It was a key part of his efforts to establish a permanent cultural centre in the historic town to act as both an artistic space and production studio while providing a permanent home for the festival. The Polish event launched in the city in but — for political and financial reasons — it was staged in Lodz from and Bydgoszcz from Zidowicz added that Lynch and fellow festival friend Frank Gehry will be on board to support. The festival continues to grow, recording 4, attendees this year, of which are international cinematographers including Lawrence Sher Joker , Rodrigo Prieto The Irishman and Phedon Papamichael Ford v Ferrari. As the 27th edition draws to a close, Zidowicz and festival office director Kazik Suwala spoke to Screen about the plans for European Film Centre Camerimage and how they hope it will provide a year-round home for the festival, provide a space for cinematographers and filmmakers to engage with new technology and work as a physical production studio for local and international filmmakers.
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It was a key part of his efforts to establish a permanent cultural centre in the historic town to act as both an artistic space and production studio while providing a permanent home for the festival.
The Polish event launched in the city in but — for political and financial reasons — it was staged in Lodz from and Bydgoszcz from Zidowicz added that Lynch and fellow festival friend Frank Gehry will be on board to support.
The festival continues to grow, recording 4, attendees this year, of which are international cinematographers including Lawrence Sher Joker , Rodrigo Prieto The Irishman and Phedon Papamichael Ford v Ferrari.
As the 27th edition draws to a close, Zidowicz and festival office director Kazik Suwala spoke to Screen about the plans for European Film Centre Camerimage and how they hope it will provide a year-round home for the festival, provide a space for cinematographers and filmmakers to engage with new technology and work as a physical production studio for local and international filmmakers.
Marek Zydowicz : In , we thought we had found a solution in Lodz. The local government agreed to fund a cultural centre with Frank Gehry on board as the architect. Then the politics changed and the project collapsed. We organised a strike at the city hall — it was a terrible time. He promised to help, but after eight years he said it was impossible.
The prime minister of Poland then agreed to give Camerimage support independently. For eight months, we worked together with local and national government officials to establish a national culture institution that will be called the European Film Centre Camerimage. You said at the opening ceremony that it is expected to be finished within the next five to six years. When we started in , we had a small hall and a tent in the middle of the winter. What will the European Film Centre Camerimage look like?
Do you have a location for it yet? Frank Gehry prepared a beautiful concept [for Lodz], and he will again be involved with the new space. We would also like to invite famous architects from around the world. David Lynch will help be a part of the plans. The idea is that the festival will take place at the space for two weeks, but the rest of the year there will be painting, video art and other curated events. Film is just one part of it. Kazik Suwala : It will be a place where young people can connect and meet with masters in the visual fields, and where they come and experience new technology.
We want them to come here, talk about their new projects and receive mentoring. And when they are more experienced, they can come and teach the younger ones. He said many of their films were more impressive than the features that year. He left the festival inspired, and that is what we want to take place throughout the year. At the same time, they could be introduced to new technology to make them think how they could do something differently.
How will you place a focus on the ever-growing technology taking place in the industry? We are responsible for showing what is accessible, and also letting cinematographers try new equipment so they have the choice and freedom in their filmmaking style.
At Cameraimage, we have created a space where artists can speak with technology companies and make them aware of their needs. We give them the ability to all be in the same place, and to discuss and hear different ideas. Because of our international contacts, we think we would be a good connection between Polish and international contacts.
In a month, we will have an update about a Polish-American project we are working on with a well-known screenwriter. We are at the beginning of this journey, but if it works, we would use this as a sort of pilot where the centre would be an international connection to filmmakers and film production. With the resources we will potentially have when the centre is completed, we can show how production can be smoother and less expensive, plus we will give back certain services and cultural activities.
We have better access to people, the doors are easier to open. Lots of people like Quentin Tarantino know the name and that makes it easier for us to get big-name talent.
Ten or 15 years ago, no one would read our festival invitation. Now they do and many like coming to the festival because they meet many of their peers. DoPs and industry figures say they live close to their friends but the only time they see each other is at Camerimage.
Do you see the Camerimage awards as a a precursor to the Oscars? I have also been told the student awards, coined the Tadpoles, have influenced the Oscars, particularly with our documentary shorts competition. We are now recognised by the Academy as a qualifying festival for the Documentary Short Subject category. That means a lot to us. Screen International is the essential resource for the international film industry.
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Krichman's cinematography is instrumental in creating the mood that is so imperative to Zvyagintsev's distinctively harrowing journeys of the soul. Predominantly shooting with a crisp, wide lens, Krichman's work often juxtaposes the embittered faces of characters against the weather-worn yet picturesque Russian landscape. There's a coldness to his work, yet it exudes an existential aura that feels like a nightmare slowly unravelling before your eyes. Preferring to film in 35mm and manipulating natural light rather than relying on artificial light sources, Krichman lights space before characters, grounding them within their surroundings and adding an air of realism and immediacy to the events that unfurl. His parents come from the field of book typesetting. After finishing his army service he did not know what to do with himself, and he chose the easiest path.
Jump to navigation. Overlooked, downplayed or not fully understood, it is the intelligence, originality and beauty of the photography and camerawork that can intensify the emotional impact of a scene, convince the audience to suspend reality, or energize enough brain cells to process large quantities of information--something today's audiences with impaired attention spans might find challenging. No one knew what to expect in Plus Camerimage's 18 th year: political fallout with local government officials forced the festival's organizers to flee their native Lodz, Poland, home of the distinguished Leon Schiller National Higher School of Film, Television and Theatre, to a northerly town closer to Warsaw called Bydgoszcz. The festival's infrastructure was successfully transplanted onto the Opera Nova building, and most events, scaled down in size and numbers, took place within this one centralized venue--thankfully, as this year's blizzard-like conditions with temperatures of 22 degrees C stung not only your cheeks but your energy for the long day to come. After perilously navigating a path through fresh snowdrifts over glacial tramway lines, arriving at the warmth, comfort and safety of a protected screening room surrounded by familiar friendly faces became a reward in itself.