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It is springtime in New York, and that means it is Tribeca. In | :00:10. | :00:31. | |
today's programme we look back at some of the highlights of the 12 day | :00:32. | :00:37. | |
Tribeca Film Festival. A blunder with a controversial film. Because | :00:38. | :00:43. | |
of all this controversy it is better not to have it in the festival. In | :00:44. | :00:49. | |
the lineup from Ghana, a story of a mother and son shines because the | :00:50. | :00:59. | |
child is alien. And the human cost of those intra and warfare. -- | :01:00. | :01:03. | |
ailing. We need to let them know who they are. -- drone warfare. And a | :01:04. | :01:14. | |
story about stolen basketball shoes. And Cuban cinema making its | :01:15. | :01:25. | |
presence felt at Tribeca. All that and more in this special Tribeca | :01:26. | :01:31. | |
edition of Talking Movies. New York's landmark metropolitan | :01:32. | :01:53. | |
Museum of Art plays host to a movie First Monday In May. It is a | :01:54. | :02:00. | |
documentary behind the Met Gala and a big exhibition it helps to | :02:01. | :02:04. | |
support. It emphasises the influence of the metropolitan museum. This | :02:05. | :02:10. | |
film is about a great cultural institution with global reach but | :02:11. | :02:16. | |
still in the city of New York and it has a very important role to play. | :02:17. | :02:21. | |
The Tribeca Film Festival is now in its 15th year, beginning as a civic | :02:22. | :02:26. | |
restoration project to revive the neighbourhood here in lured SS | :02:27. | :02:30. | |
Manhattan in the wake of the World Trade Centre attacks. -- Lower | :02:31. | :02:38. | |
Manhattan. Now it is a respected film showcase the. You have | :02:39. | :02:44. | |
obligations to make sure we have all the facts. And now - CAPITALS a | :02:45. | :02:53. | |
movie called cover-up to Catastrophe has caused an uproar after it | :02:54. | :03:03. | |
claimed that vaccination caused autism. Because of all the | :03:04. | :03:11. | |
controversy it is in better mind to get rid of it if it will perceive | :03:12. | :03:16. | |
the festival in a negative way. What about the argument of freedom of | :03:17. | :03:24. | |
expression? I agree. We had some issues and we made a mistake and we | :03:25. | :03:29. | |
corrected it. We wish that film all the best but it wasn't for Tribeca. | :03:30. | :03:38. | |
More than 100 films were over this 12 day festival, including movies | :03:39. | :03:44. | |
with big-name stars like Tom Hanks and Kevin Spacey. There were also | :03:45. | :03:50. | |
high-profile talks about television. It is big on virtual reality | :03:51. | :03:54. | |
installations this year again. They are becoming increasingly routine in | :03:55. | :03:58. | |
the festivals around the world. Filmmakers are using VR. There is a | :03:59. | :04:08. | |
natural link between traditional film and VR. It has to be a part of | :04:09. | :04:14. | |
what film festivals show. It was also offering documentaries that | :04:15. | :04:18. | |
told incredible stories. Among them Keep Quiet, talking about a far | :04:19. | :04:23. | |
right Hungarian discovered to his amazement that he was Jewish. Now he | :04:24. | :04:28. | |
is undergoing a transformation to become an orthodox Jew. I want to | :04:29. | :04:34. | |
talk about the rise of anti-Semitism in Europe today. I think the story | :04:35. | :04:41. | |
gives us the ability to show that rise through these unique story. -- | :04:42. | :04:56. | |
stories. Some of the shortest films at the festival were among the most | :04:57. | :05:02. | |
compelling. Deadringer talked about the almost extinct New York | :05:03. | :05:07. | |
telephone booth. For decades we handled all the drug deals... There | :05:08. | :05:13. | |
is a certain type of New York where the payphone has a grimy romance. It | :05:14. | :05:22. | |
is moving for people like that. It was also marking the 40th | :05:23. | :05:31. | |
anniversary of an iconic film, Taxi Driver, with Robert De Niro uttering | :05:32. | :05:39. | |
a well-known line. You talkin' to me? Now it is not among the giants | :05:40. | :05:46. | |
like Venice, it is a festival still in the making, but it has | :05:47. | :05:51. | |
established a permanent presence, getting a lot of attention in one of | :05:52. | :05:55. | |
the world's biggest media capitals, and that is no small feat. Ghana was | :05:56. | :06:02. | |
represented at Tribeca this year with a film that touches on a common | :06:03. | :06:05. | |
reality in that country, a mother who gives birth to an ailing child, | :06:06. | :06:12. | |
and finds she and her son are rejected by the community. Here is a | :06:13. | :06:20. | |
report. Set between the city of Acra in present-day Ghana, this is a | :06:21. | :06:28. | |
story about a mother giving birth to a sickly child from an extramarital | :06:29. | :06:34. | |
affair. A big suffers from cerebral palsy and a cleft lip. -- Her child. | :06:35. | :06:42. | |
She cannot afford to fix his lip and is often tricked by spiritual healer | :06:43. | :06:48. | |
is to try to heal it. The director, Priscilla, says this film reflects a | :06:49. | :06:55. | |
reality for many women with disabled children. It is a contemporary | :06:56. | :07:01. | |
issues. Yeah, it is about a child with a cleft lip which is a quick | :07:02. | :07:08. | |
fix worldwide, you know, in the West. It would probably be fixed in | :07:09. | :07:13. | |
the US before the baby comes home. But it is not such a quick fix in | :07:14. | :07:18. | |
some parts of the world, especially some areas in West Africa. No, it is | :07:19. | :07:25. | |
a big deal. From the beginning, we see her in desperation. Superstition | :07:26. | :07:32. | |
plays a big part of her conflict. Her community sees her as having a | :07:33. | :07:39. | |
dirty or curse womb because of her condition. This becomes something | :07:40. | :07:45. | |
she starts to believe about herself and makes it feel like her back is | :07:46. | :07:49. | |
up against the wall. We have good sides and bad side. I wanted a | :07:50. | :07:56. | |
rounded character. -- sides. I wanted a story about a mother with a | :07:57. | :08:06. | |
special child. We have often heard about a mother who has killed her | :08:07. | :08:09. | |
child because of this in Africa but I wanted to give some understanding | :08:10. | :08:14. | |
as to why someone would make such a horrible choice. She goes through | :08:15. | :08:19. | |
all these challenges and their really is no solution. -- there. I | :08:20. | :08:26. | |
wanted my audience to understand what could push you to make such a | :08:27. | :08:30. | |
choice. One of the biggest challenges she faced as a director | :08:31. | :08:34. | |
was finding a child to play the sun. Eventually she found a baby | :08:35. | :08:38. | |
girl called Jessica who plays the part of the boy in the film. -- son. | :08:39. | :08:43. | |
She had to be creative with the casting choices. I went to some | :08:44. | :08:50. | |
hospitals and talked to the mothers. Many said no, they did not want to | :08:51. | :08:56. | |
talk to me. So we continued the search. Finally a doctor sent me to | :08:57. | :09:03. | |
a foundation where they do free surgeries for children with | :09:04. | :09:07. | |
deformities. They said they had a list of children who were going to | :09:08. | :09:10. | |
get surgery so I can introduce you to the mothers and the parents. Some | :09:11. | :09:18. | |
of them said no but finally Jessica's mother said yes. And, I | :09:19. | :09:26. | |
mean, that was it. Even though Jessica had to be fed constantly to | :09:27. | :09:34. | |
keep her from crying, the girl was integral. She was a nice kid. The | :09:35. | :09:40. | |
mother and father were with us on that. When she was crying out the | :09:41. | :09:47. | |
mother was around. It was pretty cool. She cries a lot, though. | :09:48. | :09:55. | |
The script is straightforward and even a bit obvious at times. The | :09:56. | :10:04. | |
weather, the film is supported by beautiful cinematography. -- | :10:05. | :10:08. | |
However. The director hopes this will be a change of pace for those | :10:09. | :10:11. | |
at home that are accustomed to escapism. This film has issues that | :10:12. | :10:18. | |
ordinary people face every day. Do you hope this will have an effect on | :10:19. | :10:23. | |
the African reception of children with disabilities? --. For the most | :10:24. | :10:30. | |
part, I want women all over the world to understand it is not their | :10:31. | :10:33. | |
fault that sometimes they have a bit with deformities. -- babies. That is | :10:34. | :10:43. | |
my biggest message, it isn't your fault. Hollywood has not been shy | :10:44. | :10:52. | |
about incorporating drones into films and presenting the public with | :10:53. | :10:57. | |
these lethal weapons as big screen entertainment. This year there were | :10:58. | :11:04. | |
two quite sober films on drones focusing on the human cost for those | :11:05. | :11:11. | |
who work behind the scenes in drone warfare. National Bird looks beyond | :11:12. | :11:18. | |
the politics of drone warfare to look at the human cost, both the | :11:19. | :11:23. | |
harm inflicted and the emotional trauma felt by those who operate | :11:24. | :11:28. | |
them. Three whistleblowers speak out about the impact of drones on their | :11:29. | :11:33. | |
lives in the film. One of them is Lisa, who prefers not to reveal her | :11:34. | :11:37. | |
last name but felt obliged to speak out. We have to let people know who | :11:38. | :11:43. | |
we are and that we even exist, because, I mean, what many people | :11:44. | :11:50. | |
see on television is a drone. It is a glorified thing. I mean, there is | :11:51. | :11:56. | |
a lot more to get, it is more laid and complex than somebody with a | :11:57. | :12:02. | |
joystick on the other side of the world. -- layered. It is a secret | :12:03. | :12:08. | |
programme, so I can't just tell the public what it is and shout off the | :12:09. | :12:14. | |
rooftops. They believe themselves to be patriots, the directors, but | :12:15. | :12:19. | |
ironically, in making the film, two of them were pressured by the US | :12:20. | :12:24. | |
government to end the public criticism of the programme. One is | :12:25. | :12:29. | |
being investigated for espionage. I was cautious during the making of | :12:30. | :12:32. | |
the films. I think it was right to be very careful and work with | :12:33. | :12:36. | |
lawyers from the beginning. And, yeah, it is not a good time, you | :12:37. | :12:43. | |
know, in the US, right now, for whistleblowers and investigative | :12:44. | :12:50. | |
journalists. It is not the only film this year to deal with the topic. | :12:51. | :12:55. | |
Operator, a short Israeli film, follows a day in the life of a drone | :12:56. | :13:02. | |
operator who's tries to juggle the work with the duties as a single | :13:03. | :13:07. | |
mother. -- who. When she gets home to her child and has super trade her | :13:08. | :13:15. | |
mother role after killing for a living to support the family... -- | :13:16. | :13:21. | |
to portray. This is the main conflict that I wanted to show. | :13:22. | :13:30. | |
ALARM. Drone warfare has been used in many big hit films. That includes | :13:31. | :13:38. | |
Eye in the Sky, which tackled the topic earlier this year. And Captain | :13:39. | :13:50. | |
America, for example, have drones in their simple plots as a shortcut to | :13:51. | :13:57. | |
relevant. But they usually rarely talk about it. They do the | :13:58. | :14:01. | |
government's work, sanitising drone warfare for the viewer. National | :14:02. | :14:07. | |
Bird and Operator hope to change the narrative. What do you say to | :14:08. | :14:12. | |
government officials not swayed by the issues? I absolutely agree that | :14:13. | :14:18. | |
there is a threat. There is this thing about drones that really | :14:19. | :14:23. | |
creates so much hatred and anger in the target countries that is | :14:24. | :14:32. | |
backfiring. And, that is why it is important to, you know, to have this | :14:33. | :14:37. | |
discussion. There needs to be conversation, there needs to be more | :14:38. | :14:40. | |
information, there needs to be... It needs to be common knowledge that we | :14:41. | :14:45. | |
aren't the only country that has drones, and it needs to be common | :14:46. | :14:49. | |
knowledge that there is damage on both ends. | :14:50. | :15:02. | |
As you are in no doubt aware, the relationship between Cuba and the | :15:03. | :15:07. | |
As you are in no doubt aware, the relationship between Cuba and the US | :15:08. | :15:08. | |
a growing warmer and with it the possibility of Americans being able | :15:09. | :15:13. | |
to access more Cuba and movies. What was on offer this year at Tribeca | :15:14. | :15:28. | |
Film Festival. Tribeca Film Festival. The Human Thing has the | :15:29. | :15:38. | |
magical realism of Cuba mixed in with American tradition. It is the | :15:39. | :15:49. | |
story of a burglar who steals a short story from a very important | :15:50. | :15:54. | |
human right and decides to submit it. A legendary actor from Cuban | :15:55. | :16:11. | |
cinema plays a mobster. TRANSLATION: Are prepared this character | :16:12. | :16:15. | |
following the directors instructions. He loaned me the | :16:16. | :16:22. | |
Sopranos series and told me to create a character with a Cuban | :16:23. | :16:31. | |
twist. Is this a sign of how Cuba is telling stories that will appeal | :16:32. | :16:36. | |
internationally? It is now going to be more cost to see Cuban films in | :16:37. | :16:46. | |
the US. The interest is there. American people love it. If you come | :16:47. | :16:50. | |
to our screenings, they are full because they want to watch Cuban | :16:51. | :16:54. | |
films but they could not get the access to those pills but I think | :16:55. | :16:58. | |
now it is going to happen. More distributors again to buy them. You | :16:59. | :17:03. | |
are going to have more platforms to watch them in. However, the director | :17:04. | :17:09. | |
points out, in Cuba that has never been a lack of films from the | :17:10. | :17:14. | |
outside world. Despite the fact we have had not had normal relations | :17:15. | :17:20. | |
with the US, we have not been isolated in terms of film shown an | :17:21. | :17:27. | |
the Cuban cinema has shown films from north America. Relations are | :17:28. | :17:33. | |
getting better, how will that effect your industry? No one knows what is | :17:34. | :17:38. | |
going to happen but I think it is good. So far it was impossible for | :17:39. | :17:42. | |
an American company to shoot the film in Cuba and now it is possible | :17:43. | :17:49. | |
and I think they shot a chapter of house of clouds in her Varna and now | :17:50. | :17:56. | |
they are shooting at a fast and furious feel. With relations warming | :17:57. | :18:06. | |
up, it looks like the Cuban film industry in relation to the US may | :18:07. | :18:10. | |
be on a former and more optimistic footing. Tribeca had a significant | :18:11. | :18:20. | |
film that evolved around basketball shoes. Just in keeping, from the Bay | :18:21. | :18:29. | |
area in California, these shoes are called Kix and that is the name of | :18:30. | :18:39. | |
his films. Kicks open the narrative competition at Tribeca Film | :18:40. | :18:43. | |
Festival. It follows a couple of men. One of whom has his prized | :18:44. | :18:49. | |
sneakers stolen. They tried to recover the shoes. You have to watch | :18:50. | :18:56. | |
out for yourself. Csolley what this movie is about for you? The shoe | :18:57. | :19:01. | |
thing is based on a personal experience. -- tell me. I remember | :19:02. | :19:14. | |
my brother told me, you are a man now. At the same time, I was really | :19:15. | :19:21. | |
proud of that but at the same time I just reacted and thought how does | :19:22. | :19:28. | |
that make the man? I took a beating. Even the kids who jumped me are | :19:29. | :19:34. | |
probably going through something in their lives. I wanted to tell that | :19:35. | :19:43. | |
kind of story. He looks to Italian neorealism. The bicycle Feith... How | :19:44. | :19:51. | |
can an entire family been ruined in this epic drama surrounding a father | :19:52. | :20:10. | |
losing a bike. It had a lasting impact on me as a genre. A newcomer | :20:11. | :20:18. | |
plays the leading role. My character at is a shy, poor kid from the hood. | :20:19. | :20:25. | |
He says his money to get these shoes and when he gets and he feels like | :20:26. | :20:30. | |
he is on top of the world stop sniko culture has invaded media stream | :20:31. | :20:37. | |
media. It has been a stable and the big screen for years. From do the | :20:38. | :20:46. | |
right thing. All you can say is excuse me extra --! To Forest Gump. | :20:47. | :20:59. | |
He was really able to tap into something really truthful about life | :21:00. | :21:05. | |
in the Bay area. About young men who find themselves... Who define | :21:06. | :21:11. | |
themselves through things they wear. If you are not wearing the right | :21:12. | :21:15. | |
shoes, clothes, you are not relevant. This is into that. This | :21:16. | :21:23. | |
happened about shoes, it could have been about any other object. When | :21:24. | :21:29. | |
you are on Wall Street, you tried to drive the best cloud. It is specific | :21:30. | :21:41. | |
to communities. -- the best car. We hope you enjoyed the programme. You | :21:42. | :21:47. | |
can always reaches online. And find us on Facebook as well. From me and | :21:48. | :21:54. | |
the production crew, here in New York, it is goodbye as we leave you | :21:55. | :22:04. | |
with eight Madonna video. From the documentary strike a pose. | :22:05. | :22:09. |