Home Entertainment ‘The Gravedigger,’ ‘Zanka Contact’ and ‘Sweet Annoyance’ Win Top Prizes at 2nd...

‘The Gravedigger,’ ‘Zanka Contact’ and ‘Sweet Annoyance’ Win Top Prizes at 2nd Atlas Workshops


Djibouti’s “The Gravedigger,” Morocco’s “Zanka Contact” and Ethiopia’s “Candy Annoyance” had been among the many main winners within the post-production and improvement classes of the second version of the Marrakech Movie Pageant’s Atlas Workshops.

“The Gravedigger,” by Khadar Ahmed, and “Zanka Contact,” by Ismaël el Iraki, received the highest awards – €20,000 ($22,000) and $11,000 respectively – within the post-production competitors, and “The Gravedigger” additionally received the brand new $3,300 NAAS prize for movie circulation. Each pics are first options.

Ethiopia’s “Candy Annoyance,” by Hiwot Admasu Getaneh, Morocco’s “The Unique Lie,” by Asmae El Moudir, and Rwanda’s “Ikimanuka – Seasons of the Weary Form,” by Samuel Ishimwe, had been the winners within the improvement competitors, and acquired $11,000, $5,500 and $5,500 respectively.

The brand new $6,660 Artekino prize attributed throughout the workshops was awarded to Morocco’s “Les Meutes” by Kamal Lazraq. That is the primary time that French-German broadcaster Arte has attributed an award in an African movie competition.

$1.2 million “Gravedigger” a few struggling gravedigger within the slums of Djibouti Metropolis and his 13-year outdated runaway son, is a coproduction between Finland, France and Germany.

Director Khadar Ahmed has been primarily based in Helsinki because the age of 15, however is initially from Somalia. The movie was shot in Djibouti, a tiny nation subsequent to Ethiopia. “For me having the movie made is the largest prize,” he mentioned to Selection. He describes the movie as a “poetic, delicate movie with a humorousness and a little bit of a fairy story when it comes to its layers.”

The $1.2 million “Zanka Contact” is directed by Ismaël el Iraki, who lives between Morocco and Paris. The producer Saïd Hamich additionally received the event prize for “The Unique Lie.” “Zanka,” a French/Belgian/Moroccan coproduction, is a few has-been rocker and a prostitute in Casablanca. It has a robust rock ‘n’ roll vibe, which is uncommon for the area and was shot on 35mm. “It’s been nice to get enter from individuals at such a high-level,” el Iraki informed Selection. “They’ve an actual understanding from the within, and gave nice recommendation on music and enhancing. We realized quite a bit.”

Improvement winner “Candy Annoyance” is about love, freedom and ladies’s emancipation in Addis Ababa. The jury commented that it offers with a topic not often addressed – “the issue of perfectionism for ladies that typically prevents them from crusing on the river of life.” The $800,000 venture is co-produced by Lacey Schwartz within the U.S. and François d’Artemare in France.

The pic’s producer, Mehret Mandefro, is Ethiopian however solely not too long ago returned to her nation after spending a number of years producing tasks in Los Angeles, together with government producing documentary function “Little White Lie” and Canadian/Irish coproduction “Sweetness within the Stomach,” by Ethiopian director Zeresenay Berhane Mehari, starring Dakota Fanning.

“The high-level business conferences right here have been nice,” mentioned Mandefro. “It’s been superb to fulfill so many gross sales brokers, producers, distributors at this stage of the venture. We’ve got a movie with definitive cross-over potential. I believe it may possibly journey far and extensive. Addis Ababa is a contemporary metropolis with so many issues taking place. The movie will supply a recent image of Africa.”

This 12 months the Atlas Workshops have doubled their variety of awards and the corresponding grants, totaling MAD640,000 ($66,000), have risen too because of further funding contributed by the Marrakech Movie Pageant Basis.

That is a part of a broader technique to strengthen the workshops’ formal and casual partnerships, to grow to be a key improvement hub for the Arab and African movie business.

The variety of tasks mentioned on the workshops this 12 months had been virtually double the extent in final 12 months’s first version, reflecting rising curiosity in Arab and African cinema for festivals, gross sales brokers and distributors.

Some 270 worldwide professionals attended the occasion the place 28 tasks had been mentioned.

Netflix is the principle sponsor of the Atlas Workshops and had three executives attending, headed by Claire Willats, who was additionally a jury member of the post-production competitors.

The opposite jury members for the 2 competitions had been Lebanese producer Georges Schoucair, Moroccan director Laila Marrakchi, Senegalese producer Oumar Sall, Tunisian producer Chiraz Latiri, and French gross sales agent Juliette Schrameck.

The Community of Different Arab Screens (NAAS), a community of 16 cinemas in Arabic-speaking international locations additionally held its basic meeting throughout the workshops.

Canada’s HotDocs inked a proper partnership with the workshops this 12 months, with a separate number of three tasks in its Blue Ice program.

“I’m very joyful to have the important thing individuals from the African and Arab movie business attending,” commented Rémi Bonhomme, coordinator of the Atlas Workshops and program supervisor of Critics’ Week in Cannes. “I believe the workshop has modified the notion of the competition, as a result of it’s not simply a world competition. It’s now a vital assembly place for the whole area. I’ve been speaking with lots of African filmmakers right here they usually had been fairly amazed that so lots of their colleagues are right here. The workshops are establishing a place as an annual rendezvous for the African and Arab movie industries and I believe it additionally helps create a standard id for the area.”

Faical Laraichi and Sarim Fassi Fihri, vice-presidents of the Marrakech Movie Pageant Basis, each acknowledged to Selection that they consider that the Atlas Workshops is among the key achievements of the competition, which was relaunched in 2018, because it acts as a magnet for main movie professionals throughout the area.

The executives who contributed to the panel discussions and in addition took half in mentoring periods with tasks included Paul Federbush (Sundance Institute), Hanaa Issa (Doha Movie Institute), Dora Bouchoucha (Sud Ecriture), Ayman El Amir (MAHD Movie Lab), Mohamed Hefzy (Cairo Movie Pageant), Claire Diao (Administrators’ Fortnight), Daniela Persico (Locarno), Sarah Chazelle (Jour2fête), Magalie Armand (CNC World Cinema Fund), Khalil Benkirane (Doha Movie Institute), Olena Decock (Sizzling Docs – Blue Ice Group), Soleil Gharbieh (Arab Fund for Arts and Tradition), Judy Kibinge (DocuBox), Steven Markovitz (African Display Community) and Jowe Harfouche (Community of Arab Different Screens (NAAS).

Gross sales brokers highlighted the rising curiosity in movies from the area. Executives attending included Yohann Comte (Charades), Hedi Zardi (Luxbox), Thomas Pibarot (Le Pacte), Martin Gondre (Finest Good friend Without end), Aida Benelkhadir (Orange Studio), and Laure Parleani (Totem).

Parleani mentioned that she felt that this 12 months’s version has constructed on the strengths of the primary version. “We will focus on tasks with native distributors and with producers from the area and it’s actually a whole program. We will focus on the difficulties in getting movies onto screens, as a result of there’s a nice scarcity of screens within the area. It’s been very helpful to speak with pan-Arab exhibition organizations, such because the Community of Arab Different Screens. We will additionally see how rights are handled individually between theaters, TV and streamers in every territory.”

Comte says that he has recognized a few tasks he goals to comply with after the workshops and is impressed by the combo of younger and established producers. “There’s an excellent vitality. You actually really feel {that a} new wave is going on within the area.”

AWARDS OF THE SECOND EDITION OF THE ATLAS WORKSHOPS

ATLAS PRIZE FOR DEVELOPMENT – MAD110,000 (€10,000)
SWEET ANNOYANCE by Hiwot Admasu Getaneh (Ethiopia), produced by Mehret Mandefro (Ethiopia)

ATLAS PRIZE FOR DEVELOPMENT – MAD55,000 (€5,000)
THE ORIGINAL LIE by Asmae El Moudir (Morocco) produced by Perception Movies (Morocco) and Hutong Prod (France)

ATLAS PRIZE FOR DEVELOPMENT – MAD55,000 (€5,000)
IKIMANUKA – SEASONS OF THE WEARY KIND by Samuel Ishimwe (Rwanda) produced by Imitana Productions (Rwanda) – Petit Chaos (France)

ARTEKINO INTERNATIONAL PRIZE – €6,000
LES MEUTES by Kamal Lazraq (Morocco) produced by Barney Manufacturing (France) and Mont Fleuri Manufacturing (Morocco)

ATLAS PRIZE FOR POST-PRODUCTION – MAD220,000 (€20,000)
THE GRAVEDIGGER by Khadar Ahmed (Djibouti) produced by Bufo Ab (Finland) and Twenty Twenty Imaginative and prescient Filmproduktion (Germany)

ATLAS PRIZE FOR POST-PRODUCTION – MAD110,000 (€10,000)
ZANKA CONTACT by Ismaël el Iraki, produced by Saïd Hamich (Morocco/France)

NAAS PRIZE FOR FILM CIRCULATION – a $3,000 grant permitting community member cinemas to ask the successful director to current screenings of their movie and so facilitate the circulation of the work in Arabic-speaking international locations – THE GRAVEDIGGER by Khadar Ahmed (Djibouti)



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Diana Cruz
Diana Cruz is an Entertainment and Comic expert. She loves to cover clebs and news around the comic worlds. She is currently our Entertainment and dc comics expert at Trevino.

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