Editor-In-Chief | Publisher Monica Morrison Managing Editor Nicole Goesseringer Muj Web Content | Digital Marketing Manager Gotham Chandna Director of Photography & Productions Annette Baca Director of Business Development Chris Willardsen Art Director Sitanshu Datta Contributors: Lena Basse Stacey Blanchet Claude Brickell Monica Morrison Nicole Goesseringer Muj
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Ciné-Arts, Cinemoi, Claude Brickell, COLCOA, DPA, Equal Means Equal, Global Short Film Awards, Hollywood Foreign Press Association, Manto Film, Madame Monsieur, Pete Sands, Stacey Blanchet, Roskino and Wanderluxxe.
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Darkest Hour Becomes Gary Oldman’s Finest Lena Basse of the Hollywood Foreign Press Association speaks with chameleon actor Gary Oldman, the 2018 Golden Globe and Oscar best actor award winner for his monumental role as Sir Winston Churchill in “Darkest Hour.” Recently, I had the privilege to meet Gary Oldman at the Waldorf Astoria Hotel in Beverly Hills to discuss the depth of the difficulties and uncertainty he faced in accepting to play such an iconic figure, about the uneasiness that prevailed during the beginning of WWII and about Sir Winston Churchill himself. As I expected, Oldman arrived to the interview with an air of British elegance, wearing a dark suit, white shirt with the top button open, silk pocket scarf, and on his lapel, a pin with a portrait of Churchill. Completing his aristocratic image were his signature spectacles with thick dark frames. Visibly nervous at first, Oldman carefully selected his words when responding, while wringing his hands. However, hesoon relaxed and began to joke and smile as the interview progressed. Even though Gary Oldman believes that acting is not an intellectual practice but rather more like a sensation, he belongs to those artists who can share their thoughts not only about the process of preparing for such a role but also about the complexity of the character he portrayed on screen.
Learning about Churchill while working on developing the character. I think he is really incomparable. In my learning of Churchill, you are looking at a man who wrote 50 books. He wrote more words than Shakespeare put together and he won the Nobel Prize for Literature. He painted 544 paintings and had 16 exhibitions in the Royal Academy. He was over 50 years in politics, [and] he held almost every major position in politics. He was commended in four wars. The list goes on and on and on. He was a Conservative, but he was also a Liberal. He set up a lot of the sort of social safety nets that we now enjoy, t-boats for the workers, [and] the employment exchange. He was very much the man who won the war. He saved us from Nazi Germany. My mother actually caught a glimpse of him. My mother, God bless her, is still alive. She is 98 years old and remembers Churchill.My father fought under Churchill and joined the Royal Navy in 1935. So you feel that connection to it.
Preparation for the role. When I was asked to do it, initially I turned it down, because I thought what could I do that is new? You are not only asked to walk in the shoes of this great icon and arguably the greatest Britain who ever lived, but then you are walking in the shoes of Albert Finney and Robert Hardy and all these other people that have played him. But I would close my eyes and try to imagine Churchill and I wasn’t sure if I was imagining or whether I was sort of contaminated or influenced by the other people that have played him. So I put that aside and went to the material, the reading material, but particularly the news footage of him. He has been represented as a bit of curmudgeon, an old guy sort of shuffling around in a bad mood, smoking a cigar and chugging back a whiskey. The Churchill that I saw, certainly in this time period of the footage, was this man who was dynamic and he had a lust for life. He was enjoying the position of responsibility he was
in and he was marching ahead of everyone, moving through space with this fixity of purpose, this man on a mission. He did look like a baby and he had a cherubic round face with a real sparkle in his eye and a grin on his lips and that was somewhat of a revelation to me.Then you just start trying to soak it all up like a sponge and the way he turns the pages, the way he uses his hands, the gestures, and the way he addresses a conference or a gathering…. So you just try and take all these pieces.
“The character is a bit like putting on a new pair of shoes… it all feels a little uncomfortable at first and then you wear it in and it almost becomes part of you.” Sensational discovery of such a complex character as Churchill.
Photo Credit: Magnus Sundholm
There were several things. We were very fortunate to have behind the velvet ropes tours of all of these places. So we went to Blenheim where he was born and we went to Chartwell and we had a tour of Downing Street. Obviously, we were in the war rooms. There’s a wooden chair with arms where he sat intermittently throughout the war. I was allowed to sit in the great man’s chair. What struck me was that on the left arm, were these huge divots that he had made with his fingernails, and on the right arm were all the scratches from his ring. That’s behavior from the stress, the enormous stress that he must have been under, but that is behavior that is actually now part of this piece of furniture…and that, just being there and feeling that and getting a sense of what that must have been like. I mean, you forget that he only had 300,000 and he almost lost them entirely in Dunkirk. Hitler had 5,000,000. Obviously I didn’t meet the man. I didn’t speak to the man. I can read what I can read and get a sense of him through history and through the writing, but I can’t even imagine what kind of stress and anxiety that would give one. He knew in his core, from the early 30s and he had been in Munich. He was a man who knew in his core, what the right thing to do was as we know, which was to eradicate Nazism and Fascism. Thank heaven for him.
Biggest challenge of this role. One of the biggest challenges was stamina. Would I have enough stamina to come in four hours before everybody else and then work a twelve hour day and have an hour to take off the makeup? That was one of my fears. I was almost in every scene, driving with energy every scene like a locomotive. I did worry about that, but I loved playing him. By the way, the whole process of putting make-up took four hours for 48 days.
Courage to accept this role. I always come from a place of insecurity, so that most things that come in that are worth anything, I always question “why me?, they probably could go to someone else, who would want me?” If I was a director I wouldn’t want me. So I always sort of come from a place that is a little bit of self-loathing to be very honest and I am insecure. But my dear friend and one of the producers of the film [back there] Douglas, and Giselle my wife, together, as a sort of team, said to me look, you are going to get a chance to stand in a room and say “Blood, toil, tears and sweat, we shall fight them on the beach, we should fight them on the land, we shall fight them in the streets and the hills.” I thought, my insecurities aside, I am looking a gift horse, and it’s a real opportunity. For an actor to play Churchill, is like being asked to play Falstaff or King Lear… it’s an Everest. When I was really finding him and working with him, my wife said that she went to bed with Winston Churchill but woke up with Gary Oldman, which is better than the other way around I guess.(laughing)
Photo Credit: Magnus Sundholm
Steinem comments, “What ever the medium - photographs, paintings, drawings, sculptures - people are almost always portrayed as “masculine” or “feminine,” different and unequal. Yet in every country of the world, there is a growing movement against this gendered inequality. When you look at the images in Women: New Portraits, you will be seeing through her eyes. I’m pretty sure you will be able to recognize an Annie Leibovitz photo for the rest of your life. This is because she beyond gender, beyond stereotypes, beyond masks of the day, to show us that everything alive is both universal and unique. Including me. Including you.” What are we to learn as humans who inhabit this planet? In these changing times of uncertainty of what the future holds for us, this is now the time we should all be listening, respecting and looking out for each other. More and more conversation and exhibits like this are in need to replenish our souls and teach us what is important. Everyone has needs and wants but the basic need for all human is to be seen and heard. ©mothers2mothers
Bravo to these legendary women for inspiring us to open our eyes and mouths to the fine art of conversation. Let the discussion continue…
Annie Leibovitz
mothers2mothers’ Denise Manong, a Mentor Mother featured in exhibit, with Annie Leibovitz and Gloria Steinem
The Fine Art of Conversation with Annie Leibovitz and Gloria Steinem By Stacey Blanchet
In 2016, Annie Leibovitz* and Gloria Steinem invited us into their inner circle for the Fine Art of Conversation, a series of talks held around the world surrounding Leibovitz’ latest series “Women: New Portraits” featuring women of outstanding achievement including artists, musicians, politicians, writers and philanthropists, presented in conjunction with global financial services company UBS. Those who were fortunate enough to attend these conversations had a chance to experience the lives lived, knowledge and experience shared with these two legends.
Leibovitz’s series of portraits as a reflection of this. The idea of the tour and conversation were part of a joint venture with UBS. “When I asked UBS about updating the Women’s project, there was no hesitation. They said let’s do it and they have been extraordinary in every way. It’s such a big undertaking and a broad subject. It’s like going out and photographing the ocean,” explains Leibovitz.
The conversation started over seventeen years ago when Leibovitz launched a project titled ‘Women,” that’s growing more and more relevant with each passing day with such movements as #MeToo and organizations as Equal Means Equal.
The conversation was diverse, open and respectful. Leibovitz adds, “I offer[ed] visitors a talking circle, an invitation to explore the feelings and ideas these images create. It’s a long way from the hush and isolation of a museum and I’m grateful. If I had to name the most transforming discovery of my life, it would be talking circles; those gathering where everyone may talk, everyone must listen and balance between the two creates a community.”
First published in 1999, it was an original collaboration with Susan Sontag, who described it as ‘a work in progress.’ Enter stage left and into focus of the conversation was Gloria Steinem. Together, they opened the circle and invited women in to discuss the changing and evolving roles of women today, with
It is the goal of Leibovitz and Steinem to bring to the forefront women’s issues that are important to all. In many countries the roles of women are as diverse as their cultures will allow. But, time and time again, we are seeing women rise up and fight for what is important.
Photo Credit: Robert Scoble
(b. 1949) has been making powerful images documenting popular culture since the early 1970s, when she began working as a photojournalist for Rolling Stone. She became the magazine’s chief photographer in 1973, and ten years later began working for Vanity Fair and then Vogue. Her large and distinguished body of work encompasses some of the best-known portraits of our time. Exhibitions of Leibovitz’s work have been shown at museums and galleries around the world, including the National Portrait Gallery in Washington, D.C.; the International Center of Photography in New York; the Brooklyn Museum; the Stedelijk Museum in Amsterdam; the National Portrait Gallery in London; and the State Hermitage Museum in St. Petersburg, Russia. Her work is held in museum collections from the Metropolitan Museum of Art, New York; and the Smithsonian American Art Museum, Washington D.C. to the National Portrait Gallery in London. She has published several collections of photographs and is the recipient of many honours. In 2006 she was made a ‘Commandeur’ in the ‘Ordre des Arts et des Lettres’ by the French government. In 2009, she received the International Center of Photography’s Lifetime Achievement Award, the first Creative Excellence Award from the American Society of Magazine Editors, and the Centenary Medal of the Royal Photographic Society in London. In 2012, she was the recipient of the Los Angeles Museum of Contemporary Art Award to Distinguished Women in the Arts and the Wexner Prize. In 2013 she received the Prince of Asturias Award for Communication and Humanities. In 2015 she received SFMoMA’s Contemporary Vision Award. She has been designated a Living Legend by the Library of Congress.
Director Nandita Das Discusses Her Latest Work, Un Certain Regard Nominated Biopic “Manto” and Being A Voice For Women Everywhere Director/actress Nandita Das is a leading figure in the international film industry today, having given acclaimed performances in more than 40 feature films in ten different languages, including in “Fire” (1996), “Earth” (1998), “Bawandar” (2000), “Kannathil Muthamittal” (2002), “Azhagi” (2002), “Kamli” (2006) and “Before The Rains” (2007). In 2008, Das’ directorial debut “Firaaq” premiered at the Toronto Film Festival and won more than 20 awards on the festival circuit. She has served on the Cannes Film Festival Jury for the main competition in 2005 and on the Cinéfondation and short films jury in 2013. Das’ latest film “Manto,” starring Nawazuddin Siddiqui, has been named an official selection of the prestigious En Certain Regard category in this year’s competition. Managing editor, Indie Entertainment Magazine Nicole Goesseringer Muj had the chance to interview Das prior to the festival.
“Manto” marks your second feature film as a director, and is an official selection at Cannes this year. Your first feature was also screened at Cannes. Congratulations! Was the initial transition from acting to directing a challenging one? It was a natural progression. It was always exciting to watch the rest of the crew work towards shaping up a scene. Often I would get involved with suggestions or just asking questions. Slowly the desire to tell stories the way I wanted to started growing stronger. Actors are perceived to be larger than what they are, but what people don’t realize is that we (actors) are at the mercy of hundreds of factors that shape a film. So I thought maybe making a film from scratch and having the space and freedom to make what I want to would be more fulfilling. I didn’t start out looking for a story that I could direct, instead the stories found me to want to direct. Why did you choose to make the film about the controversial poet/author Saadat Hasan Manto? You both wrote and directed the film. What about this story did you feel would resonate with film audiences around the world? I first read Manto when I was in college. A few years later, I bought the complete original works in a collection called Dastavez, in Devanagari. I was struck by his simple yet profound narratives and the way he insightfully captured the people, politics and times he lived in. He wrote as he saw, as he felt, without dilution, and with a rare sensitivity and empathy for his characters.
For years I thought of making a film based on his short stories, even before I made my directorial debut, “Firaaq.” In 2012, when I delved deeper into his essays, they helped the idea expand beyond his stories. Today I feel equipped, both emotionally and creatively, to tell this story that so needs to be told.
primarily decided to do this film as a means to respond to what is going on today, particularly in India and the world at large. In fact, when India Today asked me to do the short film, I was in the midst of my preproduction and it was a very busy time for me, but I was also feeling frustrated that I was too absorbed in my film to actively engage with the issues of the time. And so, despite my hectic schedule, I decided to do the short film, more for my own conscience than anything else. I knew it would be timely. It also turned out to be a good exercise in bringing the crew together and seeing Manto -- the character, come alive. In some ways, it was a good rehearsal for us. A lot of people think that it is a trailer of our film and have repeatedly used photos from the short film for the main feature film!
What drew me to the story of Manto was his free spirit and courage to stand up against orthodoxy of all kinds. He was irreverent and had an irrepressible desire to poke a finger in the eye of the establishment, often with sharp humor. As I plunged deeper into Manto’s life, I wondered why he seemed so familiar. Soon I realized that it felt like I was reading about my father, an artist. He, too, is intuitively unconventional, a misunderstood misfit, and whose bluntness is not too different from my protagonist. It is his fearlessness and a deep concern for the human condition to which I have always felt most deeply connected. No part of human existence remained untouched or taboo for him. For him, the only identity that mattered was that of being a human. Manto’s faith in the redemptive power of the written word, through the hardest times, resonates with my own passion to tell stories. In some mystical way, I feel I am part of that hopeful legacy. For me, making the film “Manto” was not just about telling people about Manto, but to invoke the Mantoness that I believe all of us have, whether dormant or awakened. What was involved with your research for the film? Manto was very prolific and has also been extensively written about. So while I have read a lot by and about him, it can never be fully exhaustive. I feel fortunate that I have had the opportunity to speak at length with his daughters, as well as with his niece, the eminent historian Ayesha Jalal. I met his sister-in law, who was very close to him. I have spent a lot of time with his family. In that process, I got very close to them and feel morally responsible about making a good film on Manto. I have also spoken to many Manto experts. Some of the nuggets they have given me are seldom found in books. I read that “To many contemporary women writers, his (Manto’s) language portrayed reality and provided them with the dignity they long deserve”? Was this a factor in your decision to make this film?
How long did you shoot the film? We shot for a little more than 40 days. However, the shoot is a fraction of the process. It has taken five years of research and writing, and two years of preparation and making of the film. The genesis of the idea of the film was in 2012, which was Manto’s centenary celebration and it is finally being premiered in 2018 in Cannes.
Equal Means Equal and #MeToo are top of mind in today’s entertainment business. What is your experience in the international entertainment industry with regard to these movements? I think we are all very happy that finally what was being said behind closed doors and in whispers is being heard. Many powerful women are using various platforms to speak up and keeping up the momentum. In India, there is still a deafening silence primarily because women feel more vulnerable in a patriarchal society and a male-dominated industry, and fear being ostracized and being further attacked. Until we support each other, and create an atmosphere of courage and confidence, these ripples will not reach places like India. Abuse, harassment and inequalities exist in all sectors of society and with recent heinous cases like that of Asifa, a lot more people are taking to the streets. #MeToo triggered something important and it needs to find different forms and different spaces.
How was your experience in working with the renowned actor Nawazuddin Siddiqui? Have you ever worked with him on the other side of the camera? Manto’s view of women and the dignity he gave to them is rare. It is one of the important aspects of his life and work that has definitely interested me. Some felt that despite the fact that “Firaaq” was not a womanoriented subject, it was evident that a woman had made it. They felt that the women characters were layered and grey, and even though the film was about violence, there was no blood and gore. Some are surprised that both “Firaaq” and “Manto” are not typically womanoriented subjects, as if a woman, or for that matter, a feminist, must only make films on the issues of women. Women think about many different things and are also impacted by them. In any case, “Manto” is a celebration of a feminist man, though he too would have hated labels. How was the short film “In Defence of Freedom” helpful to you in making the feature “Manto”? The idea of making this film started in 2012 and I
I haven’t been his co-actor, but my first film and one of his early films was “Firaaq.” In fact, I told him this in 2013 at Cannes, when I was in the short film jury, and he was attending the festival for “Monsoon Shootout.” At that time, I was at the initial research stage and warned him that it would take at least two years for me to finish the script. He was excited, and assured me that he would give all the time and commitment to it, whenever it happened. It took me longer as the subject is vast and challenging. They say if you get casting right, 70% of your job is done, and with Nawazuddin, that’s exactly what I feel.
“He looks and feels the part. He has an incredible range as an actor, but intrinsically Manto lies somewhere in his eyes – it was almost an obvious choice.”
Nawazuddin Siddiqui and Nandita Das (From the Making of “Manto”)
You were the first Indian inducted into the International Hall of Fame of the International Women’s Forum in Washington D.C. for your contributions to the arts and women’s rights in 2011. Are you seeing marked changes in the Indian entertainment industry with regard to the rights and portrayal of women? A “marked change” will take a while, but definitely more and more women are now behind the camera, so there is a little more representation and diversity. More women are speaking up and stories that are centering around women or have layered characters of women are increasing. But whenever a project is submitted, the question is still asked – who is the hero? This will take some time to change. When I got their letter of invitation to the gala, it said, “The International Selection Committee representing women leaders on five continents chose you to receive this award for your sustained contributions to the arts and to the world as one of the most gripping cinema arts leaders of our time who has shown us what bothfeet-on-the-floor authenticity looks like and how keeping your values in focus and applying your talent can fuel women and the world forward.” Seldom are awards for one’s beliefs and convictions. With it comes the responsibility and the resolution to be a greater voice for the millions of voiceless women. Having said that, it is all a drop in the ocean. I am just doing my little drop. You are considered an “activist” on various topics gender equality, poverty, discrimination. Are you still involved with “Dark is Beautiful” Campaign? Did this campaign have any positive results in your view?
There are many campaigns that I support. I have supported campaigns for organ donations, signed petitions against genetically modified crops and to save the RTI from being wrongly amended and this one that tells you to be comfortable in your skin is only one of them. I have always been very outspoken about this issue, but it was more informal. The issue of dark skin would always pop up in the many things I did, but didn’t take centre stage. I am so glad that such a campaign has been launched and I am able to add my voice to it. As the issue impacts so many people, young girls in particular, by default I have become a champion of it! The response has truly been overwhelming. I think the time had come to react to this fairness obsession. When I supported this campaign, I didn’t realize that it would go viral. I was also clueless about it as I am not on social media. I have been getting a lot of emails on the id that is on my website where mostly women, have shared their stories of discrimination and feel validated with this campaign. This media interest will not last forever and nor will the campaign, but it would have triggered a debate that will have many tangible and intangible repercussions. I already see the ripples! To change a mindset takes time, but even baby steps in the right direction are needed. I believe it is important to speak up and add one’s voice to campaigns that are for the larger good. After all, we are nothing but a drop in the ocean, but we do need every drop to fill it! So I will continue advocating for what I believe in, both formally and informally, but there is no design or plan for it.
The French Connection: The Story Behind La Victorine Studios Americans have always possessed a fascination with the Riviera and no one has been more dazzled by it than the Hollywood film crowd. The Cannes Film Festival and Market is the crème-de-la-crème of festival activity anywhere in the world. Just to be honored at Cannes is the dream of every actor and director and some of Hollywood’s elites have even been invited to serve as festival presenters and jurists as well. Few know, however, that the Riviera−the Côte d’Azur as the French call it−has also seen a wide variety of Hollywood film production at France’s third largest film lot - La Victorine Studios, located only a stone’s throw from Cannes. The famed Nice-located lot dates back to the silent era when early filmmakers sought sunlight to expose their celluloid film and worked in glass-topped studios, before electric lighting was even invented. Such notable silent era films made at La Victorine were Les Miserable and A Tale of Two Cities, to name but two. Electric lighting and sound soon arrived and a legendary film of that era was Children of Paradise (Les Enfants du Paradis) with Jean-Louis Barrault. By
the 1950s, La Victorine was turning out memorable internationally-acclaimed films, such as And God Created Woman with Brigitte Bardot, directed by then husband Roger Vadim, and later, François Truffault’s Day For Night with Jacqueline Bisset.
Picture: Brigitte Bardot
Perhaps the best known American film ever turned at La Victorine was Hitchcock’s To Catch A Thief with Grace Kelly and Cary Grant. Other English-language films also found their way to the seaside lot, including A Star For Two with Anthony Quinn and Lauren Bacall, The Madwoman of Chaillot with Katherine Hepburn, Dirty Rotten Scoundrels with Steve Martin and Michael Caine, Two For The Road with Audrey Hepburn and Albert Finney, The Last of Sheila with Richard Benjamin and Dyan Cannon, the James Bond pic Never Say Never Again, Cold Sweat with Charles Bronson and Liv Ullmann, Blake Edward’s Son Of the Pink Panther, The Comedians with Richard Burton and Elizabeth Taylor, Jackpot with Richard Burton and Charlotte Rampling and Better Late Than Never with David Niven and Maggie Smith. When LTM, the preeminent lighting manufacturer for motion pictures, took over the studios in the 1980s, and when I was serving as La Victorine’s representative to Hollywood in France, we brought Twentieth Century Fox’s The Jewel Of The Nile with Michael Douglas and Kathleen Turner, Under The Cherry Moon with Prince, and John Frankenheimer’s miniseries Riviera, to the lot. The brief stint at the studios by the Douglas brothers, Michael and Joel, was anything but fruitful however. Michael negotiated a deal with LTM to have his production costs on The Jewel of the Nile lowered by half in exchange for a promise to bring additional American productions there. When production on The Jewel Of The Nile ended, Michael split for Hollywood leaving his brother Joel in charge of their on lot office. The old La Victorine villa, the iconic central viewpoint of the studios, used in Day For Night, had by then simply become a shell. Joel wanted the studio−at the studio’s expense−to renovate the villa both inside and out and allow the Douglas Company to utilize it exclusively for their offices. The managers asked me what I thought about it. I knew they were holding out for Michael’s promise of additional productions. I told the managers absolutely not. They failed to heed my advice, however, and spent close to one hundred thousand Euros on the renovation. After one year,
it was clear that there would be no plans of bringing any further production to La Victorine. Finally, the managers got wise, and in only a short time, LTM ended its own tenure there. By the 1990s, American production at the then-called Riviera Studios came to an end. Hollywood producers were increasingly turning to East European studios where production costs were being offered at bargain basement prices. The new managers were focusing their attention on French film and TV production, with the exceptions of John Frankenheimer’s Ronin with Robert De Niro, Swordfish with John Travolta and Neil Jordan’s Good Thief. During that period, it was a struggle just to keep La Victorine open and running. Problems had begun for the lot as far back as the late 1970s. The land the studio sits on is actually owned by the City of Nice, which contracts with film production entities to run the facilities. When Jacques Médecin became Mayor of Nice, he utilized the studios for his own pleasure. He was a regular at the studio commissary and during his mayoral reign, he managed to have the studio employ some of his corrupt cronies. I first got wind of this when I was having drinks with a friend at l’Ascenseur, a bar he owned overlooking the Nice harbor. I was telling him about the
Photo Credits: Georges Biard
studio manager and how he never seemed to do anything but take beautiful actresses to lunch in the commissary.
as well, and Illene adored what I was having done to mine. Not long after that, though, Medécin died and I departed for New Orleans.
When I mentioned his name (also Claude), my friend’s mouth dropped open. He told me that Claude was notoriously famous and had recently been imprisoned for two years in the north of France for a Mafia-related bank robbery. The next time I was up in Paris meeting with the LTM’s execs, I mentioned what I had learned about this other Claude. They thanked me cordially and nothing ever became of it. It was then I realized the studios were under Riviera Mafia control.
“Medécin left La Victorine nearly bankrupt. It did revive somewhat with subsequent productions and just recently, ownership of it passed to the city exclusively. ”
Medécin fled to Uruguay to escape fraud prosecution, and talk about a small world, he ended up in Los Angeles where he married his second wife, a young Californian named Illene Graham. They bought a condo in the Chateau Granville on Crescent Heights Blvd. in West Hollywood, where I happened to occupy the condo on the same floor and was busy having it renovated. Illene was always pounding on my door wanting to see the latest renovation results. Apparently, the Medécins were wishing to renovate their condo
The current mayor of Nice is determined to bring the studio back to glory, but she is facing an uphill battle. Property in Nice today is sky high and developers are constantly attempting to acquire the land for private residence constructions. So the future of La Victorine Studios and its legendary cinema past hangs in the balance. What it needs is a quick return of Hollywood film production. Contributed by Claude Brickell, writer/director & former Hollywood representative of La Victorine
The team at ROSKINO
ROSKINO CEO Katya Mtsitouridze Speaks on Moscow, Marché du Film and #MeToo Movement Katya Mtsitouridze is one of the most accomplished executives in the global film industry today. Since 2011, she has served as CEO of ROSKINO, a state funded body responsible for promoting Russian films and filmmakers internationally. In 2017, the Moscow Government and personally, Mayor Sergei Sobyanin, supported the initiative of Ms. Mtsitouridze to create the Moscow Film Commission, an institution created to promote the city as a unique shooting location and to provide assistance to international film and TV production companies wishing to shoot there. Indie Entertainment Magazine recently had the opportunity to interview Ms. Mtsitouridze prior to the 2018 Festival de Cannes. NGM: You founded the Russian Pavilion at the Cannes Film Festival 10 years ago. What changes have you noticed about the Festival over the past decade? KM: The question is worth an entire academic paper. Over the last 10 years, we have witnessed the development of a fully-fledged industry. Production quality has increased, producers have become more professional, a more or less transparent system of ticket sales monitoring has been introduced and implemented and new theaters were launched. The trends are positive. Market sales have increased at double-digit rates. The festival evolves in step with the industry changes, and since the industry is indeed changing in Russia just as in China, Brazil, France or Italy, the festival formats are changing as well.
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Cannes 10 years ago and Cannes now are two different festivals. There are still plenty of excellent films. The best films are here, let’s face it, however the Marché du Film is now playing a much more prominent role, with deal values growing, participation expanding so that more countries are present, industrial programming is off the charts and new technologies keep generating new formats. On the other hand, the influence of the fashion industry has also increased, and it makes perfect sense. I think Cannes offers a nice balance between the promotion of films as an art form and films as a way of influencing the social and political trends of the moment. Whenever there is a bias to one way or the other, nothing good can come out of it, but Cannes walks this line perfectly. NGM: You have worked as a film journalist and also a film executive. How do you feel about the recent announcement by Cannes’ director Thierry Frémaux to not allow films to be previewed to journalists prior to their gala premiere? KM: This is a tough question. On the one hand, I understand all the difficulties of my colleagues, and the priorities of the press are also an issue. On the other hand, I understand Thierry Frémaux has to create a fruitful working environment for all the participants, and since Cannes is first and foremost about films in official selection, he has to meet the challenges of our times.
“
Katya
Mtsitouridze
I believe a working woman might face the same problems in any profession, be it medicine, banking, oil and gas industry or anything else. This is definitely not an issue concerning only the film industry, however celebrities are always exposed, and cinema is a mirror reflecting the whole society. Sexist attitudes can be felt anywhere.
“The reality we live in is one where the decisions more and more often lie with production studios. Ignoring their position is a major risk. Let’s see how it all works out…” NGM: The Russian film industry is booming, with many foreign co-productions, as well as some of the top new films by Russian directors, on the international scene. From where do you think this resurgence stems? KM: I think I have largely answered this question earlier. There have been major changes in the country. The industry that broke down after the collapse of the Soviet system in the 1990’s is now back in shape. The grand Soviet film style is over, and the only inheritance left to us are our unique DPs. Our cameramen are the best in the world so far, or at least second to none. As for scripts and directors, we are gradually shifting
towards the European standard with all its advantages and disadvantages. One of the main advantages is the growing box office. The disadvantages are several, notably the stylistic uniformity, the loss of cultural identity and depth in favour of entertainment. These issues are not unique to Russia, as the trends are the same in many other industries around the world. However, the positive tendency is that the number of co-production grows in spite of bureaucratic obstacles, and international sales are growing as well. Sokurov, Zvyagintsev, Konchalovsky, Balagov, German Jr. and other Russian masters participate in A-list film festivals. The quality of mass market films is also growing. In the eight years of Roskino’s existence we have participated in 12 markets and festivals per year. We attend international conferences and invite our foreign partners to come to Russia, to form and strengthen ties between our countries and our professionals. We have organized some high profile events, including the Saint Petersburg International Media Market that happened to coincide with the introduction of anti-Russian sanctions, but yet we welcomed 2700 participants from 57 countries of the world, including the US, France, Germany, China, North Korea, Israel and Australia. In short, it all comes from a systematic effort. NGM: What projects (co-productions or Russia produced films) is ROSKINO promoting in 2018 at Cannes? KM: This year we will represent under the banner of ROSKINO - RUSSIAN CINEMA WORLDWIDE, several dozen major and independent film companies. Let me name but a few: “Unforgiven” a drama by Sarik Andreasyan starring Dmitry Nagiev, “Deadly Still,” a thriller by Anton Zenkovich and “I Am Losing Weight,” a comedy by Aleksey Nuzhnyy. Our lineup features Voenfilm projects, notably “Fruits of Wisdom” and “Ilyinskoe Line.” We will present the very first smartphone series “1968. Digital,” “Eternal Life of Alexander Khristoforov,” “The Sobchak Case” documentary, sports dramas “Three Seconds” by Anton Megerdichev and “Coach” by Danila Kozlovsky. “The Perfect Ones,” the mystic thriller by Kirill Pletnyov has already engaged Chinese, Japanese and Korean partners, so everyone is looking forward to its Marché du film screening. Alexey Sidorov’s wartime action thriller “T-34” is generating a lot of interest, along with Valery Todorovsky’s “Bolshoi,” an epic drama telling the tale of a young small-town debutante on the world famous Bolshoi scene. However, our main focus lies with the two Russian participants of the main competition program, “Summer” by Kirill
Serebrennikov and “Aika” by Sergey Dvortsevoy. We are very glad that Cinefondation selected Igor Poplaukhin’s short “The Calendar.” During the Critics’ Week, Russia will be represented by Mikhail Borodin’s “I Am Normal.” NGM: You initiated to create Moscow Film Commission last year with support of major of Moscow and Government of Moscow to promote filmmaking in your Capital. Can you tell us some of the major Western films that have been shot (or are planned to be shot) in Moscow since the commission’s creation. KM: Over the last year, we have been busy setting up the Moscow Film Commission with the support of the Moscow Government and especially its Departments for Culture and Transportation. We have been actively promoting the city at festivals and film markets around the globe. At the same time we have been pursuing some extensive and painstaking initiative such as Moscow in Motion, a joint photo project of Roskino and the established photographer Anton Lange that features a selection of iconic and secret locations Moscow has to offer. We have created a comprehensive database of leading production companies and English-speaking talents, complete with their representatives. We also have a database of companies providing production equipment for films and TV projects. The Roskino team has presented the Moscow Film Commission to producers and location managers from many countries to prove that shooting in Moscow has a lot of advantages. After all, it is one of the most beautiful metropolises in the world. The reactions have always been enthusiastic both at The Location Guide’s Focus in London and at MIPTV in Cannes, EFM in Berlin, AFM in Los Angeles and FILMART in Hong Kong have been equally interested. Now it’s up to us to offer proof of real support. Moscow is so incredibly diverse you could film 10 different cities here.
“Leading production companies, including Lionsgate, Shaw Brothers, Sun Entertainment Culture, Tiany Media, Mei Ah Entertainment are very interested in exploring the possibilities of filming in Moscow, and we are currently discussing some of their upcoming projects. To tell the truth, getting filming permits is the most difficult part, especially when classified sites are concerned.” We have created a promotional feature film of our own, the five minute long Moscow in Motion, and we had to go through it all ourselves. We had to get approvals and permits from various municipal and national structures to film all the most sensitive sites including the Kremlin, our main museums, the stadium, a boat chase race on the Moskva river, the full Monty, complete with tanks and helicopters. Everyone was involved from the Presidential Administration down to the Ministry of Defence, the Federal Security Service, the Federal Security Guards, the Ministry of Foreign Affairs, the Ministry of Emergencies and the national railways. The city structures have been most helpful and understanding, and nevertheless we were able to learn for ourselves that the process is far from easy. Now we understand why it was that many productions did their best to avoid Moscow, but we are there to help and we hope to streamline and facilitate the acquisition of permits as best we can. NGM: Why Moscow is desirable film location? KM: Moscow is a top metropolis, a cultural center and a scientific hub. It is the biggest city of Europe and a versatile urban center. Moscow abounds in unique monuments, with its turn of the century central streets mostly intact and cutting-edge highrises also available. Stalinist empire style buildings of the mid-20th century offer a unique setting, and the Moscow City business district with some of the top highest buildings in Europe boasts a breathtaking skyline, to be complemented with stadiums, first rate museums, theaters, parks, churches, the Kremlin and the Red Square, gigantic crossroads and flyovers, state-of-the-art airports, cozy European-style cafes, industrial districts and historical mansions, all with their own tales to tell. Moscow offers an extensive transportation infrastructure and world class services. Rebates for international film crews along with other financial incentives will become available as soon as the relevant federal law is passed. In the meantime, it’s worth mentioning that the Moscow-based companies offer state-of-the-art film and production equipment, and most importantly, the safety and security concerns that we have heard raised by international
colleagues are now a thing of the past. Moscow today is one of the world’s most comfortable, welcoming and internationally oriented cities. The rest is history. NGM: You studied film in university and are often called on as an expert commentator. Who are some of your favorite directors of all time? What are some of your favorite international films? KM: As a student I adored Visconti. Apparently, there was not enough drama in my life at the time. As for today, there are so many diverse things going on in cinema that sometimes I just choose to watch some good old classics to relax. I love Humphrey Bogart and Lauren Bacall, “Casablanca” and “To Have and Have Not”. I have a weakness for classical Hollywood films from Rita Hayworth to Marilyn Monroe. As for more recent productions, ROSKINO CEO Katya Mtsitouridze with Steven Spielberg I think Brad Pitt is the new Marlon Brando -- he channels the very essence of our times. I adore Paul Thomas Anderson and all his work. Martin McDonagh is one of the best directors in the world. Guillermo del Toro is just amazing, and the French are my true love, from Laurent Cantet to the most topical Abdellatif Kechiche. Xavier Dolan is sincere, vibrant, and genuine. I also appreciate contemplative authors, such as Lav Diaz, Apichatpong Weerasethakul and Terrence Malick. I have to admit I have been watching lots of US TV series lately and they are beyond compare. If I had to choose my top 10 of all times, the list would include Orson Welles, Billy Wilder, Sergei Eisenstein, Alain Resnais, Luis Buñuel, Luchino Visconti, and Ingmar Bergman. NGM: You are such an accomplished individual, working in the film industry that primarily is controlled and run by men. Did you have any mentors who inspired you on your path to becoming CEO of ROSKINO? What obstacles have you faced as a woman working in the male-dominated industry? KM: I believe a working woman might face the same problems in any profession, be it medicine, banking, oil and gas industry or anything else. This is definitely not an issue concerning only the film industry, however celebrities are always exposed, and cinema is a mirror reflecting the whole society. Sexist attitudes can be felt anywhere. I must admit though that every now and then I get certain offers and promises to boost my career and provide certain benefits. Probably every successful woman gets her share of this. In a way, it means you are on the right track. The solution is to show some backbone and go on. Sometimes I just use my sense of humor which is enough for most normal men. My reputation in the industry reputation also plays a role here since I work and am friends with strong producers that provide leadership for the industry as a whole. I feel they treat me as their equal and tricky moments should be carefully evaluated. Luckily with the one exception of the encounter with Harvey Weinstein, I never had to go through shocking and vulgar experiences. NGM: The #MeToo movement has grown wings in the film community and most likely will be on the radar during Cannes (for obvious reasons). How is this important movement/cause being recognized within the Russian film community? KM: The #MeToo movement involves Russia as well, as voices are being raised to point to Russian producers but without giving the actual names. Several upcoming young actresses have written to me about their own harassment experiences and wanted to know from me whether they should go public. I told them I fully sympathized, but it was not for me to offer advice since I am neither a psychologist, nor a lawyer. It is a very
personal thing and they should be well aware of the eventual consequences. Who knows, maybe it was even worse than they are willing to admit or maybe not. Should they be willing to go all the way and prove their point, they have all the right to tell their stories as I have told my own. I felt it was my civic duty to speak out as I did not want to act against my conscious in the midst of the whole uproar. I share the values of the professional community that was not afraid to raise this challenging issue. I hope it might prove of help to abuse victims of either sex who are afraid and insecure to realize they are not alone and they can stand up for themselves. In fact, they have every right to do so. If such is the case, it was not in vain. People in Russia, just as in several other European countries, are rather slow to realize that this is the beginning of a global change, and yet it is. A scandal concerning a high-ranking member of parliament and parliamentary journalists is currently at the center of public debate. There are hardly any secrets left. The society is beginning to understand its own rights, liberties and duties, mostly owing to social networks and the Internet in general. The social networks made
it possible for people to speak out and be heard, to get support from other people who share the same views all over the globe, not only in a local community. Last year there was a similar flashmob in Russia with people telling about their abuse experiences under the hashtag #янебоюсьсказать (or #IAmNotAfraidToSpeak). The hashtag went viral causing a twofold response. On the one hand, the fear of going into the open and taking the weak side is too strong, sometimes you just feel that might makes right, regardless of the truth. After all, everyone speaks from a personal viewpoint. Robert Thurman, professor at Columbia and father of the legendary Uma, one of the most influential Americans of our times, often claims in his public talks that we all live in a militarized masculine world where men assert themselves through aggression. Societies where women have no rights have the least freedom. I want to believe that today’s Russia will overcome this problem, just as it had overcome many other vital challenges. By Nicole Goesseringer Muj
The Insider’s List To Cannes 71 By Nicole Goesseringer Muj
The Festival de Cannes is undoubtedly the most glamorous event each year, blending a mix of luxury brands, fashion, music and of course, film. For those visiting the Croisette each May, there is an abundance of events and activities in which to partake, including starstudded red carpet premieres at Grand Théâtre Lumière, and lavish parties by Chopard, de GRISOGONO and AMFAR. Indie Entertainment Magazine has a few other suggestions to keep on your radar. On the evening of May 13, the 10th Annual Gala Ciné-Arts, presented by VIP Belgium and benefitting founder Alexandre Bodart Pinto’s non-profit “Wheeling Around The World,” will be held at the Hotel Majestic Barrière. The event promises to take us on a glamorous journey into the magical world of the arts - cinema, fine art, music, dance, photography, fashion and gastronomy. www.cineartsgallery-en.com
Adrien Brody at DPA Suite
Andres Aquino at Global Short Film Awards
Alexandre Bodart Pinto with Eva Longoria and Amaury Nolasco
The Annual Cinemoi Fashion Charity Gala is not to be missed. Presented by Cinemoi founder Daphna Edwards Ziman, the star studded soirée benefitting a number of charities including Children Uniting Nations, takes place each year at the Members Club of Plage 45 of the Grand Hotel Beach. www.cinemoi.tv The Third Annual Cannes Global Short Film Awards Gala and Luxury Fashion Show, presented by Andres Aquino, is scheduled for Saturday May 19, 2018 at the prestigious Intercontinental Carlton Cannes. This year, a special Lifetime Achievement Award will be presented to Franc D’Ambrosio of “The Godfather Part III” and star of Broadway’s “Phantom of the Opera,” who will also perform some of his iconic songs. www.globalshortfilmawards.com
Spike Lee at Wanderluxxe Event at Cannes 2017 9 -1 8 M AY 2 0 1 8
Madame Monsieur at Le Studio
Cimenoi’s Daphna Edwards Ziman and Donna Karan
After all of the lounges, galas and premieres, the place to end your evening, or maybe just continue it, is Madame Monsieur, the private, by invitation only VIP club located this year at Le Studio (5 rue des Belges). v Also, keep on the look-out for the two colorful, giant gorillas on the rooftop venue Sandra’s, located on the Croisette. With so many possibilities, one thing is for sure, the quaint town on the Côte-d’Azur truly comes alive during these twelve days in May!
Musician Pete Sands On His Early Days, Native American Heritage... And Johnny Cash Covering film festivals is a great opportunity to meet new talent and interesting people. While covering the Sundance Film Festival this year, I met an interesting person with whom many seemed to be intrigued. After writing an article about him, it occurred to me that he could tell his story a little better. Pete Sands was born in Shiprock, New Mexico and raised primarily in Montezuma Creek, Utah, located in the northern part of the Navajo-Indian reservation in the USA.
Pete is his own words: Thus far in my music career some of my major achievements would be getting nominated for a NAMMY (Native American Music Awards), performing at the legendary Viper Room, performing in Nashville at my brother Yelawolf ’s music festival “SLUMFEST,” and lastly getting some of my songs onto a new television show that just finished filming its first season. I graduated high school from Whitehorse High School in my hometown of Montezuma Creek. My post-secondary education was a tricky one because I had applied to four different universities: University of Utah, University of Arizona, Harvard and the University of Oregon. I was accepted to Harvard and Oregon, but due to some family issues I could not go too far from home. I chose to attend a community college called College of Eastern Utah. There I obtained and Associates of Science Degree in Criminal Justice. After that I attended Weber State University in Ogden, Utah. In my down time I love to watch indie films and listen to music. There’s nothing like discovering new music and following an artist down their rabbit hole. Another thing I really love to do is to travel. I am known to be super spontaneous. My friends hate that because I will call or text and I’ll say “dude, I just came into town, let’s grab some brewskis”. When writing a screenplay, there is one absolute - I have to have a music playlist compiled. It’ll depend on the mood I am going for and I will play that playlist until I can see exactly how a scene will come together. And when I am writing a song, I have to have a title before I can even start. I can hear the song in my head, guitar chords and all, then the title comes at me like the way Dirk Diggler saw his name flashing in neon lights in “Boogie Nights.” One thing that is super important to me is that I keep grounded. It’s easy to get your ego inflated in the industry so I keep a part time job to keep myself immersed in the blue collar world. I may not work that job all the time, but nothing will humble you faster than busting your ass at a hard labor job. When it comes to my art, I have so many influences, but what I try to do is stay true to the way I perceive the world. As artists we create windows and doorways for people to peek into or if they are so inclined, they can walk into our world as well. I blend aspects of my Navajo-Indian culture with everything that I do. It may not be overtly obvious at times, but within dark songs or tense scenes, there is some feel of my culture underneath it. My main role model will always be my mother. I am a mama’s boy at heart and I will always be. She has lost so much and has been through Hell, but it never stopped her from loving and encouraging her boys. I remember times when I was young and driving in the middle of night, going God knows where, drifting because we had been kicked out of the house once again. But somehow my mother always made us feel safe and made sure we had something to eat. My main mentor is my uncle Joey Kee. I don’t know why, but he was always so kind and encouraging me. It may have seemed like a crazy dream for a little Rez (slang for Indian Reservation - USA) kid to want to get a college education, but seeing him leave the reservation and graduate from college showed me that it wasn’t impossible. Seeing him become a leader in the Navajo community really encouraged me more. Although, what really drove it over the top was when he spearheaded the task of translating the Hollywood blockbusters “Star Wars” and “Finding Nemo” into the Navajo language.
Hollywood’s Finest Raise Awareness For “Equal Means Equal” in Home Where John Lennon Wrote “Imagine” By Nicole Goesseringer Muj
Russian-American actress/model Eugenia Kuzmina recently hosted a private reception in her home for the women’s rights organization Equal Means Equal (www.equalmeansequal.org), raising awareness about the need for the ratification of the Equal Rights Amendment (ERA). The event created a think tank, composed of some of Hollywood’s most influential people, to dramatically raise awareness on the issue in advance of upcoming events and marches to promote the cause. The event location was symbolic in that it was held in the home where John Lennon wrote “Imagine.”
His experience and my appreciation of him blew me away. My band BLACKKISS is made up of Chris Aguilar on lead guitar, Steven Tabarez on drums, Nate Meredith on bass and Ryan Hawthorne on the slide guitar. Chris was actually the guy who helped me record my debut album “Dirt Dance Floor.” We recorded that album in his room at his parents’ house when he was still living with them. Ha ha, man we both had no idea what we were doing, but we convinced one another that we did. It took us quite some time to record it, but late 2015 I released my album. It was quite a feeling I tell you and I will never forget that feeling of accomplishment. The album itself has garnered some awards and nominations, a true testament to our passion to create something no one had ever heard before from a Native American musician. It was actually in my first semester of college that I learned what a guitar really was. My roommate at the time had a cousin who would always be at our dorm room and brought with him an acoustic guitar one day. I used to mess with it all the time and finally he just left his guitar there for me to play around with. After awhile he showed me how to read guitars tabs and that’s when the pickle lid came off the jar. I downloaded every song I ever wanted to learn and begin teaching myself. When I relocated to the main campus of College of Easter Utah in Price, Utah, it was there that I finally bought my first acoustic guitar. I learned to play full songs like “Hurt” the Cash version and “Outside” by Staind. Once you learn your first full song, you are hooked.
So I taught myself chords and began singing along with the guitar. I gained some vocal singing tips from country singers that would pass through town as they played at the bars. I didn’t know anything about chord progression or music theory, just up until a couple years ago when I truly began wanting to expand my horizons and play outside my genre. Music was my escape when I was younger and as I got older as well. It helped me through some hard times, and taught me that we aren’t all that different from one another. We all feel the same emotions, no matter where you come from. I remember, hearing “A Boy named Sue” for the very first time when I lived with my grandmother in Kinlichee, Arizona, and feeling afraid that I would get a whipping for listening to the song. It was powerful, grabbed me by throat telling me to listen to the story, the words. It came natural to me, songwriting came natural and it gave me my true voice. Music helped me find who I really was and what I could do. Now with my music, I return the favor by helping others escape. Pete Sands is admired by many and as soon as we began speaking, I knew we would be friends. His demeanor and reverence for the art is palpable and penetrating. Pete has the wind behind his back and it’s mainly for one reason. The wind is following him. www.blackkissdrifters.com By Monica Morrison Publisher, Indie Entertainment Magazine
Kuzmina comments, “As a woman who emigrated from Russia and became a US citizen, it’s a very important time to be able to use my voice for gender progress. My mother was unable to pursue a career after raising children because of economic gender bias and it had a profound effect on her life. I feel that sexual discrimination is an international human rights issue. I’ve been working since the age of fifteen and continue to, after having kids. I live in the house where John Lennon wrote “Imagine” and it feels like the perfect place and time to raise the consciousness and awareness of influencers on a human level about the unfinished business of equality for all Americans under the Constitution.”
From Left to Right: Eugenia Kuzmina, Sarah DeAnna, Kamala Lopez and Shay Londre Photo Credit Rochelle Brodin
Kamala Lopez, executive director, Equal Means Equal and president of Heroica Films, launched the movement and accompanying film to educate Americans about the importance of equal rights under federal law for women. The film is executive produced by Liz Lopez and Patricia Arquette, and received Best US Documentary Audience Award in 2016 at Michael Moore’s Traverse City Film Festival. “It is extremely heartening to see Hollywood embrace the Equal Rights Amendment and help push for final ratification in the last two states. Eugenia Kuzmina is taking a strong role and position on the issue and the event at her lovely home began an important industry dialogue that will have far reaching effects on the global population of women and girls. It is fitting that the entertainment industry, proudly progressive on the whole,
would champion a Constitutional amendment that would finally see all Americans as equal under law,” explains Lopez. Equal Means Equal is a labor of love that Lopez embarked on over eight years ago when she first realized that women still did not have Constitutional protections in the United States and that most Americans did not know that.
WanderLuxxe: The All Access Luxury Concierge You Need To Know About, Returns to Cannes 2018 Wanderluxxe, the niche concierge service founded by entertainment industry experts Marti Hines and Lola Wood, has been making big waves amongst film enthusiasts and industry VIPS since launching in late 2016, offering its members and partakers unmatched access to exclusive film premieres, screenings, award show events, and more. In addition to unprecedented access, their 24/7 concierges coordinate all elements of travel, from flights and housing to makeup artists and private fitness trainers. Whatever the “WanderLuxxer” needs, they make it happen in order to create the ultimate festival experience.
The Equal Means Equal initiative supports the ratification of the ERA in its current form with the objective of educating individuals and engaging communities regarding the role of the amendment in eradicating inequities facing women across the United States. The ERA, which simply reads: “Equality of rights under the law shall not be denied or abridged by the United States or by any State on account of sex,” was first introduced in 1923 and passed by Congress for States’ ratification in 1972. The ERA would guarantee Constitutional rights equally to all persons regardless of their sex. To date, thirty-six states have ratified the ERA, however two more states are required to ratify in order to amend the Constitution. Lopez began the ERA Education Project in 2009, creating multi-media PSAs, video FAQs, social media campaigns, educational videos and sites, piloting curriculum and travelling around the country speaking to groups, as well as students in colleges and high schools. She believes the ERA should be universally embraced across all race, class, and gender lines, and has been the keynote or featured speaker at the Smithsonian Institution’s National Portrait Gallery, the United Nations, The National Arts Club, YaleWomen Global Conference, as well as to “at-risk” girls and other children in former Los Angeles Mayor Villaraigosa’s Partnership for LA schools.
From Left to Right: Marti Hines and Lola Wood, Wanderluxxe Founders
In addition to its membership program and concierge service, it also offers an event production arm. Filmmakers look to WanderLuxxe to successfully plan premieres, filmmaker panels and honoree events, like the much buzzed about Cannes 2017 gala celebrating acclaimed director Spike Lee. Wanderluxxe returns to Cannes 2018 as a partner, for the second year, of AmPav, The American Pavilion, on the heels of very successful activations at this year’s Sundance and Tribeca Film Festival with brand partners Dropbox, Tesla, Casamigos, Quick Cryo, APEX Social Club, Heineken, Peet’s Coffee, Aveeno, Smyth Hotel, and more.
To sign up for the membership program, featuring priority year long access and perks or to learn more about their services, visit www.wanderluxxe.com or follow on Instagram @wanderluxxemembers
COLCOA “City of Light, City of Angels” French Film Festival Opens on A High Note By Nicole Goesseringer Muj
“City of Light, City of Angels” French Film Festival – COLCOA www.colcoa.org, the largest festival dedicated to French films outside of France, opened its doors to the stars, media and foreign film enthusiasts for its annual opening night gala held at the Director’s Guild of America in Hollywood on April 23. Opening night featured the North American premiere of writer/ director Eric Barbier’s “Promise At Dawn,” starring Pierre Niney and Charlotte Gainsbourg, who this year was nominated for a Cesar Award for her stunning performance. Celebrities in attendance included Barbier, Vanessa Paradis, Mélanie Laurent, Jacqueline Bisset, Robert Forster, Taylor Hackford, The Honorable Consul
General of France in Los Angeles Mr. Christophe Lemoine, and many others. Prior to the film screening, a special tribute performance by pianist/composer Jean-Michel Bernard in honor of legendary Argentinean-born film composer Lalo Schifrin, best known for his work on the film score for “Mission: Impossible,” delighted the packed house. From April 23rd – 30th, COLCOA showcased a record 86 films, television series, digital series and VR programs, including several world, North American, and U.S. Premieres. This year, festival programming placed a special focus on women in filmmaking.
Bodvár – House of Rosés To Celebrate Official National Rose Day on June 9 By Nicole Goesseringer Muj
Bodvár – House of Rosés has been the Croissette’s favorite rosé wine for many years now, featured during the festival at gala events, gifting lounges and Le Petit Paris. From Left to Right: Mélanie Laurent, Vanessa Paradis and Samuel Benchetrit, Lalo Schifrin and Composer Jean-Michel Bernard
The competition closed on April 30 with the North American premiere of Cedric Kahn’s drama “The Prayer” that had its world premiere at the Berlinale, where Anthony Bajon won the award for best actor. The 2018 line-up included new features from established writers/directors, including Mathieu Amalric, Yvan Attal, Daniel Auteuil, Xavier Beauvois, Samuel Benchetrit, Christian Carion, Alain Chabat, Dany Boon Albert Dupontel, Emmanuel Finkiel, David and Stephane Foenkinos, Yann Gozlan, Naomi Kawase Mélanie Laurent, Philippe Le Guay, Eric Toledano and Olivier Nakache, Laurent Tirard and Nicolas Vannier.
This year, the company expanded its reach to the United States, unveiling Bodvár Rosé Wine Pop Up Bars – the first of its kind concept in the United States, with pop ups in Los Angeles, Palm Springs, New York and Miami, and a special event at the Boca Raton Beach Club. Considered Hollywood’s favorite rosé, Bodvár Rosé was the exclusive rosé wine served backstage to nominees and presenters at the 90th Academy Awards, as well as to guests at Cinemoi’s annual Oscar viewing party and the star-studded Race to Erase MS Gala in Beverly Hills. “Bodvár is very well established in the European luxury market. I was delighted to share my vision by introducing Bodvár Rosé wine in the United States earlier this year,” explains Bodvár Hafström. “Our goal was to create a new lifestyle experience that not only celebrates rosé, but also the vibrance, luxury and joie de vivre that our brand represents, and I believe we have accomplished this.” The brand has established the Official National Rosé Day by Bodvár that will hold a special kick-off yacht reception during Cannes this year. Bodvár adds, “I am pleased to invite everyone to share in the passion my wife Ann and I hold for rosé, as we prepare for the Official National Rosé Day’ on June 9 in Marina del Rey, California, when wine lovers around the world will unite in celebration of rosé.” Swedish-born Bodvár Hafström is part of the Grönstedt and Hafström families, boasting 170 years of family tradition in the premium beverage industry. Throughout his life, he has been fascinated with
Ann and Bodvár Hafström at National Rose Day 2017 Photo Credit: Jason Weiss
style, luxury, travel and wine. His profound taste and unique style is truly portrayed in the beautiful design and taste of Bodvár - House of Rosés, where all of the components of his life are carefully selected and truly reflect his overall love for beauty, quality, taste and design. The world’s first specialized rosé wine house, Bodvár - House of Rosés is the most recent branch of the family tree of beverages and luxury products. Bodvár saw the upcoming rosé wine trend as more than just a product, but as a laidback, classy and enjoyable lifestyle. Working with the most skilled winemakers and design teams, Bodvár personally directs the winemaking process and creative vision to develop the perfect rosé that features a delicate and elegant taste and a stylish design, appealing to both men and women. http://bodvarrose.com https://www.instagram.com/ bodvarrose/
PRESENT
GLOBAL FILM SHOWCASE PANEL FOLLOWED BY RECEPTION MAY 14, 2018 | 2.00 PM RUSSIAN PAVILION, INTERNATIONAL RIVIERA 139
KATYA MTSITOURIDZE Roskino
SARIANN MONACO Heartland Films
DAVID RAYNOR Bad Hat Films
DEBBIE VANDERMEULEN Fusion Features
SUE VICORY Heartland Films
EILEEN TASCA (Moderator) Alien Films
Sensational Global Show
MIRROR MAN SHOW by
instagram.com/mirrormanshow Worldwide Booking: ricardo@ricardoralphlopez.com