Irish Film Television Awards

FilmBrazil MOMA photography Recycling vik muniz Visual Arts Waste Land Opens MoMA’s Brazilian Film Festival 1:35 pm Monday Jul 19, 2010 by Paul Laster

Lucy Walker’s Waste Land, a documentary film about artist Vik Muniz’s extraordinary project of creating monumental portraits from junk in the world’s largest garbage dump, thrilled New Yorkers on the opening night of Premiere Brazil! at MoMA last week. A collaboration between the Museum of Modern Art and the Rio de Janeiro International Film Festival, the all-Brazilian program highlights the New York premiere of ten feature films and four shorts, as well as the screening of two classic films.

A standout in the festival, Waste Land takes us on a journey from the artist’s Brooklyn studio to Jardim Gramacho on the outskirts of Rio de Janeiro, where we meet a rag-tag group of trash pickers that scrape out a daily living by collecting and selling recyclable materials. Muniz cast the pickers for the recreation of classical art portraits made from the junk they gather. In the process, we find out how they ended up in the dump and discover their aspirations to get out. It’s a moving story about how art can actually change people’s lives — not only the lives of the subjects, but the existence of the artist, as well.

Other highlights in the film program, which runs through July 29, include Dzi Croquettes, a documentary about a dance and theater group that confronted the Brazilian dictatorship to advance sexual liberation and promote gay rights in the 1970s and ’80s, and Smoke Gets in Your Eyes (E Proibido Fumar), a romantic comedy about the chain-smoking Baby, a guitar teacher who lives at home with her mother and hooks up with her scruffy, new neighbor — a man she thinks has a suspicious past.

Click through below for more images and the trailer for Waste Land, and see MoMA’s calendar of screenings here.

This morning the Venice Film Festival announced the line-up for their 2010 Festival which will run from September 1-11, and a lot of hot titles and directors are set to be on hand including the already announced festival opener Black Swan from Darren Aronofsky and closer, The Tempest from Julie Taymor. In competition, Aronofsky's feature is joined by titles from Sofia Coppola, Vincent Gallo, Julian Schnabel, Francois Ozon, Abdellatif Kechiche, Takashi Miike and Tom Tykwer. Also, making a midnight Lido appearance will be Robert Rodriguez with his grindhouse thriller Machete. One other notable title is the inclusion of the Casey Affleck-directed Joaquin Phoenix mockumentary I'm Still Here, which will be screening out of competition.

Unfortunately I won't be able to cover this one, but one of these years I would like to find a way to pull a triple play and cover Cannes, Venice and Toronto in the same year and see if I come out alive on the other side. As I've already mentioned, I will be following up my Cannes coverage with a trip to Toronto this year, which announced its gala and special screenings line-up on Tuesday. Personally, I think I've made the right choice between the two this year as TIFF's line-up, on the surface, looks more rewarding, but have your look at what Venice has to offer and see what you think.

IN COMPETITION

• Black Swan, (dir. Darren Aronofsky — U.S.) [Opening Night Film]
• La Pecora Nera, (dir. Ascanio Celestini — Italy)
• Somewhere, (dir. Sofia Coppola — U.S.)
• Happy Few, (dir. Antony Cordier — France)
• The Solitude of Prime Numbers, (dir. Saverio Costanzo — Italy, Germany, France)
• Silent Souls, (dir. Aleksei Fedorchenko — Russia)
• Promises Written in Water, (dir. Vincent Gallo — U.S.)
• Road to Nowhere, (dir. Monte Hellman — U.S.)
• Balada Triste de Trompeta, (dir. Alex de la Iglesia — Spain, France)
• Venus Noir, (dir. Abdellatif Kechiche — France)
• Post Mortem, (dir. Pablo Larrain — Chile, Mexico, Germany)
• Barney's Version, (dir. Richard J. Lewis — Canada, Italy)
• We Believed, (dir. Mario Martone — Italy, France)
• La Passione, (dir. Carlo Mazzacurati — Italy)
• 13 Assassins, (dir. Takashi Miike — Japan)
• Potiche, (dir. Francois Ozon — France)
• Meek's Cutoff, (dir. Kelly Reichardt — U.S.)
• Miral, (dir. Julian Schnabel — U.S., France, Italy, Israel)
• Norwegian Wood, (dir. Tran Anh Hung — Japan)
• Attenberg, (dir. Athina Rachel Tsangari — Greece)
• Detective Dee and the Mystery of Phantom Flame, (dir. Tsui Hark — China)
• Three, (dir. Tom Tykwer — Germany)

OUT OF COMPETITION

• Opening Night Tribute to Bruce Lee
  The Legend of the Fist: The Return of Chen Zhen, (dir. Andrew Lau — China, Hong Kong)

Opening Night Midnight Movie

• Machete, (dir. Robert Rodriguez — U.S.)

Closer

• The Tempest, (dir. Julie Taymor — U.S.)

Homage to Vittorio Gassman

• Vittorio racconta — Una vita da Mattatore, (dir. Giancarlo Scarchilli — Italy)
• The Town, (dir. Ben Affleck — U.S.)
• I'm Still Here: the Lost Year of Joaquin Phoenix, (dir. Casey Affleck — U.S.)
• Sorelle Mai, (dir. Marco Bellocchio — Italy)
• Niente Paura — Come siamo come eravamo e le canzoni di Luciano Ligabue, (dir. Piergiorgio Gay — Italy)
• Dante Ferretti — Production Designer, (dir. Gianfranco Giagni — Italy)
• Notizie degli Scavi, (dir. Emidio Greco — Italy)
• The Last Movie (1971), (dir. Dennis Hopper)
• Gorbaciof, (dir. Stefano Incerti — Italy)
• That Girl in Yellow Boots, (dir. Anurag Kashyap — India)
• Showtime, (dir. Stanley Kwan — China)
• Sei Venezia, (dir. Carlo Mazzacurati — Italy)
• Zebraman (2004), (dir. Takashi Miike — Japan)
• Zebraman 2: Attack on Zebra City, (dir. Takashi Miike — Japan)
• The Child's Eye 3D, (dir. Oxide Pang and Danny Pang — China, Hong Kong)
• Vallanzasca – Gli angeli del male, (dir. Michele Placido — Italy)
• All Inclusive 3D, (dir. Nadia Ranocchi and David Zamagni — Italy, Austria)
• Raavan (Tamil version), (dir. Mani Ratnam — India)
• 1960, (dir. Gabriele Salvatores — Italy)
• La prima volta a Venezia, (dir. Antonello Sarno — Italy)
• A Letter to Elia, (dir. Martin Scorsese and Kent Jones — U.S.)
• Shock Labyrinth 3D, (dir. Takashi Shimizu — Japan)
• L'ultimo Gattopardo: Ritratto di Goffredo Lombardo, (dir. Giuseppe Tornatore — Italy)
• Passione, (dir. John Turturro — Italy)
• Lope, (dir. Andrucha Waddington — Spain, Brazil)
• Space Guy, (dir. Zhang Yuan — China)

Golden Lion For Lifetime Achievement 2010

• John Woo's Reign of Assassins, (dir. John Woo and Su Chao-Pin — China, Taiwan, Hong Kong)

SPECIAL EVENT OUT OF COMPETITION

• Jaeger-LeCoultre Glory to the Filmmaker Award — Raavan, (dir. Mani Ratnam — India)

CONTROCAMPO ITALIANO

• Lost Kisses, (dir. Roberta Torre — Italy)
• 20 Sigarette, (dir. Aureliano Amadei — Italy)
• Il Primo Incarico, (dir. Giorgia Cecere — Italy)
• A Woman, (dir. Giada Colagrande — Italy)
• Tajabone, (dir. Salvatore Mereu — Italy)
• Ma che storia, (dir. Gianfranco Pannone — Italy)
• Into Paradiso, (dir. Paola Randi — Italy)

CONTROCAMPO ITALIANO SHORTS

• Come un soffio, (dir. Michela Cescon — Italy)
• Sposero Nichi Vendola, (dir. Andrea Costantino — Italy)
• Bassa Marea, (dir. Roberto De Paolis — Italy)
• Achille, (dir. Giorgia Farina — Italy)
• Niente Orchidee, (dir. Simone Godano and Leonardo Godano — Italy)

CONTROCAMPO ITALIANO OUT OF COMPETITION

• Tarda Estate, (dir. Antonio Di Trapani — Italy)
• Il Loro Natale, (dir. Gaetano Di Vaio — Italy)
• Ward 54, (dir. Monica Maggioni — Italy, U.S.)
• Flaiano: il meglio e passato, (dir. Gianfranco Rolandi, Steve Della Casa
• Se hai una montagna di neve, tienila all'ombra, (dir. Elisabetta Sgarbi and Eugenio Lio — Italy)
• Fughe e approdi, (dir. Giovanna Taviani — Italy)

Fucked her Its as if my wife could read my mind and said Its time now to give this bitch some dick in her other fuckholes I stayed standing up picked Cherry up goracy sex facing towards me and she spread her legs wide Her gorgeous cunt was positioned right above my steelhard dick Her huge boobs were softer than my wifes and they felt amazing pressing into my chest along with her hard nipples like little marbles I put my tongue in the whores mouth and we kissed and my wife guided my shaft up the bitchs drooling pinkhole I held Cherrys ass and darmowe filmy erotyczne began bouncing her smooth cunt up and down on my rod Holy fuck it felt amazing My wife sucked my balls as I fucked the sluts cunt Cherrys legs were spread wide Then Melody took my dick out sucked hard on it for a moment and fed it up the bitchs tight asshole Oooooooooooooooooooo Cherry moaned We paused for a moment for her asshole to get used to the girth of my cock Then once Id felt it relax I began fucking her hard fast and deep I fucked her like that for a while as my wife snapped some pics Then Melody sucked on my dick as I repositioned Cherry into the bridalcarry position I held her so that her perfect ass asshole and drooling pussy were hanging down pointing straight at my hard dick Put it up her ass baby I said to my wife Melody placed my cockhead onto the opening of this whores tight shithole and held it in place for me I lowered Cherry and her ass down onto my cock and her brownhole took the whole length of my shaft right up to my balls I sucked on the bitchs hard nipples pressing my face into her huge soft boobs and fucked her tight asshole hard My wife sucked my balls and fingered my asshole as I fucked the whores ass Im gonna cum I warned them Cum in Cherrys mouth Melody urged I threw Cherry down on the bed on all fours and fucked her asshole then her pussy then her asshole again before letting myself go over the edge With my dick up her arse I passed the point of no return I popped my dick out of Cherrys asshole with a farting sound spun her round and.

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source HeyUguys

E1 Entertainment have debuted online another new UK Trailer for Rhys Ifans in MR NICE, the hilarious comedy drama based on the life of Howard Marks the so called elite British drug dealer whose associates ranged from IRA, CIA, MI6 and even the mafia, you wanted drugs Howard was your man.

The story is very funny but you get to see the true sad side of Howards life too, very surreal movie that was a big hit at this years Edinburgh film festival.The movie is directed by Bernard Rose and also stars Chloe Sevigny, David Thewlis, Luis Tosar, Crispin Glover, Christian Mackay, Elsa Pataky, Jamie Harris, Omid Djalili and Jack Huston.

A new poster has been been posted online too check it out after the trailer, trailer & poster courtesy of our good friends at HeyUuys.

Synopsis: 43 aliases, 89 phone lines, 25 companies worldwide and over one million books sold. Among his associates are members of the Mafia, CIA, IRA and MI6. Nuclear physicist, marijuana connoisseur, school teacher, money launderer, gentleman, fugitive and spy; raconteur, travel agent, writer, philosopher of science, rock promoter, public speaker, board game appreciator and the biggest dope smuggler on the planet… meet Howard Marks, A.K.A Mr. Nice.

Watching Rhys Ifans in films such as 'The Boat that Rocked' and 'Little Nicky', it's easy to think that low-key is beyond him. Yet the Welsh actor, musician and sometime tabloid headline grabber proves in 'Greenberg', the latest exercise in wry wit from 'Squid and the Whale' director Noah Baumbach, that he can also do muted. And do it well. Resentment bubbles just beneath the surface of his portrayal of a man whose dreams of rock stardom went up in smoke when his friend, Greenberg, played by Ben Stiller, stymied their chances of a record deal. Once a member of the Super Furry Animals and now front man of The Peth, Ifans understood his pain. Chilled out on a sofa in a Berlin hotel, he muses on his character's thwarted desires, music, acting, and in a surreal, Kafkaesque digression, his own roots as an entertainer.

Dazed Digital: Ivan is angry at Greenberg for losing their band a record deal years earlier. As a musician yourself, did you understand that?
Rhys Ifans: Yeah, it'd be crushing. There's two kinds of rock 'n' roll casualty: the one that has huge success and adoration and then suddenly it stops. Or there's when you're in a band it is all-consuming, so then you have the dream of that, and then the dream's taken away from you even before it happens. Either way, I think it can unhinge, and it can be just a horrific fucking thing to happen to anyone. So I absolutely understood that.
 
DD: You front The Peth now, don't you?
Rhys Ifans: Oh yeah. We've got a new album. And, you know, I'm glad I'm 42 and doing it and not 18.
 
DD: Why?
Rhys Ifans: You just get naturally cooler. When you're 21 you need to take drugs to be cool. When you're 42 you don't need anything like that. You just have stories and experience.
 
DD: Does music give you something you don't get from acting?
Rhys Ifans: No, I just like performing. It's a different camaraderie in a band, though. It's kind of more loving but violent.
 
DD: Was Ivan's quietness a draw for you?
Rhys Ifans: Yeah, it was. Usually when I'm cast it's like, 'Bring all your big machines,' but I just loved the really loving detail to everything in this. We've got films that are rockets crashing through buildings, and blue people in space, and that's fantastic. But that micro-cosmos that cinema can give us with emotion is, I find, just very thrilling.
 
DD: Greta Gerwig, the film's female lead, was saying that you brought the party with you when you arrived on set.
Rhys Ifans: Did she? What a snitch, man. Yeah, we had a laugh. But the work was really intense. Some things are so funny but it would hurt to laugh at them because they're so cringe-y. I think the film's like a test of how you're dealing with your forties: if you watch it and you find it funny, it means you're dealing with stuff; if you watch it and you don't find it's a funny film, you've got major issues that you've got to sort out. Rapido!
 
DD: Greenberg feels disconnected from the younger generation and is scared of their confidence. I can't imagine you ever having felt that way.
Rhys Ifans: No, they just need a good clout, man. They shout, they talk fast and they crash cars - that's teenagers. That's why I love 'em.
 
DD: Have you ever found yourself doing anything vaguely mid-life crisis-like?
Rhys Ifans: Since I've been 16 I've been doing mid-life crisis shit, man. I've had the longest mid-life crisis ever.
 
DD: You always seem like you're having a good time and not thinking about age.
Rhys Ifans: Oh no. One forgets.
 
DD: You've got a bunch of films out this year but do you have any plans to do more theatre?
Rhys Ifans: “Yeah, every four or five years I want to get back and get petrified. I think it's important to do that, and intensely rewarding.”
 
DD: An actor once told me theatre “wakes one up”, whatever that means. Does it?
Rhys Ifans: If I ever hear myself saying, 'Ooh, it wakes one up', I am going to kick my fucking 'ead in. Jesus Christ!
 
DD: Do you like the closeness of a live audience, either at a gig or in the theatre?
Rhys Ifans: No, I like the audience as far away as possible. If they're closer than two miles I get nervous. It's not even that I don't want to see them. Sometimes I just know they're there. Somewhere. Puts the fear of God into me.
 
DD: You obviously don't stage dive then.
Rhys Ifans: Well would you stage dive if there's a two-mile gap between you and the audience? That would probably be the most stupid thing a rock star could ever do: stage dive onto an empty car park.
 
DD: What was playing Xenophilius Lovegood in Harry Potter and the Deathly Hallows like?
Rhys Ifans: It was magic! Brilliant! Yeah, man, it's like a badge of honour if you're a British actor and you get the Harry Potter call. It meant a lot to me.
 
DD: You're obviously having fun. What drew you to performing originally? Were you a wild kid?
Rhys Ifans: Not wild, no. Well I did live in a chicken hut for the first six years of life with real chickens. So the early years were hard. A lot of seed, you know? Then they found me, and schooled me, privately, and I just came out like this. Which, from a chicken to this, it's not disappointing, is it?
 
DD: Right. So where did the idea of performing come from?
Rhys Ifans: Well right there. I was called Chicken Boy for years and they took me on the road and I used to perform in villages. So that's the performing part of it.
 
DD: How difficult was the route to film?
Rhys Ifans: I never thought I would be in a film.
 
DD: Why not?
Rhys Ifans: Well it wasn't like I thought, 'I will do theatre and then, of course, I will go on to do film. Maybe a bit of telly thrown in on the side. An ad here. An ad there.' It was nothing like that.
 
DD: How does making films in America compare with the UK?
Rhys Ifans: The only difference is you get a lot of food in America at lunchtime, it's like a wedding, and in England you get really homely food. And then on European films you get wine - that's the future. But that's the only difference.
 
DD: Wrapping up, you once said being Welsh meant you wouldn't get leading roles in the British film industry...
Rhys Ifans: Um, well, there weren't the roles then, there wasn't. But I think, um... I don't know if I feel that now.
 
DD: So any feelings you once had about there being prejudice no longer pertain?
Rhys Ifans: Oh I think they're always there.

Greenberg is out Friday 11th June 2010. Check out the June issue of Dazed & Confused for an interview with Ifans' co-star Greta Gerwig...