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E. Nina Rothe

Film. Fashion. Life.
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The Diaries, because sometimes life needs more. 

A still from ‘Femmetasia’ by Mouhssine El Badaoui

A still from ‘Femmetasia’ by Mouhssine El Badaoui

Five projects from this year's Qumra I simply cannot wait to watch

E. Nina Rothe March 31, 2019

The yearly, five days long Qumra event in Qatar, held by the Doha Film Institute each March is that rare occasion for those of us who write about cinema to connect with the filmmakers, producers, film programmers, sales agents and festival directors who make the magic happen. Don’t misunderstand me now, I think film journalists and bloggers are equally to praise or blame for great movies being made. Our collective word, the reviews and interviews we manage to sell to publications or feature on our blogs, can create a movement that reverberates around the world. I know colleagues who pride themselves on making or breaking someone’s career. It’s not nice, but it is true. Take the case of Gianfranco Rosi’s ‘Below Sea Level’ and the infamous Variety review that ensured the film never made it to a cinema near you — a fact the filmmaker mentioned in his Masterclass at last year’s Qumra.

That said, in Doha there is a great energy created by the powers that be of the DFI, which allows journalists to relate to the film projects in such a personal way that it’s impossible thereafter to dislike it or even ignore it.

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In Cinema, The Diaries Tags Bombay Rose, Gitanjali Rao, Doha Film Institute, Qumra 2019, Doha, Qatar, DFI, Khuzama, A.J. Al-Thani, documentary, narrative feature, animated feature, Afghanistan, Iran, Hasan Noori, Afsaneh Salari, Taliban, The Forbidden Strings, Places of the Soul, Hamida Issa, Antartica, desert, iceberg, NY Times, NYC, Femmetasia, Mouhssine el Badaoui, Fantasia, Morocco, horses, masterclasses, Arianna Huffington
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A still from Hamida Issa’s ‘Places of the Soul’

A still from Hamida Issa’s ‘Places of the Soul’

The Qumra Diaries: Souq Waqif, "from desert to desert", Alice Rohrwacher and Kiyoshi Kurosawa

E. Nina Rothe March 22, 2019

On my last day in Doha, I spend the afternoon wandering around the Souq Waqif which I learned from a local filmmaker, literally translates as “the stand up souk.” In the olden days, before Qatar turned into the international, cosmopolitan country it is today, the sea would come straight into the alleys of the souk so the merchants had to stand up and pick up their wares during the tides. Thus the name, and actually while I wandered around checking out the shops, having a shawl sewn from a traditional flower fabric by a local tailor while drinking a karak chai (cardamon infused milky tea) and eating a chapatti flat bread filled with zaatar, I felt like I was transported back to those early days of the pearl divers and their haunting songs of the sea.

Doha is special place. I’ll never get tired of saying it. And their annual Qumra event, organized by the Doha Film Institute is sheer cinematic magic. Qumra is a meeting place, a five-days long networking session, a place to pitch, secure financing and ensure a screening chance for film projects. But it is also an occasion to recharge our collective passion for the movies. For journalists, producers and of course filmmakers, the atmosphere at Qumra offers an almost electric energy, a jolt of renewed hope in the future of the 7th art.

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In Cinema, Interviews, The Diaries Tags Alice Rohrwacher, Kiyoshi Kurosawa, Qumra, Qumra 19, Souq Waqif, Doha, Qatar, Museum of Islamic Art, Qumra working breakfast, Getty Images, Netflix, Japanese cinema, Italian cinema, masterclasses, Agnes Varda, Eugenio Caballero, Pawel Pawlikowski, Elia Suleiman, Hamida Issa, Places of the Soul, Antartica, Arabian desert, Gulf cinema, Saudi Arabia, H.E. Sheikha Mayassa Al-Thani, Fatma Al Remaihi, Hanaa Issa, DFI, Doha Film Institute, Cannes
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Eugenio Caballero talks with Richard Peña during Qumra

Eugenio Caballero talks with Richard Peña during Qumra

The Qumra Diaries: Eugenio Caballero and Pawel Pawlikowski share their filmmaking wisdom

E. Nina Rothe March 18, 2019

When I look at the title of this piece, I feel overwhelmed myself. I mean, it would be pretty wonderful to just hear one of the these two men who are such Maestros in each of their professions give a Masterclass. But when you get them both, within 24 hours of each other, on a stage, talking to the equally wondrous Richard Peña, well, you have cinematic magic.

Or more precisely, what you have is the Doha Film Institute’s annual Qumra event.

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In Cinema, Interviews, The Diaries Tags Pawel Pawlikowski, Eugenio Caballero, Qumra, Doha Film Institute, DFI, Doha, Qatar, Agnes Varda, Richard Pena, Oscars, Academy Awards, The Woman in the Fifth, Last Resort, Ida, Cold War, England, Russia, Poland, Mexico, Ethan Hawke, Kristin Scott Thomas, documentaries, Art direction, Jim Jarmusch, Pan's Labyrinth, Guillermo del Toro, A Monster Calls, Alfonso Cuaron, Roma, The Limits of Control, Tsunami, The Impossible, Museum of Islamic Art
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A still from ‘Rosso: a true lie about a fisherman’ by Antonio Messana

A still from ‘Rosso: a true lie about a fisherman’ by Antonio Messana

Watching the short end: The Ca 'Foscari Short Film Festival is the other Venice film festival

E. Nina Rothe March 18, 2019

Most directors whose features you are watching in cinemas today started out making short films. It’s a fact that short narratives and documentaries are the stuff future filmmaker build their craft on and the Ca 'Foscari Short Film Festival recognizes that through and through. In their press release for the upcoming ninth edition of the event, which will run from March 20th to the 23rd, the following statement made me realize just how much they believe in the learning power of the ‘Short”.

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In Cinema, Festival, The Diaries Tags Ca 'Foscari Short Film Festval, Venice Short film festival, Giorgio Carpinteri, M9 Museo del Novecento, Mestre, Auditorium Santa Margherita, Clandestine, Gerard Vidal-Cortes, Rosso: a true lie about a fisherman, Antonio Messana, Dorado Bramucci, Nooh, Raheel, Ayat Asadi Rahbar, Iran, Afghanistan, Italy, Spain, Saszka, Katarzyna Lesisz, Ukraine, Poland, People Talk, Grzegorz Paprzyck, Roma children, Teresa Cavina, Ayat Najafi, Berlin, Estonia, Ülo Pikkov, Tarzan and Arab Nasser, Condom Lead, Nothing Has Ever Happened Here, Tik-Tak, Letting Go, Ugo and Olga Levi Foundation, Roberto Calabretto, Massimo Contiero, Daniele Furlati, Luisa Zanoncelli, Murano glass award, Alessandro Mandruzzato
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Agnes Varda

The Qumra Diaries: Discovering Agnès Varda in the land of cinema

E. Nina Rothe March 16, 2019

It is obvious from the moment one steps on a Qatar Airways aircraft that cinema is important in Doha. I mean, just going through the entertainment system on my particular flight, I found ‘Rebecca’ by Hitchcock, Barry Jenkins’ hauntingly touching and all too true ‘If Beale Street Could Talk’, Paul Dano’s intimate portrayal of a family struggling to remain a single nucleus ‘Wildlife’ and even the 2019 Best Picture Oscar winner ‘Green Book’.

Qatar knows good cinema and nowhere is that better understood than in the welcoming arms of the Doha Film Institute.

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In Cinema, Festival, The Diaries Tags Agnes Varda, Qumra, Doha Film Institute, DFI, Qatar, Doha, La Pointe Courte, Faces Places, Festival de Cannes, E. Nina Rothe, Richard Peña, The Qumra Diaries, cinema, film, Qatar Airways, Rebecca, Alfred Hitchcock, Barry Jenkins, If Beale Street Could Talk, Paul Dano, Jake Gyllenhaal, Wildlife, Oscar winner, Green Book
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The National Youth Film Academy roundtable luncheon at Brasserie Blanc, Southbank

The National Youth Film Academy roundtable luncheon at Brasserie Blanc, Southbank

The London Diaries: the National Youth Film Academy helps cinema professionals find their working community

E. Nina Rothe February 18, 2019

When he founded the National Youth Film Academy back in 2011, Chief Executive Rob Earnshaw spotted a gap within the cinema industry in the UK. There were jobs being offered, and people craving to fill those positions both in front and behind the camera, yet absolutely no bridge between them. In fact, in his mission statement Earnshaw talks about building that bridge.

““The National Youth Film Academy is dedicated to building bridges between education and employment in film. Our team works tirelessly to locate, nurture and promote talented, aspirational actors and filmmakers. But most importantly we discover people with the right attitude to be employed in British film.””

— Rob Earnshaw, Chief Executive, National Youth Film Academy

In the last eight years, the National Youth Film Academy has become the most important community to which aspiring film professionals in the UK can belong. And beyond, because of course, the film community — once bridges are formed to connect the jobs with the job seekers — is the largest open circle of artists in the world.

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In Cinema, The Diaries Tags National Youth Film Academy, NYFA, Rob Earnshaw, London, United Kingdom, acting, film, cinema, Lucy Brown, Elliot Grove, Raindance Film Festival, Trailblazing Women On & Off screen, Lorna Tucker, Simon Bird, #SetReady, Emerging Brits, UK, simon bird, London Diaries, Dean Smith, emerging brits, lorna tucker, elliot grove, raindance film festival, zoe rocha, sam gordon, bbc films, lucy brown, lois-amber toole, olivia pinkney, dean smith, ali kurr, rob earnshaw
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Hanaa Issa with filmmaker Elia Suleiman at a DFI event

Hanaa Issa with filmmaker Elia Suleiman at a DFI event

"This is the environment where films flourish": Talking Qumra 2019 with Hanaa Issa in Berlin

E. Nina Rothe February 11, 2019

Ever since its creation in 2010 on the peninsular country of Qatar, the Doha Film Institute has been revolutionizing cinema in the Region. The word “revolution” is never a sign of good things in the Arab world and yet at DFI, they should welcome the term when it comes to describing the work they’ve been doing almost singlehandedly to create and foster a healthy cinema culture in the Arab world. And beyond.

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In Cinema, Interviews, The Diaries Tags Qumra, Doha Film Institute, Hanaa Issa, Doha, Qatar, Arab cinema, Gulf cinema, Eugenio Caballero, Cannes Film Festival, Alice Rohrwacher, Agnes Varda, Kiyoshi Kurosawa, Pawel Pawlikowski, Cold War, Lazzaro Felice, Roma, Berlin, The Ritz Carlton, Hamida Issa, Places of the Soul, Antartica, Sheikha Mayassa, Fatma Al Remaihi, Nadine Labaki, Capernaum, Oscars, Academy Awards, Rithy Panh, Too Late to Die Young, The Load, Inida, Indian Rose
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WO-YcsP8.jpeg

Inspired: Highlights from the 2019 International Film Festival Rotterdam

E. Nina Rothe February 2, 2019

I’d long heard about the Rotterdam International Film Festival and yet had never personally been here. IFFR will hereafter be a much craved stop on my itinerary of world cinema events. I can’t wait to see what next year has in store.

So what makes this cinephiles’ festival filled with independent gems, languid culture-filled days and inspiring evening talks by the masters so addictive? Well, that — what I just said. Turns out there is no festival in the world quite like IFFR.

And here are a few favorites of mine from this year’s edition.

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In Cinema, Fashion, Festival, The Diaries Tags IFFR, International Film Festival Rotterdam, Rotterdam, Netherlands, cinema, film festival, Bangla, Bertmans, de Doelen, The James, de Bijenkorf, Jean-Luc Godard, The Image Book, Peru, Guillermo Arriaga, Todos Somos Marineros, Miguel Angel Moulet, The Savage, El Savaje, The Best of Dorien B., Thrive Global, Take Me Somewhere Nice, Indemnes, Mexico, Bangladesh, BANGLA, Phaim Bhulyan, Rome, Torpignattara, Nadine Labaki, Capernaum, Alice Rohrwacher, Happy as Lazzaro, Italian cinema, Mexican cinema, The National, Susanna Nicchiarelli, Zhu Shengze, Zhengfang Yang, Dominga Sotomayor, Elmar Imanov, Azerbaijan, FRIPESCI, End of Season, Present.Perfect, Tiger Award, Bero Beyer, Alfredo Jaar
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Ralph Fiennes

The Cairo International Film Festival Diaries: And to think I almost missed this!

E. Nina Rothe November 23, 2018

One of the most beautifully mysterious actors of our time, Mr. Ralph Fiennes will be in Cairo, presenting his latest directorial project ‘The White Crow’ — about a childhood idol of mine, ballet dancer Rudolf Nureyev — and for a conversation with the audience inside the massive Cairo Opera House. Moderated by yours truly.

It’s a momentous event, but I almost missed it.

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In Cinema, Fashion, Festival, The Diaries Tags Ralph Fiennes, Richard Lormand, Cairo International Film Festival, Cairo Opera House, Brigitta Portier, Alibi Communications, Mohamed Hefzy, Cairo, Egypt, Marrakech International Film Festival, Morocco, The National, Rudolf Nureyev, The White Crow, ballet
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Guillermo Del Toro, courtesy of the Marrakech International Film Festival

Guillermo Del Toro, courtesy of the Marrakech International Film Festival

In "Conversation With" Scorsese, Del Toro, Nasrallah and more at the Marrakech Film Fest!

E. Nina Rothe October 24, 2018

If ever there was an upcoming event that felt outrageously exciting, almost too jam packed with greatness (could there ever be such a thing!) it’s the Marrakech International Film Festival — which will take place from November 30th to December 8th, 2018 in the beautiful Moroccan city. Now in its 17th edition, the festival took a year off in 2017 and is coming back stronger, better and more action-packed than ever.

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In Cinema, Festival, The Diaries Tags Martin Scorsese, James Gray, Robert De Niro, Thierry Fremaux, Morocco, Marrakech, Yousry Nasrallah, Cristian Mungiu, Agnes Varda, Robin Wright, Cannes Film Festival, FIFM
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Agnes Varda and Robin Wright

Exceptional Women: Agnes Varda and Robin Wright honored at this year's Marrakech Film Festival

E. Nina Rothe October 15, 2018

You talk exceptional women and few garner as much unanimous adoration as legendary filmmaker, photographer and artist Agnes Varda. Then you think versatile actresses, women who have transformed themselves from super popular soap opera stars to beloved movie icons and the name Robin Wright immediately comes to mind.

Well, as it turns out both of these legendary women in their own right, or “Wright” if you pardon the pun, will be honored with the Etoile d’Or Award under the starry sky of the Moroccan city of Marrakech this December.

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In Cinema, Festival, The Diaries Tags Marrakech Film Festival, Marrakech International Film Festival, Marrakech, Morocco, Agnes Varda, Robin Wright, actor, filmmaker, Rosalie Varda, soap opera
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A still from ‘The Man Who Surprised Everyone’ by Natalya Merkulova and Alexey Chupov

A still from ‘The Man Who Surprised Everyone’ by Natalya Merkulova and Alexey Chupov

The Venice Diaries: 'The Man Who Surprised Everyone' is the antidote to intolerance

E. Nina Rothe September 11, 2018

How would you cope with being told you have a terminal illness?

That is a question I’ve asked myself often these days, as I deal with people I love getting ill and the recent death of my father. Where do you find the strength to go on, when you know the days are numbered and how do you continue to be a functioning member of society when probably all you wish to do is go into the woods and hide?

Well, in Natalya Merkulova’s and Alexey Chupov’s haunting, beautiful and at times painfully truthful film ‘The Man Who Surprised Everyone’ which screened in the Orizzonti section in Venice, the real life husband and wife team tackle the difficult question.

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In Cinema, Festival, Interviews, The Diaries Tags Natalya Merkulova Alexey Chupov, Natalya Merkulova, Alexey Chupov, The Man Who Surprised Everyone, Natalya Kudryashova, Orizzonti, Best Actress award, Venezia 75, La Biennale di Venezia, Venice Film Festival, Russian cinema, Russia, Moscow, Siberia, Evgeniy Tsiganov, Shaman, Magic, Yuriy Kuznetsov
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A still from 'Roma' the Venice Golden Lion winning film by Alfonso Cuarón which will be in theater and on Netflix in December 2018

A still from 'Roma' the Venice Golden Lion winning film by Alfonso Cuarón which will be in theater and on Netflix in December 2018

The Venice Diaries: The mixtape of Venezia 75 is an homage to creativity's soundtrack

E. Nina Rothe September 10, 2018

This year's Venice Film Festival seemed to carry a special soundtrack, like a mixtape of our collective thoughts and hopes and wishes. For a future where we are finally able to learn from our past and stop thinking that our opinions count individually. For a world where we will discover, finally, a middle ground in shades of grey, instead of living everything in either black or white.

Here is my Venezia 75 Mixtape. 

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In The Diaries, Festival, Cinema Tags Roma, Alfonso Cuaron, Venezia 75, Venice Film Festival, La Biennale di Venezia, Golden Lion, Netflix, A Tramway in Jerusalem, Amos Gitai, Voyage en Palestine, Gustave Flaubert, Israel, Palestine, Palestinian rapper, I don't know how to love him, Andrew Lloyd Webber, Jesus Christ Superstar, What You Gonna Do When the World's On Fire?, Roberto Minervini, Chief Kevin and the Mardi Gras Indian, Somebody Gotta Sew, spirituals, A Star is Born, Bradley Cooper, Lady Gaga, Shallow, SIA, Spotify, Natalie Portman, Vox Lux, Brady Corbet, Willem Dafoe, The Greatest, C'est ça l'amour, Claire Burger, Venice Days, Giornate degli Autori, Paolo Conte, Sparring Partner, film, music, mixtape
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Sawsan Arsheed in a still from Soudade Kaadan's 'The Day I Lost My Shadow' 

Sawsan Arsheed in a still from Soudade Kaadan's 'The Day I Lost My Shadow' 

The Venice Diaries: Lion of the Future winner Soudade Kaadan's 'The Day I Lost My Shadow'

E. Nina Rothe September 9, 2018

'The Day I Lost My Shadow' by Soudade Kaadan won the Lion of the Future – “Luigi De Laurentiis” Venice Award for a Debut Film Jury at the 75th Venice Film Festival. It's a win to be celebrated for all women filmmakers, of course, but also for Syrian filmmakers who, since the start of the war in 2011 have all but disappeared. Scattered around foreign lands, their voices and visions have become the true casualties of this conflict. 

In her film, which world premiered at the festival in the Orizzonti section, Kaadan uses the metaphor of personal shadows as a way to show how the war strips people of their humanity and hope. When Sana, played by the beautiful Sawsan Arsheed, goes out looking for a gas canister so she can cook for her son, she is pulled into a three day nightmare that eventually ends the way everything ends in Syria... I'll leave that to your imagination and perhaps your first viewing of the film. 

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In Cinema, Festival, Interviews, The Diaries Tags The Day I Lost My Shadow, Soudade Kaadan, Amira Kaadan, Lion of the Future, Venice 75, Venice Film Festival, La Biennale di Venezia, Syria, Lebanon, Doha Film Institute, SANAD, Abu Dhabi, Damascus, Orizzonti, Sawsan Arsheed, Debut Film Jury, Luigi de Laurentiis
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Bouli Lanners, flanked by Justine Lacroix, right and Sarah Henochsberg in Claire Burger's 'C'est ça l'amour'  

Bouli Lanners, flanked by Justine Lacroix, right and Sarah Henochsberg in Claire Burger's 'C'est ça l'amour'  

The Venice Diaries: Giornate degli Autori winner Claire Burger on her film 'C’est ça l’amour' (Real Love)

E. Nina Rothe September 8, 2018

Think back to the last time a film redefined love for you. That felt like a magical discovery then, didn't it? For me, cinema exists at its best when it does something that changes me -- and of course I want that change to be for the better.

In Claire Burger's touching follow up to her Cannes Camera d'Or winner 'Party Girl' -- which she co-directed with Marie Amachoukeli and Samuel Theis -- I found a new fatherhood role model. For a woman whose own father was at best unavailable throughout my teenage years and beyond, Burger's wondrous father figure Mario (played by the spellbinding Bouli Lanners) is a revelation and offers a sense of newfound hope. His quest to be a good father to the young Frida (the perfectly rebellious Justine Lacroix) and the teenage Kiki (cool and flirty Sarah Henochsberg) takes the audience on a journey of discovery along with the characters. 

But 'C'est ça l'amour' is a multilayered film and so it's no surprise that, among quite a few strong and beautiful stories featured in this year's Giornate degli Autori line up, Burger's film ended up walking away with the top prize -- the GdA Director's Award.

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In Cinema, Festival, Interviews, The Diaries Tags Claire Burger, C'est ça l'amour, Real Love, Venice Days, Venice Film Festival, La Biennale di Venezia, Giornate degli Autori, Cannes Film Festival, Camera d'Or, Bouli Lanners, Sarah Henochsberg, Justine Lacroix, Jonas Carpignano, GDA Director's Award, European Union, Karel Och, Karlovy Vary Film Festival
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JOY-Photo11.jpg

The Venice Diaries: Sudabeh Mortezai's 'Joy' wins multiple awards, and conquers hearts, in Venice

E. Nina Rothe September 7, 2018

As we watch our nightly dose of immigration porn fed to us by the local news channels, particularly those of us who live in Europe we see row after row of young men stepping off boats and assorted vessels. We could be mistaken into thinking that they left their women safe at home, in their country of origin, the wives and girlfriends and mothers awaiting their return, as well as their paycheck. That's so far from the truth and if you ever held such a wrong opinion, 'Joy' by Sudabeh Mortezai will set you straight. 

In her beautifully shot and perfectly told film premiering in the Giornate degli Autori, Venice Days sidebar at the Venice Film Festival, Mortezai shows us the complex network of Nigerian women who virtually invisibly inhabit our European streets. 'Joy' is as much about the oldest profession in the world, the prostitution networks these women get sucked into and then, once they have paid off their debts, also manage and run in Europe, as it is about womanhood itself. We follow the story of these young women from the juju ritual they are subjected to at home, in Benin City Nigeria, to the streets of Vienna where they owe their traffickers the kind of money one wouldn't spend traveling around the world for a year and staying at the best hotels. 

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In Cinema, Festival, Interviews, The Diaries Tags Precious Mariam Sanusi, Joy, Sudabeh Mortezai, Joy Anwulika Alphonsus, Venice Days, Giornate degli Autori, Hearst Film Award 2018 for Best Female Direction, Europa Cinema Label Award, Label Europa Cinema prize, Nigeria, prostitution, Benin City, Human trafficking, Venice 75, Venice Film Festival, La Biennale di Venezia, Iran, Austria, Vienna, Klemens Hufnagl
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Vincent Lacoste and Isaure Multrier in 'Amanda' by Mikhaël Hers

Vincent Lacoste and Isaure Multrier in 'Amanda' by Mikhaël Hers

The Venice Diaries: Stacy Martin and Vincent Lacoste redefine family in Mikhaël Hers' 'Amanda'

E. Nina Rothe September 6, 2018

I'm a sucker for a great love story. But often, the films that hit me deepest aren't filled with happily ever after endings and the perfect romance between a handsome boy and a beautiful girl. It's the redefinition of true love that gets me to my core.

In Mikhaël Hers' latest 'Amanda' which premiered in the Orizzonti section at this year's Venice Film Festival, the filmmaker reworks the idea of family and in the process, also rewrites the perfect romance. Of course Hers' film is not missing out on a handsome boy -- the charming Vincent Lacoste breaks hearts as David -- and a pretty girl -- with the striking Stacy Martin playing his love interest Léna. But at the center of 'Amanda' is the title character, a little girl played beautifully by Isaure Multrier, a child who suddenly goes from being an occasional playmate in the life of her somewhat immature uncle David, to being entrusted to him permanently. 

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In Cinema, Festival, Interviews, The Diaries Tags Amanda, Mikhaël Hers, Vincent Lacoste, Stacy Martin, Venice 75, Venice Film Festival, La Biennale di Venezia, Orizzonti, Lars Von Trier, Matteo Garrone, Isaure Multrier
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Judy in a still from Roberto Minervini's 'What You Gonna Do When the World's On Fire?'

Judy in a still from Roberto Minervini's 'What You Gonna Do When the World's On Fire?'

The Venice Diaries: Roberto Minervini's 'What You Gonna Do When the World's On Fire?'

E. Nina Rothe September 5, 2018

Of all the films we watched at this year's Venice Film Festival Roberto Minervini's was the most important.

For two very specific reasons. One, it's a documentary, and while many narrative films did explain my own personal struggle as a modern woman in today's world, those fictional stories can be dismissed by their critics as simply made up. 'What You Gonna Do When the World's On Fire?' cannot, since it's real life, it's in your face and it's downright true.

Point number two follows closely my first point, in that while watching the press preview of Minervini's film, which premiered in Competition at the festival, I saw more of my colleagues shift in their seat and -- after what appeared like much inner debate and a prolonged anxiety -- leave the theater than ever before. The answer is not a reflection on the quality of 'What You Gonna Do...' which is visually stunning, features a terrific soundtrack and makes its two hours duration fly by in what seemed like fifteen minutes.

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In Cinema, Festival, Interviews, The Diaries Tags Roberto Minervini, What You Gonna Do When the World's On Fire?, Film, Venice 75, Venezia 75, La Biennale di Venezia, Venice Film Festival, New Black Panthers Party, Black Panthers, African Americans
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La Biennale del Cinema poster

The Venice Diaries: Creativity decoded by Schnabel's 'At Eternity's Gate', Assayas' 'Non-Fiction' and 'Why Are We Creative?'

E. Nina Rothe September 4, 2018

The first ever Venice Film Festival was held in 1932, from the 6th to the 21st of August and it opened with 'Dr. Jekyll and Mr. Hyde' -- the Fredric March version. March went on to win favorite actor and since there were no official prizes, he was picked by the audience.

In that magical moment, during the first edition of the first ever world film festival our own profession -- film criticism and film writing -- was also born. There hadn't been a true need for it before, think about it.

When I come to Venice, I realize this is where it all comes from, and despite some problematic years in our history, we should remember the heritage of the Venice Film Festival. All journalists should take a moment and think about that when they first set foot on the Lido. Without Venice, we probably wouldn't be here. They started it. All.

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In Cinema, Festival, The Diaries Tags Venice 75, Venice, Venice Film Festival, Venice Days, La Biennale di Venezia, Why Are We Creative?, Hermann Vaske, Quentin Tarantino, Yoko Ono, Dalai Lama, David Bowie, Vivienne Westwood, Stephen Hawking, Giornate degli Autori, Arafat, Shimon Perez, Willem Dafoe, Doubles Vies, Non-Fiction, Olivier Assayas, Juliette Binoche, Guillaume Canet, Personal Shopper, Vincent Macaigne, Nora Hamzawi, creativity, favorites, At Eternity's Gate, Julian Schnabel, Vincent Van Gogh, Rupert Friend, Mads Mikkelson, Emmanuelle Seigner, Miral, Basquiat, Before Night Falls, Competition
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Robert Mitchum photographed by Bruce Weber

Robert Mitchum photographed by Bruce Weber

The Venice Diaries: Bruce Weber paints a daring portrait of Robert Mitchum in 'Nice Girls Don't Stay for Breakfast'

E. Nina Rothe September 3, 2018

As I sat down to meet legendary fashion photographer Bruce Weber I said "Mr. Weber, I can't say I grew up with your photographs because I'm older than I look, but I definitely grew into my sexuality thanks to your iconic images." It's true. Those NYC billboards in Times Square of underwear models for Calvin Klein, the Ralph Lauren "out of Africa" campaign, Kate Moss in the bathtub, the beach scenes, the catalogues I devoured before the advent of the internet, I grew into my skin thanks to Weber's images. 

Today, Weber has helped me to rediscover the beauty and genius of classic American actor Robert Mitchum. 'Nice Girls Don't Stay for Breakfast' screens at the Venice Film Festival in the Venice Classics section and is co-produced by Weber's wife Nan Bush. In the documentary, Mitchum is shown as never before, a singer, a lover and a poet, aided in part by cameos by Johnny Depp, Benicio Del Toro, Polly Bergen, Brenda Vaccaro and Liam Neeson, among many many more.

So why a film about Mitchum, why from Weber and why now?

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In Cinema, Interviews, Fashion, Festival, The Diaries Tags Nice Girls Don't Stay for Breakfast, Bruce Weber, Robert Mitchum, Venezia 75, La Biennale di Venezia, Venice Film Festival, documentary, Venice Classics, movie stars, Manhood, NYC, Calvin Klein, Photography, Ralph Lauren, Kate Moss, Johnny Depp, Benicio Del Toro, Brenda Vaccaro, Polly Bergen, Liam Neeson, Nan Bush, America, Judy Garland, George Cukor, A Star is Born, Lady Gaga, Bradley Cooper, political correctness, affairs, Dorothy Mitchum, Hollywood, Chet Baker, Let's Get Lost, Shelley Winters, Frank Sinatra, Johnny Mercer, Keely Smith, Pearl Bailey, Marianne Faithful, Dr. John
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Featured Posts

Featured
SONS OF DETROIT Jeremy Xido for ENinaRothe.jpg
Nov 19, 2025
Jeremy Xido's 'Sons of Detroit' shines the light on our own preconceptions about race and the American dream
Nov 19, 2025
Nov 19, 2025
Park Avenue by Gaby Dellal for ENinaRothe.jpg
Nov 13, 2025
Gaby Dellal's latest film 'Park Avenue' starring Fiona Shaw is a feast for the senses
Nov 13, 2025
Nov 13, 2025
Belen film Argentina Oscar submission for ENinaRothe.jpg
Nov 6, 2025
When truth is courage: Argentinian Oscar submission 'Belén' is a serious Oscar contender
Nov 6, 2025
Nov 6, 2025
It Was Just an Accident Jafar Panahi for ENinaRothe.jpg
Oct 29, 2025
Why Jafar Panahi's 'It Was Just an Accident' is a serious awards contender this year
Oct 29, 2025
Oct 29, 2025
is-this-thing-on Will Arnett for ENinaRothe.jpg
Oct 20, 2025
Bradley Cooper's 'Is This Thing On?' is that delicious adult romcom you didn't know you needed!
Oct 20, 2025
Oct 20, 2025