Festivals: call for entries

Cinema Department: new contest (kg)
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Cinema Department: new contest
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13 Open North Caucasus festival for cinema & TV "Kunaki" 

 

Where: Dagestan, Makhachkala

Wneh: 4-10.10.2019

Call for entries: from now until August 15th, 2019

 

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Saturday, 02 February 2019 00:00
FIPRESCI Award at the 48th IFF Rotterdam (23.01-03.02.2019) went to "End of Season" by Elmar Imanov
 

The FIPRESCI Award is given to the filmmaker of the best film among all the world premieres in Bright Future (excluding the Tiger Competition), by the jury of the Fédération Internationale de la Presse Cinématographique (FIPRESCI).

 

 

Winning film: End of Season by Elmar Imanov (Germany/Azerbaijan/Georgia)

Jury report: “For its deeply mysterious depiction of familial disintegration, its frequently surprising narrative angularity, and its refreshingly evocation of a world in which every home is a private chamber of frustrated desire – most especially for women.”

Jury: Kristin Aalen, Renata Habets, Rasha Hosny, José Antonio Teodoro, Giovanni Vimercati

 

 

End of Season:

 

Original title: Ende der Saison

Director: Elmar Imanov

Status: World premiere

Production: Germany, Azerbaijan, Georgia

Year: 2019

Length: 92’

Language: Azerbaijani

Producer: Eva Blondiau

Production company: Color of May

Sales: Pluto Film Distribution Network GmbH

Writers: Anar Imanov, Elmar Imanov

Cinematography: Berta Valin, Escofet, Driss Azhari

Editor: Ioseb ‘Soso” Bliadze

Sound Design: Jascha Viehi, Holger Buff

Cast: Rasim Jafarov, Zulfiyye Gurbanova, Mir-Movsum Mirzazade

 

A small family in Azerbaijan is on the brink of running its course. Son Machmud feverishly seeks a home of his own$ mother Fidan wants her life back after years of service to the family4 father Samir just wants to be left alone. Three free spirits orbiting each other, ignoring the annoyance as much as possible. However the hairline fractures in their existence.

 

Azerbaijan-born director Elmar Imanov lives and studied filmmaking in Germany and his debut opens with a brief homage: a melancholy cover of Nena’s 99 Red Balloons. Imanov uses this family as an astute metaphor for what happens when freedom becomes the only goal, but then serves as cover for alienation and mutual incomprehension. The film masterfully navigates between the three characters and portrays them as complete strangers and inseparable ‘partners in crime’ at once

 

Elmar Imanov

 

 

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