纪录片自媒体解说素材-新闻动态参考-Tribeca节回到大屏幕/Tribeca Festival Gets Back to the Big Screen
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0508/4333jcnvkn3kxju.jpgTribeca节回到大屏幕
Tribeca Festival Gets Back to the Big Screen
Tribeca Festival在纽约市所有五个行政区的室外场所举行，将于6月9日至20日庆祝成立20周年，放映一系列功能，短裤，电视连续剧，播客和游戏，并将其视为第一个主要专业自从Covid-19大流行以来，将在北美举行的面对面电影节。尽管如此尽管几个月的电影制作停产，但跨多个学科的节日阵容本身本身就是一个挑战。这是Tribeca的节日总监Cara Cusumano感到担忧的事情，因为该节日准备去年夏天开放提交，但事实证明她不必担心。说。“我从同事那里听说，节日一直在看到FE今年的提交是有道理的，但是我们的提交实际上确实上升了。在所有各个部分中，我们总共有10,000多个。”确实不乏内容，仅电影节目就计划了56个世界首映。而且当然不乏大人物。最重要的是乔恩·M·楚（Jon M. Chu）的林·曼努埃尔·米兰达（Lin-Manuel Miranda）的开幕之夜“在高地”，库苏马诺认为这是这个特殊节日的完美电影一年：“这是一部关于纽约市的电影，它是关于社区的，它是关于百老汇的电影，这是一部本来应该在2020年上映的电影。”哥谭的联系也存在于史蒂芬·索德伯格（Steven Soderbergh）的曼哈顿式犯罪戏剧中。突然的举动，”作为节日的核心盛会，以及亚当·莱昂（Adam Leon）的凡妮莎·柯比（Vanessa Kirby）冠军“意大利研究”，摩根·内维尔（Morgan Neville）的《 Roadrunner：关于安东尼·布尔登（Anthony Bourdain）的电影》和埃迪·马丁（Eddie Martin洛杉矶的遗产库苏马诺（Cusumano）说，除了明显关注节日的家乡城市外，瑞克·克拉克（Rry Clark）的纽约青年电影《孩子们》（Cusumano）说，除了明显的关注之外我们不为主题编程，我们只是选择最好的电影。”她说。 “但是今年我们确实对节日对纽约和我们的听众意味着什么非常认真地思考，我们觉得带来一个非常令人振奋和快乐的节目非常重要。有很多喜剧，有很多音乐。“这并不否认我们所生活的世界 - 仍然有关于Covid的电影，以及有关同盟纪念碑的电影，有关严重问题的电影。但是感觉就像这些电影中的每一部电影仍在从一个非常独特的角度来看。我的意思是，同盟纪念碑电影实际上很有趣。因此，请确保我们保留了权利，并将缓刑带给观众在整个过程中，我们真的很想到并经常接触。 - 风格的前提是一对年轻夫妇，他们试图建立他们的关系，但设法解决了许多非常沉重的问题而不会失去轻微的触觉。马克斯说，决定把她的电影带到节日。 “对我来说，有这部电影的经验对我来说真的很重要。即使这是一部很可能生活在流媒体文献空间中的电影，但感觉就像是一个有趣的机会来体验它的现场生活。约瑟夫·沃拉迪卡（Josef Wladyka）的《赶上博览会》（Fair the Fair One）是一部由女子中级拳击CH的黑暗惊悚片《 CH CH》，这也是叙事竞争的重要组成部分。旨在使沃拉迪卡（Wladyka）的故事在美国雷斯（Ampiion Kali Reis）的危机中引起了人们的危机，该故事旨在将失踪和被谋杀的土著妇女的危机引起人们的关注。沃拉迪卡（Wladyka）的处女作《马诺斯·苏西亚斯（Manos Sucias）》（Manos Sucias）于2014年在翠贝卡（Tribeca）首映，赢得了第一部电影的奖金，他期待着他的回归。“我非常感谢回来，”他说。 “他们是我第一部电影的大力支持者，所以七年后，现在我们第二次回来了，这真是太疯狂了。到达那里真是一场斗争，抓挠和爬行。向Ori Segev和Noah Dixon的叙事竞赛条目“ Poser”，俄亥俄州哥伦布的领先灯光，独立音乐界作为虚构的惊悚片，她说，她说的是“单一白人女性”的回声。 OT她的雷达（Radar）宝石库苏马诺（Cusumano）的亮点是印度导演潘纳林（Pan Nalin）的焦点叙事开幕式“最后一部电影”，以及Andres Koefoed的Art-World-Intrigue纪录片“ The Lost Leonardo”。 - 宣传到六月的约会也带来了一个机会，有机会庆祝JuneTeenth，这是一个专门针对黑人讲故事的特别节目，以及包括Nana Mensah的Bronx-Set“ Queen of Glory”（也参加叙事比赛），包括Andre的电影，安德烈（Andre）盖恩斯的纪录片“唯一的迪克·格雷戈里”和莫洛拉吉·奥兰皮旺努的“弗格森·雷兴”以及莉娜·怀特策划的短片节目。 6月19日还将看到该音乐节颁发给投票权利活动家史黛西·艾布拉姆斯（Stacey Abrams）的特别奖项，并举办了罗伯特·汤森（Robert Townsend）1991年的邪教最爱“五个心跳”的演员团圆。虽然播客肯定在Tribeca A有平台在过去的几年中，其他节日 - 翠贝卡（Tribeca）曾经通过放映Rockstar Games的“ L.A. Noire”在2011年的正式选择中 - 专门的部分是非常新的。正如Cusumano所看到的那样，扩展是同样的多学科方法的自然产物，在过去的十年中，Tribeca以及几乎每个值得盐的节日都扩展到情节电视和VR。自己是讲故事的节日，”她说。 “因此，只要我们将电影像我们所做的事情一样，我们希望真正地努力回应我们发现最激动人心的工作正在发生的任何地方。而且，如果我们在游戏或播客中看到这一点，我认为应该在节日中有一个地方。”播放2020年版。“对我们来说，不要抛弃2020年真的很重要，”库苏马诺说。 “当WE宣布（去年4月）没有举行音乐节，我们一直将其视为推迟，所以我一直认为我们仍然欠这些电影制片人的完整节日体验。”因此，所有2020年选拔的电影制片人都有今年的机会，即使他们已经在其他地方首映或在此期间上映 - 有56个功能吸引了报价。库苏马诺试图弄清楚大流行后未来的成熟电影节可能是什么样的在9/11后的那一刻，基础确实是为了使城市振兴，并将人们安全地围绕电影带回。因此，这是我们的呼唤，这对我们来说真的很紧迫。这是一个节日再次服务的目的。这很令人生畏，但也令人兴奋，因为WE喜欢进行表演，并弄清楚如何使用这些庞大的LED屏幕，以城市为背景，观众一年没看电影，这一切似乎都在退出，这总是如此，这总是如此一个很好的起点。”
Taking place across outdoor venues in all five boroughs of New York City, the Tribeca Festival will celebrate its 20th anniversary June 9-20, screening a bevy of features, shorts, TV series, podcasts and games in what is being billed as the first major in-person film festival to take place in North America since the height of the COVID-19 pandemic.
Managing all the logistics to mount a proper in-person festival despite such circumstances would be a tall enough order, but the task of assembling a credible festival lineup across multiple disciplines, despite a near-total shutdown of film production for months, could have been quite a challenge on its own. It was something that Tribeca’s festival director Cara Cusumano was apprehensive about as the festival prepared to open for submissions last summer, but it turned out she needn’t have worried.
“We didn’t know what to expect, submissions-wise,” she says. “I had heard from colleagues that festivals had been seeing fewer submissions this year, which makes sense, but our submissions actually did go up. We had over 10,000 in total, across all of our sections.”
There is indeed no shortage of content, with 56 world premieres scheduled in the film program alone. And there’s certainly no shortage of big names attached to them.
Biggest of all is the opening night bow of Jon M. Chu’s Lin-Manuel Miranda adaptation “In the Heights,” which Cusumano feels is a perfect film for this particular festival in this particular year: “It’s a film that’s about New York City, it’s about community, it’s about Broadway, and it’s a film that was supposed to come out in 2020.”
The Gotham connection is also present in Steven Soderbergh’s Manhattan-set crime drama “No Sudden Move,” which was added as the fest’s centerpiece gala, as well as Adam Leon’s Vanessa Kirby-starrer “Italian Studies,” Morgan Neville’s “Roadrunner: A Film About Anthony Bourdain,” and Eddie Martin’s documentary “The Kids,” which explores the legacy of Larry Clark’s New York youth-in-crisis film “Kids.”
Aside from the obvious focus on the fest’s home city, Cusumano says there was a sense of responsibility to program with the city’s gradual return to normalcy in mind.
“Normally I would say we don’t program to themes, we just pick the best possible films,” she says. “But we did think very seriously this year about what the festival is going to mean for New York and for our audience, and we felt like it was really important to bring a program that is very uplifting and joyful. There’s a lot of comedy, there’s a lot of music.
“It’s not denying the world we live in — there are still films about COVID, and films about Confederate monuments, films about serious issues. But it felt like every one of those films is still coming at it from a very unique angle. I mean, the Confederate monuments film is actually pretty funny. So making sure that we’ve preserved the levity and are bringing a reprieve to the audience was something that we really thought a lot about and touched back on frequently throughout the process.”
Playing in competition, for example, is director Hannah Marks’ sophomore feature “Mark, Mary & Some Other People,” which takes a farcical, Paul Mazursky-esque premise centered around a young couple who attempt to open up their relationship, yet manages to tackle a number of very heavy issues without losing its light touch.
“To be honest, I just was excited by the prospect that Tribeca wasn’t virtual,” Marks says of the decision to take her film to the fest. “It was really important to me to have that experience with the movie. Even though this is a movie that will most likely live in the streaming-virtual space, it felt like a fun opportunity to experience it live. That was a huge part of the decision.”
Also in narrative competition, albeit on the much more serious side, is Josef Wladyka’s “Catch the Fair One,” a dark thriller starring women’s middleweight boxing champion Kali Reis, which aims to put a spotlight on the crisis of missing and murdered indigenous women in the U.S.
Reis, a longtime advocate for the cause, developed the story with Wladyka over four years. Wladyka’s debut feature, “Manos Sucias,” premiered at Tribeca in 2014, winning a prize for first film, and he eyes his return with anticipation.
“I’m extremely grateful to be coming back,” he says. “They were such a big supporter of my first film, so it’s crazy now seven years later that we’re coming back with my second. It was such a fight, scratching and crawling to get there.”
Besides a wealth of music documentaries tackling everything from Rick James to a-Ha, A$AP Rocky, Harry Belafonte and Rolling Stone editor Ben Fong-Torres, Cusumano also calls attention to Ori Segev and Noah Dixon’s narrative competition entry “Poser,” which casts leading lights from Columbus, Ohio’s, indie music scene as themselves in a fictional thriller that she says has echoes of “Single White Female.” Other under-the-radar gems Cusumano highlights are Spotlight Narrative opener “The Last Film Show,” from Indian director Pan Nalin, and art-world-intrigue documentary “The Lost Leonardo,” by Andres Koefoed.
Normally held in April, Tribeca’s pandemic-prompted switch to June dates also brought with it an opportunity to celebrate Juneteenth with a special day of programming dedicated to Black storytelling, with spotlights for films including Nana Mensah’s Bronx-set “Queen of Glory” (also playing in narrative competition), Andre Gaines’ documentary “The One and Only Dick Gregory” and Mobolaji Olambiwonnu’s “Ferguson Rising,” as well as a Lena Waithe-curated short films program. June 19 will also see the festival present a special award to voting rights activist Stacey Abrams, and host a cast reunion of Robert Townsend’s 1991 cult fave “The Five Heartbeats.”
Also new this year are sections dedicated entirely to podcasts and video games. While podcasts have certainly had platforms at Tribeca and other festivals in years past — and Tribeca once made headlines by screening Rockstar Games’ “L.A. Noire” in its official selection back in 2011 — the dedicated sections are something quite new. As Cusumano sees it, the expansions are a natural outgrowth of the same sort of multidisciplinary approach that has seen Tribeca — as well as nearly every fest worth its salt — expand into episodic TV and VR over the past decade.
“Tribeca has always thought of ourselves as a storytelling festival,” she says. “So as long as we’re keeping film as the bedrock of what we do, we want to really try to be responsive to wherever we find the most exciting work is happening. And if we’re seeing that in games or in podcasts, I think there should be a place for that at the festival.”
In another sign of the times, Tribeca’s lineup is filled out by a huge number of films that were initially scheduled to play the 2020 edition.
“It was really important to us to not leave 2020 behind,” Cusumano says. “When we announced that festival wasn’t happening in April , we always thought of it as a postponement, so I always thought that we still owed these filmmakers the full festival experience.” Hence all filmmakers selected for 2020 were given a chance to play this year, even if they had already premiered elsewhere or gone into release in the interim – with 56 features taking up the offer.
If that all sounds like a bit much for an event still trying to figure out what a full-fledged in-person film festival might look like in the post-pandemic future, Cusumano points to the inspiration behind Tribeca’s founding 20 years ago.
“We can’t help but think back to how the festival started in that post-9/11 moment, where the founding was really about revitalizing the city and bringing people back together safely around movies. So it just felt really urgent to us that this was our calling; this was the purpose a festival needed to service again. It’s intimidating but also exciting, because we like to put on a show, and figuring out how to do that with these massive LED screens, with the city as the backdrop, with audiences who haven’t seen movies together in a year, it all seemed really exiting, and that’s always a good place to start.”
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感谢分享，下载收藏了。最喜欢高清纪录片了。 谢谢更新，天天学习，天天向上！ 感谢论坛提供了这么多好资源啊 谢谢楼主分享，发现宝藏了。
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