A documentary about ASPAVA, a specific style of restaurants and their connection with the Ankara lifestyle and culture.
A documentary about ASPAVA, a specific style of restaurants and their connection with the Ankara lifestyle and culture.
2020-02-25
0
An intimate documentary about the making of Fynn Kliemann's debut album "Nie". Without a label, without a marketing budget and excluding the charts, it became one of the best-selling albums in Germany.
This one-off documentary goes deep inside the Willie Wonka world of Cadbury, Britain's biggest and best-loved chocolate maker. Behind closed doors at the famous Bournville plant, a team of dedicated scientists struggle to meet the biggest challenge the company's faced for a century - to dramatically cut sugar from their Dairy Milk recipe. Meanwhile, the firm's Easter Creme Egg campaign finds Cadbury agents 'reverse shoplifting' as they hide prize-winning white eggs around the country. Elsewhere in the factory new flavours of chocolate are put into production, with wacky recipes invented by lucky members of the public.
Zhao Liang’s film portrays AIDS sufferers of both genders; they are all people with very different biographies. As if it wasn’t bad enough being infected by HIV, their suffering is compounded by the fact that in the People’s Republic of China the disease is hushed up and people living with AIDS are ostracised. In China, the public at large knows very little about the disease and most people associate the virus with promiscuity. This fear of discrimination forces most patients to hide the fact that they are positive. The AIDS sufferers in Zhao Liang’s film were willing to share their experiences with him. The filmmaker was able to make contact with them via internet support groups; he also visited children with Aids at a ‘red ribbon’ school; but above all, he talked to AIDS sufferers during the making of Gu Changwei’s film. It is their presence which lends Changwei’s film its particular authenticity.
A devoted Philadelphia Phillies fan inspires his city to give a struggling shortstop a game-changing standing ovation in this rousing short documentary.
A Swim Lesson is an ode to an everyday hero: Bill Marsh, a swim teacher who helps children manage their fears and discover their own power.
A deeply intimate and highly cinematic documentary featuring the Dalai Lama, who, at nearly ninety year of age, offers practical advice for navigating the 21st century's challenges.
Beirut lies in ruins. After the explosion in the city's port, collective trauma rises to the surface. How can life succeed after such a tragedy? The film carefully observes the following three years and zooms in on the lives of Aya - a Syrian refugee girl, Selim - an activist and painter, the Aladdin family - mourning a tragic loss, Yasmin - picking up calls at a suicide prevention hotline, and Andrea - who still believes in the city's spark for change. Meanwhile, a smoldering fire keeps on lingering in the port’s silos like a cautionary tale. Is it time to leave?
The event was held on October 16 and 17 and featured the participation of the six members of the musical unit Franchouchou and Kana Hanazawa as Maimai Yuzuriha and other guests playing the roles of their corresponding characters in the series. Tickets to access the live broadcast were available on the Zaiko platform and had an individual cost of 1,000 yen (about 9 US dollars). During the event, most of the songs from the second season were sung with the same variety of costumes as from the original series, at the end of the event the movie “Zombie Land Saga Beyond Revenge” was announced.
The Trail of Toni - Toni Gobbi from Citizen to Mountain Guide is a documentary on Antonio, known as Toni, Gobbi (1914-1970), a renowned Italian mountaineer and mountain guide. It is a universal story of a man who followed his passion for the mountains with vision and determination, making it his life and leaving a legacy that, over 50 years later, withstands the test of time.
With over 23 years in the business, Bruce Joel Rubin has done it all. From his Oscar-winning screenplay for the romantic-comedy-drama Ghost, to the psychological thriller Jacob's Ladder, the family-friendly adventure Stuart Little 2, and the tearjerker My Life, which he also directed. In this in-depth interview, Rubin delivers some insightful stuff: his carpet-laying theory about writing, the story behind the Jacob's Ladder gut-wrenching opening scene, and which of his screenplays came about thanks to a burrito that didn't digest well.
While undergoing treatment himself, comedian Rhod Gilbert goes on a frank, revealing, and frequently funny journey into the world of male infertility. Rhod also meets a man whose wife had eight years of treatment before they discovered that he was the one with the fertility issues.
David Seltzer knows Hollywood. He knows the business, the tricks of the trade and all the hidden truths. He's got the stories from working with Jacques Cousteau, penning the horror classic The Omen and adapting Roald Dahl's Willy Wonka and the Chocolate Factory. He can tell you why writing is like love-making and why there is no such thing as fiction. His advice about directing? Wear comfortable shoes. In this interview, you'll learn that and more, including what recent screenplay is the most elegant he has ever heard spoken on-screen and why you don't win arguments with movie stars.
Simon Kinberg recently burst onto the scene with his script for XXX: State of the Union, and has since worked on comic-to-film adaptations for Elektra and Fantastic Four and penned the third film in the X-Men series, X-Men: The Last Stand. Kinberg's breakthrough hit, Mr. and Mrs. Smith, began as a script that he wrote in college and became one of the top grossing movies of 2005.
Poised to become one of the most successful screenwriting teams in Hollywood, Alex Kurtzman and Roberto Orci are certainly in striking position. A team who became just that after meeting in high school, they have frequently collaborated with writer-director J.J. Abrams and director Michael Bay. As a team their screenwriting credits include The Island, The Legend of Zorro, Mission: Impossible III and the upcoming Star Trek XI.
NIA VARDALOS was nominated for the Academy Award® and the Writers Guild Award in 2003 for her breakthrough screenplay My Big Fat Greek Wedding, which was based on her one-woman play. The film became the highest-grossing independent feature and turned her in to an overnight success, spawning a follow-up sitcom and a cemented spot among Hollywood s elite writers. Listen as she talks candidly about her favorite laugh, tapping into her inner guy, and why her take on the hardest part of screenwriting just might make you blush.
Jeff Nathanson is easily among the A-list of Hollywood screenwriters, His script for Catch Me If You Can earned him much critical praise, as well as the devotion of Steven Spielberg, who also brought him to work on his next movie, The Terminal. Nathanson has also collaborated with Jan de Bont on Twister and Speed 2: Cruise Control and with Brett Ratner on the Rush Hour films. In this interview, learn more about why he dreads pitching, never speaks during a notes meeting, and finds he can do almost all his research with the Internet and old Playboys.
Hamburg wrote and directed the crime comedy Safe Men, which played at Sundance and spawned a devoted cult following. A sure-thing comedy closer, the New York City native built hilarious set pieces and character work into Meet the Parents, Zoolander, and Meet the Fockers that not only helped lift them to huge box office but also pushed a few new catchphrases into the American lexicon. A veteran of the uncredited production rewrite, Hamburg also wrote and directed the romantic comedy Along Came Polly in 2004. In this amusing interview, Hamburg discusses how he developed his talent for writing actor-hooking dialogue in the humorous monologues he performed in college, why he'd do a thousand test screenings if he could, and what it's like to hand a new scene to Robert De Niro and stand there waiting to see if he likes it.
Three decades later, the San Juan Civic Center construction project is back on track and, as if nothing had happened, the bureaucratic machinery seems to be united with the cranes and the human force and the megalomaniac desire that such an undertaking supposes. There, in that interruption and that return to activity, in the pharaonic recovery of lost dreams and projects that suddenly come back to life –as if they were architectural zombies–, there Mariano Donoso sees a movie.