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Warner Bros announced all of its 2021 slate films will have premiere simultaneously on the big screen and small screen via HBO Max. The Hollywood business models are changing. What does this mean for cheaters? Stay tuned, we talk about this on the next Chat Cinema.
Closed Cinemas
Going to the movies has become a challenge. We discuss the current state of affairs in our latest Chat Cinema podcast. Can theaters survive in the New Normal? Will audiences return?
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Directors Notes on “SAMP”
An interview with film directors Flavia Mastrella and Antonio Rezza from the Venice Film Festival.
1.This is your sixth feature film in a 30-year career that has encompassed Television, shorts and medium-length films. How difficult is it nowadays to get a film financed?
Flavia: “Escoriandoli” (our first movie) was the only film we shot with a producer. It was an interesting experience but we soon realised it was impossible to replicate it. The production pressures had too much impact on our artistic choices. We produce our films and use independent distribution channels.
Antonio: For us, getting a budget is never the main issue. We can always sort something out. A budget is useful because it offers warranties to the film. Without that guarantee, we can’t start shooting. So we look for funders.
Idea for the Film
2. Where did the idea for the story and the script of “SAMP” come from?
Flavia: The inspiration came from the ancestral landscape of Puglia. I was deeply involved in the stories from “La terra del rimorso” (The Land of Remorse), written by Ernesto De Martino.
Antonio: Flavia made a location scouting in the Triana Valley in the spring of 2001. The idea was born there. The screenplay is the result of a cycle of abandonment and reconnection with an on-again, off-again 20 year-long work.
The Sense at Venice
3. What should audiences infer from this film and take away from it?
Flavia: Our films are open to interpretation. We do not offer a truth. We just gather some thoughts. I would like the audience to grasp that sense of expressive liberty we encourage.
Antonio: The great sense of freedom and lack of interest in all forms of power.
4. What are your feelings of having the film play at the Venice Festival this year?
Flavia: We are happy. We can finally see if our communicative experiment works, see the reactions of an audience. We continue to seek new methods to surprise ourselves and others. I enjoy the risk.
Antonio: I was moved by the great acclaim that welcomed the film. It’s nice to feel emotions. It is very childish to vibrate to the sound of approval. But it is the only thing that keeps us attached to the world.
5. Do you feel a little cheated by the Covid-19 crisis with less people attending the festival?
Flavia: For us it is completely normal to be selected in times of crisis, it is our bizarre destiny.
SAMP screened in Competition at the 2020 Venice Film Festival.
Production Company: Rezzamastrella
Running Time: 78 Minutes
Country: Italy
Steve Yates contributes to Black and Paper.
For all things cinema, check out our Chat Cinema Podcasts.
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Chat Cinema
Chat Cinema returns with new episodes. We weigh in a number of current topics.
Rejection is a form of Protection
“It is not enough for a film festival to be righteous. The films shown should be engaging.” I did not attend the Berlinale this year “because of the limited space”. The likely reason, the Chat Cinema podcast I produced criticising the festival. Someone took offence.
Reading over the reviews of the 69thannual event, “the press offices rejection is a cinema lovers protection.” It feels like I did not miss much. More like, saved. I support filmmaking. But when a film festival states “your attendence is not wanted”. I can take a clue. Although, I wanted to see Monos and What She Said.
If a person is going to spend time in a dark cinema, the very least to expect is engagement on a some level, not a sermon with a heavy dose of pretensions. This has been lost on the Berlinale team.
Congratulations to Me
While there were many tributes to Kosslick for helming the festival since 2001, this years Berlinale lacked a well received Competition entry. I spoke to a writer colleague who described a film as “Just Boring!” Why the lack of high powered wattage for the creative heads final walk on the red carpet? But with celebration of Dieter continuing, why notice the many mediocre to average films? Instead, focus on the face saving self-congratulatory events took precedent. The Guardian’s festival review of “hapless” seemed fitting.
I believe women should have more opportunities to direct. Sadly, the film business has not felt this way. But I say, a female helmer can make a Heaven’s Gate like her male counterpart. Being on the political left side of social movements, the Berlinale showcased many women directors. Too bad their films were not up to par.
I asked about fest opener, screened out of Competition, The Kindness of Strangers from Danish director Lone Scherfig. The words used, “Repetitive” and “too long”. The 34 metascore out of 100 says it all. Gender does not make anyone a good filmmaker. Holland’s Mr. Jones, screened in Competition, nodded audience to sleep with its 141 minutes weightiness.
Enjoy
Regardless if the Berlinale denies Chat Cinema/Black and Paper accreditation for 2020. Allow as many Instagram Influencers on the red carpet as possible. This is a festival in a transitional crisis having lost its artistic and commercial way.
Will Carlo Chatrian change course? One can hope, taking pleasure from attending the Berlinale should not be a mortal sin.
Perhaps I will attend the the 70th edition of the Berlinale. If I am not on the blacklist for honesty.
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Chat Cinema Episode 2
Our Real Feelings on the Fest.
If you ask film critics a question you will get an response. If you ask film critics for opinions, get the pen and paper ready for this Chat Cinema
We love the Berlinale but feel the time has come for major changes.
This is the space for hundreds of journalists, complete with 6 to 8 charging stations.
Chat Cinema is sponsored by Beyerdynamic.