Previous winners include Roger Deakins, Charlotte Bruus Christensen.
Swedish cinematographer Annika Summerson has won the National Film and Television School (Nfts)’s Sue Gibson Bsc Award for cinematography, for her work on Bassam Tariq’s Mogul Mowgli.
Nfts alumna Summerson is the fifth winner of the award from the UK film school, joining previous winners Charlotte Bruus Christensen, Roger Deakins, Jakob Ihre and last year’s winner Natasha Braier.
The award was established in memory of Nfts alumna Gibson, who was the first woman to be invited to join the British Society of Cinematographers and its first female president.
Summerson...
Swedish cinematographer Annika Summerson has won the National Film and Television School (Nfts)’s Sue Gibson Bsc Award for cinematography, for her work on Bassam Tariq’s Mogul Mowgli.
Nfts alumna Summerson is the fifth winner of the award from the UK film school, joining previous winners Charlotte Bruus Christensen, Roger Deakins, Jakob Ihre and last year’s winner Natasha Braier.
The award was established in memory of Nfts alumna Gibson, who was the first woman to be invited to join the British Society of Cinematographers and its first female president.
Summerson...
- 9/7/2021
- by Ben Dalton
- ScreenDaily
Camera crews can be very heteronormative and there is a lot of toxic masculinity, argued Dp Michael Filocamo during the online Imago and Digital Orchard Foundation Diversity and Inclusion Roundtable at Camerimage. Also noting the current situation in Poland and even calling out the festival itself.
“As a queer cinematographer, I have experienced homophobia from the official Camerimage security guards at the official Camerimage venues,” he said, mentioning that other colleagues were spat on or forced to change accommodation upon arrival in Poland. But such behavior can be also experienced on set.
“Once, I had another camera assistant say to me: ‘Thank god it’s Friday and we don’t have to be around these pink people anymore.’ It creates anxiety,” he said. “We all know high-level queer DPs and they should come out, because we need to start talking about it openly. If there is one thing we learnt...
“As a queer cinematographer, I have experienced homophobia from the official Camerimage security guards at the official Camerimage venues,” he said, mentioning that other colleagues were spat on or forced to change accommodation upon arrival in Poland. But such behavior can be also experienced on set.
“Once, I had another camera assistant say to me: ‘Thank god it’s Friday and we don’t have to be around these pink people anymore.’ It creates anxiety,” he said. “We all know high-level queer DPs and they should come out, because we need to start talking about it openly. If there is one thing we learnt...
- 11/21/2020
- by Marta Balaga
- Variety Film + TV
Film review: 'Solomon & Gaenor'
Just like Romeo and Juliet, the title characters in "Solomon & Gaenor" embark on a doomed love affair of classically drawn proportions.
But thanks to first-time feature filmmaker Paul Morrison's insightful, carefully nuanced script and tender performances by a well-
chosen cast, this affecting story about the ill-fated romance between a Welsh miner's daughter and an Orthodox Jewish storekeeper's son at the turn of the 20th century has plenty of atmosphere to compensate for any predictability.
An Oscar nominee this year for best foreign language film (courtesy of the subtitled Welsh and Yiddish dialogue mixed in with the English), the Sony Pictures Classics release should attract a solid art house following and establish documentarian and practicing psychotherapist Morrison as a promising new talent.
Ioan Gruffudd is Solomon, the eldest son in a Jewish immigrant family whose parents run a pawnshop with a fabric-peddling business on the side. While on one of his door-to-door excursions in the local Welsh Valley, he meets and immediately becomes smitten with Gaenor (Nia Roberts), whose father (William Thomas) and prone-to-
violence brother Mark Lewis Jones) work in the mines.
The attraction is achingly mutual. But Solomon, uncomfortable with his cultural identity, tells her his name is Sam Livingstone. He also creates a fictional background for himself and his family.
As fate would have it, their subsequent heated romps in the stable lead to Gaenor being denounced in church by her intended (Steffan Rhodri) for "being with child and for fornicating with a stranger."
She and Solomon ultimately decide to run away together, but they find their plans thwarted by prevailing racial tensions brought to a head by a lengthy mining strike, not to mention respective family members who are less than encouraging of the relationship.
While it's pretty clear they're not headed for a happily ever-after finale, you still hold out hope, mainly because of the palpable chemistry that exists between Roberts and Gruffudd. They generate a convincing spark of sexual electricity that is often missing in conventional screen romances.
They're surrounded by a seasoned cast of character actors who follow the example of Morrison's delicate script by staying respectfully clear of anything resembling caricature.
Factor in Nina Kellgren's textured cinematography and Ilona Sekacz's moody yet subdued score, and you've got a class act of a story that is as universal in theme as it is unique in its selection of time and place.
SOLOMON & GAENOR
Sony Pictures Classics
Director-screenwriter: Paul Morrison
Producer: Sheryl Crown
Executive producers: Andy Porter, David Green
Director of photography: Nina Kellgren
Production designer: Hayden Pearce
Editor: Kant Pan
Costume designer: Maxine Brown
Music: Ilona Sekacz
Color/stereo
Cast:
Solomon: Ioan Gruffudd
Gaenor: Nia Roberts
Rezl: Maureen Lipman
Isaac: David Horovitch
Idris: William Thomas
Crad: Mark Lewis Jones
Running time -- 100 minutes
MPAA rating: R...
But thanks to first-time feature filmmaker Paul Morrison's insightful, carefully nuanced script and tender performances by a well-
chosen cast, this affecting story about the ill-fated romance between a Welsh miner's daughter and an Orthodox Jewish storekeeper's son at the turn of the 20th century has plenty of atmosphere to compensate for any predictability.
An Oscar nominee this year for best foreign language film (courtesy of the subtitled Welsh and Yiddish dialogue mixed in with the English), the Sony Pictures Classics release should attract a solid art house following and establish documentarian and practicing psychotherapist Morrison as a promising new talent.
Ioan Gruffudd is Solomon, the eldest son in a Jewish immigrant family whose parents run a pawnshop with a fabric-peddling business on the side. While on one of his door-to-door excursions in the local Welsh Valley, he meets and immediately becomes smitten with Gaenor (Nia Roberts), whose father (William Thomas) and prone-to-
violence brother Mark Lewis Jones) work in the mines.
The attraction is achingly mutual. But Solomon, uncomfortable with his cultural identity, tells her his name is Sam Livingstone. He also creates a fictional background for himself and his family.
As fate would have it, their subsequent heated romps in the stable lead to Gaenor being denounced in church by her intended (Steffan Rhodri) for "being with child and for fornicating with a stranger."
She and Solomon ultimately decide to run away together, but they find their plans thwarted by prevailing racial tensions brought to a head by a lengthy mining strike, not to mention respective family members who are less than encouraging of the relationship.
While it's pretty clear they're not headed for a happily ever-after finale, you still hold out hope, mainly because of the palpable chemistry that exists between Roberts and Gruffudd. They generate a convincing spark of sexual electricity that is often missing in conventional screen romances.
They're surrounded by a seasoned cast of character actors who follow the example of Morrison's delicate script by staying respectfully clear of anything resembling caricature.
Factor in Nina Kellgren's textured cinematography and Ilona Sekacz's moody yet subdued score, and you've got a class act of a story that is as universal in theme as it is unique in its selection of time and place.
SOLOMON & GAENOR
Sony Pictures Classics
Director-screenwriter: Paul Morrison
Producer: Sheryl Crown
Executive producers: Andy Porter, David Green
Director of photography: Nina Kellgren
Production designer: Hayden Pearce
Editor: Kant Pan
Costume designer: Maxine Brown
Music: Ilona Sekacz
Color/stereo
Cast:
Solomon: Ioan Gruffudd
Gaenor: Nia Roberts
Rezl: Maureen Lipman
Isaac: David Horovitch
Idris: William Thomas
Crad: Mark Lewis Jones
Running time -- 100 minutes
MPAA rating: R...
- 8/25/2000
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.