REPORTER naar MOSKOU! (geweest)

Reporter is samen met 15 andere films over de hele wereld geselecteerd voor de HOOFDCOMPETITIE van de 36e editie van het MOSKOU’S INTERNATIONAAL FILM FESTIVAL! Regisseur Thijs Gloger en hoofdrolspeler Albert Secuur geven een persconferentie aldaar en wonen de première bij. Het festival duurt van 19 juni a.s. t/m 28 juni.

Voor de andere films (o.a. A MOST WANTED MAN van Anton Corbijn met Philip Seymour Hoffman en Willem Dafoe…) klik —> MOSKOU

scenario: Thijs Gloger en Marten Westveen
regie Thijs Gloger
productie Schaftkipfilms: Rene Houwen, Erick Bakker & Thijs Gloger
muziek Renger Koning

met Albert Secuur, Merlijn Mekkring, Nanette Edens, Jurgen Veenstra e.a.

The MIFF Competition has always been a stumbling block for the festival organizers, critics and viewers alike. In Soviet times one had to strictly observe the percentage of home movies, friendly (from Eastern Europe) and enemy (from Western Europe) films, politically pertinent (for the bosses) and artistically accomplished (for the critics) works, notorious (for film buffs) and purely entertaining (finally for the audience) movies. Everything that aroused the slightest ideological doubts was ruthlessly rejected. Unexpectedly the blow came from the artistic side: the main prize to “Eight and a Half” by Fellini in 1963 shook the foundations of social mentality. Although the mass audience and the snobbish few preferred more alluring out-of-competition programmes, the list of competition masterpieces often overlooked by critics and film-buffs originating primarily from Asia, Africa and Latin America is amazing. It boasts the names of Kaneto Shindo who remained faithful to Moscow from his first to his last movie, Shyam Benegal, Im Kwon-taek and many other classics of world cinema including the Taviani brothers.
At the turn of the millennium the struggle between leading festivals for world and international premieres became more acute. Instead of censorship and ideology the main difficulty now was the economic and artistic competition. The MIFF Competition gradually found its place as a discoverer of new names and paradoxical talents, whose subsequent works were often found among the winners of festivals in Venice, Berlin, Cannes. It was in Moscow that the world premieres of Quan’an Wang’s “Lunar Eclipse”, Kim Ki Duk’s “Real Fiction”, Asghar Farhadi’s “Dancing in the Dust”, not to mention Boris Khlebnikov and Alexei Popogrebsky’s “Koktebel” and works by other first-timers from CIS were held in Moscow.
The Festival remains faithful to the traditions, and its Competition programme offers films by masters who do not always get their due at foreign festivals. As an example one might name Kira Muratova. Lately most of her movies were screened at the MIFF in competition or out-of-competition. The genre and thematic preferences which often determine the choice of films at other festivals are of secondary importance in Moscow, where primary consideration is given to artistic quality and at times shocking originality. It becomes obvious if you consider such diverse competition entries as “The Stroll” by Alexei Uchitel and “Petersburg” by Irina Yevteyeva, “The Horde” by Andrei Proshkin and “Chapiteau-show” by Alexei Loban or the Spanish animation “O Ap?stolo” by Fernando Cortizo.

Discoveries and surprises again await the specialists and viewers of the Competition programme at the 36th MIFF.”