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	<title>Seville European Film Festival '10</title>
	<link>http://www.festivaldesevilla.com/</link>
	<description>Seville European Film Festival '10</description>
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<title><![CDATA[THE SEVILLE FESTIVAL SUPPORTS THE TALENT OF NEW EUROPEAN FILMMAKERS]]></title>
<link>http://www.festivaldesevilla.com/notasprensa/nota_09_en.php?id=2356</link>
<description><![CDATA[Facts such as the opening of this last film in our country confirms that the distribution awards given by the Seville Film Festival help films by new director to reach a greater segment of the public by favouring their opening in Spain.

In the same line, and as part of the support for younger cinema which is gaining ground in Europe, the SEFF has  strengthened its First Films First section, devoted to first films, by joining the Eye on Films programme, promoted by Media Mundus, which includes films by both European and non-European first time directors. The winner of the section, in which there were ten films competing, was the Iranian Morteza Farshbad, with the film Mourning.

Once again, the festival offered a wide ranging selection of films by women, with five women directors competing in the Official Section. The final winner was the Norwegian director Anne Sewitsky, for Always Happy, which already won a notable award in its American presentation at the Sundance Independent Film Festival.

EURODOC

The award in the documentary section also went to a first work: the feature film by the Cadiz director Raul Santos, whose film about the Gibraltar love story, The Rock, was strengthened by its Seville screening, with repeated mentions in the media and great attendance by the public.

The festival also offered a selection of the short films opting for the European Film Academy awards, and a collection of Russian and Andalusian shorts, to show the new talent emerging among filmmakers and to continue discovering new ways of seeing and telling stories about European youth.

There was also a notable presence by the new generation of Russian filmmakers, including Valeriya Guy Germanika who made a provocative contribution to the opening gala, or Nicolai Khomerki, in the Official Section (with the urban drama Heart’s Boomerang). The festival also collaborated with the presentation of two young actresses participating in the European programme Shooting Stars (dedicated to new acting talents), Natasha Petrovic and Anaïs Demoustier, who presented their films in Seville as part of the European tour financed by the MEDIA programme.

The festival complemented this offer of work by new talents with retrospectives and awards to outstanding filmmakers, such as Nikita Mikhalkov or Amos Gitaï, as well as offering a selection of the films shortlisted by the European Film Academy. Specifically, the SEFF programmed in its Nervión Plaza cinemas three of the five films nominated for Best Film (Le Havre, by Aki Kaurismaki, The Artist, by Michel Hazanavicius and In a Better World, by Susanne Bier, which won the award at last year’s festival).

REPURCUSSION IN THE MEDIA

These and other Festival activities have had great repercussion in the national and international media, in particular with its presence on the cover of the key publication in the industry, Variety (the most important at an international level) and the coverage by Spain’s leading specialist media, such as the magazine Fotogramas or the television programme Días de cine (TVE) and Tentaciones (Canal Plus). Likewise, national and international coverage of the festival has reached the news programmes with the largest audiences in the country (TVE-2, presented by Pepa Bueno) and international channels, such as RAI, RT Moscow -Russia’s Spanish television channel-, Radio Guadalajara (Mexico), the specialist German magazine Film Deinst and Russia Today, an Internet portal available in seven languages.

]]></description>
<dc:date>2011-11-29T00:00:00-04:00</dc:date>
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<item rdf:about="http://http://www.festivaldesevilla.com/notasprensa">
<title><![CDATA[SEVILLE FESTIVAL DISCLOSES THE FIRST COPRODUCTIONS WITH SWEDEN AND RUSSIA]]></title>
<link>http://www.festivaldesevilla.com/notasprensa/nota_09_en.php?id=2357</link>
<description><![CDATA[In its last three editions, the Seville European Film Festival (SEFF) has held its Industry Forum to encourage coproductions and distribution, and organized workshops and seminars with the idea of connecting the European and Andalusian film industries. At this year’s recently finished edition the top representatives of the sector in Spain were present: the director general of the ICAA, Carlos Cuadros, the president of FAPAE, Pedro Peres and the president of the Academy Enrique González Macho. Participants from the rest of the continent included the executive vice-secretary of Eurimages, Isabel Castro; the director of the European Film Academy, Marion Doring, and the representative of the Eye on Films/Media Mundus programme, Camille Rouselet.

The producer from Yellow Bird, Soren Staremose (responsible for the Millenium saga), together with his Seville co-producer Gervasio Iglesias from La Zanfoña, presented the result of their collaboration which came about as a result of their meetings at the Seville Festival two years ago. The opening gala showed the first clip from Un lugar bajo el sol, shot recently in Andalusia, and both producers explained their project in a presentation in FNAC. During the festival they obtained further economic aid for their production.

Likewise, the opening of the Industry Forum provided the opportunity to present the shooting of Leyenda 17, made by the Russian producer Trite, with the presence in Seville of its producer, Leonid Vereschagin, and the Spanish company Fresco Films Service, represented by Peter Welter, as a model for expanding collaboration between both film industries.

In all, 32 experts from 11 different countries were present in Seville during the festival. They included, as part of the Focus on Russia section, Alexander Gutman, producer and director of documentaries;  Nikolay Khomeriki (director of Heart’s Boomerang), Svetlana Kuchmaeva (producer of that film), Larisa Sidorova Sadilova (director of Sonny), Vera Storozheva (director of Moscow I love you), Irina Sennikova (representative of Film Fest Moscow), Dimitri Davidenko (director de Hipsters), Valeria Gay Germanika (director of Everybody dies but me), Igor Mayboroda (director of Rerberg & Tarkovsy), Tatiana Daniliyants (organizer of the Russian Arthouse in Short Metrage), Oksana Bychkova (director of Peter FM), Elena Glikman, (producer of Peter FM); Anastasia Chudakova (Russian Cinema Fund CF), Anna Tschernakova (producer and member of the SEFF’11 jury) and Nikita Mikhalkow (director and producer).

This year Russia has joined Eurimages, the European coproduction fund, and is interested in reaching agreements with other countries. For the first time, Eurimages chose the Seville Festival to announce its annual award to the most notable producer, which went to Mariela Vesuievisky, at Tornasol.

DISTRIBUTION

The main distributors of European cinema in Spain, such as Alta Films, Golem, Wanda or Paco Poch, were present at the talks. There were also international companies such as Wide Management, Adriana Chiesa, Films Boutique, Merkator Media, Zen Zero and others.

As a result, some productions presented in SEFF have already obtained distribution. The Mill and the Cross, by Lech Maiewsky, will be distributed by Akelarre; Elena, Always Happy and If not us, who? by Golem, Alps and Petrucciania will be distributed by Avalon. Wanda will distribute Three times twenty years, and Alta Shame and The Artist.

Through Extenda, the III Conference on International Marketing and Distribution was organized and eleven Andalusian producers participated with new projects, and also some thirty productions already made and shown within the Andalusian Panorama Section. International experts such as Ginger Corbet, Sydney Levine or Mireillle van Helms held bilateral meetings with the participants.

This year the festival incorporated a selection of first films under the auspices of the Media Mundus programme, in order to encourage the distribution of European films in the world, and of international films in Europe. Seven feature films took part and the award was for the Iranian film Mourning.

Finally, the Industry Forum had the collaboration of ZEMOS 98 in organizing an “audiovisual remix” workshop and held the conference “Women in the European film industry, sponsored by CIMA and paid special attention to the development of digital industries with the celebration of the “European Forum of Creative and Digital Industries, Cland” with the presence of notable experts in new technologies from firms such as Google, Intel, Grupo Secuoya or Arenas Media. As well as the work sessions, there were daily meetings between industry agents to encourage networking between Spanish and international representatives attending the festival.

Also the director of European Film Promotion, Karin Dix, participated in a workshop, In front of and behind the camera, with the assistance of two well known actresses who figured this year in the Shooting Star programme, which promotes new acting talents in Europe.

]]></description>
<dc:date>2011-11-29T00:00:00-04:00</dc:date>
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<item rdf:about="http://http://www.festivaldesevilla.com/notasprensa">
<title><![CDATA[EFA ENTREGA ESTE SÁBADO LOS PREMIOS EUROPEOS DEL CINE, CUYAS NOMINACIONES SE ANUNCIARON EN SEVILLA]]></title>
<link>http://www.festivaldesevilla.com/notasprensa/nota_09_en.php?id=2359</link>
<description><![CDATA[Las películas favoritas en las nominaciones a los Premios European Film Academy (EFA), que se entregan el sábado 3 de diciembre en Berlín, volvieron a estar en la nómina de largometrajes que pasaron por el Sevilla Festival de Cine Europeo, y que supuso el estreno en España de películas tan esperadas como The Artist, The Turin Horse y El Havre. 
The Artist, dirigida por Michel Hazanavicius, obtuvo en Sevilla el Premio del Público y colgó el cartel de ‘No hay billetes’ en sus dos proyecciones del SEFF. La película francesa es una de las 16 películas incluidas en la selección EFA del SEFF’11. Está nominada en las categorías de Mejor Película; Mejor Actor, por el papel que interpreta Jean Dujardin; Carlo di Palma Premio de la Cinematografía Europea, para el director de fotografía Guillaume Schiffam; y Mejor Compositor, por la música de Ludovic Bource. Estas nominaciones fueron dadas a conocer por la EFA durante la ceremonia que tradicionalmente se celebra en el marco del Sevilla Festival de Cine Europeo, el pasado 5 de noviembre en el restaurante Abades Triana.
En el caso de El Havre, dirigida por el cineasta finlandés Aki Kaurismäki, tiene también cuatro nominaciones: Mejor Película, Mejor Director y Mejor Guión, en ambos casos para Aki Kaurismäki, y Mejor Actor, para su protagonista André Wilms.
En cuanto a The Turin Horse, están nominados el director, Béla Tarr; el director de fotografía Fred Kelemen, en la categoría Carlo di Palma Premio de la Cinematografía Europea; y Mihály Vig, por la música. El público también tuvo la ocasión de verla en el SEFF’11, en sendas proyecciones el viernes 4 y el sábado 5 de noviembre, que igualmente registraron un lleno en las salas de los cines Nervión Plaza. 
También está nominada al premio a la Mejor Actriz Nadezhda Markina, por su papel en Elena, una película rusa de Andreï Zviaguintsev que el SEFF’11 proyectó dentro de su Sección Oficial y cuyo jurado, precisamente, le otorgó el premio a la Mejor Actriz.
La EFA también ha nominado en la categoría de Carlo di Palma Premio de la Cinematografía Europea  al director de fotografía Adam Sikora, por The Essential Killing, una película que clausuró la pasada edición del Sevilla Festival de Cine Europeo. 
También está nominada Susan Bier, en la categoría de Mejor Director, por En un mundo mejor, largometraje que se llevó el premio a la Mejor Dirección y Mejor Guión en el SEFF’10.
Al acto de entrega de los premios EFA acudirá el director artístico del Sevilla Festival de Cine Europeo, Javier Martín-Domínguez, invitado por la European Film Academy.

MELANCHOLIA
La película Melancholia, de Lars Von Trier, es, por su parte, la que acapara más nominaciones, con un total de ocho. Tras pasar por el Festival de Cannes, donde las declaraciones de compasión de su director hacia Hitler eclipsaron al filme, Melancholia ha superado la polémica y ha sido elegida por los académicos de Cine Europeo como la gran favorita para sus premios anuales. 
La cinta de Lars Von Trier opta en las categorías de Mejor Película, Director, Guion, doble candidatura a Mejor Actriz -Charlotte Gainsbourg y Kirsten Dunst, galardonada también en Cannes-, Montaje, Dirección Artística y Fotografía, realizada por el danés nacido en Santiago de Chile Manuel Alberto Claro. 

Al mejor film optan también la apertura de los hermanos Dardenne a la esperanza en El niño de la bicicleta; la gran ganadora de los últimos Óscar El discurso del rey, de Tom Hooper; la ganadora del Óscar a la Mejor Película de habla no inglesa En un mundo mejor, de Susanne Bier; The Artist y El Havre.
]]></description>
<dc:date>2011-11-28T00:00:00-04:00</dc:date>
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<item rdf:about="http://http://www.festivaldesevilla.com/notasprensa">
<title><![CDATA[LAS PELÍCULAS PREMIADAS POR EL FESTIVAL DE SEVILLA LLEGAN HOY A LAS CARTELERAS]]></title>
<link>http://www.festivaldesevilla.com/notasprensa/nota_09_en.php?id=2358</link>
<description><![CDATA[Las películas Si no nosotros, ¿quién?, de Andrés Veiel; y Mercado de futuros, de Mercedes Álvarez, ambas estrenadas en el Festival de Sevilla dentro de su Sección Oficial, llegan hoy en la cartelera española. Los dos largometrajes se estrenan en las salas comerciales tras haber sido premiados por el SEFF: el primero con el Giraldillo de Plata y el premio al Mejor actor, August Diehl; mientras que el documental de Mercedes Álvarez obtuvo una mención especial del premio que concede Asecan dentro del SEFF.
Con una dotación de económica de 20.000 euros, destinados al distribuidor de la película en España, el SEFF’11 cumple su objetivo de ver estrenadas en los cines de toda Europa sus películas premiadas. En el caso de Si no nosotros ¿quién?, el jurado destacó el modo de contemplar “los problemas de la ideología, la juventud y la violencia, ofreciendo una impactante lectura sobre la historia reciente de Europa, que tiene una gran relevancia para todos nosotros hoy día”.
Asimismo, August Diehl fue premiado por “una tremenda interpretación, al representar un personaje complejo en diferentes fases de su vida y para apoyar un actor novel europeo de gran talento”.
Basada en la novela de Gerd Koenen e inspirada en hechos reales, Andres Veiel presenta la historia del matrimonio Bernward Vesper-Gudrun Ensslin, jóvenes izquierdistas de origen burgués y acomodado, que forman un grupúsculo de universitarios descontentos con el rumbo económico y social de la Alemania occidental en los años 60, a la que ven como una títere de la política imperialista americana, convirtiéndose en el germen posterior de la Fracción del Ejército Rojo.

MERCADO DE FUTUROS
La nueva película de la directora de El cielo gira, Mercedes Álvarez, es otra de las apuestas de la cartelera española de este fin de semana. Mercado de futuros compitió en la Sección Oficial del Festival y es un singular retrato cinematográfico sobre la vida de los objetos y, muy en particular, sobre el tema candente del mercado de la vivienda y la transformación de los espacios urbanos en España. 
La fiebre inmobiliaria, agudizada durante la última década, ha transformado como nunca las ciudades, sus centros y periferias y esta cinta se detiene en el nuevo rostro de las ciudades, con la creación de espacios urbanos aberrantes, desolados o inútiles, barrios dormitorios y macrocentros de ocio y consumo. “De un modo lógico, surgió la idea de expresar ese nuevo aspecto del mundo –la nueva ciudad- en el interior de un espacio virtualizado, efímero, teatral y sin memoria alguna: el pabellón de una feria inmobiliaria”, según explica la directora.
De este modo, Mercado de futuros fue rodada en 2009 en ferias inmobiliarias, sociedades de inversión, congresos sobre liderazgo y otros lugares de Barcelona y Madrid. “Durante el rodaje tuve una sensación persistente de incomodidad, que se acentuaba al asomar la cámara a espacios que, sin ser nunca secretos, pueden conllevar a veces cierta confidencialidad”, explica la directora.
‘THE ARTIST’, EN DICIEMBRE
El premio a la Mejor película de la selección EFA (European Film Academy) fue este año para The Artist, la película revelación de la temporada, y que consiguió encandilar al público de Cannes. Gracias a la dotación económica de 35.000 euros, destinada al distribuidor de la película en España, el público español podrá ver The Artist, de Michel Hazanavicius, en las pantallas de cine comerciales a partir del próximo 16 de diciembre, después de haberse estrenado en el Festival de Cine de Sevilla en noviembre.
Desde su estreno, The Artist se ha convertido en la película favorita para la crítica europea, que no duda de que su cuidada estética cautive, igualmente, a los académicos de Hollywood. La película es una propuesta singular rodada en blanco y negro y sin diálogos, y narra el ocaso de una estrella del cine mudo ante la aparición del sonoro. Los protagonistas son Jean Dujardin (Lucky Luke), la argentina Bérénice Bejo y los norteamericanos John Goodman, James Cromwell y Penelope Ann Miller (Atrapado por su pasado), actriz finalmente recuperada para el cine.  

MARTIN-DOMINGUEZ, EN EL FESTIVAL DE SARAJEVO
Javier Martín-Domínguez, director artístico del Festival de Cine Europeo de Sevilla,  ha sido invitado a forma parte del jurado de la próxima edición del Festival Internacional de Cine de Sarajevo, uno de los certámenes que más proyección está alcanzando en los últimos años en Europa. En concreto, la muestra cinematográfica de la capital bosnia nació en 1995 como un acto de resistencia durante el asedio al que durante años fue sometida la ciudad. Hoy es una cita indispensable donde se dan a conocer algunos de los jóvenes talentos de la Europa balcánica, cuenta con el apoyo de instituciones europeas y reconoce trayectorias consolidadas como la de la estrella de Hollywood Angelina Jolie, a la que se dedicó la pasada edición. Martín Domínguez tambien participó recientemente como jurado en la última edición del Festival Internacional de cine de Moscú.
]]></description>
<dc:date>2011-11-25T00:00:00-04:00</dc:date>
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<item rdf:about="http://http://www.festivaldesevilla.com/notasprensa">
<title><![CDATA[‘LA ROCA’, EL DOCUMENTAL PREMIADO EN EL FESTIVAL DE CINE DE SEVILLA, SE PROYECTA EN LAS NACIONES UNIDAS]]></title>
<link>http://www.festivaldesevilla.com/notasprensa/nota_09_en.php?id=2360</link>
<description><![CDATA[La épica historia de amor entre la roca de Gibraltar y la vecina ciudad española de La Línea está demostrando no tener fronteras. Después de la buena acogida del público en Nueva York el pasado septiembre, ‘La Roca’ obtuvo el galardón al Mejor Documental Europeo en su estreno español en el Sevilla Festival de Cine Europeo, que tiene una dotación de 15.000 euros para su distribución en las salas comerciales. Apenas unas semanas después, la ONU se ha interesado por este particular Romeo y Julieta andaluz de 700G Films.

“Recibí una llamada mientras estábamos en la última producción de Bunbury en California. Al parecer les habían llegado noticias sobre la película y sentían curiosidad por verla”, comenta el director de la cinta, Raúl Santos. Después de ver un pase privado por Internet, se produjo una primera reunión en Manhattan de la cual Santos recuerda que “no sabía qué esperar; quizás les iba a desilusionar lo poco política que es la cinta... La respuesta fue totalmente la contraria. Les había entusiasmado la pasión de los protagonistas y se habían emocionado con la historia.” La organización expresó su interés en estudiar una colaboración por compartir con la película la defensa de los valores de paz y tolerancia entre comunidades.

Varias semanas más tarde por fin se concretó una fecha. El próximo viernes 2 de diciembre tendrá lugar un pase privado de ‘La Roca’ en el edificio de la Escuela Internacional de las Naciones Unidas (UNIS), seguida de una mesa redonda con el director.

“Nosotros confiamos en que la audiencia de todo el mundo se emocionará con esta historia de amor andaluza. Esperamos que éste sea un buen paso para el salto internacional que buscamos para la película. Esta historia debe ser contada”, añade Santos, que ha sido uno de los grandes atractivos mediáticos del SEFF’11. Su documental ha atraído a la mayoría de medios acreditados en el festival, y su historia sobre La Roca se ha publicado en la prensa escrita, radio y televisión de mayor audiencia del país, así como en medios norteamericanos de prestigio.
]]></description>
<dc:date>2011-11-24T00:00:00-04:00</dc:date>
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<item rdf:about="http://http://www.festivaldesevilla.com/notasprensa">
<title><![CDATA[AVANCE DEL PALMARÉS DEL SEVILLA FESTIVAL DE CINE EUROPEO 2011]]></title>
<link>http://www.festivaldesevilla.com/notasprensa/nota_09_en.php?id=2353</link>
<description><![CDATA[PREMIO SELECCIÓN EFA
Premio a la Mejor Película. Con una dotación económica de 35.000 euros, destinados al distribuidor de la película en España.

El público ha concedido el premio EFA a The Artist, de Michel Hazanavicius, y ha dado una mención especial a Lídice, de Petr Nikolaev, por ser la segunda película más votada por los espectadores.

PREMIO EURODOC
Premio  a la Mejor Película Documental. Con una dotación económica de 15.000 euros, destinados al distribuidor de la película en España.

El público ha concedido el premio Eurodoc a La Roca, de Raúl Santos, y ha dado una mención especial a Las constituyentes, de Oliva Acosta.

PREMIO ASECAN
La Asociación de Escritores Cinematográficos de Andalucía (Asecan) ha concedido su premio a la película polaca El molino del tiempo, de Lech Majewski, y ha concedido una mención especial a la cinta española Mercado de futuros, de Mercedes Álvarez.

PREMIO JURADO CAMPUS
El jurado, compuesto por una selección de alumnos de la Universidad de Sevilla, ha concedido el Premio Jurado Campus a la película Tres veces 20 años, de la directora Julie Gavras.

IV PREMIO DE CINE UNIVERSITARIO
El jurado ha concedido el IV Premio de Cine Universitario, convocado este año bajo el tema Dependencia, en la categoría de No ficción al cortometraje Alma, de José Javier Pérez Prieto; y en la categoría de Ficción, al corto Cuando nos conocimos, de Jesús Méndez Cestero. 

GIRALDILLOS
Los premios de la Sección Oficial se darán a conocer esta noche en la gala de clausura que se celebrará a partir de las 21 horas en el Teatro Lope de Vega. Conducida por Concha Ortiz y el periodista sevillano Julio Muñoz, durante el acto se entregarán el Giraldillo de Oro y el Giraldillo de Plata a la Mejor Película, el Premio Especial del Jurado y los premios a la Mejor Dirección, Mejor Actor y Mejor Actriz, de las películas de la Sección Oficial.
Al final de la entrega de premios se proyectará la esperada película Shame, de Steve McQueen. 
]]></description>
<dc:date>2011-11-11T00:00:00-04:00</dc:date>
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<item rdf:about="http://http://www.festivaldesevilla.com/notasprensa">
<title><![CDATA[‘HAPPY HAPPY’, GOLD GIRALDILLO  AT THE SEVILLE EUROPEAN FILM FESTIVAL 2011]]></title>
<link>http://www.festivaldesevilla.com/notasprensa/nota_09_en.php?id=2354</link>
<description><![CDATA[GOLD GIRALDILLO – BEST FILM	
With a cash prize of 40,000 euros, to be paid to the film’s distributor in Spain, the SEFF’11 jury awarded the Gold Giraldillo for Best Film to the Norwegian production ALWAYS HAPPY, by Anne Sewitsky, “for showing a portrait of contemporary Europe through the lives of ordinary people, for telling an edifying, subtle store about human beings and for celebrating the love and warmth in human relations as the glue that keeps us all united”

SILVER GIRALDILLO 	
With a cash prize of 20,000 euros, to be paid to the film’s distributor in Spain, the SEFF’11 jury awarded the Silver Giraldillo to the German film IF NOT US, WHO? by the director Andrés Veiel, “for looking at the problems of ideology, youth and violence, offering a striking reading of recent European history, which has great relevance for all of us today”. 

SPECIAL JURY PRIZE
The Special Jury Prize, with the corresponding trophy, was for the Polish film THE MILL AND THE CROSS, by Lech Majewski, “for the artistic idealism and the painstaking erudition in reviving the world of Bruegel using the most sophisticated digital techniques at the service of cinema as art”.

BEST DIRECTOR
The SEFF’11 jury awarded the Gold Giraldillo for Best Director to Steve McQueen, for SHAME, “for tackling a complicated moral subject with skill and compassion and for making a film that is passionate, moving and very human”.

BEST ACTRESS	
The SEFF’11 jury presented ex aequo the Best Actress Award to Nadehhda Markina¸ forr Elena, and to Bien de Moor, for Code Blue.

To the former, “for an outstanding, subtle performance and for making us understand how the reality of life in Russia deforms the thoughts and feeling of a normal Russian woman”.
To the latter, “for showing us through her character how solitude, separation and unfulfilled desires can lead the human soul to total destruction”.

BEST ACTOR	
The SEFF’11 jury presented ex aequo the Best Actor Award to Michael Fassbender, for Shame, and to August Diehl, for If not us, who?

To the former, “for provoking great sympathy and respect for the character he played and to recognise one of the great new actors in contemporary cinema”.
To the latter, “to praise a tremendous performance in representing a complex character at different stages in his life and to support a new European actor of great talent”.

EFA SELECTION AWARD
Prize for the Best Film. With a cash prize of 35,000 euros, to be paid to the film’s distributor in Spain. The public conceded the EFA award to The Artist, by Michel Hazanavicius, and gave a special mention to Lídice, by Petr Nikolaev, for being the second most voted film by spectators.

EURIMAGES AWARD – BEST EUROPEAN CO-PRODUCTION
With a cash prize of 20,000 euros, to be paid to the film’s distributor in Spain, the jury decided “unanimously to give the Eurimages Award to the film SHUN LI AND THE POET (IO SONO LI), directed by Andrea Segre, for dealing with a current, truthful and contiguous subject (the integration of immigrants);for making it with sensitivity and without pretensions (which does not lessen its quality or complexity); and, finally, for using so skillfully the expressive potential of the cinematic medium. In short, the film deals with such a complicated subject as human relations and manages to work overall”.

EURODOC AWARD
Award for the Best Documentary Film. With a cash prize of 15,000 euros, to be paid to the film’s distributor in Spain. The public conceded the Eurodoc Award to La Roca, by Raúl Santos, and gave special mention to Las constituyentes, by Oliva Acosta.

FIRST FILMS FIRST AWARD
The award for Best New Director, with the corresponding trophy, went to Morteza Farshbaf, for the Iranian production Mourning.

ASECAN AWARD
The Association of Film Writers of Andalusia (Asecan) have presented their award to the Polish film, The Mill and the Cross, by Lech Majewski, and gave special mention to the Spanish film Mercado de futuros, by Mercedes Álvarez.

IV UNIVERSITY FILM AWARD
The jury conceded the IV University Film Award, which this year had as its theme Dependence, in the non-fiction category to the short film Alma, by José Javier Pérez Prieto; and in the fiction category to the short film Cuando nos conocimos, by Jesús Méndez Cestero. 

CAMPUS JURY AWARD
The jury, made up of a selection of students from Seville University, conceded the Campus Jury Award to the film Three Times 20 Years, by the director Julie Gavras. “Because she tackles in a positive way a subject traditionally presented as a drama. Also, the film is sustained by the solidity of the acting, a quality the strengthens its credibility”.
]]></description>
<dc:date>2011-11-11T00:00:00-04:00</dc:date>
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<item rdf:about="http://http://www.festivaldesevilla.com/notasprensa">
<title><![CDATA[‘LA ROCA’ CLOSES THE ANDALUSIAN PANORAMA SECTION]]></title>
<link>http://www.festivaldesevilla.com/notasprensa/nota_09_en.php?id=2349</link>
<description><![CDATA[Seville, 9th November 2011. The seventh day of the Seville European Film Festival will bring tomorrow the latest in the best Andalusian cinema. The screening of La Roca, by Raúl Santos, will close the Andalusian Panorama section. With this drama, the director from Algeciras deals with the drama resulting from the closing of the Gibraltar frontier during francoism, a wound that, for many, has not yet fully healed.

As part of the Andalusian Panorama, tomorrow there will also be a screening of El vuelo del tren, by Paco Torres, at 18:20 in the Nervión Plaza cinemas. The film is participating in the American Film Market in Los Angeles and will also be present at the European Film Market at the Berlinale 2012 and the Cannes Film Market 2012.

The director will be at the SEFF ’11 over these days, just a few days before he starts his next project, The Rattle of Gaza, a short film set in Palestine and several months before shooting his second feature film Blue Guitar in Ireland and Arab territory, with the producers Paul Myler and Michael Garland, who were responsible for films such as In the Name of the Father.

The last screening of the day is El abrazo de los peces, by Chema Rodríguez, a feature length documentary that is a journey of initiation into the depths of deaf-blindness. The film shows deaf-blindness not as a drama but as an unknown reality


ANDALUSIAN SHORT FILMS

From 20.15 h., in Cinema 19 of the Nervión Plaza Cinemas, there will be a screening of ‘Panorama Shorts’ with some of the short films from the Andalusian Panorama section. 

Reconocimiento póstumo (8’15’’).- A video work that uses dance and the concept of the personal diary to describe a series of emotions common to all those who have lost a love.

Simbad el marino ya no vive aquí (8’).- Manuel and Ana are a couple full of dreams and desires, like almost all couples. But their dreams don’t always coincide. She dreams in words, and he in images. At times they meet in reality.

La broma infinita (18’).- The economy conditions our lives. Scarcity is a restriction imposed by nature. It isn’t a human invention. It is an unresolved dilemma, an endless struggle for survival. 

Ready to talk (21’).- In a primary school, a student opens fire at random, leaving numerous victims, among them children and teachers. In that massacre, Michael lost his wife, his restaurant and his will to live. In his cousin Julio’s café he meets Cristina, the mother of one of the children who died. 

El defensor (8’).- David is an adolescent who lives in a humble neighbourhood and dreams of becoming a masked hero like those in the comics he reads. One fine day he decides to set out on a road of no return: for once and for all he’ll finish off the “baddie”, a swine represented in real life by his father.

Waterline (16’).- Val and María Cibele are two strangers who wake in a lifeboat in the middle of the ocean. In their determination to reach land they will have an unexpected encounter that will change the course of their lives.

]]></description>
<dc:date>2011-11-10T00:00:00-04:00</dc:date>
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<item rdf:about="http://http://www.festivaldesevilla.com/notasprensa">
<title><![CDATA[‘SHAME’ CLAUSURA EL SEFF’11 TRAS UNA SEMANA PARA EL MEJOR CINE EUROPEO EN SEVILLA]]></title>
<link>http://www.festivaldesevilla.com/notasprensa/nota_09_en.php?id=2351</link>
<description><![CDATA[El Sevilla Festival de Cine Europeo cierra mañana esta edición con la entrega de los premios en una gala de clausura prevista a las 21.00 horas en el Teatro Lope de Vega, cuando se dará lectura del palmarés. El punto final del certamen, que arrancó el pasado viernes 4 con más de 150 proyecciones en la programación, lo pondrá la proyección de la película Shame, de Steve McQueen, a las 21.45 horas.

El galardón más esperado es el Giraldillo de Oro a la Mejor Película, que se entregará a la ganadora de entre las 16 que compiten en la Sección Oficial. También habrá un Giraldillo de Plata y se volverá a entregar el Premio del Jurado. El resto del palmarés de la Sección Oficial lo componen los premios a la Mejor Dirección, Mejor Actriz, Mejor Actor, Mejor Guión, Mejor Director de Fotografía y Mención Especial.

Todo esto será tras la intensa deliberación del jurado del SEFF’11, que preside el director ruso Alexander Gutman. El resto de los componentes son la actriz griega Sofia Georgovassili; la directora del Festival de Cine Africano de Tarifa, Mane Cisneros; la cineasta rusa Anna Tchernakova; la directora de Casa Asia, Menene Gras; y el director del Festival de Cine de Guadalajara, Iván Trujillo. 
Dentro de la sección Eurodoc, se entregará el Giraldillo de Oro al Mejor Documental y habrá otra Mención Especial. Igualmente, se entregarán el Premio Euroimages, para la mejor de las cintas que compiten dentro de este programa con películas cofinanciadas con cargo al fondo de la UE del mismo nombre; el Gran Premio del Público; el Giraldillo de Plata a la Mejor Dirección del Primer Largometraje, dentro de la sección First Films First; el Premio del Jurado Campus; y el Premio Asecan. La novedad este año es que los premios de Euroimages y Eurodoc los decide el público.

Por otra parte, el SEFF’11 brindará mañana el último de los homenajes previstos esta edición. En concreto, el Sevilla Festival de Cine Europeo entregará el Premio de la Industria al productor y director Luis Miñarro (Barcelona, 1949) "por la originalidad de sus trabajos cinematográficos, al que sabe aplicar una perfecta relación entre el contenido y el diseño de producción, que le han permitido cosechar  un rotundo reconocimiento en los más destacados festivales internacionales".
BODAS DE ORO DE CINEINFORME

Por otro lado, el SEFF’11 conmemora mañana el 50 aniversario de la revista Cineinforme. Se trata de la revista decana de la información especializada cinematográfica en España. Con este motivo,  el Sevilla Festival de Cine Europeo, ofrecerá mañana una rueda de prensa en la que participarán el director del certamen, Javier Martín-Domínguez, y el editor y director de la revista, Antonio Carballo.

Creada en 1961, Cineinforme ha publicado un gran número de noticias sobre la actividad empresarial y técnica de la industria cinematográfica española, siendo la única publicación dedicada a este tipo de información en nuestro país. De hecho, se ha convertido en referente como fuente de consulta para profesionales del cine, cineastas, críticos y todos los amantes del sector cinematográfico en general.
]]></description>
<dc:date>2011-11-10T00:00:00-04:00</dc:date>
</item>

<item rdf:about="http://http://www.festivaldesevilla.com/notasprensa">
<title><![CDATA[EL BAILAOR JOSÉ GALÁN PONE SU ARTE AL SERVICIO DE MORANTE EN EL FESTIVAL DE CINE EUROPEO]]></title>
<link>http://www.festivaldesevilla.com/notasprensa/nota_09_en.php?id=2350</link>
<description><![CDATA[El bailaor gaditano José Galán dio muestras de su arte en la gala de la ya tradicional Tarde de Toros del Sevilla Festival de Cine Europeo (SEFF’11). Justo antes de la proyección del documental Morarte. Historia de un encuentro en el Teatro Lope de Vega, el artista puso todo su arte al servicio del documental del director Ander Duque, que ofrece un recorrido por la tauromaquia contemporánea a través del que, para muchos aficionados, es el heredero bohemio de la vertiente más clásica y purista del toreo: José Antonio Morante de la Puebla.

Sobre el escenario, y delante del protagonista del filme, Galán escenificó la lidia y muerte de un toro bravo con el cuerpo pintado de negro, simulando el cuerpo del animal, y los brazos de color blanco, como si fueran sus cuernos. La danza y el arte del toreo se unieron gracias a la labor del bailarín, que se ganó el aplauso de los asistentes.
En una simbiosis perfecta entre el baile y el toreo, José Galán cautivó a un auditorio completamente repleto en un prólogo perfecto a la proyección de la cinta documental, una de las que más expectación ha generado desde la inauguración del certamen.]]></description>
<dc:date>2011-11-10T00:00:00-04:00</dc:date>
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<item rdf:about="http://http://www.festivaldesevilla.com/notasprensa">
<title><![CDATA[NIKITA MIKHALKOV: “THIS AWARD IN SEVILLE FILLS ME WITH NOSTALGIA FOR MY LINK WITH SPAIN”]]></title>
<link>http://www.festivaldesevilla.com/notasprensa/nota_09_en.php?id=2352</link>
<description><![CDATA[Nikita Mikhalkov, one of the most important Russian directors of all times, and recognized this year by the Seville European Film Festival with the Life Achievement Award, said this morning he was delighted with his visit to the Seville capital and with the tribute paid by the Festival.

The filmmaker is opening his latest film at the festival, Burnt by the Sun: The Citadel, which closes a trilogy 15 years after he presented the second part. He defined this work as a “metaphysical film”, with which he is trying in some way to get the spectator to reflect on “the loss of defences” by society. “Today they kill thousands of people and we see it on a television screen, but we aren’t horrified, because the respect for life and death has gradually been lost, and that leads to indifference”, he stated.

“My film is trying to regenerate memory, but it is neither bellicose nor historical, although it is based on historical facts, it is a metaphysical film”, he continued.

The director also spoke of his link with Spain, and even said a few words in Spanish during the press conference, even though he admitted that “due to lack of practice” he doesn’t feel “very secure” speaking that language. “The first words I pronounced were in Spanish: Juanita de la Torre, who was my nanny, a Spanish woman”, he said amidst jokes, very proud of his relationship with this country. “If it wasn’t in Russia, the other country I’d want to live in is Spain”, he emphasized. Among other things, he praised the fact that in this country “you see such good looking elderly people, because that means that they were good looking children who have aged with inner harmony, something that really moves me”. Just as he is moved when he’s recognized in the street. “In Spain there are lots of Russians and I like it because a lot of people recognize me in the street”, he laughed.

He also repeated his gratitude to the SEFF ’11 for the award. “It isn’t that films are made in order to get an award, because I don’t recommend that way of working, the award has to be a joy, something unexpected, and this one fills me with nostalgia for my childhood feeling of having been educated by Spaniards, those who arrived in Russia in 1937”.

He was also firm about the situation in his country. “It isn’t that I like everything that is happening in Russia, but neither do I believe that the authorities are looking to harm the country”, to which he added “A Russian can only be that person who is lacking something (…) and it is a people that is based a lot on magic tales”: To conclude: “The Russian always expects the miracle, but I believe that the revolution from above can only happen if there is evolution from below, and I can’t say in any way that my country is in the hands of bandits”.

SEFF ’11 not only screened the third part of his trilogy Burnt by the Sun, it also offered the complete saga during the festival, along with a selection made by the director of his favourite films, including Urga, Close to Eden, 12 and The Barber of Siberia.
]]></description>
<dc:date>2011-11-10T00:00:00-04:00</dc:date>
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<item rdf:about="http://http://www.festivaldesevilla.com/notasprensa">
<title><![CDATA[CINE JOVEN ‘MADE IN ANDALUCÍA’]]></title>
<link>http://www.festivaldesevilla.com/notasprensa/nota_09_en.php?id=2355</link>
<description><![CDATA[Despite the inevitably European nature of the Seville Film Festival, in the melting pot of filmmakers, film fans, artists and professionals from the sector who meet at the festival, Andalusian Panorama brings together the best of the most recent audiovisual productions made in Andalusia and with participation by Andalusian companies.

Far removed from the glamour and the magazines, centred on their work and projects, some of the young directors and producers who attended the Seville European Film Festival 2011 shared the experience of leaving behind their Andalusian roots without forgetting them, in search of new horizons to explore. These lovers of cinema, who have ceased to be promises and are now the present and future, have set out on the adventure of taking their passion to where they can develop it.

Such is the case of the director of El vuelo del tren, Paco Torres (Seville 1972), who with more than eleven years experience in the audiovisual world, is making his debut with a first feature film “about hope and grief”. He talked with satisfaction about the experience of seeing his work in cinemas and about his pleasant visit to the Seville European Film Festival 2011. With his sights set on his next production (Blue Guitar, which has such producers as Paul Myller and Michael Garland), Torres is one of the young talents who, with the idea of making the jump to the international market, has embarked on projects outside of Spain. “In Dublin, where I am working at present, they don’t look at nationality or origin, they study and evaluate each proposal independently of its commerciality.”

The main actress in El vuelo del tren, Patricia García, with experience in both cinema and theatre, combines youth and experience in equal parts, and while she is aware of the difficult situation in Spain, she is focussed on Spain. The young actress believes that “the Spanish panorama still has a lot to say” and is optimistic about the future in the short term as “the opportunity for renovation is more necessary than ever now”. The feature film, produced by Mauricio de Chiclana (Chiclana Films) is centred on the reconciliation between a mother and her daughter when they are told that the latter has suffered a relapse in her fight against leucemia. 

The youth of Miguel Ángel Abuja, producer along with Javier Beres of the short film Waterline, also presented in the Andalusian Panorama, is obvious in the freshness he brings to his work. This Sevillian is an example of how pursuing a dream ends up bearing fruit with this short film, starring the Seville actress Tamara Arias. A film student and passionate about his profession, Abuja makes his first appearance in the Panorama with the first short film directed by his brother Sergio and he is now embarked on a feature length project. The two brothers produced part of Waterline in Los Angeles thanks to the Talentia Scholarships, and the final thesis is the work presented in the Seville European Film Festival 2011. “I was surprised by the great synergy of Andalusians and Spaniards who, like a community, collaborate and work together in the US”, said Miguel Ángel Abuja, who says he was impressed by “the high standard of young professionals abroad”. The Abuja brothers’ film, shot in English, begins with two strangers who wake in a lifeboat in the middle of the ocean.

Talking about what she found on her adventure, Ángeles Reiné, from Cadiz, director, producer and co-writer of the short film Ready to Talk, with over 18 years experience in the national and international sector, says with great passion the “the universality of cinema and its intrinsic finality of telling stories is the motor of the industry and what brings people with more or less experience to tackle this art, as with more or fewer means you can tell great stories”. The short, filmed in English and starring the Venezuelan André Faucher, tells the story of two people who meet after each has lost a loved one in a shooting at a school.

This halo of romanticism is what Raúl Santos, from Algeçiras, wanted to give to his short film La roca, an epic love story in the style of Romeo and Juliet, between the gigantic Rock of Gibraltar and the Spanish border town of La Línea de la Concepción (Cadiz). This enterprising director, along with Alexis Morante, has set up the production company 700gfilms, which is busy with two new projects about which “we still can’t say too much”. The film won the Eurodoc Award for the Best Documentary, awarded by the public, with a cash prize of 15,000 euros, for the film’s distributor in Spain.

They all share a passion for the big screen and the frantic, unhealthy activity around what has become their way of life. And they were all present at the Seville European Film Festival 2011, close to their land, although all of them, to a greater or lesser extent, have their sights set on national and international projects, rejuvenating the faces in cinema.

]]></description>
<dc:date>2011-11-10T00:00:00-04:00</dc:date>
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<item rdf:about="http://http://www.festivaldesevilla.com/notasprensa">
<title><![CDATA[MORANTE DE LA PUEBLA PROTAGONIZA LA ‘TARDE DE TOROS’ DEL SEVILLA FESTIVAL DE CINE EUROPEO]]></title>
<link>http://www.festivaldesevilla.com/notasprensa/nota_09_en.php?id=2347</link>
<description><![CDATA[La tradicional Tarde de Toros del Sevilla Festival de Cine Europeo ha tenido esta tarde al torero José Antonio Morante de la Puebla como protagonista indiscutible. Considerado heredero de la tradición taurina más clásica y etiquetado como torero artista, Morante de la Puebla es la figura central del documental del barcelonés Ander Duque, estrenado esta tarde dentro de la programación del SEFF’11 en un Teatro Lope de Vega que ha agotado todas las entradas para la proyección.

Se trata de un proyecto cinematográfico que nace de dos trabajos previos: el cortometraje Dos encuentros de ultratumba, una reflexión intimista sobre la rivalidad a comienzos del siglo XX entre los toreros Joselito y Belmonte; y el documental Barcelonarena, un recorrido por la ciudad más taurina, olvidada y bohemia de los años 60.
“Gracias a la notoriedad e interés que suscitaron ambos proyectos creímos necesario ahondar en un proyecto más desarrollado, con el mismo tono emocional y narrativo, y así fue cómo nació Morarte. Historia de un encuentro”, según explica el director del proyecto, Ander Duque.
De este modo, Morarte. Historia de un encuentro es un recorrido por la tauromaquia contemporánea a través de la figura de Morante de la Puebla quien, para muchos aficionados, es el heredero bohemio de la vertiente más clásica y purista del toreo.

Desde las tierras de Cádiz donde pacen los toros, pasando por Sevilla y rematando en la plaza de toros de la Maestranza, el documental profundiza en cada tercio del camino, a modo de metáfora de faena taurina, en el significado contemporáneo de la tauromaquia en pleno siglo XXI y su vinculación a las artes escénicas, la música y la literatura más influyente.

Según recuerda el cineasta, “con Morante de la Puebla compartimos reflexiones, la tensión previa al duelo y su vida en la finca, en su silencio, concentrado y rodeado de su familia y amigos. Desgrana lo que para él supone ser torero, vivir cada día con la tensión de ser herido, con el temor a la muerte. El espectador asistirá, a través de este periplo narrativo, al contraste entre el punto de vista del toro y el torero. En una sincronía narrativa, el espectador vivirá la espera del toro y del torero momentos antes del enfrentamiento”.

De hecho, parte de la singularidad de este trabajo reside en el acceso a la intimidad del torero, personaje hermético del que apenas existen imágenes fuera del ruedo. Su visión del toreo se convierte en una forma artística de ver la vida, cerrando con él este viaje a través de una hora de sensaciones alrededor del toro y su mundo. Morante de la Puebla se convierte así en la voz de muchos toreros idealistas, ansiosos de gloria, ajenos a la realidad cotidiana, absorbidos por un único deseo.

Guiados por una voz en off a través de imágenes inéditas, el documental presenta la evolución de un toro partiendo desde su nacimiento en el campo y pasando por su cría de manos del ganadero gaditano de toros de lidia Joaquín Núñez del Cubillo, quien muestra al toro en su plenitud, viviendo el campo y en libertad. Finalmente, se llega a la Maestranza para captar el punto de vista real del toro y el torero: Morante de la Puebla.

En medio, el documental acompaña a Morante de la Puebla en su finca de Sevilla. Conviviendo con sus reflexiones y sensaciones en el mismo entorno del toro, es en este entorno donde se producen las reflexiones más íntimas del diestro, que estará en Sevilla acompañado por su apoderado, Curro Vázquez, figura del toreo en los años 80.
]]></description>
<dc:date>2011-11-09T00:00:00-04:00</dc:date>
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<item rdf:about="http://http://www.festivaldesevilla.com/notasprensa">
<title><![CDATA[THE FILMMAKER AMOS GITAÏ WILL RECEIVE IN SEVILLE THE SEFF ’11 HONORARY AWARD]]></title>
<link>http://www.festivaldesevilla.com/notasprensa/nota_09_en.php?id=2348</link>
<description><![CDATA[The Seville European Film Festival will review the career of the filmmaker Amos Gitaï (Haifa, 1950) with the screening of some of his most notable films and will pay him tribute with the presentation of the SEFF ’11 Honorary Award, which he will receive tonight (21:00) in the course of a gala to be held in the Lope de Vega Theatre.

The Festival is thus paying tribute to one of the most personal filmmakers on the current cinematic panorama, with a career that takes in more than 40 films, both fiction and documentary, in which he explores the history of the Near East, as well as his own history, through the themes of homeland and exile, religion, social control and utopia. 

The festival has recognized “the originality that he imprints on both the content and the filming of his stories and his personal courage in defying the established order in his search to resolve conflicts through cinema”. The screenings planned in the mini-season dedicated to Amos Gitaï include Esther, which will be shown tonight in the Lope de Vega Theatre, and also Alila, Kippur and News From Home.

For the director of the SEFF ’11, Javier Martín-Domínguez, he is “one of the most solid contemporary cinematic creators, with a great influence on the new generation of European directors”, so this morning he expressed his “great satisfaction at his collaboration and his presence in Seville”.

The filmmaker didn’t hesitate in revealing how he started making films, and even recounted more personal aspects of his life, such as his involvement in the war in the ‘70s. “I’m an architect, and so are my father and my son, so architecture has always been in my life in each one of the generations. When the war started in 1973, I was studying architecture, but like many of my generation, they put me in a helicopter, the kind that went to pick up the wounded at the front. When a Syrian missile shot down my helicopter, my co-pilot was decapitated… When I came back from the war, I decided that architecture was too formal, I wanted to so something else and I started making films”, he said.

There was also room for anecdotes, as when he told how Natalie Portman wrote him e- mails for six months until she managed to work with him in Free Zone. “I didn’t answer her because I didn’t know what to say, until my producer said to me, “come on, write to her, she’s Natalie Portman’, and so I invited her to dinner in Tel Aviv and we ended up working together”, he recalled, and mentioned that the actress (who recently won an Oscar) praised his work. “Then a lot of people started to ask me for her telephone and her e mail, and she was an actress who was earning 8 or 9 million dollars for the Star Wars saga”, he concluded.

OFFICIAL SECTION

In the Official Section, Mercedes Álvarez talked about her feature film Mercado de futuros, one of the four Spanish films competing for the Gold Giraldillo. As she said, in this film she explores spaces. “For me spaces and times are fundamental, because every time there has been an important change in society they have designed new spaces and times, like when Catholicism changed the calendars, or as has been seen in dictatorships, with a certain city planning”.

The director has also begun the search for those spaces on the peripheries of cities “where you can still say that they are free and there is poetry”. In contrast “most of the spaces are in cities, which are built from the present world of consumption and market logic, that is, commercial centres, which determine the offer of entertainment, accesses, all the urban plot…”

Also as part of the Official Section, the director of Holidays by the sea (France), Pascal Rabaté spoke. The director confessed that he organized the film “in barely two and half months, or three, so we did it in a hurry”. Nevertheless, he was very happy with the response from, among others, the actors. “They said yes, among other things because it was a new mind of film project and also, I understand, because they didn’t have to memorise the script”, he joked, referring to the fact the film has no dialogue.

]]></description>
<dc:date>2011-11-09T00:00:00-04:00</dc:date>
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<item rdf:about="http://http://www.festivaldesevilla.com/notasprensa">
<title><![CDATA[SEVILLE FESTIVAL ON THE FRONT PAGE OF ‘VARIETY’, COINCIDING WITH THE AMERICAN FILM MARKET]]></title>
<link>http://www.festivaldesevilla.com/notasprensa/nota_09_en.php?id=2342</link>
<description><![CDATA[The most important publication in the film world, Variety, put Seville on its front page due to the celebration of the Seville European Film Festival 2011. The publication, considered for many years as the ‘Bible’ of film information, placed on its front page the announcement of the European Film Academy (EFA) awards, in a special issue edited last Sunday, during the American Film Market which is currently being held in Los Angeles.

Under the heading Melancholia tops EFA noms, Variety devoted the left hand column of its cover to the nominations for the European Film Academy awards, led by the latest film by Lars Von Triers.

The main publication about the film business covered in this way one of the main events at this edition of the SEFF, the announcement of the EFA nominations, which has taken place in recent years in Seville during the festival.

RUSSIAN FILMS IN SEVILLE

Also, on Friday 4th November, coinciding with the opening day of SEFF ’11, the magazine Variety devoted a large report on its website to this edition of the Seville festival. The article, titled Seville celebrates Russian cinema outlines the programme at the Seville European Film Festival 2011 and emphasizes that the festival is looking at the new Russian directors and that it acts as a meeting place for the European film industry with a view to co-productions between Spain and Russia.

In addition, it mentions the tributes to the filmmakers Nikita Mikhalkov and Amos Gitai and the EFA director Marion Dóring, and also the opening film (Los muertos no se tocan, nene), the closing film (Shame), and others such as the Andalusian production Kënu.


]]></description>
<dc:date>2011-11-08T00:00:00-04:00</dc:date>
</item>

</rdf:RDF>

