Podcasts about scandinavian film festival

Host Richard Watts is joined by Christof Wehmeier, head of international & festival promotion at the Icelandic Film Centre, and they discuss the 2024 Scandinavian film Festival program and highlights. We also have Artist Madeleine Flynn and Arts Centre's Director of Programming Marshall McGuire from the Arts Centre, discussing Installation, how do we remain at Melbourne Recital centre.We also have Christopher Gurusamy, Performer/Choreographer of Ānanda: Dance of Joy discussing the performance at Dancehouse and we are joined by Director Cynthia Wohlschlager on Two Remain - the first opera to portray the persecution of gay men during the Holocaust.

For this Out Takes, we were doing our best Daft Punk impression and going around the world and back again looking at the line up for two international film festivals... LEARN MORE The post MIFF 2024, Scandinavian Film Festival and ‘Strictly Soundtracks' appeared first on Out Takes.

The 2023 Scandinavian Film Festival, now in its ninth year, showcases the best contemporary cinema from these countries, selected from international film festival. The post Christof Wehmeier, interview with festival co-curator of the Scandinavian Film Festival appeared first on Fred Film Radio.

The 2023 Scandinavian Film Festival, now in its ninth year, showcases the best contemporary cinema from these countries, selected from international film festival. The post Christof Wehmeier, interview with festival co-curator of the Scandinavian Film Festival appeared first on Fred Film Radio.

The 2023 Scandinavian Film Festival, now in its ninth year, showcases the best contemporary cinema from these countries, selected from international film festival. The post Christof Wehmeier, interview with festival co-curator of the Scandinavian Film Festival appeared first on Fred Film Radio.

The 2023 Scandinavian Film Festival, now in its ninth year, showcases the best contemporary cinema from these countries, selected from international film festival. The post Christof Wehmeier, interview with festival co-curator of the Scandinavian Film Festival appeared first on Fred Film Radio.

The 2023 Scandinavian Film Festival, now in its ninth year, showcases the best contemporary cinema from these countries, selected from international film festival. The post Christof Wehmeier, interview with festival co-curator of the Scandinavian Film Festival appeared first on Fred Film Radio.

The 2023 Scandinavian Film Festival, now in its ninth year, showcases the best contemporary cinema from these countries, selected from international film festival. The post Christof Wehmeier, interview with festival co-curator of the Scandinavian Film Festival appeared first on Fred Film Radio.

Simon Morris goes to two movies about, in one way or another, celebrity - a comedy that fictionalizes a well-known star, and a documentary about one of the most famous women alive. He also picks a Norwegian entry to the Scandinavian Film Festival.

Every year it seems there are new regional film festivals, often hugely popular with Kiwi audiences. The big surprise about the latest one - the first Scandinavian Film Festival - is surely why has it taken so long? Scandinavia is regularly the New Big Thing, going right back to the dark dramas of Sweden's Ingmar Bergman, the warm-hearted Dogme comedy-dramas of Denmark, and trendy Scandi-noir like The Killing, The Bridge and The Girl with the Dragon Tattoo. Not forgetting this year's Oscar-nominated The worst person in the world from Norway. Simon Morris talks with Scandinavian Film Festival Director Fergus Grady about a surprisingly light-hearted selection.

CJ thinks This Is Pop is a total music binge, Can't Get You Out of My Head gripping and vital viewing, and offers his picks from the Scandinavian Film Festival

The Scandinavian Film Festival is fast approaching, and Andrew caught up with the Icelandic Film Centre's Festival Manager, Christof Wehimeier, to discuss all things Nordic with an interview that explores the importance of cultural representation on film, what exactly makes up a Scandinavian film, and the need for festivals like this. Head over to the festival website for more details, and keep up to date with the festival via their Facebook page. Support The Curb on Patreon, and make sure to follow us on Facebook and Twitter. Get in contact with us via our email.See omnystudio.com/listener for privacy information. Hosted on Acast. See acast.com/privacy for more information.

TheScandinavian Film Festival is fast approaching, and Andrew caught up with the Icelandic Film Centre's Festival Manager, Christof Wehimeier, to discuss all things Nordic with an interview that explores the importance of cultural representation on film, what exactly makes up a Scandinavian film, and the need for festivals like this. Head over to the festival website for more details, and keep up to date with the festival via their Facebook page. Support The Curb on Patreon, and make sure to follow us on Facebook and Twitter. Get in contact with us via our email. See omnystudio.com/listener for privacy information.

Director Paavo Westerberg's movie, the Violinist, will be showcased at the 2019 Scandinavian Film Festival. - Ohjaaja Paavo Westerbergin elokuva Viulisti esitetään vuoden 2019 pohjoismaisilla elokuvafestivaaleilla (Scandinavian Film Festival).

Cecilia, Lewis and Rachele jumped on the mics to talk Mama Mia! Here We Go Again, Equalizer 2, The Gospel According to Andr, Border Politics, more about the Scandinavian Film Festival as well as a big trip to tangent city thanks to some interesting Indonesian traditions and the Teenage Mutant Ninja Turtles.

Lewis, Rachele and Cecilia talk Revelation Film Festival, Scandinavian Film Festival, Skyscraper and lots of Luna – because there’s so much going on at their cinemas! The Silent Producer was out getting burgers and beer while the crew were recording, so apologies for the late upload!

The Volvo Scandinavian Film Festival Director Elysia Zeccola gives us a taste of the twenty different movies that screen during this years festival, including closing night Swedish film A Hustlers Diary.  - Volvos Skandinaviska Film Festivals konstnärliga ledare Elysia Zeccola ger oss tips om de tjugo filmerna som visas under årets festival, inklusive den svenska filmen Måste Gitt som avslutar festivalen. 

Christians chats to Elysia Zeccola, director of the 2017 Scandinavian Film Festival, travelling around the nation from July 11 to August 6.See omnystudio.com/listener for privacy information.

*Note to listeners: this review contains gun shot sound effects* This year, the Scandinavian Film Festival is leading with what might sound like just another World War 2 movie, but is one that actually turns the tables the tables on a lot of its predecessors. The Danish film Under Sandet (literally Under the Sand), is a drama set in post-war landmine-ridden Denmark and is being released internationally with the English title Land of Mine, a rather unfortunate, hopefully accidental pun on an obviously serious issue. It's easy to see why the second world war is still a cinematic staple. The Third Reich, and its soldiers, remain the definitive example of what hateful extremism can lead to, and what we all want to avoid becoming. No film has ever had to work especially hard to characterise Nazi soldiers as villains. It is curious, then, that in Land of Mine, these supposedly evil men appear in the form of scared, defeated young boys who just want to go home. Of course, as prisoners of war from the losing side, some are wondering if they'll even have much of a home to go to once they've been released. The ones that handled the landmines are being made to remove all 2.5 million of them from the beaches that they buried them on. Danish Sergeant Carl Rasmussen (Rolan Møller) is given a group of 14 German soldiers that are to dig up and defuse thousands of unexploded mines before they are allowed to go home. In a damaged country that has just been freed from German occupation, its German prisoners have become the lowest class of people. Sergeant Rasmussen and his fellow officers beat them, starve them, mock them, and deny them any medical attention, until it is too late. The boys all find various ways to deal with their plight. Ludwig Haffke (Oskar Bökelmann), their leader, appointed while the war was still being fought, has resigned himself to the totality of their defeat and ultimate ruin. Most of the others are more hopeful, and spend their time talking about what they'll do when they get home and the lives that they will lead. Twin brothers Ernst and Werner Lessner (Emil and Oskar Buschow), seeing a country in need of rebuilding, plan to start up a bricklaying business, called Ernst, Wernst & Sons (even though the sons haven't been born yet). As tends to happen with twins, especially identical ones, their connection is strong. Ernst also shares a sort of big-brotherly bond with the little girl from the family farm that is next to the hut in which the boys are locked up every night. For Nazis, they seem to have an incredible capacity to love. The real, unspoken leader of the group is now Sebastian Schumann (Louis Hoffman), a boy with a quiet maturity that is well beyond his years. He deals with the danger by taking control and becoming the protector. The sergeant manages to do this dirty work by reminding himself of what these boys were party to and detaching himself emotionally from them, until they have their first casualty, and he sees just how much of himself there is in Sebastian. As for the other characters in the Danish military, writer/director Martin Zandvliet doesn't quite afford them the same complexity and dynamism. Rasmussen's superiors, namely Lieutenant Ebbe Jensen (Mikkel Boe Følsgaard), are painted as the cold, ivory tower authorities in this narrative, while the Sergeant has a very different point of view from working on the ground. However, Zandvliet is not about to deny that Ebbe has a point when he tells Carl "You have no idea what they have on their conscience." Of course, the audience of Land of Mine has much more than merely an idea of what these 14 boys might have done. They can also see as well as anyone that the Danish officers have their own people to protect and a country to rebuild. With not even enough food to feed the people of Denmark, why give any to the Germans? Someone has to clear the mines, so why not the people who put them there? Why risk the lives of people who had no involvement whatsoever with the atrocities committed by the Nazi party in cleaning up their mess? Still, in cinema, murky misdeeds done offscreen seldom match the raw victimisation that takes place onscreen. The prior actions of these boys is left to the imagination, one that is more fuelled by their heartbreaking pleas for mercy than anything else. One has to wonder how much choice some members of the Hitler Youth generation really had in the part they were playing in all of this. By allowing us to spend time with this small company out of an enormous group of prisoners, Zandvliet makes it very hard for anyone to see a way that placing children in harm's way, even Nazi children, can truly be the answer to anything. Review written by Christian TsoutsouvasSee omnystudio.com/listener for privacy information.

*Note to listeners: this review contains gun shot sound effects* This year, the Scandinavian Film Festival is leading with what might sound like just another World War 2 movie, but is one that actually turns the tables the tables on a lot of its predecessors. The Danish film Under Sandet (literally Under the Sand), is a drama set in post-war landmine-ridden Denmark and is being released internationally with the English title Land of Mine, a rather unfortunate, hopefully accidental pun on an obviously serious issue. It's easy to see why the second world war is still a cinematic staple. The Third Reich, and its soldiers, remain the definitive example of what hateful extremism can lead to, and what we all want to avoid becoming. No film has ever had to work especially hard to characterise Nazi soldiers as villains. It is curious, then, that in Land of Mine, these supposedly evil men appear in the form of scared, defeated young boys who just want to go home. Of course, as prisoners of war from the losing side, some are wondering if they'll even have much of a home to go to once they've been released. The ones that handled the landmines are being made to remove all 2.5 million of them from the beaches that they buried them on. Danish Sergeant Carl Rasmussen (Rolan Møller) is given a group of 14 German soldiers that are to dig up and defuse thousands of unexploded mines before they are allowed to go home. In a damaged country that has just been freed from German occupation, its German prisoners have become the lowest class of people. Sergeant Rasmussen and his fellow officers beat them, starve them, mock them, and deny them any medical attention, until it is too late. The boys all find various ways to deal with their plight. Ludwig Haffke (Oskar Bökelmann), their leader, appointed while the war was still being fought, has resigned himself to the totality of their defeat and ultimate ruin. Most of the others are more hopeful, and spend their time talking about what they'll do when they get home and the lives that they will lead. Twin brothers Ernst and Werner Lessner (Emil and Oskar Buschow), seeing a country in need of rebuilding, plan to start up a bricklaying business, called Ernst, Wernst & Sons (even though the sons haven't been born yet). As tends to happen with twins, especially identical ones, their connection is strong. Ernst also shares a sort of big-brotherly bond with the little girl from the family farm that is next to the hut in which the boys are locked up every night. For Nazis, they seem to have an incredible capacity to love. The real, unspoken leader of the group is now Sebastian Schumann (Louis Hoffman), a boy with a quiet maturity that is well beyond his years. He deals with the danger by taking control and becoming the protector. The sergeant manages to do this dirty work by reminding himself of what these boys were party to and detaching himself emotionally from them, until they have their first casualty, and he sees just how much of himself there is in Sebastian. As for the other characters in the Danish military, writer/director Martin Zandvliet doesn't quite afford them the same complexity and dynamism. Rasmussen's superiors, namely Lieutenant Ebbe Jensen (Mikkel Boe Følsgaard), are painted as the cold, ivory tower authorities in this narrative, while the Sergeant has a very different point of view from working on the ground. However, Zandvliet is not about to deny that Ebbe has a point when he tells Carl "You have no idea what they have on their conscience." Of course, the audience of Land of Mine has much more than merely an idea of what these 14 boys might have done. They can also see as well as anyone that the Danish officers have their own people to protect and a country to rebuild. With not even enough food to feed the people of Denmark, why give any to the Germans? Someone has to clear the mines, so why not the people who put them there? Why risk the lives of people who had no involvement whatsoever with the atrocities committed by the Nazi party in cleaning up their mess? Still, in cinema, murky misdeeds done offscreen seldom match the raw victimisation that takes place onscreen. The prior actions of these boys is left to the imagination, one that is more fuelled by their heartbreaking pleas for mercy than anything else. One has to wonder how much choice some members of the Hitler Youth generation really had in the part they were playing in all of this. By allowing us to spend time with this small company out of an enormous group of prisoners, Zandvliet makes it very hard for anyone to see a way that placing children in harm's way, even Nazi children, can truly be the answer to anything. Review written by Christian Tsoutsouvas

On this week's podcast comedian Russell Brand calls in to chat about his trip to Australia coming up in October, well known Swedish actress Bianca Kronlof drops by to talk about the film, 'Underdog' on at the Scandinavian Film Festival, on "The Skillset" commentator Van Badham unpacks the cuts to arts funding by Arts Minister George Brandis and artist Dianne Jones talks about What Lies Buried Rises, a photographic exhibition on at The Footscray Community Arts Centre.