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Anna Polibina-Polansky


Our epoch lasts until we create films and festivities. It is not going to be up copied, repeated or reminded. 515 of my films (including shortcuts and arthouse) are finished up with a movie of my half-uncle Micelangelo Antonioni and his Italian filmography. Tonino Guerra was also amongst my acquaintances of the last century, but Antonioni and Pazolini are of unique meaningfulness to my genres. Anna Polibina-Polansky. *****

Experimental shortcut films by Anna Polibina-Polansky, a filmmaker originating from Moscow, are characterized by the genre-and-thematic novelty and by the fresh tools for embodiment of  the plot. Anna screens films of the silver age of the Russian poetry (predominantly in English, at her own equity-rhythmic stanzas), of oriental and country-discovering subjects, of half-forgotten talented people and their lost estates in Russia, of Russian and European monasteries of the 16-17th centuries. Her films embrace a gamma of plots and protagonists, of stylistic manners and metaphoric gadgets. They are up screened in English, French, Italian, Russian and Spanish. Anna translates poetry into English and French, from Arabian, Persian, Turkish, Italian, Russian, Spanish.

Among her characters, there are: Dickinson, Pozzi, Pluth and Sexton, Verlaine and Baudlaire, Dali and Eloire, Appaulinaire, Prevert and de Nerval, Yeats and Keats, Byron and Coleridge, Machado and Lorca, Neruda and Ibanez, G.-A.Becquer and J.Updike, R.Stone and Tr.Capote, T.Williams, Cavafis and Elitis; nearly every representative of the Russian silver age in poetry, including the poetic followers of Akhmatova and her envvironment...'

She organizes demonstrations of her films, for various audiences, in Europ, Asia, Africa, Latin America, Australia (nerly worldwide). The most  Nothern, Arctic areas are of her special interest (because of mixed Arabian-Aleutan ancscestry). She has shown her poetic (lyric) films-essays in Poland, Germany, Russia, France, Switzerland, Italy, Malta, so far. She is waiting for invitations of her thematic movie programs to your  area (she takes no fee for shwings themselves, the demonstrations are totally altruistic). She propagandizes acute feeling for istory, genres of arts, creative personalities - artisans for those genres.

Anna Polibina-Polansky is a script writer, a director and an organzer for the video rows of her films-essays. She has gathered crops of diplomas, grand-prix and golden statues of international film festivals (in Moscow, New York, Paris, Valette, Strasbourg, Berlin, Basel) for her experimental films, so far. Her monocineartstudio has existed for 15 years already; it is simultaneously a lab for her genres and stylistic manners.

Currently Anna screens up plots at the genre of Oriental poetic-and-experimental films. She has issued 60 shortcut (from 10 up to 30 minutes, the length of each) over a variety of themes, starting from the Middle Sea and Maghreb to Tibetan India, Mongolia, Japan and Korea. Actually genuine orientalists at the cinematograph of nowadays are very few. They stick to their former genre techniques and cultivate fresh stylistics due to the subtle visual and verbal practices of the traditional East. Anna's themes profoundly correlate with the history of Arabian countries and of the Far East. She introduces her plots, protagonists and themes at a variety of European ans Asian festivals, as those works have a lot to do with medieval history and the genre scale.

I ASK A BIT OF YOUR ATTENTION, CO-THINKERS, COLLEAGUES, GENRE WORSHIPERS, CRYTICISTS AND VIEWERS! Several postards with self-announcements for my genre works have completely and irrevocably disappeared from this site. You cannot enjoy my works, in a gamma of hues and at verbal colors, anymore. Obviously this sphere of the site (a layer) was seld off to thieves and marrodeurs, sort of criminals. Otherwise, this loss cannot be explained. I offer the former rulers to give up the false services of doubtful newcomers who have got nothing to do with arts and genre cinema, as it is. The competence of former masters (C.Robillard, Br. Chatelin) was ignorantly rejected. I offer to my European colleagues to discharge the presence of those newcoming criminals. If you appreciate my genres and works, deny the presence of this cut-off site in your life of Inet-users. Artful matters have disappeared with grest filmmasters of the prior epoch. Anna Polibina-Polansky

23.11.2019 My feature video reports (colorful narratives in English and French) from artful festivities and video rows of local (Moscow) festivals are now a part of video reality. Emily Dickinson, Zurab Tsereteli, the silver age poets and artists now have become my protagonists, as well as Antonia Pozzi, Salvador Dali, Paul Valerie, Virginia Wolfe  and Anne Sexton. My character, Anna Akhmatova, received her laureate's prize from the hands od Ernst the Unknown and L.G.Parfyonov. So the outer destinies of my protagonists grow to become another reality and an independent life.

My genres greatly vary, and the stylistics for videorows changes depending at the theme. Authenticity correlates to life prospective of the protagonist. The theoretical scale goes tightly alongside with the practical angle for the theme and the style. Anna Polibina-Polansky, Moscow, +7-925-331-2422.

Poetizing by Anna Polibina-Polansky

*** Another wintry season here in Russia.

Snegurochka is given here, for Masha.

So we are talking of another season.

The dome of heavens is cut up by scissors.

I think up riddles   and discounted prices.

It is yet less that no will or crisis.

Up blended, foamy splinters come to ices.

So fleas are equitated to black lice, yet.

 I spend another winter at the Black Sea...

It is enough not to look up at taxes,

Nor to diminishing of sums and incoms.

The nature does repose. The beach is stinking.

There have been winters, better, softer, lighter,

This season, as I render now, for righteous.

Remarkable aer thighs and knees and ankles.

But I dream, for the most, of storms and ankors.

November, 2019; the Crymea 

***

The tankard of the sun

Is getting multiplied.

It takes years, to get sunk.

The sea game isn't light.

The tar of arrows red

Are coming from beyond.

Deep sorrows, tears, regrets.

The bad comes at a bond.

Get tanned at orchards' bloom..

Pich up a nosegay...

The spring is such a loom:

For your eyes, here's a game!

*** New England, what a mixture!

Though tarnished is the picture.

The "hollandaise" fair tales

Are all for nightingales.

Immaculate are sphynxes

Of Russia. Goes ink, off.

The birds of upper latitudes!

Oh, fabulous is their entity!

Moths are all equalized

With crickets telling lies.

Great lakes reproach the bays:

The pain, it looks, off pays!

Of timber, stocks and bridges:

For epochs, they serve, ridges.

2019

My Maltese Mosaics

By Anna Polibina-Polansky

The Ambracian Gulf lies by the Ionic Sea.

The syrocco wind throws out its blooming seeds.

Afterwards, there will be yet another spring.

That is what the wind is daring to bring.

Stanzas of the Rothshields come out to the Naples.

So go destroyed the ancient chapels.

So by violin players the notes are prefelt.

So the conches and shellfish, in grades, go smelled.

So Byron walks Boracca gardens and villas.

So Phoenician orchards go grown with pynias, tuyas and willows.

November 2014, Malta - November 2019, Moscow

Una messa a Micelangelo Antonioni

The mess of Grana, one by Liste.

A cry. Adventure. Night. Eclypse.

Red desert lies ahead, ahead...

Zabriski-point. And female cats.

The league of herzogs, sacred dukes.

Pontano's lines can't be rebuked.

Oh, Saint Amrogio, Sforzesco.

Un'allegoria, grotesco.

Well, Pomponazzi e Ponquelli.

Milano, Ponti, Son Pirelli.

O Anyadelle and Ravenna,

O Specia, o shades and veins blue.

Take the initial - I'll turn

A serpent. All in vain, its spurns.

Toscana's victimizing blank,

Your fan is so of visual prank.

2019

* At a View of a Lagoon and Judecca

                     By Anna Polibina-Polansky (Malta-Moscow)

Lagoons are where eyes sojourn now.

Oh Thunderstorm, one of Giorgione.

Oh Tintoretto's proud kopts.

The faces of efebos join it:

"O, per piacere!" Take it hot!

San Marco. Porticus. Arcada.

The speel San Giorgio, in dark.

Of waves Judeccian, ruladas

Are heard, as if Paul's dogs do bark.

Academy, Korrer, Ka d'Oro.

Malicious Campanilla, doze!

Quadriga, amplify the horror!

These are the masks, to be  exposed.

2019

Sottovoce: una nipota de Micelangelo Antonioni

Che e passato e perche? Che cosa?

Il verso e sonoro e merviglioso.

Il Mortola, fortezza con il Duomo.

Airole, San Philippo, San Giacomo.

A Balci Rossie sobre la rocca -

O, io sonno ci, con una mocca.

Gli versi mi dirige la, al passo.

E io adesso sonno, mia frasa.

Val Nervi, Ventimiglia e Riviera -

Rivieraa dei fiori, Bordighera.

Ospidaletti e Bayardo, Pinya.

Giovanni Prati, Cieriana, Vinya.

Il Sanctuario della donna dell'Rovere.

Diano, Ciervo, Remo, Bodighera.

Verdegia, Loreto e Triora.

Bartolomeo - il rovere d'oro.

Oneglia, San Giovanne - Maraliano.

La ciesa San Batist' Agostiani.

Pornaccio, Torria, Piev' di Teco.

Diano Arentino, Ciusaveccia...

La villa Belveder, la cass' Faraldi.

Bajardo, Apricale, Perinaldo.

L'estate pontedacio riscaldo

Gle ovre - Maraliano e Cambiaso...

Imperia Onelia, Pontedassio.

Trekkani, Agienori e Savino.

Molini di Triora, Pantasina.

Canzone dell'afisha Aristona.

San Remo, Liguria di Madonna.

Anna Polibina-Polansky, Gli imagi d'Antonioni (Mosca-Malta)

Let us support the creative crew of Bruno et Clarisse, our colleagues, for each of their actions and ideas. Mr Bruno Chatelin and Mlle Clarisse Robillard, je suis avec vous! Anna Polibina-Polansky

I have seen purely hostile personalities who serve me opponents (probably bribed by Russians and former Russians). I wonder if I can help Bruno and Clarisse at their wavy route towards truth. Keep all your laureate's prizes and annulate those ones that were forced out away from you! The Hage and Strasbourg are alongside with us! To Bruno Ch-n and our co-thinkers. Social belonging means little at our way to fair awarding. I consider primarily my screen works, as my posessment and grand-prix for my lasting work and for my long experience at genres. The rheuthorics is simplistic: the aesthetic status of each work would be re-considered, and statues would be alienated. It is no good for white Easterners (i.e. Russians) to grab diplomas and statues from those ones who upplanedly deserve them for the offered material. The first page ought to be dismissed and totally revised. It is shameful to let into the conference those ones who keep the basic editor entangled. I keep the principle of liberty at any angle of aesthetics, and cheap prizes serve only provocative material for half-priced up screened canvas. Legitimate liberty ought to be universal and non-victimizing. The nation of francophones (Galles) have every trump for establishing policy, and violent actions in cinema are beforehand prohibited. Anna.

However unfortunate, we end up at a discordant note. In our epoch a conglomerate of respected film festivities can be rudely alienated and neglected by outer characters, unexplainably and chaotically, out of jealosy. Who hinders you to give basement to the festivity at your climate zone? Huh? Even the prises of Cote d'Azurre generally widely spectated can go to sporadic troops. It is yet hard to trust that Scorcese (the only up split face) in the context of postmodernity yet reveals the ethnic facade forr the genre.  Other characters of minor impact insult the tropheys of postmodernism at a smaller scale. So it sounds from here.

It is obvious that "The Sin", a cheap chronical immitation by K*, was directed for Rome, and they sent them a variant. However, his concession for the theme is visible. How can he prove that Micelangelo lived for marble, not for flesh? K* is a strict, let him out! Chamaeleonic smirks of an aged comic doesn't do! Queers also may keep to marriages, and no aged comic pretending to be a fashionable quibble may prove the opposite. Get away with the entire layer. Who let him into Rome? He was acclaimed to meet Tallinn nights with his hat on and to dream of Bertolucci and Pazoini, at least. A French lady Gagarina gave him too much chances. An abominable figure.

"The Carmine Frescoes of Joseph Brodsky: the Venetian Sheen" (2012). A Poetic film by Anna Polibina-Polansky. Prizes 2014-16: Nice, Sundance, the Cannes, Venetian Biennale.

"Overcoming the Name of Darkness" (2011), a poetic film by Anna Polibina-Polansky; in memory of O.S.Beglov, a missionary at Malta; 2015; probably -lanoterossa.it (a Sicilian festivity).

"I Give My Voice For Hopes and Mirth" ("Всё-ничего_0002") - a poetic dedication to my co-thinker and colleague, Mnsr Bruno Chatelin, a film cryticist and a festival organizer (the Cannes), currently victimized by Russian barbarians at cinema.

"That Scarce Creation Wounded With the Sense" (a film-essay of Marc Aldanov, a portraitist of Paul the First), 2012, directed and created by Anna Polibina-Polansky, Moscow - Malta; devoted to the French creators of film premiums at the Cote d'Azure. Firstly noted at the Tribeca Cinema, Manhattan, New York, in the year 2012.

"Poetic Cavafiana: the True Price of the Transgression" (of Cavafis, the best poetician of Brodsky). Firstly told of at the Moscow Embassy of Greece in 2017. Director-essayist for the movie - Anna Polibina-Polansky (Moscow).

"The Vague Harbor of the Redemption" (a colorful poetic film in English, two-parted), author - Anna Polibina-Polansky (Moscow), of Brodsky.Both sides of the Atlantic ocean granted diplomas to this film (2011).

"L'ange que peut amorcer mes espoires" (2018; regisseur-essayist - Anna Polibina-Polansky). Nice - 2109.

Poetic Films (court metrage)  by Anna Polibina-Polansky for "Le Marcher des Filmes aux Cannes - 2019".

"Dove siamo?" (Locarno - 2019).

""De tout ou bien de rien" (Mostra del cinema - La biennale veneciano).

en.montazne-kuce.info/1800-tsvetaeva-biography.html (an English movie and a poetic script by Anna Polibina-Polansky). Rotterdam; Santa Monica - 2019.

"Sans tes yeux" (Aspen Films - 2019), aprove par maestro  Charles Aznavoure a l'annee 2013, a Paris.

"Les couleurs et les gouts" (au style du siecle 19). Kustendorf.

"Avec les larmes" (Fantaspro)

"Un regard" (San Sebastian)

***

La joie est nait avec mes yeux...

En surcoit, votre vis, monsieur!

Million regards, million baisees,

Mille emotions - et c'est assez!

Au theatre, a la variete -

Bien sure, je peut dire que j'etait.

Les masques, les robes et les voiles -

Les gens vivent a la belle etoile.

Nous somme derriere, a fin du siecle -

Au centre de Paris, en regle.

On bon annee, mes chers amis!

Deja, c'est once et demi.

Les ombre de la balle sont partouts,

Loins et proches et desparus...

Les fleuves des garlandies, mon choix...

La vie vient a peur et a joie.

C'est ne q'un nouveau mais depat.

Ver le present - et quelques pas.

Souvent L'hiver

Aime de prier.

On ne joue pas avec les chers!

Les amoreux reprendent le tout.

La terre respire, le vent est doux.

L'Hiver prends de la vie, du coeur.

J'ai le besoin a cette blanche soeur!

Merci a Miguel et Corine de N-a pour le sujet! Moscou, Anna Polibina-Polansky

-Il inverno rafretto -

Buon Natale compresso

Nel tempo e nello spazio! Uno diverso dall'altro.

Non si puo recitare -

Gli versi per gle bambini.

E richiesto, devono usare -

La maschera attoriale

                    non puo bastare, -

Far passare -

La vita: non cambiando nulla. Del spirito - e un salto.

Ogni segue i fili della propianesistenza.

Nessuno assomiglia all'altro, massi o mini...

2019

- Commemorando di Dario Fo -

Uno dei capolavori

Dei cuori -

Di andare oltre -

La forza.

La proprieta e venduta.

Giutto, mio giutto!

Mia principessa,

Della vista e del discorso!

Giutto, lei e conosciuto.

Coppla aperta a grand' amore?!

Un riso contagioso e l'impareggiabile,

Il Dio e il diavolo.

El Linguaggio del regista e del Artisto,

La Buffonade d'esse un sposo.

Sposate l'anima al giullari...

Sonno con Lei, mii cari!

2019, Mosca

 

 

Verses in old-styled  ivrite by Anna Polibina-Polansky

Lahoma? Effafa, hahamim!

1

Lo ra, lo ra!

Beseder!

Tavi lanu la menorA

V'la sefer.

Kebashamaim,

Ershloim!

Naim meod!

Le hitra'ot.

Tshuva, utfila, ucdaka.

Shena metukA.

Todah

Al ezrah!

Todah rabah!

Ma in'yanim?

Al ha panim?

Lehahir naim!

2

Shomer mitsarot nafsho!

Refuashlema!

Shtika - syag lahomA!

Hag sameah!

Shimri al atsmah!

Tsedek tirdof. Yihye tov.

Shalom uvraha!

Al tadik et haverhA...

GdolA tsdakA.

Eyn somhin al anEs.

Al tidag - tidagA. MarbE kehasim - deagA...

Tova benaA umatimA. MarbE hohmA!

Tavi lanU - Hashbon, AvinU!

Et lehEm hukeinU!

Bazman azE -

Shum davAr zE.

Mar, kama zman ata ba Arets?

2020, Moscow

***MOre of Poems in Ivrite, by Anna Polibina-Polansky

- Lo BasmAn AzE - (Not in Our Days)

Ase lehA sefEr -

UkmE lehA havEr...

UtfilA...

GdolA...

UtsdakA...

Lo deagA...

AguelA...

Al tadIk et haverhA...

UvrahA...

Aem bayamIm

Aya al anisIm...

- Ani nesuA - (I am married)

- Ma inyanIm?

Asa lehA hahamIm -

ShebashmaIm.

Ad meA veesrIm.

AnI yodeAt al anisIm.

BedivreihEm!

BeezrAt pashEm...

Hag sameah!

Toda, Mashiah!

ItgaagAti elEha.

Leol'mEn,

Amen.

Yey ratsOn milefane-ha.

Toda rabah!

Toda al' ezrah!

MarbE yeshivA -

Tavi lanutshuvA.

BehatslahA!

Hevanti et haverhA.

2020, the City of Moscow

*** dait haverha - hahamim: reahein... al azaaru

(two wise interlocutors: colors of words)

An Excerpt in Hebrew, by Anna Polibina-Polansky

Ma inyanim, hahamim?

Al ha panim!

Naim lehakir, emir!

UvrahA!

Al tadik et haverha...

Al reahein leitvakeah.

Hag sameah, hag sameah!

YeshivA - ur'e gdolA v'aguelA.

Esh li osher.

En li osher. Eizeu osher?

Shomer osher - shomer

Al deagA.

Syag lahoma - shtikA.

Al tidag.

Shimri al atsma.

Be Allah.

Et hakol' - ak.

Yitkadesh shimA!

Leets ehad... loleahbirA,

dirA tovA veneA umatimA.

Tov maavrim et rOa agzerA.

Hitra'ot.

Naim meod!

Gam. Be haver adam... ur'e. UtsdakA!

UvrahA, lo deagA.

___________

- BehatslahA! Yitkamdesh shimha!

- Ma shlomha?

- Lyo tov misman. V'azE basman.

- Tov shem - ester al Betlehem!

Yei ratsOn milefanEha.

- Tavo mal'kuteha...

2020, Moscow

 

 

 

 

 

 

 

 

 

 

 

 


feed

By Anna A. Polibina-Polansky. Out of Joseph A. Brodsky.

Out of Joseph Brodsky

The English Poetic Translations, by Anna Polibina-Polansky

 

The Speech of the up Spilled Milk (1)
1
So the Christmas brings me the empty pocket.
So the publisher lingers with my novel. It's locked, yet.
So Muslim dates do infect Moscow and mock it.
I can't get up and return to the place
Of my buddy, it's crammed with crying kids.
And my slut is getting rid of her shit.
Everywhere, money is needed, or tons of wits.
I sit, and trembles of spite, my face.
2
Oh the cursed craft of a lyricist. But I'm quiet.
Phone is silent. Ahead is the diet.
I can borrow a sum from my boss. But a riot
Is aroused inside. It's like to borrow from a whore.
I can't loose all my independence.
I'd rather loose innocence. So the soul renders
The story of love, from afar. It's unending.
It's time, I'm alone, I'm in need, I'm bored.
January, 1967/ tr. October, 2020

Palazzo (4)
A dry post-festa night. The flag reminds
A horse. It chaws with lips, the air. Lanes
Are lit with moony rays. The sleeping monster sips
All "la citta". The statues and the puddles, get fewer,
The further they are, so, from "il palazzo".
The facades, well up molded, disappear.
The doors are not ajar.
The walls do keep the midnight silence, on guard and all alone.
Malicious are your own steps
And unprotected, all at once.
The air smells the seafood and the fish. The houses are over.
The moony way is spilling milk, yet, further.
Felucca does transpass the milky road.
And disappears giving one the sign
That you need now, walk backwards.


1970/tr. 2014 (Malta) - 2020 (Moscow)
 

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