elena ( 2012 film )
festivals / awards thessaloniki international film festival 2011 - international competition, cyprus film days 2012, sao paolo iff 2012, seville iff 2012. 2 awards by the hellenic film academy .
lambourne, andrew (2012). “climbing the production chain. ” paper presented at 2012 languages and the media conference (berlin, 21–23 november 2012) .
looking for movie tickets? enter your location to see which movie theaters are playing elena (2012) near you .
home sweet home (2012), united kingdom / france, enrica colusso .
joining the dots (2012), united kingdom, pablo romero - fresco .
festivals / awards venice iff 2012 – orizzonti competition – best european short film – world premiere ghent iff 2012, seville iff 2012, fife 2013, tetouan iff 2013, cortisonici 2013, bradford iff 2013, courtisane siff 2013, hamburg siff 2013, curtas vila do conde 2013, sydney iff 2013, huesca iff 2013, dokument art 2013 - best film award, brest isff 2013, leuven isff 2013. nominated for best short film of the european film academy awards 2012 .
serban, adriana (2012). “translation as alchemy: the aesthetics of multilingualism in film. ” rosa agost, pilar orero and elena di giovanni (eds) (2012). monographs in translating and interpreting (monti) 4, 39–65 .
mickey and the fly (2012) silent / slapstick directed by evan a. baker
mcclarty, rebecca (2012). “towards a multidisciplinary approach in creative subtitling. ” rosa agost, pilar orero and elena di giovanni (eds) (2012). monographs in translating and interpreting (monti) 4, 133–155 .
mfp (2012). le sous - titrage de référence pour sourds et malentendants, paris: mfp .
perego, elisa (ed .) (2012). eye tracking in audiovisual translation. rome: aracne .
aenor (2012). norma une 153010 subtitulado para personas sordas y personas con discapacidad auditiva. madrid: aenor .
i talked with elena about the story behind the film, along with the fascinating cast decisions and camera choices .
after watching elena, the brazilian director fernando meirelles (city of god) said :
elena is a rare cinematic experience. a film that generates 60 insights a minute .
petra costa is a brazilian filmmaker and actress. she first directed the short film undertow eyes (2009) which screened at the moma and was winner of best short film at rio film festival, cine las americas international film festival, london international documentary festival among others. she then directed the feature elena (2012) which premiered at idfa, followed by sxsw and hotdocs. elena won many prizes such as best film at havana film festival (2013), was nominated for best cinematography at the 2014 cinema eye honors and was the most watched documentary in brazil in 2013 .
fryer, louise and jonathan freeman (2012). “cinematic language and the description of film: keeping ad users in the frame. ” perspectives: studies in translatology, 1–15 .
vermeulen, anna (2012). “heterolingualism in audiovisual translation: dee zaak alzheimer / la memoria del asesino. ” aline remael, pilar orero and mary carroll (eds) (2012). audiovisual translation and media accessibility at the crossroads. amsterdam / new york: rodopi, 295–313 .
ioncinema calls elena a “loving poem” urltoken furiously celebrates, supports and promotes u. s. independent and documentary film and foreign cinema elena is
beautifully poetic yet penetratingly raw in its portraiture
- 5 / 1 / 13
“with its free - floating imagery, elena unfolds like a cinematic dream. ”
elena of avalor
is an animated series that follows the story of elena, a brave and adventurous teenager who saves her kingdom from an evil sorceress .
“elena is one of the most moving, heartrending cinematic experiences i’ve ever had. ”
produced by homemade films, unafilm, prpl, bastide films, greek film center, nederlands film fonds, film - und medienstiftung nrw, filmförderung hamburg schleswig - holstein, pan entertainment, graal s. a. , marni films, mamoko entertainment, prosenghisi ltd, movimento film production
merida, a scottish princess, sets out to break her family' s curse in disney - pixar' s 2012 film
brave .
she' s a skilled archer, a good swordfighter and a pretty good horsewoman, too .
the film is not about someone
looking for a lost sister
. the director, petra costa, is elena' s younger sister, who became a filmmaker. the film is a true story, a documentary that recreates her elena' s steps, using childhood memories, home videos, photos and interviews .
* a second screening of the showcase will take place at the quad, in derby, on 27 april 2012, after which director esther richardson will be present for a q & a session with wftv’s short film series producer, rebecca brand .
elena – rooftop films festival rooftop films - donna k. - 8 / 19 / 13
nadezhda markina as the title character in “elena, ” set in and around moscow. the film is directed by andrei zvyagintsev, best known for “the return. ”
how elena acts on this information involves the logic of a perfect crime, so beloved by film noir, and usually not quite perfect after all. there' s a kind of fascination in observing elena' s calm and composure as she acts by any means necessary and displays both false and real emotion. shoot this film in black and white and cast barbara stanwyck as elena, and you' d have a 1940s classic .
it therefore follows that the translator - title designer, rather than remaining outside of the filmmaking process, should become part of the postproduction team, working alongside the film editors and title designers. this would enable the translator - title designer to gain closer working access to the film’s production team, including the director, and consequently achieve greater insights into the film’s style and the director’s intentions. in turn, this would facilitate a creative subtitling that truly responds to the film and, moreover, becomes an aesthetic extension of the film itself (mcclarty 2012: 149) .
chapter: women in film & tv uk www. wftv. org. uk
( click here to watch the film and here to read a review. )
feature film, 105’, 35mm, color, dolby digital, greece 2011 .
short film, 11′, 35mm, color, dolby digital, greece 2010 .
feature film, 107′, 35mm, color, dolby digital, greece 2010 .
win some lose some (2010) film noir directed by t. anthony walker
film independent produces the spirit awards, the annual celebration honoring artist - driven films and recognizing the finest achievements of american independent filmmakers. film independent also produces the los angeles film festival, showcasing the best of american and international cinema and the film independent at lacma film series, a year - round, weekly program that offers unique cinematic experiences for the los angeles creative community and the general public .
elena is not a film for the faint of heart. and yet, it is a film about redemption, about full acceptance of the human condition. when the lights came on at the end of the session last night there was absolute silence .
a haunting visual essay. elena interweaves its various fragments like gestures in a modern dance .
how can one describe petra costa‘s film “elena“? if it’s just the facts, one could say that it’s a documentary about costa searching for answers and understanding about her sister elena, who committed suicide when she was a child. and yes, it is that, but it is [ … ]
elena walks down a hospital corridor crying quietly, then stops at a window and fights back her tears .
ms. ferrante’s identity, kept scrupulously secret by her publishers, has been the subject of intense curiosity and scrutiny since her books became an international sensation after “my brilliant friend” was published in english in 2012 .
elena is a movie starring nadezhda markina, andrey smirnov, and aleksey rozin. when a sudden illness and an unexpected reunion threaten dutiful housewife elena' s potential inheritance, she must hatch a desperate plan ...
elena
reveals a filmmaker in full command of his art and not much interested in catering to an audience. if you want this film, you have to meet it more than halfway .
a film i’d like to have done. i got goosebumps several times because it is a film about grief and incomprehension of death. and death should not exist .
festivals / awards venice iff 2010 – orizzonti (world premiere) drama isff (6 awards including best short film), amiens iff 2010, gijon iff 2010, rotterdam iff 2011, clermont ferrand isff 2011, gulf isff 2011 (best international short film), leiden international short film experience 2011 (best short film award), short shorts 2011, palm springs shortfest 2011, la shortfest 2011, guanajuato iff 2011 – signis jury special mention, melbourne iff 2011. best short film award by the hellenic film academy .
paradoxically, even though these translation and accessibility services only account for 0. 1% –1% of the budget of an average film production (lambourne 2012), over half of the revenue of, for example, both top - grossing and award - winning hollywood films comes from foreign territories 1 :
“first, there are three women intermingled. then, there is search and separation. elena is now memory. and memory is a living house. elena is one of the most beautiful documentaries i have ever seen. ”
elena is one of the most moving, heartrending cinematic experiences i’ve ever had. of unusual beauty, it’s a film we keep turning to for a long time. it’s a must see !
f claude chabrol had made a film that looked like a russian parable of human vanity, it might look like this gripping and disturbing film from andrey zvyagintsev. (i found myself thinking of both merci pour le chocolat and old count bezukhov' s will in war and peace .) elena is only the third feature - length film from this 48 - year - old director, after
summoning elena to his bedside, vladimir stuns her by bluntly announcing that he is about to prepare his will in which he leaves almost everything to katerina, while providing elena with a life annuity to be distributed in monthly payments .
first, there are three women intermingled. then, there is search and separation. elena is now memory. and memory is a living house. elena is one of the most beautiful documentaries i have ever seen .
“elena” evokes the experience of three generations of brazilian women. elena was born in 1969 at the start of the dictatorship that drove many brazilian artists into exile. later she lost many friends in the dance world to the aids epidemic .
elena of avalor
will premiere friday on the disney channel. walt disney is the parent company of abc .
rob reiner' s film rests on broad, sweeping proclamations about the importance of factual reporting .
the main hero of the film for me is the film language, the rest is the characters. well and of course the main heroine is the idea (zviagintsev 2011: 70) .
feature film, 83′, dcp, color, greece - germany - netherlands - italy 2014 .
there was significant social media backlash when princess sofia was reported to be walt disney ’s very first latina princess in 2012. show creator craig gerber told abc news it was that confusion that sparked the idea for a new show .
though very russian, there is an extremely universal story at the heart of this film ...
because vladimir’s lawyer is to arrive the next day, elena makes an impulsive, fateful decision that casts her in a different light. but the screenplay, written by the director with oleg negin, recognizes her humanity. even as elena contemplates the unthinkable, ms. markina’s grand, subtle performance reinforces the film’s view of her as its most compassionate character .
elena is an elegiac cinematic essay that is both haunting and unforgettable. frank scheck - the hollywood reporter 5 / 29 / 2014
elena cares for her husband vladimir' s (andrey smirnov) needs in a relationship whose true nature is not entirely clear .
left, a scene from the movie. right, petra as a baby with elena, her sister, in a photograph .
evita elena roger in the title role and ricky martin in this andrew lloyd webber and tim rice musical at the marquis theater .
the first of the many merits of petra costa’s film is not having related elena’s depression—which undoubtedly influenced her final choices—to her talent and sensitivity. the actress is remembered in all her generosity and charisma despite and not because of her problems. elena celebrates what comes before and outlives death: the harsh beauty of love which has undergone the hardest of tests .
in 1911, the united nations put forth a day to celebrate the economic, political, and social achievements of women past, present, and future. this marks the 7th year women in film and television (wifti) joins in that celebration with our short film showcase. these films have been selected by the participating wifti chapters from submissions created by their members. each chapter’s selections were sent to the wifti screening committee to compile the final 2012 showcase program .
elena speaks about losses with rare talent and courage. it echoes strongly inside us, it is pain that cures pain .
elena is an elegiac cinematic essay that is both haunting and unforgettable. the hollywood reporter - frank scheck - 5 / 29 / 14
petra costa in “elena, ” a documentary that she directed about her sister, who settled in new york and later committed suicide .
from the point of view of research and teaching, accessible filmmaking entails an exchange between film (making) studies and avt, where film scholars and film students learn about the aspects of avt and accessibility that may have an effect on the realisation and reception of (their) films, while avt scholars and translation students explore the elements from filmmaking and film studies that can contribute to the theory and practice of translation and accessibility .
over the past years, eye - tracking research has focused on the reception (and perception) of original films (smith 2006, smith et al. 2008) and translated films (perego (ed .) 2012), but it may also be necessary to compare both experiences. to what extent and how do the subtitles affect the reception of a film ?
festivals / awards venice international film festival 2015 – orizzonti competition – world premiere torino iff 2015, mumbai iff 2015, thessaloniki iff 2015, kolkata iff 2015, goa iff 2015, palm springs iff 2016, istanbul iff 2016, vilnius iff 2016, cyprus film days 2016, catania ff 2016, lagff 2016, pula iff 2016, sarajevo iff 2016, festival of film critics camera action 2016, skopje iff 2016, sao paulo iff 2016, hellas filmbox ff – new vision award, etc. best first film director hellenic film academy award 2016
“visually stunning and viscerally moving. a film that made me believe again in the transformative power of cinema. ”
1 ] the documentary is one of the discs in the special two - disc edition of the film released in russia by karmen - fil’m in 2011. the other disc contains the film with optional russian and english subtitles .
gradually, the features of the two sisters are confused; we no longer know one from the other. when petra finally finds elena in an unexpected place, she has to learn to let her go. elena is a film about the persistence of those memories, the irreversibility of that loss, and the impact the absence of her sister had on the seven - year - old girl .
both have children. elena' s son, sergei (alexey rozin), is a dissolute layabout with an obnoxious son named sasha (igor ogurtsov). he doesn' t love elena and who knows what she feels for him, but she brings them money from vladimir. vladimir has a daughter named katya (elena lyadova), who has no purpose in life other than to be supported by her doting father .
director bio: jacqueline resides in portland. “sack lunch” is her first film. this is part of a series of shorts on revenge that will be arranged in a feature length film. she serves on the board of wifp .
los angeles (october 22, 2012) — film independent is pleased to announce the filmmakers and projects selected for its 12th annual producing lab. sponsored by the alfred p. sloan foundation, the intensive five - week program offers promising producers a nurturing, creative environment as well as the resources and support needed to hone their skills, allowing them to move their current projects into production .
a haunting visual essay. elena interweaves its various fragments like gestures in a modern dance. variety - peter debruge - 3 / 22 / 13
aimee carrero of the disney channel' s ,
elena of avalor
is pictured in a recording studio, jan. 26, 2016 .
film synopsis: disappointment in love can send someone “awol” in the heart. the front lines are the only defense .
elena of avalor ,
disney' s newest princess, is set to make her long - awaited debut this week. it' s a big deal - - and not just to the under - 8 crowd - - because elena will be the first disney princess of hispanic descent .
andrea pallaoro pasó por la sección talents hace dos años con su primer film, medeas. ahora vuelve al festival con hannah, un gran film interpretado por una gran dama del cine, charlotte rampling, que sumó con esta película un nuevo…
elena cares for her husband vladimir' s (andrey smirnov) needs in a relationship whose true nature is not entirely clear. zeitgeist films hide caption
in different hands ,
elena
might have been a noir thriller, but this serving of cinematic borscht is as cold as a russian winter .
carrero told abc news she is honored be a part of the
elena of avalor
cast as disney makes history with its first latina princess .
not all disney princesses are introduced to the world via the big screen. elena will make her debut on the disney channel. gerber explained why .
elena
begins as if it will be the grim portrait of unpleasant people and grows steadily more remorseless. there' s a kind of fascination in its unblinking portrait of characters who care about nothing but money. it concludes on a note that would distinguish a film noir, although many noirs end on notes of poetic justice, and there' s no poetry in
elena ,
and no one deserving justice .
egoyan, atom and ian balfour (2004). subtitles: on the foreignness of film. cambridge: mit press .
elena will be playing at the miami beach cinematheque on monday, august 18th, at 7 p. m. as part of the 18th brazilian film festival of miami. tickets cost $ 11, with discounts for members, seniors, and students. visit urltoken or urltoken .
director bio: maria - elena’s love for art came from her time in dublin, ireland where she studied visual communications. moving to new zealand she has married her love of art and story into her short films. she is currently working on a new short film “inorganic” .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
the consideration during the filmmaking process (and through collaboration between the translator and the creative team of the film) of some of the aspects that are required to make a film accessible to viewers in other languages and viewers with hearing or visual loss .
( 2007); it is in many ways his most intimate, and the film with the most contemporary and realist character .
nornes, abé mark (1999). “for an abusive subtitling. ” film quarterly, 52 (3), 17–34 .
shot like a dream, spoken like an elegy, elena takes nonfiction where it seldom wants to go. indiewire - john anderson - 5 / 29 / 14
movie review -' elena' two families united by marriage but divided by class are the focus of an intensely compelling slice of noir about moral rot and class warfare in post - soviet russia. critic ella taylor says the film by director andrey zvyagintsev (the return) smolders with existential unease .
i enjoyed the film but was disppointed with the ending which just showed that a mother (elena) could not see any fault in her family and that vladimir was right that they were a bunch of wastrels. why do peple complain that films are slow? is their pace of life that much different ?
her words resound through a film that suggests that in this quasi - feudal social environment, avarice and blood ties trump all other values .
van sijll, jennifer (2005). cinematic storytelling: the 100 most powerful film conventions every filmmaker must know. ca: mwp .
part - subtitling is understood here simply as a strategy for making a film shot in two or more languages accessible to viewers. unlike conventional subtitles, part - subtitles are appended to part of the dialogue only, are planned from an early stage in the film’s production, and are aimed at the film’s primary language audience. such films will have no ‘original’, unsubtitled version, but will be partially subtitled for all audiences .
seven adolescents take on the mission of filming their family housemaids for one week and hand over the footage to the director to make a film .
film synopsis: under the guise of a traditional mexican folk dance, a border town cowboy is unknowingly robbed of his treasure by traveling banditos .
after branching out on her own, smith produced the critically - acclaimed feature that evening sun, written and directed by scott teems, which won the audience award for best narrative feature and special jury prize for best ensemble cast at its sxsw premiere. the film went on to garner over a dozen awards on the film festival circuit, two film independent spirit award nominations, and was released theatrically in 2009. she then produced the independent feature sironia with filmmaker brandon dickerson, which won an audience award at its austin film festival premiere in 2011 and is being released this fall .
with no place to call home, 19 - year - old elena takes a job as a live - in aide. she finds herself thrust into the middle of a family in crisis: all the things that go on between a father, grandmother, mother, and cat. eventually, elena strikes something of a balance though... that is, until the prodigal son returns home. placing fictional characters alongside real people,' exit elena' is shot through with all the rough edges inherent to family life and home movie form .
dreaming of fame and fortune, a local denver performer hires two indie filmmakers to come to town and make a film with him as the star .
a beautiful piece of work; elegant, poetic, visually stunning and viscerally moving. elena takes you to a place where you’re reluctant to go as a person. and forces you to face your own demons. a film that made me believe again in the transformative power of cinema and let loose my cynicism about it .
the final impression is that petra, the director and sister, made and was made by the film, a bit like that image of the hand that draws another hand and is in turn drawn by it. without the director, elena would not exist; without elena, my impression is that the director would be sadder, her life trapped in unrelenting grief. she would also be spiritually poorer, not having undergone the experience of having made one of the most beautiful films i’ve seen in a long time .
elena is really a masterpiece in terms of sensibility and communication in the way by which pain can ultimately be transformed by the magic of art into sublimation, compassion and reconciliation .
petra’s identification with elena is so intense that the faces of the two sisters seem almost interchangeable, like the two women in ingmar bergman’s “persona, ” one of them an actress (played by liv ullmann) suddenly gone mute, the other her nurse (bibi andersson), futilely trying to coax her out of a despair beyond words. another classic film to which “elena” indirectly refers is alain resnais’s “hiroshima mon amour, ” with its intermingled reflections on passion, time and historical trauma suggested by the mention of “hiroshima. ”
elena, a newly qualified live - in nurse, moves in with the akerman family to nurse their aging grandmother. unfortunately, the clingy mother makes it difficult for her to stay professional .
the ballad of narayama
is a japanese film of great beauty and elegant artifice, telling a story of startling cruelty. what a space it opens…
film synopsis: a daughter’s long time rage at her father’s life choices finally comes to light as she wants to take his ashes back home with her .
film synopsis: mrs. anderson is a stubborn woman who cannot let go of the past, even in the face of desperate pleas for her help .
director bio: ryan grew up on a farm outside of atlanta, ga. after traveling the world and documenting her journeys, she settled in the bay area where she currently works for pixar. she is working on another short film, “the farms”, and is producing her first feature film, “white rabbit” .
vincendeau, ginette (1999). “hollywood babel: the coming of sound and the multiple - language version. ” andrew higson and richard maltby (eds) (1999). “film europe” and “film america”: cinema, commerce and cultural exchange 1920 - 1939. exeter: university of exeter press, 207–225 .
many people can' t abide slow - building subtitled films about relentlessly unhappy people. but closet pessimists like myself and the cannes judges will find elena' s sense of impending doom oddly satisfying .
elena of avalor will be written as a 16 - year - old girl. that would make her the same age as aurora in “sleeping beauty, ” ariel in “the little mermaid” and mulan .
film synopsis: ryan gives us a humorous look at the male’s need to hang on to preconceived notions about his gender and what he “should” do in life .
unlike ariel, who gave up her voice to be with prince eric, or cinderella, who dreamed of a happily - ever - after with prince charming, elena will not have a love interest .
the subtlety and stealth of this movie is a marvel, and so is the complex and enigmatic performance of markina. zvyagintsev has a brilliant slow zoom on to an old photo of elena, apparently taken around the time of her marriage 10 years before – and presumably taken by the doting vladimir. it inspires the question: who is elena? what does she want? who does she love? it is superbly shot and directed; it does not offer a thriller - type ending – the narrative is resolved in a disquieting minor key. a deeply satisfying film .
post - soviet russia in andrei zvyagintsev ’s somber, gripping film “elena” is a moral vacuum where money rules, the haves are contemptuous of the have - nots, and class resentment simmers. the movie, which shuttles between the center of moscow and its outskirts, is grim enough to suggest that even if you were rich, you wouldn’t want to live there .
for mr. zvyagintsev, whose first feature, “the return, ” won the grand prize at the 2003 venice film festival, it is a brilliant comeback after “the banishment” (2007), a disappointing film that was not released in this country. “the return” had established him as perhaps the foremost artistic heir to andrei tarkovsky .
director bio: ester’s background is theatre directing and this is her first film! it is already gaining acclaim and we look forward to what she will accomplish next .
rather than adhering to a restrictive set of norms, the creative subtitling practice responds to the specific qualities of the individual film text, giving the creative subtitler more freedom to create an aesthetic that matches that of the source text, instead of being bound by standard font types, sizes and positions. creative subtitles may be subtle or striking, bright or neutral, wild or restrained, but they will always respond to the individual film text, or even to specific moments within that film text .
based on a true story, elena obliterates the line between documentary, diary and fever dream, and is at once captivating and devastating. the most watched documentary in brazil of 2013 now comes to america .
film synopsis: “menisus” is an experimental journey into human nature where we learn what some would say our souls already know: the spirit is more powerful than the flesh .
production fantasia ltd, greek film centre, ert sa, pan entertainment, ηomemade films, danzaprojekt with the support of support of g. s. ma. th .
with its free - floating imagery, elena unfolds like a cinematic dream whose central image is water, which symbolizes the washing away of grief. the new york times - stephen holden - 5 / 30 / 14
from the word go, there are subtle signs of discord in the marriage of vladimir (andrey smirnov) and elena (nadezhda markina), a wealthy couple whose domestic life runs on oiled wheels of routine .
director bio: joycelyn grew up in the “industry”. her first short film, “baby monitor”, received many awards. “lobster” is her second short film. she directed the premiere of eve ensler’s newest play, “i am an emotional creature - the secret life of girls”. her career spans many sides of filmmaking as well as writing children’s books .
elena and vladimir’s marriage reaches a crossroads when vladimir has a heart attack while swimming and is again dependent on her care. katerina visits him (at elena’s insistence) while he’s in the hospital, and the father and daughter, after years of mutual hostility, discover a ghoulish rapport in their shared nihilism. katerina now drinks and takes drugs only on weekends, she announces sardonically, but is “still getting food and sex under control. ”
elena always brings money. when sergey tells her that his surly teenage son, sasha (igor ogurtsov), will have to join the army unless sergey can buy the boy’s way into college, she promises to help, although sasha has no interest in his studies. any money she brings has to be wheedled out of vladimir, who despises her family and its slovenly ways. when elena returns home and pleads sasha’s case, he balks .
here' s a tip: don' t feel. think. zvyagintsev wants you to come out of
elena
thinking something, and if your realization is an uneasy one, that' s ok with him .
elena greenlee was born and raised in brooklyn, but her passion for filmmaking has been honed all over the world. fluent in four languages and with a background in documentary filmmaking, she is a narrative producer in the service of telling socially relevant stories from diverse and unexplored angles. her first film was shot in havana, cuba, and screened at festivals internationally as well as on broadcast tv in the
on its surface alone, andrey zvyagintsev' s elena is an intensely compelling slice of noir about moral rot and class warfare in post - soviet russia. deeper down, the movie seethes quietly with the moody influence of other east european masters of the timeless ineffable. if zvyagintsev were a less inscrutable filmmaker, he might have titled his new film crime without punishment — but we' ll get to that .
aimee carrero, 28, who stars on freeform’s hit series “young and hungry, ” has been tapped to voice the new animated character for the
elena of avalor
series that will launch on the disney channel on friday .
director bio: sheila is an award winning writer / director whose passion is centered in public health / family issues. this film is born out of personal experience in the dating world. during her 20 year career she has produced a serious body of work, and in her words “this film marks a much - needed fore into dramatic comedy. phew! ! ” .
produced by sacrebleu productions, homemade films, centre national du cinéma et de l’image animée, france télévisions, greek film centre, ert s. a. , ote tv, procirep angoa
' elena'. a beautifully reserved piece of filmmaking exploring the class divide in modern moscow. the direction is meticulous, patient and purposeful, capturing little moments and stunning imagery. a most memorable, simple score does wonders too .
elena, a young brazilian woman, travels to new york with the same dream as her mother, to become a movie actress. she leaves behind her childhood spent in hiding during the years of the... see more »
“everyone’s going to die” a jonesfilm production in association with bobo kaminski film. (sales: arclight films, los angeles .) directed, written by jones. running time: 83 min .
the film is a dense, impressionistic collage of accumulated fragments from home movies, newspaper clippings, diary entries and excerpts from letters, narrated by ms. costa in a tone of dreamy sadness. her refusal to heed the advice of her mother, an elegant, sepulchral presence threaded through the film, suggests that petra, like her sister, is an impulsive, volatile young woman, willfully tempting fate in her quest to conjure a sibling with whom she was very close as a young child. it is also an attempt to exorcise her own boundless grief and, in so doing, spare herself elena’s tragic destiny .
elena, a young brazilian woman, travels to new york with the same dream as her mother, to become a movie actress. she leaves behind her childhood spent in hiding during the years of the... see full summary »
but costa isn' t solely dedicated to telling the story of her sister' s depression and death. in great part, elena is a work of self - exploration and how fulfilling it can be to make the most abstract memories concrete .
vladimir and elena' s apartment looks eerily like his gym or the hospital where he recuperates from a stroke. all three form a seamless line of discreet opulence and engineered good taste, unbroken by the warmth of spontaneity, idiosyncrasy or mess .
lilya talks to elena on a mobile phone while in bed, then gets up (she is shown wearing an undershirt and men' s boxers), hugs and kisses her boyfriend who is watching a documentary with slavoj zizek on a laptop .
juan antonio barquin co - runs a film criticism site, dim the house lights, and works as an arts writer for new times. he aspires to be bridget jones and loves genre flicks .
director bio: deb has won many awards and competitions, but currently she can be found on her organic vegetable farm in pa as she works on her first feature film project “poppies and olives” .
produced by pan entertainment, greek film center, ert s. a. , nova, graal, accelere, panagiotis fafoutis, homemade films with the support of the media programme of the european union
loved this movie when i saw it in european festivals. hoping it would be seen here, so i could share it with friends. extraordinary and compelling window into russia today. beautiful film .
aimee carrero says she is not a professional singer, but you wouldn’t know it. she will sing as elena in the series. she’s already recording a rousing number, “my time, ” sure to get you motivated to do just about anything .
film synopsis: so often we recreate our pasts and our present becomes the nightmare of our childhood. this story revolves around a woman who carries the burden of her disturbed past throughout her adult life .
( ciro guerra), colombia / argentina / venezuela - c. i. c. a. e. award at cannes 2015 directors’ fortnight, best foreign language film nomination at the academy awards 2016
elena is a bold plunge into painful memories, unasked questions and wounds still inflamed. it is, in short, crying in the form of a movie, but also an embrace of comfort. pablo villaça - the movie blog 5 / 30 / 2014
sure enough, after she' s seen to her husband' s needs, elena rides the buses and trains to the dreary suburbs, bringing money and food to her unemployed son and his family. she might as well be traveling to another planet .
with its free - floating imagery, “elena” unfolds like a cinematic dream whose central image is water, which symbolizes the washing away of grief. but more than that, it represents the stream of life, with beautiful images of women floating through time .
craig gerber, creator and executive producer of “elena of avalor, ” also developed and still serves as executive producer of the disney junior animated series “sofia the first. ” gerber, the father of three young boys, has now created two disney princesses !
the title character of petra costa’s poetic, intensely personal documentary essay, “elena, ” is her older sister, a brazilian dancer and aspiring actress who settled in new york city and eventually committed suicide when petra was 7. years later, petra, also an aspiring actress, followed in elena’s footsteps and moved to new york to study theater at columbia. “my mother always said i could live anywhere in the world, except new york, ” she recalls. “i could choose any profession, except actress. ”
with 78 features world premiering at sxsw this year, variety couldn’t possibly get to everything. here are quick takes from senior film critic peter debruge on a handful of deserving films that didn’t receive full reviews .
director bio: megan was a sculptor, photographer and journalist before becoming a filmmaker. she has won many awards for her short films and is currently working on her first feature length film “crooks & nannies” .
you have a group of artists: writer, director, actors, and designers, who collaborate on a creative project, the film. well, the audio describer to my mind is just one more participant in that project, and how can they work as part of an otherwise highly qualified team, without a sound basis in how film works? (...) i' d like to see screen writers and filmmakers training and working as audio describers. what is the screenwriter' s job after all but to conjure up the world of the film in words, for a metaphorically blind audience? (haig 2002 )
elena (nadezhda markina), a dutiful wife to her wealthy husband and a burdened mother to her layabout son, manages to balance the needs of the two, until she learns her husband plans to leave her family nothing in his will. zeitgeist films hide caption
1. she' s polynesian! though she' s not the first disney princess to break out of the traditional fair - skinned mold (see mulan, tiana or the upcoming television series about princess elena of avalor), she is the first polynesian princess .
recent editing credits include american promise (pov 2014), which won the special jury prize for achievement in filmmaking at the 2013 sundance film festival and won the grand jury prize at the 2013 full frame film festival. she is also an editor and writer on the doc, the new black (independent lens 2014), which premiered at the la film festival, human rights watch and afi docs in june 2013. her other credits include sundance editing award winner detropia (as associate editor), and our school, which has screened at festivals around the world, including tribeca, visions du réel, and silverdocs for which it won the sterling award for best u. s. feature in 2011. erin was the inaugural recipient for the karen schmeer film editing fellowship in 2011 and an editing fellow at the sundance institute documentary edit lab in 2009 .
elena is a rare cinematic experience. this is due to both the depth with which it engages the emotional relationships among the 3 characters and the poetic delicacy of its textures, sounds, and text. it’s like a string that unravels before us and suddenly we’re trapped in a knot with no way out. but time or life itself takes on transforming what was tragedy into memory, undoing the knot and letting life flow again. it’s a film that generates 60 insights a minute .
memories go with time, they fade ,
the film says .
but some find no solace, just bits of relief in the small openings of poetry. you are my inconsolable memory made of shadow and stone. and it is from this that all is born and dances .
it' s the bits of dialogue like this that resonate deeply with the message that petra costa is getting across. elena is not solely the sister she lost, she is an essential piece of the woman that costa has become. even with the pain that comes with loss, she' s grateful for the moments she had with her sister. in many ways, elena is as much a letter of thanks as it is a love letter to a woman she misses .
sound plays a massive role in elena, with costa' s own narration being the primary form of plot progression, if one can even describe it as such. musical accompaniment works both ways in the film, with vitor araujo' s brilliant recurring piece of music ,
valsa pra lua ,
accompanying some of the most poignant scenes, while the mamas and the papas'
dedicated to the one i love
coming off almost too on - the - nose, despite its sweet sentiment .
kia davis, playing elena, is exquisite. we begin with seeing her qualify, and her joy and excitement to be beginning her first job. then, as she becomes more and more burdened with family politics, politeness and an overly amorous nathan, we can feel her frustration at not being able to just do her job. her interaction with cindy is heart - breakingly awkward; if cindy is as over - bearing in this film as she is in real life, i pity nathan silver !
from executive producers tim robbins and fernando meirelles, one of the most successful documentaries of all time in brazil now comes to america. intimate in style, elena delves into the abyss of one family' s drama, revealing at once the inspiration that can be born from tragedy .
a highly popular theme talk discussed options how to create feasible working conditions for parents and carers in the film industry today. another theme talk with experts covered the current topic
green production
, featuring producer marta donzelli of the
some of the film selectors of the d' a 2018 have chosen their favourite films pointing out some useful notes that may help you to choose between the different films of the festival or just want to follow their advice. carlos…
petra manages to tell a personal story with a universal appeal – and she does it by using a collection of extremely moving documentary images (elena’s dances, her return to belo horizonte) alongside original and striking scenes (such as the women floating in their transparent dresses) .
a chilly noir about the beaten paths and icy ruts of russian life in the capital, post - communism. in a land of schemers, elena suggests, the urban cloisters of moscow' s elite are as self - sealing as the lowly masses' stifling soviet - era flats .
la directora gallega anxos fazáns dirige su primer largometraje a estación violenta, después de dirigir varios cortos. basada en la novela del escritor y periodista manuel jabois, un film que habla de amistad, amor y emociones y las pasiones que…
the songwriting team for “elena of avalor ,
who are also the emmy award - winning songwriting team behind disney’s “sofia the first, will create a new song for every episode of the show. staff writers on the show will pen the lyrics, and a songwriter will create the music .
a thorough analysis of why avt and accessibility have not managed to make the same progress as localisation is beyond the scope of this article. however, a quick look back at the introduction of language transfer in film may provide useful context .
while the need for ‘visual rests’ was solved in production, other problems were tackled in post - production during the editing process. an example of this is the following sign, which is essential to follow the third act of the film :
sinha, amresh (2004). “the use and abuse of subtitles. ” atom egoyan and ian balfour (eds) (2004). subtitles. on the foreignness of film. cambridge, ma: the mit press, 172–190 .
here are the recommendations of carlos r. ríos, the director of d' a film festival barcelona. the most unique and special films that might guide you to the great variety of movies of this year da edition. his personal bet with…
is a filmmaker from chicago. currently splitting his time between chicago and new orleans, he works under oscar - nominated filmmakers in the court 13 collective (beasts of the southern wild). over the past two years, he has worked as production designer on nick singer’s other months, which is premiering at the 2014 sxsw film festival. he is presently in post on his first feature queen of the battling butterfly brigade. hymanson is a 2011 graduate of the wesleyan university film program .
in “elena” the title character (nadezhda markina), a stout, copper - haired woman in her late 50s or early 60s, shares an elegant, gadget - filled home near the kremlin with her wealthy older husband, vladimir (andrei smirnov). you are keenly aware of the distance between elena, a former nurse from a proletarian background, and the imperious, hard - nosed vladimir, whom she cared for while he recovered from peritonitis a decade earlier and then married. it’s not that they loathe each other. when he signals that he wants sex, she matter - of - factly obliges him .
london — a day after a new york review of books article about the possible real identity of the best - selling author known as elena ferrante, the rose theater kingston here announced monday that it would present the first stage adaptation of the four novels that have made ms. ferrante an international literary name.
elena is a brazilian film directed by petra costa and produced by busca vida filmes . it is based on the life of the actress elena andrade , petra costa 's older sister . 
elena is a brazilian film directed by petra costa and produced by busca vida filmes. it is based on the life of the actress elena andrade, petra costa's older sister.
elena is a brazilian film directed by petra costa and produced by busca vida filmes. it is based on the life of the actress elena andrade, petra costa's older sister.