‘Blaga’s Lessons,’ ‘Empty Nets’ Take Top Honors at 2023 Karlovy Vary Film Festival

“The Boy and the Heron,” the first film in a decade by Japanese anime master Hayao Miyazaki, will open the 48th Toronto International Film Festival, organizers announced Thursday.

Cinephiles already know that “Ferrari,” Michael Mann‘s first film since 2015’s “Blackhat,” will have its world premiere in competition at the Venice Film Festival in September. But now Mann fans know when his biopic will have its North American premiere: as the closing film of the New York Film Festival on October 13.

Venice Film Festival artistic director Alberto Barbera is refusing to row back on his decision to invite controversial movie-biz bigwigs Roman Polanski, Woody Allen and Luc Besson to the late summer event, which will take place despite the potential disruption by the ongoing SAG-AFTRA and WGA strikes. “Luc Besson has been recently fully cleared of any accusations. Woody Allen went under legal scrutiny twice at the end of the ’90s and was absolved,” Barbera said in a new interview with Variety.

Zack Sharf Digital News Director “Oppenheimer” marks several firsts for writer-director Christopher Nolan. It’s his first outright biopic, and the first movie to be shot on IMAX cameras using black-and-white film stock. It’s also the first Christopher Nolan movie to feature sex scenes. J. Robert Oppenheimer, played by Cillian Murphy, had a steamy romance with physician Jean Tatlock (Florence Pugh) before his marriage to Katherine “Kitty” Oppenheimer. His romance to Tatlock continued despite the marriage. “Any time you’re challenging yourself to work in areas you haven’t worked in before, you should be appropriately nervous and appropriately careful and planned and prepared,” Nolan recently told Insider when asked about filming sex scenes for the first time.

The lessons learned in this pitch-black German-Bulgarian co-production are very grim indeed, a social-realist drama that takes an unexpectedly shocking turn at its harrowing climax. The film’s recent win at Karlovy Vary, where it took the Grand Prix in the Crystal Globe Competition, should give it a welcome boost on the arthouse circuit, but the unwary are warned that Stephan Komandarev’s latest feature packs a punch not seen since Lars Von Trier or Michael Haneke in their provocative prime.

Will Tizard Contributor In Karlovy Vary Film Festival competition entry “We Have Never Been Modern,” Czech director Matej Chlupacek takes on both the dangers of Utopian bubbles and the power of unbending faith in traditional gender concepts. The story, set in a Slovak company town built by a visionary industrialist, takes place on the eve of World War II, as a murder mystery threatens to upset the idealized community. The factory director’s wife Helena, played by Eliska Krenkova, is an aspiring doctor who is soon to give birth. But her rosy future is suddenly darkened by the discovery of the body of a newborn intersex baby in the factory’s courtyard.

Norwegian cinema has been enjoying a moment lately, what with Joachim Trier’s crowdpleasing The Worst Person in the World pulling up to Drive My Car in the Oscar race and Kristoffer Borgli’s Sick of Me carving out a rep on the festival circuit. The Hypnosis, Ernst de Geer’s feature debut, sits somewhere between the two of them, fashioning a fitfully funny relationship drama that tilts at some very modern windmills (coaches, gurus, new-tech start-ups, workshops that involve blue-sky thinking) within a framework similar to Kristian Levring’s 2008 Danish drama Fear Me Not, in which a man’s personality changes after he becomes addicted to an experimental drug. The Hypnosis doesn’t quite follow that film’s melodramatic course, but there are similar thoughts raised about the human mind.

Jessica Kiang At a festival the size and stature of the Czech Republic’s Karlovy Vary, new discoveries are a daily occurrence. But it is rare that at festival’s end, one of the most excitingly buzzy emergent names should be that of a filmmaker who died 27 years ago and who has languished in relative obscurity – certainly in the Anglophone world – ever since. And yet here we are, at the tail end of an 11-film Yasuzo Masumura retrospective – the biggest of its kind ever mounted at an international film festival – that has proved, in a word, revelatory.  It’s not just in terms of blowing the dust from this extraordinary, unjustly overlooked filmmaker’s catalog, but also in the broader sense of being an exemplary model for how to connect a vibrant, youthful regional audience to global film history. There is a classic film fan born every minute, but in Karlovy Vary this year, you could feel it happen in real time during the screenings of Masumura’s  “A Cheerful Girl” (1957), “Hoodlum Soldier” (1965), “Spider Tattoo” (1966) and so on.  

The 57th Karlovy Vary International Film Festival has concluded yet another wonderful week of cinematic discoveries. Previously announced awards were given to a variety of contributors to global cinema.

The 57th Karlovy Vary International Film Festival (June 30 – July 8) came to a close this evening with an awards ceremony that bestowed two key prizes to contemporary Bulgarian drama Blaga’s Lessons (Urotcite Na Blaga) by director Stephan Komandarev.

Will Tizard Contributor Bulgarian crime story “Blaga’s Lessons” by Stephan Komandarev scored the top prize and $25,000 at the 57th Karlovy Vary Film Festival on Saturday, capping a week of celebrating art film, stars and bold global work. With sold out screenings ranging from Russell Crowe introducing “Master and Commander: The Far Side of the World” to rare Japanese masterworks by Yasuzo Masumura and a tribute to actor Daniela Kolarova, Czech audiences proved once again to be hungry for every kind of film they cannot experience at any other venue. The Crystal Globe competition special jury prize, along with $15,000, went to “Empty Nets,” a German-Iranian gritty love story directed by Behrooz Karamizade.

Come one, come all, Insiders. Jesse Whittock back again this week to take you through the past week in international film and TV. Let’s get started. If you’re not already subscribed, click here and make that right.

Guy Lodge Film Critic It’s hard to watch “Empty Nets” and not think of “Luzzu,” the recent, poignant Sundance prizewinner from Malta: In both films, enterprising young men left in the lurch by a national financial crisis must resort to black-market fishing to, well, stay afloat. (All we need is a third film paddling in such forbidden waters to declare a new neo-realist trend.) In “Luzzu,” the protagonist was a lifelong fisherman passionate about his trade, while Behrooz Karamizade’s lean, engrossing, Iran-set debut centers on a handy novice merely looking to make a quick buck. In this economy, however, such differences prove immaterial. It doesn’t matter where you’re coming from, unless you’re coming from money: You’re otherwise all sinking below the surface.

The Karlovy Vary International Film Festival’s Eastern Promises industry strand has unveiled the winners of it’s project showcases, which took place at the fest from July 2-4.

Nick Vivarelli International Correspondent Riz Ahmed will be honoured by the Locarno Film Festival where the latest short in which the British actor appears – titled “Dammi” and directed by French auteur Yann Mounir Damage – will world premiere. Ahmed, who earned an Oscar nomination for best actor in 2021 for his performance as a drummer who suddenly goes deaf in Amazon’s “Sound of Metal,” will be feted by the Swiss fest dedicated to indie filmmaking cinema with with its 2021 Excellence Award Davide Campari, which pays tribute to film personalities who have left their personal stamp on contemporary cinema. “Dammi,” which was teased at Cannes, is an experimental work, broadly on the theme of immigration and identity, produced by French fashion brand  AMI, founded by Alexandre Mattiussi, and also starring Isabelle Adjani, Souheila Yacoub, Sandor Funtek and Suzy Bemba. The buzzed-about short will screen at Locarno’s 8,000-seat Piazza Grande, on opening night, Aug. 2, during the ceremony at which Amed will receive the award.

Will Tizard Contributor In Robert Hloz’s sci-fi feature debut “Restore Point,” second chances are big business. In the year 2041, anyone who has an unnatural death has the right to be brought back to life, provided they’ve dutifully created a backup of their personality called a “restore point.” Naturally, some object to the notion of artificially extending life ad infinitum, wherein the story begins to get complicated. “I wanted to make a sci-fi film since I was a little kid,” Hloz says, “but I would never guess that it will happen to be my debut. I thought maybe third, fourth film.”

You know the modern world is in a dark place when even a middle-aged Iranian woman says that things were better in the old days. Indeed, for his feature debut, director Behrooz Karamizade has fashioned an intelligent and thoughtful drama that should travel well in today’s climate of insecurity, offering a fresh perspective on a multiplicity of worldwide issues (trickle-down theory, the gig economy) while adding an especially nuanced subplot exploring the refugee crisis and the mechanics of people-trafficking.  

Brave is the man who will sign up for a real-life father-daughter road movie set the aftermath of an acrimonious divorce, but Ewan McGregor his no regrets about pairing up with his eldest child — by his first wife — for You Sing Loud, I Sing Louder, which screened as a tribute to the actor in Karlovy Vary. Set in a dreamlike American West, and very far removed from the specifics of the McGregors’ own personal situation, it finds a reformed alcoholic dad trying to reconnect with his offspring after collecting her from hospital. She thinks they’re off to visit an artist friend of her father’s, but the truth is that, in a bid to absolve himself of many years’ worth of guilt, he’s taking her to rehab.

The raucous period drama “Firebrand” was the official opening-night film at the 57th annual Karlovy Vary International Film Festival on Friday night in the spa resort town outside Prague, but there was a lot more going on in and around the Grand Hall at the Hotel Thermal than just the on-screen battle between Alicia Vikander’s Catherine Parr and Jude Law’s King Henry VIII. It also included the presentation of awards to Vikander and Russell Crowe, the usual complement of opening-night speeches, an extended dance number that appeared to be performed on ice skates (though it wasn’t on ice but on an artificial surface that mimicked ice but could be walked on safely) and, during breaks and after the movie, complete concerts by the British band Morcheeba and by Crowe’s nine-piece band, Indoor Garden Party.

The 57th Karlovy Vary Film Festival opened last night with a spirited musical performance from Russell Crowe, and the energy remained high this evening with actor Ewan McGregor in town to receive the fest’s honorary President’s Award.