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Unlikely to be coming to a cinema near you...

After something of a hiatus, say hello to the absurdities of the EU's attempts to get into the movies, so to speak:

"Akadimia Platonos, Die Fremde and Illégal were the three films shortlisted on Tuesday for the European Parliament's 2010 LUX film prize, during an event at the Venice International Film Festival. Like past LUX Prize contenders, these films speak to Europeans' hearts and identities, forcing us to ask ourselves about our cultural and family relations, and the rules by which we live....
As with previous winners the 2010 LUX Prize winning film will receive European Parliament financial support for subtitling the film into all the 23 official languages of the European Union (EU), (So it will be inflicted on the Maltese, inter alia.  C) an adaptation of the original version for the visually- or hearing-impaired, and the production of a 35 mm print per EU member state.

And the synopses of the three.  I am *NOT* making these up.


Akadimia Platonos (Plato's Academy)

Every day Stavros raises the metal shutters of his cigarette store, puts out the newspapers in front and then sets out the chairs where he and his friends sit all day, looking out on the dusty intersection and surrounding grey buildings that shelter their businesses. They’re all very proud of the way their dog Patriot, on the opposite pavement, barks at every passing Albanian. Stavros and his friends don’t like these foreigners even though they’re willing to do the jobs the Greeks won’t do, nor do they like the recently arrived Chinese. By the store’s entrance, Stavros’ increasingly senile mother mopes in an armchair, regardless of the affectionate care lavished on her by her devoted son. Then one day she suddenly falls upon an Albanian worker, embracing him and calling him «my son» in Albanian. In fact, what does Stavros really know about his parents? His mother has always told him that after his father died up north, she moved to Athens, when he was but a year old. Now Stavros’ pals start looking askance at him: is he Greek or Albanian? Does he really have the right to sing the racist little ditty: «Albanian, Albanian, you’ll never become a Greek…»?
And there's more...


Die Fremde (When we leave)
What would you sacrifice for your family’s love? Your values? Your freedom? Your independence? German-born Umay flees her oppressive marriage in Istanbul, taking her young son Cem with her. She is hoping to find a better life with her family in Berlin, but her unexpected arrival creates intense conflict. Her family is trapped in their conventions, torn between their love for her and the values of their community. Ultimately they decide to return Cem to his father in Turkey. To keep her son, Umay is forced to move again. She finds the inner strength to build a new life for her and Cem, but her need for her family’s love drives her to a series of ill-fated attempts at reconciliation. What Umay doesn’t realize is just how deep the wounds have gone and how dangerous her struggle for self- determination has become.




And yet more:

Illégal

Tania and her 14 year-old son Ivan are illegal immigrants from Russia, who have been living in Belgium for 8 years. In a permanent state of alert, Tania lives in constant fear of having her identity checked by the police - until the day she is arrested. Mother and the son are separated. Tania is placed in a holding centre. She does everything in her power to find her son again, in spite of the constant threat of deportation hanging over her head.
Each of the directors has worked out on which side of the bread lies the butter, and seem to have got their Sally Field-type speeches in early

Akadimia Platonos director Filippos Tsitos - "Making small, independent, non-English speaking movies nowadays can be compared to swimming in a wild ocean at night. You constantly feel like you are about to drown. So you are thankful for anything that helps you stay out of the water.”

To which one might rebut that it is a bit selfish to expect the coastguard to shadow one's nocturnal swimming excursions...

Die Fremde director Feo Aladag "We would like to address our very special thanks to the European Parliament for promoting European films in order to make them cross borders and travel around Europe through the LUX Prize, to reach a widespread audience and to promote diversity, solidarity and hope in our societies."

'Widespread', eh Feo?  Don't count on it.


Illégal director Olivier Masset-Depasse: “I hope to create as wide a debate as possible across Europe. The LUX Prize would be an excellent starting point as wide a dissemination of this film as possible.”

Claiming to want to 'start a debate' etc is, I think, invariably a lie.  What it actually means is, 'I want you to agree with me'.

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Blogger Chalcedon said... 3:53 pm

OMG they sound like most European films, utterly, utterly boring as hell. I though Death n Venice was the epitome of tedium but then we get these three. Considering someone reckons they are the best, the worst must be Guantanamo Bay standard.  



Blogger JuliaM said... 4:57 pm

Government sponsored art. Yes, it's precisely as horrid as that phrase would suggest, isn't it?  



Anonymous Time will Tell said... 8:45 pm

Jeremy Hunt has closed down the British Film Council as a waste of money. But there is little prospect of Brussels being so sensible - after all it would mean that the EC has made a mistake and that would never do.  



Anonymous kavak yelleri 125. bölüm izle said... 7:46 am

thank you  



Anonymous Andrew - yournetbiz said... 10:21 pm

earn extra money from home and Invest in the british film industry  



Blogger Pudsey Pindoctor said... 10:16 am

Pah ... films are so last season.

They are apparently developing a persistent online world, based on the EU parliament, which the meeja are dubbing World of Statecraft: http://www.guardian.co.uk/world/2010/aug/06/eu-parliament-role-playing-game-online  



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