AWARDS 15th edition TIFF 2017 »   FEATURE JURY composed by Denis Côté (Canada) and Dritan Huqi (Albania) awards:   BEST FEATURE FILM   BEST FEATURE FILM Glory by Kristina Grozeva, Petar Valchanov | 2016 | Bulgaria, Greece | 97'   A movie that speaks to every time, place, and society – with an extraordinary development of a simple plot, which we live every day. A movie that carries a powerful message, but also a work of art with emotional and aesthetical values.   Një film që i flet çdo kohe, çdo vendi dhe çd... SHORT DOCUMENTARY FILMS - TIFF 2017 (15'th edition) »   1,4 Sextillion Litre Doro Götz Germany 2017 8 Days of Parlor Zoe Phylactidou Cyprus 2016 Born of Stone Emilio Bellu Italy, Czechia 2016 Dragon Circle Gertrud Schulte Westenberg Germany 2016 Evripidou 14 Michael Demetrius Greece 2016 Golden Hour Claudia Vogt Germany 2017 Happy Happy Baby Jan Soldat Germany 2017 In Search of the Land Without Evil Anna Azevedo Brazil 2017 Jungle Colia Vranici France 2016 ... DOCUMENTARY Mid-length - TIFF 2017 (15'th edition) »   Everybody Knows... Elizabeth Murray Kristi Zea USA 2016 Imma Pasquale Marino Italy 2017 On the Edge of Life Yaser Kassab Syria 2017 Prohibited Visit Nikos Theodosiou Greece 2017 Saint Lazarus's Miracle Nicolas Muñoz Avia Spain 2016 Valentina Maximilian Feldmann Germany 2016 VIDEO ART - TIFF 2017 (15'th edition) »   Brutes Are Afraid of Silence Étienne Boulanger Canada 2016 Ex Terrat Reinhold Bidner Austria, France 2016 Final Gathering Alain Escalle France 2017 Finish Saeed Naghavian Iran 2017 Genesis Abtin Mozafari Iran 2017 Hey You! Tessa Garland UK 2016 Hiwa Jacqueline Lentzou Greece 2016 Hysteria Maurice Kelliher UK, Ireland 2016 Label Amir Lashkari Iran 2017 Lying Women Deborah Kelly Australia 2017 mo... STUDENT International - TIFF 2017 (15'th edition) »   Beer & Calippo Paul Ploberger Austria 2017 Best of Everything, Always Alexios Koukias-Pantelis UK 2017 Boundary Bartosz Brzeziński Poland 2016 Buoyancy Simon Valentin Denmark 2017 Casting Katarzyna Iskra Poland 2017 Digital Immigrants Dennis Stauffer, Norbert Kottmann Switzerland 2016 Donkey Xote Ottó Bánovits Hungary, Sweden 2016 Eat me! Ilina Perianova Bulgaria 2016 Empathy (a digital love letter) ... IN ALBANIAN - TIFF 2017 (15'th edition) »   A Long Way Home Ibër Deari Macedonia 2017 A True Story Viron Roboci Albania 2017 Conversation on Life Agim Abdula Macedonia 2016 Heaven Has Been Fooled Odeta Çunaj Albania 2016 Home More Raça Kosova 2016 Kaini Shaqir Veseli Albania 2017 Lord of the House Daniëlle Bremer Kosova 2017 Reverse Antipode Oltsen Gripshi Albania 2017 The Eagles Sokol Reka Belgium 2017 The Junction Xhelal Haliti Kosova 2... DOCUMENTARY Full-length - TIFF 2017 (15'th edition) »   69 Minutes of 86 Days Egil Haskjold Larsen Norway 2017 Blood and the Moon Tommaso Cotronei Italy, Yemen 2017 Jeffrey Yanillys Perez Dominican Republic, France 2017 Mr. Gay Syria Ayse Toprak Turkey 2017 Siberian Love Olga Delane Germany 2016 The Charro of Toluquilla José Villalobos Romero Mexico 2016 Tonino Daniele Ceccarini, Mario Molinari Italy 2017 SHORT ANIMATED FILMS - TIFF 2017 (15'th edition) »   Aiport Michaela Müller Switzerland 2017 And the Moon Stands Still Yulia Ruditskaya Belarus 2017 Bystander Sheyda Kashi Iran 2017 Chill and Shivering Kwok Wai Chung Philip Hong Kong 2016 Confined Nico Bonomolo Italy 2016 Framed Marco Jemolo Italy 2017 In Exile Alexander Kurilov Moldova 2016 Light Sight Seyed M. Tabatabaei Iran 2016 Manivald Chintis Lundgren Estonia 2017 Nothing Happens Uri & Michel... SHORT FICTION FILMS - TIFF 2017 (15'th edition) » 8 Minutes George Gogichaishvili, David Abramishvili Georgia 2017 A Swedish Classic Måns Berthas Sweden 2017 Animal Bahman & Bahram Ark Iran 2017 Blue in Green Leigh Heiman Pruzanski Israel 2016 Building No.13 Amir Gholami Iran 2016 Burning Slimane Bounia France 2016 Check-list Frédéric Mosbeux Belgium 2017 Everyday Philippe Orreindy France 2017 Fluffy Lee Filipovski Serbia 2016 FU Ilya Aksenov R... FEATURE FILMS - TIFF 2017 (15'th edition) » A Balkan Noir Dražen Kuljanin Sweden, Montenegro 2017 Beneath the Silence Erez Mizrahi, Sahar Shavit Israel 2016 Black Crow Tayfur Aydin Turkey 2016 Daybreak Gentian Koçi Albania, Greece 2017 Directions Stephan Komandarev Bulgaria, Germany, Macedonia 2017 Glory Kristina Grozeva, Petar Valchanov Bulgaria 2016 Ministry of Love Pavo Marinković Croatia 2016 Mothering Roqiye Tavakoli Iran 2017 Unwanted Edon R...
Monday, 11 December 2017
PDF Print E-mail

John Cassavetes

"American Dreaming"

curate by Ray Carney

Titles Of Films

The Killing of a Chinese Bookie
A Woman Under the Influence

In the spring of 1960, John Cassavetes was a young actor who had played a series of undistinguished roles in a string of low-budget B-movies and television shows. Six months later, he was being hailed as one of the most promising directors in the world. In July, his first film, Shadows, played to standing-room-only audiences at the National Film Theatre’s "Beat, Square and Cool Festival." In August, it played out of competition at the Venice Film Festival and received a special critics’ citation. In September, it played at a special screening at the Cinémathèque Française in Paris, where approximately a thousand people were turned away from the box office. In early October, it played in the London Film Festival, to rave reviews and a sustained ovation from the audience. And a week later, on 14 October, it opened at London’s Academy Cinema, playing to capacity crowds and taking in more money than any film in the theatre’s twenty-five year history.
Cassavetes attended the opening with members of the cast and crew, and was over the moon with delight. His 16mm movie, made for $40,000 with unknown actors (none of whom had ever played an important film role before) was hailed by one critic as "a major breakthrough in the art of the cinema." Another wrote: "I unhesitatingly pronounce Shadows the most artistically satisfying and exciting film I have seen in a decade." Newspapers from The Times and Observer to the Daily Mirror and Daily Express ran laudatory reviews, and the most important film magazine of the era, Sight and Sound, devoted sections of three successive issues (autumn 1960, winter 1960–1, and spring 1961) to discussions of the film and an interview with the film-maker.
What most captivated the critics was the spontaneity and speed with which the movie had been made. Shadows itself ended with the declaration: "The film you have just seen was an improvisation," and the press pack proudly proclaimed: "Not one word of [the] dialogue was written. Not one scene was detailed in script." It described how the crew had "grabbed" most of the footage on New York streets: "They concealed their camera in subway entrances, restaurant windows, the backs of trucks." When interviewers asked Cassavetes to tell them more, he not only bragged that the whole project had been accomplished in forty-two days and nights, but said that it could have been done even more quickly if he had not occasionally had to suspend work while his young actors went off to appear in other projects to earn money. He told them the sound was a little rough because it was completely "live" — unlike a typical studio production, nothing had been looped or "faked." Then he regaled them with stories like the one about how the police had tried to shut down the "outlaw" production — at one point firing a gun over the actors’ heads to stop a scene.
What no one suspected was that it was a pack of lies. Most of Shadows was not shot on "location" or on the streets of New York, but on a stage. No policeman had ever fired a gun at the actors — or over their heads. More than half of the sound was not "live," but had been dubbed, looped or otherwise manipulated during the editing process. And, far from being a six-weeks’ wonder, Shadows had taken almost three years to make. Finally, notwithstanding the final title card, at least two-thirds of the film was not an improvisation, but was written by Cassavetes in collaboration with a professional Hollywood screenwriter. Every one of the scenes the critics praised in his "masterpiece of improvisation" had been scripted.


RAY CARNEY received his A.B. from Harvard magna cum laude and his Ph.D. from Rutgers (where his dissertation -- on William Wordsworth's process of poetic composition in The Prelude, The Ruined Cottage, and The Lyrical Ballads -- was supervised by William Keach and read by Richard Poirier and Thomas Edwards) passing his oral examination (conducted by Richard Poirier, Paul Fussell, and David Kalstone) "With Distinction." He also did separate periods of study with Philip Kapleau in Rochester, New York and Walter Nowick in Surrey, Maine. He has been an Assistant Professor of English in the English Department of Middlebury College (teaching English and American literature), William Rice Kimball Fellow at the Stanford University Humanities Center (working on a project on performance art and the intellectual background of the stand-up comedy routines of Lenny Bruce, Jonathan Winters, and Richard Pryor among other figures), and Associate Professor in the Humanities Program of the University of Texas (teaching interdisciplinary American studies, focusing on the relationship of nineteenth- and twentieth-century American art and philosophy).

Courtesy by www.Cassavetes.com


Festival Events


Festival Guests