Notizie

The Marrakech Film Festival, which opened Friday with Justin Kurzel’s timely thriller “The Order,” has more than 70 films in its lineup, which, as is customary, mixes known titles and fresh fare.

“The Order” is part of the event’s gala screenings that also comprise French-Moroccan auteur Nabil Ayouch’s feminist musical drama “Everybody Loves Touda,” Walter Salles’ “I’m Still Here” and Mohammad Rasoulof’s “The Seed of the Sacred Fig,” all of which will be accompanied by their directors.

The 14-title competition dedicated to first and second works includes Moroccan director Saïd Hamich Benlarbi’s melodrama “Across the Sea,” about North African exiles in Marseilles, and Hind Meddeb’s doc “Sudan, Remember Us,” which pays homage to Sudanese people and culture by chronicling their 2019 revolution. “Sudan, Remember Us” is among films supported by the fest’s Atlas Workshops industry initiative, aimed at fostering and supporting the emergence of a new generation of Moroccan,...

The Marrakech Film Festival unveiled its 2024 lineup on Thursday and set that Luca Guadagnino would replace Thomas Vinterberg as its jury president. The other jury members will be Andrew Garfield, Jacob Elordi, Virginie Efira, and Ali Abbasi. Vinterberg “had to excuse himself for family reasons,” festival organizers said.

The Marrakech fest on Thursday also unveiled the lineup for its competition, 11th Continent, and Moroccan Panorama sections, as well as gala and special screenings. In the competition, 14 films will compete for the Étoile d’Or, or Golden Star.

The 21st edition of the fest in Morocco will also honor Sean Penn, David Cronenberg and, posthumously, pay homage to Moroccan star Naïma Elmcherqui. The Marrakech fest takes place Nov. 29-Dec. 7.

Check out the full lineup for the 2024 edition below.

Competition

Across The Sea (LA Mer Au Loin)

by Saïd Hamich Benlarbi / France, Morocco, Belgium

with Ayoub Gretaa, Anna Mouglalis, Grégoire Colin, Omar Boulakirba,...

Marrakech International Film Festival has unveiled the full line-up for its 21st edition which will open with Justin Kurzel’s crime thriller The Order onNovember 29 and run to December 7.

Kurzel’s debut featureSnowtownwon thefestival’s jury prize in 2011, and the filmmaker returned in 2022 to serve on the jury.

This year’s jury will be presided over by Italian filmmaker Luca Guadagnino, replacing Thomas Vinterberg, and will award the Étoile d’Or for best film to one of 14 first- and second-time features in the international competition.

In total, the festival will screen 70 films from 32 countries, including 14 documentaries, 12 Moroccan titles, nine world...

Following their intial announcements, the 62nd New York Film Festival has now unveiled its final film section: Revivals, featuring significant works from renowned filmmakers that have been digitally remastered, restored, and preserved with the assistance of generous partners. Highlights include World premieres of restorations of Ardak Amirkulov’s The Fall of Otrar, Zeinabu irene Davis’s Compensation, Raymond Depardon’s Reporters, John Hanson and Rob Nilsson’s Northern Lights, and Robina Rose’s Nightshift as well as works by Chantal Akerman, Clive Barker, Robert Bresson, Lino Brocka, Marguerite Duras and Paul Seban, Marva Nabili, Ousmane Sembène and Thierno Faty Sow, and Frederick Wiseman.

Check out the the lineup below.

Bona

Lino Brocka, 1980, Philippines, 85m

Filipino and Tagalog with English subtitles

U.S. Premiere of 4K Restoration

A fierce work of quasi-neorealist melodrama that melds pop cinema instincts and political indignation, Lino Brocka’s 1980 feature endures as a lively, searing parable...

Not that time stopped, of course. Nor is there interest in a kind of grand-standing disrespect towards whatever worthwhile cinema fit into the narrow 12-month window that just passed (gentle reminder: this is how I make a living) when I say my sense of the landscape has flattened: those well-honed patterns part and parcel of a cinematic year—festival announcements, festival reviews, acquisition news, established release dates, after-work press screenings preceded by shitty midtown food, preferred theaters, weekend subway trips—vanished, the few standing traditions (if “bugging publicists for links” meets the definition) oddly extraneous. A combination of streaming services, downloading out-of-print holy grails, Plex—an app that streams files from computer to TV as simply as if watching Netflix, leaving cumbersome Hdmi plug-ins a thing of the past—and finding myself freed from sundry exhaustions of the old world are the best thing that’ve happened to my cinephilia in years.

By Michael Atkinson

The last of the red hot Golden Age Hollywood genre buckaroos, Budd Boetticher represented a long-vanished prototype: the man's man studio director who, before turning gruffly to making pictures, had spent years being a boxer or a stevedore or a soldier or what have you. Today, filmmakers pay their dues by earning six figures shooting shampoo commercials; then, a man who made westerns or war movies or gangster films was a man who had lived in the world and returned with a heartful of brutal and hopeful business you can't learn by watching other movies. In a sense, Boetticher outdid the competition by becoming a professional Mexican matador right out of college -- a scenario difficult to beat for hard-won iron-man chops in Tinseltown. Of course his biography influences how his best films -- the westerns he made between 1956 and 1960 -- have been perceived and why they've been canonized,...