Jean-Michel Basquiat: The Radient Child
filmswelike Announces Line-Up of International Films to Open at Bell Lightbox
18/08/10 14:03
Toronto, Monday, August 16, 2010
FilmsWeLike, the independent distribution company headed by filmmaker Ron Mann is pleased to announce that the 2010 Palme d’Or winner Uncle Boonmee Who Can Recall His Past Lives (Lung Boonmee Raluek Chat); I Wish I Knew (Hai Shang Chuan Qi) - the new film from master Chinese filmmaker Jia Zhang-Ke; The Light Thief (Svet-Aki) a delightful gem from Kyrgyzstan’s Aktan Arym Kubat and Tamra Davis’ Jean-Michel Basquiat: The Radiant Child will open at the Bell Lightbox this fall.
Opening on Thursday, September 23 at the Bell Lightbox - Thai director Apichatpong Weerasethakul’s magical-surrealist film Uncle Boonmee Who Can Recall His Past Lives (Lung Boonmee Raluek Chat) - the story of an old man suffering from kidney failure who prepares to die and encounters his dead wife, his missing son (who's been transformed into a laser-eyed monkey ghost) and a princess who has sex with a catfish, took the Palme d’Or at the 63rd Cannes film Festival. Inspired by a book by a Buddhist abbot recording accounts of people who remembered their past lives, the film was shot in Isan, in Thailand’s north-east where Weerasethakul spent his childhood.
Uncle Boonmee Who Can Recall His Past Lives is the final installment in a multi-platform art project called Primitive. Previous installments include a seven-part video installation and the two short films A Letter to Uncle Boonmee and Phantoms of Nabua.”
Working outside the strict confines of the Thai studio system, Apichatpong Weerasethakul is an independent Thai film director, screenwriter, and film producer. His feature films include Tropical Malady, which won a jury prize at the 2004 Cannes Film Festival, Blissfully Yours, which won the top prize in the Un Certain Regard program at the 2003 Cannes Film Festival, and Syndromes and a Century, which premiered at the 63rd Venice Film Festival and was the first Thai film to be entered in competition there.
Opening on Thursday, October 7 at the Bell Lightbox is Tamra Davis’ Jean-Michel Basquiat: The Radiant Child. In his short career, Jean-Michel Basquiat was a phenomenon. He became notorious for his graffiti art under the moniker Samo in the late 1970s on the Lower East Side scene, sold his first painting to Deborah Harry for $200, and became best friends with Andy Warhol. Appreciated by both the art cognoscenti and the public, Basquiat was launched into international stardom. However, soon his cult status began to override the art that had made him famous in the first place.
Director Tamra Davis pays homage to her friend in this definitive documentary but also delves into Basquiat as an iconoclast. His dense, bebop-influenced neoexpressionist work emerged while minimalist, conceptual art was the fad; as a successful black artist, he was constantly confronted by racism and misconceptions. Much can be gleaned from insider interviews and archival footage, but it is Basquiat's own words and work that powerfully convey the mystique and allure of both the artist and the man.
Opening on Thursday, November 11 at the Bell Lightbox, critically acclaimed Chinese director Jia Zhan-Ke (24 City, Still Life) turns to the history and people of Shanghai in his newest film I Wish I Knew.
Like his last film, 2008's 24 City,, Jia Zhan-Ke’s I Wish I Knew (Hai Shang Chuan Qi), which screened at 2010 Cannes in Un Certain Regard, is a documentary/fiction hybrid about modern-day China. Where 24 City took a personal focus on the citizens of a Chinese town affected by the construction of a high-rise condominium, I Wish I Knew takes a broader view, examining the history of Shanghai as viewed from the present. Jia Zhan-Ke’. Eighteen people from Shanghai, Taipei and Hong Kong recell their lives in Shanghai. Their personal experiences, like eighteen chapters of a novel, tell stories of Shanghai lives from the 1930s to 2010. Jia Zhan-Ke said “I came to Shanghai with my movie camera and traced the footsteps of Shanghaiers who left this city for Taiwan and Hong Kong. Shanghai is closely tied to the lives of almost every important historic figure in the modern history of China. And events of national significance in the life of the city also destined Shanghaiers for lives of painful, life-long separation. When I sat face-to-face with characters in my film, and listened to them talk every so calmly about the hair raising events in their pasts, I suddenly realized what it was that I captured with my camera: a dream of freedome twinkling in their eyes.”
Opening Thursday, November 18 at the Bell Lightbox is Krygyz filmmaker Aktan Arym Kubat’s third feature, The Light Thief (Svet-ake). Completed before the April 2010 popular uprising against the deeply corrupt regime of Kyrgyz President Kurmanbek Bakiyev, the failures of post-Soviet Kyrgyz democratization come to roost in a remote village in Kubat’s tragi-comic fable. Unfolding in short vignettes The Light Thief is stylistically similar to his earlier works "The Adopted Son" and "The Chimp"
Played by the director, Svet-ake (the film's original title, which literally means "Mr. Light") is the electrician of a remote, impoverished village in the Kyrgyz mountains. The villagers turn to him for help with their constantly short-circuiting electricity (which he often steals for them from the town hall) and personal problems. For his part, the kind, spirited father of four daughters has two dreams: to have a son and to bring cheap, wind-powered energy to the valley.
Although not specified, the film is set in early 2005, during the Tulip Revolution that overthrew the government. There are no demonstrations in Svet-ake's little village, but the changing times are felt nonetheless.
Progress, good and bad, is personified by Bekzat (Askat Sulaimanov), a dubious young tycoon who has returned to his native village looking to buy land and go into business with even shadier Chinese investors. He promises to finance Svet-ake's surprisingly modern windmills if the latter works for him. Initially trusting of Bekzat, the electrician soon realizes that the changes he is bringing go hand in hand with the death of centuries-old traditions.
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Apichatpong Weerasethakul, director of Uncle Boonmee Who Can Recall His Past Lives is available in Toronto for interviews on September 16, 2010
Press kits and images for all 4 films are posted on the FilmsWeLike website:
http://www.filmswelike.com/films/uncleboonmee/
http://www.filmswelike.com/films/basquiat/
http://www.filmswelike.com/films/wish
http://www.filmswelike.com/lightthief
For further information on Uncle Boonmee, I Wish I Knew and The Light Thief please contact:
V Kelly & Associates
For further information on Jean-Michel Basquiat: The Radiant Child please contact:
Gary Topp
FilmsWeLike, the independent distribution company headed by filmmaker Ron Mann is pleased to announce that the 2010 Palme d’Or winner Uncle Boonmee Who Can Recall His Past Lives (Lung Boonmee Raluek Chat); I Wish I Knew (Hai Shang Chuan Qi) - the new film from master Chinese filmmaker Jia Zhang-Ke; The Light Thief (Svet-Aki) a delightful gem from Kyrgyzstan’s Aktan Arym Kubat and Tamra Davis’ Jean-Michel Basquiat: The Radiant Child will open at the Bell Lightbox this fall.
Uncle Boonmee Who Can Recall His Past Lives is the final installment in a multi-platform art project called Primitive. Previous installments include a seven-part video installation and the two short films A Letter to Uncle Boonmee and Phantoms of Nabua.”
Working outside the strict confines of the Thai studio system, Apichatpong Weerasethakul is an independent Thai film director, screenwriter, and film producer. His feature films include Tropical Malady, which won a jury prize at the 2004 Cannes Film Festival, Blissfully Yours, which won the top prize in the Un Certain Regard program at the 2003 Cannes Film Festival, and Syndromes and a Century, which premiered at the 63rd Venice Film Festival and was the first Thai film to be entered in competition there.
Director Tamra Davis pays homage to her friend in this definitive documentary but also delves into Basquiat as an iconoclast. His dense, bebop-influenced neoexpressionist work emerged while minimalist, conceptual art was the fad; as a successful black artist, he was constantly confronted by racism and misconceptions. Much can be gleaned from insider interviews and archival footage, but it is Basquiat's own words and work that powerfully convey the mystique and allure of both the artist and the man.
Like his last film, 2008's 24 City,, Jia Zhan-Ke’s I Wish I Knew (Hai Shang Chuan Qi), which screened at 2010 Cannes in Un Certain Regard, is a documentary/fiction hybrid about modern-day China. Where 24 City took a personal focus on the citizens of a Chinese town affected by the construction of a high-rise condominium, I Wish I Knew takes a broader view, examining the history of Shanghai as viewed from the present. Jia Zhan-Ke’. Eighteen people from Shanghai, Taipei and Hong Kong recell their lives in Shanghai. Their personal experiences, like eighteen chapters of a novel, tell stories of Shanghai lives from the 1930s to 2010. Jia Zhan-Ke said “I came to Shanghai with my movie camera and traced the footsteps of Shanghaiers who left this city for Taiwan and Hong Kong. Shanghai is closely tied to the lives of almost every important historic figure in the modern history of China. And events of national significance in the life of the city also destined Shanghaiers for lives of painful, life-long separation. When I sat face-to-face with characters in my film, and listened to them talk every so calmly about the hair raising events in their pasts, I suddenly realized what it was that I captured with my camera: a dream of freedome twinkling in their eyes.”
Played by the director, Svet-ake (the film's original title, which literally means "Mr. Light") is the electrician of a remote, impoverished village in the Kyrgyz mountains. The villagers turn to him for help with their constantly short-circuiting electricity (which he often steals for them from the town hall) and personal problems. For his part, the kind, spirited father of four daughters has two dreams: to have a son and to bring cheap, wind-powered energy to the valley.
Although not specified, the film is set in early 2005, during the Tulip Revolution that overthrew the government. There are no demonstrations in Svet-ake's little village, but the changing times are felt nonetheless.
Progress, good and bad, is personified by Bekzat (Askat Sulaimanov), a dubious young tycoon who has returned to his native village looking to buy land and go into business with even shadier Chinese investors. He promises to finance Svet-ake's surprisingly modern windmills if the latter works for him. Initially trusting of Bekzat, the electrician soon realizes that the changes he is bringing go hand in hand with the death of centuries-old traditions.
-30-
Apichatpong Weerasethakul, director of Uncle Boonmee Who Can Recall His Past Lives is available in Toronto for interviews on September 16, 2010
Press kits and images for all 4 films are posted on the FilmsWeLike website:
http://www.filmswelike.com/films/uncleboonmee/
http://www.filmswelike.com/films/basquiat/
http://www.filmswelike.com/films/wish
http://www.filmswelike.com/lightthief
For further information on Uncle Boonmee, I Wish I Knew and The Light Thief please contact:
V Kelly & Associates
For further information on Jean-Michel Basquiat: The Radiant Child please contact:
Gary Topp
filmswelike Acquires JEAN-MICHEL BASQUIAT: THE RADIANT CHILD
23/06/10 16:07
JEAN-MICHEL BASQUIAT: THE RADIANT CHILD a film by Tamra Davis
In his short career, Jean-Michel Basquiat was a phenomenon. He became notorious for his graffiti art under the moniker Samo in the late 1970s on the Lower East Side scene, sold his first painting to Deborah Harry for $200, and became best friends with Andy Warhol. Appreciated by both the art cognoscenti and the public, Basquiat was launched into international stardom. However, soon his cult status began to override the art that had made him famous in the first place.
Director Tamra Davis pays homage to her friend in this definitive documentary but also delves into Basquiat as an iconoclast. His dense, bebop-influenced neoexpressionist work emerged while minimalist, conceptual art was the fad; as a successful black artist, he was constantly confronted by racism and misconceptions. Much can be gleaned from insider interviews and archival footage, but it is Basquiat's own words and work that powerfully convey the mystique and allure of both the artist and the man.
Featuring interviews with Julian Schnabel, Larry Gagosian, Bruno Bischofberger, Tony Shafrazi, Fab 5 Freddy, Jeffrey Deitch, Glenn O'Brien, Maripol, Kai Eric, Nicholas Taylor, Fred Hoffmann, Michael Holman, Diego Cortez, Annina Nosei, Suzanne Mallouk, Rene Ricard, among many others.