in the Water on IMDb Magic in the Water at Box Office Mojo Magic in the Water at Rotten Tomatoes
TriStar Pictures, Inc. is an American film studio, a division of the Sony Pictures Motion Picture Group and part of Sony Pictures, owned by Japanese multinational conglomerate Sony Corporation. The concept for TriStar Pictures was the brainchild of Victor Kaufman, a senior executive of Columbia Pictures, who convinced the studio, HBO, CBS to pool resources and split the ever-growing costs of making movies, creating a new joint venture in 1982. On May 16, 1983, it was given the name Tri-Star Pictures, it was the first new major Hollywood studio to be established since RKO Pictures was founded in 1928. The studio's first produced film in 1984 was The Natural starring Robert Redford, their first release however, was the film, Where the Boys Are'84. During this venture, many of Tri-Star's releases were released on VHS by either RCA/Columbia Pictures Home Video, CBS/Fox Video and HBO/Cannon Video. In addition, HBO would gain exclusive cable distribution rights to these films, broadcast television licenses would go to CBS.
CBS dropped out of the venture in 1985, though they still distributed some of TriStar's films on home video until at least 1992. In 1986, HBO dropped out of the Tri-Star venture as well and sold half of its shares to Columbia Pictures; the same year, Tri-Star entered into the television business as Tri-Star Television. It was formed when the studio joined forces with Stephen J. Cannell Productions and Witt/Thomas/Harris Productions and created a television distribution company called TeleVentures. On December 21, 1987, Tri-Star Pictures, Inc. was renamed to Columbia Pictures Entertainment, Inc. when Coke sold its entertainment business to Tri-Star for $3.1 billion. Both studios continued to distribute films under their separate names. On April 13, 1988, CPE spun off Tri-Star Pictures, Inc. as a reformed company of the Tri-Star studio. In 1989, Columbia Pictures Entertainment, Inc. was acquired by Sony Corporation of Japan, who merged Columbia and Tri-Star, but continued to use the separate labels.
On July 11, 1990, Tri-Star Pictures dissolved and sold its venture in TeleVentures to Stephen J. Cannell Productions and TeleVentures became Cannell Distribution Co. Most of the series and the Tri-Star film packages that were distributed by TeleVentures were transferred to Columbia Pictures Television Distribution; the Tri-Star film packages were transferred to Columbia Pictures Television Distribution. Sony Pictures Entertainment revived TriStar Television as a television production banner in 1991 and merged with its sister television studio Columbia Pictures Television to form Columbia TriStar Television on February 21, 1994. Both studios continued to operate separately until TriStar folded in 1999 and CPT in 2001. In addition to its own slate, TriStar was the theatrical distributor for many films produced by Carolco Pictures. TriStar theatrically distributed some FilmDistrict movies. Around summer 1998, SPE merged Columbia and TriStar to form the Columbia TriStar Motion Picture Group, but just like Columbia Pictures Entertainment, both divisions continued producing and distributing films under their own names.
TriStar was relaunched on May 13, 2004 as a marketing and acquisitions unit that had a "particular emphasis on genre films". Screen Gems' executive vice president Valerie Van Galder was tapped to run the revived studio after being dormant. However, the release of its 2013 film Elysium represents the label's first big-budget release since The Mask of Zorro in 1998; the same year, former 20th Century Fox co-chairman Tom Rothman joined Sony Pictures and created TriStar Productions as a joint venture with existing Sony Pictures executives. The new TriStar will develop and produce up to four films per year, as well as television programming and acquisitions, starting on September 1. Sony's TriStar Pictures unit will be retained for "other product, including titles from Sony Pictures Worldwide Acquisitions", will distribute product from the new TriStar. TriStar's logo of Pegasus, introduced in 1984, has become something of a cultural icon; the idea came about his family's interest in riding horses.
The original logo was created with the assistance of Sydney Pollack, an adviser at Tri-Star. The horse in that logo was the same one used in Pollack's film The Electric Horseman; the horse in that film was dark, so Pollack had the image altered it to look white in the logo. The second logo was painted by Alan Reingold and debuted in 1992, along with sister studio Columbia Pictures, with both logos sharing a background of clouds; the theatrical version was animated by Intralink Creative in 1993. The white stallion was shot in a hangar at the Santa Monica Airport, The wings were done by combining real white feathers and computer-generated-imagery merged with Pegasus by computer morphing; the background is nighttime blue. The clouds were shot from the Haleakala Crater on Maui. In 2015, a new TriStar Pictures logo was debuted in The Walk; this time it was animated by JAMM VFX. The clouds are white in this new logo