now at three thirty pm on a saturday here mostly with all your headlines now nato has to end its seven month peroration in libya following the death of the country's i'll be a meanwhile the un to once and on such to exactly how colonel gadhafi and his son died images released after the capture suggest they were killed in violent lee in captivity. another round of anti corporate protests in new york has seen dozens of activists arrested despite the occupy wall street movement is still going strong and now inspiring copycat demos for social and economic change all of the world. and the widow of former russian agent alexander litvinenko admits that her husband worked for a intelligence services regulation has made it a full inquest launched five years off the coast died of radiation poisoning and run to. try to some of the headlines for the stuff that i hear or not see but not

what we discover whether people are happy with hollywood movies dominating big screens or if they're hungry for something else that's in spotlight right now. oh yeah and in the world coming to spotlight. on our team i'll bring our bank today my guest on the show. very hollywood movies are dominating big screens worldwide some make in terms of the budgets of soap and things but the lasting success of noncommercial movies at various trustable shows that people are hungry for alternative cinema so can this provide an anti the spectacular blockbuster the two one international contemporary film festival is ongoing you must tell and

this program director alex stayed with me and knows the. critics a cinema is going through his story. the so-called independent kind of these top box offices while hollywood blockbusters because we know the profound an artistic but on the whole critics complain cinema has become very predictable and it's hard to find a really a regional one that's why the two in one past was was created its organizers say they don't choose p.m.'s own directors names or of critics of any of their festival only features movies that surprised and perhaps. thank you very much for being with us thank you for inviting me welcome to the show well first of all to in was first of all what is to me all the while actually it doesn't mean what you perhaps would have suggested it's not about other children.

well this is definitely about. blurring the borders about different transcending much different kinds of cinema about blurring the border between. in cinema and contemporary art documentary and fiction. to commercialize cinema so all this about making cinema a unified space where we can explore we can well we can find something interesting where we can showcase the best findings in all their areas of creative work in cinema well i don't know that you call your first of all a contemporary thing for us to move all through first rules showing contemporary movies this is this idea of a festival and well not necessarily dwindle i mean there are wonderful film festivals that are pockets that are concentrated on retrospective for example i don't know given some films the chalk is contemporary focused they are sometimes

very talented to retrospect to get start your example berlin ali and san sebastian film festival well we are not the biggest film festival in the world so we we are trying to concentrate on what is important for in our days when actual casing we are not presenting retrospectives lots of. we are sort of trying to focus our attention on the trends that i don't want to be. interesting in bringing you a risk yes there is a rule you can to improve your which i dislike that will screw this a format i don't really understand what form it means i think they think a piece of work including movies can be good or bad but well this is it it can also be for three or six thing by knowing well the world this is only seventy four minis but still they see professions like yourselves very that every thursday will today has its own format is there

a format for your first of all tell you what films what movies fits into the tune wonderful world personally we are close. because i hate the word of mouth as well i mean. this is not about for much this is about the selection our selection of course has to be gone according to some creepier but one main criteria and we've got to strip the selection i believe out of all the first bill also in the world that we like or dislike but more i be worth it it doesn't work so. it's not about format we can include in one blockbuster movie in the competition if it's really a work of art i thought there were calls for personal expression but you know it's like vodka can't be out of form and so the cold. war or war many in.

other words. makes you feel good. if you're bad sometimes it doesn't the pound upon the vodka depends upon it that's what's near. well not only quantity but hang in the selection selection of their late selection of companies food there's a load. of this fuel for everything also do a movie here in circles so ok let's drop for a minute so do you the atmosphere of your festival there's that does it suppose that you have to have some some some special sort of movies because you said it could be anything including a blockbuster well it can be and if you only thing but in terms of guests first of all i would like to say certainly only guests who are really interested in what is going on for example or well i can name you some names you like to cause as a present of inquiry we've got for robert siegel

a wonderful american filmmaker who was the scriptwriter of wrestler. by. the main end of year is to invite people who are really interested in what's going on we are not inviting people from money when looking like an people to stroll on a red carpet this is completely irrelevant for us if we are inviting someone who says grown. this means that we are going to have a press conference of master classes meeting with no audience around we need the arts we hope not only the audience but the people who are invited or guests will be satisfied with us experience because the past twelve is a place for communication communication means communication between about audience and will be as it means of communication between their audience and the filmmakers and between filmmakers themselves because this is the best place to make friends

after all one of the papers quoted you as saying that your first of all your thoughts was main feature is to surprise at least this year doesn't mean that you would show a movie that's all for aesthetically but sharky surprising. well shocking doesn't necessarily about the heart to earth see some shocking scenes of violence for a person in december of in front of a camera and no shocking only means start we need to change the culture of coats for our movies because predictability i would say is the worst enemy of art in contemporary film and block on the phone because everything is predictable you know what to expect out of that and you just show out on you know straight submission out of the movie made by some well known filmmaker and what we really loud is

a sense of surprise when you have something of the liberals when you have something that really surprises few that can catch your underwear this is what we're searching for in the competition and obama competition for the new i os. i don't think predict predictability is so bad i mean for example if when characterizing a person when characterizing somebody who when people used to say it's brutal i mean this is no it's very hard to deal with unpredictable people unpredictable countries and predictable situations in life so why do we want life to be predictable and therms to be unpredictable there's that mean that films should be should be close to life. while it's. you know you're saying well there's this a good point actually in you know we really like a person like that person's life for. everything that surrounds us to be reliable i

once said predictable but reliable when the queen is lying out here on a certain kind of reaction. well we still need to explore something new because this is why we're here for her for i mean well this is for me. this is our with the idea of life to explore the unpredictable areas of creative enough in life in. art in everything because art of wise it would be simply boring you have a program this year. called bollywood strikes back these are the indian remakes of the most successful hollywood blockbusters are you showing these films just to satisfy the moscow public over why. well. warring where is the unpredictability well certainly

certainly all the films are shown to satisfy the demand in moscow partly because moscow audience because they're a very particular very specific audience with a very specific case but in terms of talking about this sort of program hollywood's trying strides bollywood strides back i think it's very encouraging an interesting idea because. when i first heard of their remake of mantle mount it's a cult movie by christopher nolan a famous hollywood director who took on their back and frank trunks was very famous in hollywood i'm all over the world and i'm from being maybe a remake of me i'm out of bar which is a very harsh and tough from our bottom easier and it's kind of a thriller with a very gripping one when i heard the play you may get three hour long you make up

part with songs and pouncers in bollywood i couldn't believe my own ears when i saw it i couldn't bring my own heart isn't. that all this is a true battle. now i mean what else on porn for this bollywood product of program is but in terms of imagination there are far beyond hollywood. in the program in other projects there within the framework of your festivals called generation campaigns who are the teachers and who are the students well the teachers are all well everyone who wants to come here i mean well. i hope that the president of the. robert siegel the scriptwriter of rust on my mansion already is going to be one of the lecturers and

i'm sure that some people from new york film academy will show up and would there's a. students all the students from films called around europe and around the world who are willing to comment who are willing to experience something you've. given not only experience something you've got to make a few. short more recently trying to prove to be presented at the closing ceremony says i was sitting there is a program director of the twenty one international contemporary from spotlight should we are there we take a break so stay with us we'll be back with this interview in.

the act. let's try for scenario australia i do want to tell you there's a room in the way i'm pleased to see the film on screen if you want to have sex go and have sex. thank. you. from the days of the manhattan project in one thousand forty two the university of california has been involved through the science of its provision and scientists and their relationship to the versity you see since day one has been in charge of researching designing and testing nuclear weapons and to some extent producing weapons every single on nuclear weapon inside

a arsenal was designed by university of california and. we don't want to go. to get a first you tell us who was selected as the because the army needed scientists to be there versus the physicians. a group of protesters interrupted a university of california border regions meeting to demand the school's severed ties with the nation's nuclear weapons program. welcome back to spotlight. just

a reminder that my guest on the show today is alexandra de vere's the program director of the two in one international contemporary film festival and i would say we started talking about different features of your film festival well let's talk about another one big first of all is have to face as well to win one most of the test was one is to promote non-conventional most of the customers want to promote now live and noncommercial and on the other hand they advertise movies for the wide public the they sort of are show them to the to the press to the public what role do you see as the principal row for your first. all the other two are you know what well what p.r.c. i think it's really relevant only for one phone first of all in the world which is

the council currently on the council first of all because. we loose also really really launching launching a firm morrow or as will in fillmore it's a competition now we counsel on first of all the conserve european and european distribution maybe the mis urban east but her otherwise no i don't believe so i mean home first of all it's always like to stress the fact part of film for wear shorts and for example for the competition underwear later distributed in the countries we have such successful examples for example we have i think of film. by my close friend potence alam co one of the best czech film filmmakers who made a. very interesting contemporary version of her own are so big brothers but dostoyevsky was picked up by the discussion russian distributors sending those

released after we print your idea i told her sold out i told him first of all but i wouldn't over it to me for a stroll and mainly i would see phone first of all it's a noncommercial launch pad for. our phones and that can gain some profit parked in a small theropods but you know like like we don't need lots of finance but about thirty miles become die says hold this is what it is the same thing goes for a so-called noncommercial movies. here say well actually the worst ten years have seen a renaissance in russian cinema from the deep throat crisis it's probably didn't need the raft. reports on that show. however you measure the success of the film industry walks office or international awards contemporary russian cinema and saw

the recent successful attempts at emitted in hollywood like for derby wonder trucks epic historical dramas want to move. five stars better of commercial success have been paved his way to holywood however he's nightwatch raised less money in europe than andres bergen serves the return which received the golden lion in venice a slow moving psychological drama managed to commercially beat a dance narrative with multiple twists and turns while russian commercial movies are quite really released outside the country and noncommercial counterparts keep conquering the world the last few years have tsunami example gretzky's triumph of knowledge is full with through a shot at a real station in the arctic reap the harvest of international awards another russian film silence triumphant premier with a twenty minute long stand in of ation in venice last year this year the count's

film festival awards vegan saves you lana and that success was followed by alexander's the core of snatching the venice is a golden lion with his false impressionistic he was unfaithful works by contemporary russian filmmakers to have great to appeal to viewers worldwide after all holywood produces no blockbusters on its own so may be the right thing for russian filmmakers is to stick to what same cure a long tradition of raising serious issues and focusing on the character's thoughts and feelings rather than their actions. well our reporter mentioned back when very small films there we also talk about the old one they really they really became popular he became popular in hollywood but on the air now do you think that it makes sense for russian filmmakers to try to imitate

blockbusters know they'll never be better than that how we would love a person is because because the the the whole history of russian cinema is like thought provoking likelike very very negative. films is not true. well it's a double whammy. to imitate anything from the specially hollywood style bart if people are inclined to. kind of action movies like. like they make it in hollywood well the best ways to just to spend your last money for a ticket to california to i don't know to find a temperate job as a waiter in mcdonald's and try to turn right on through the suggestion or the scripts or projects or if you're an actor or a total. screen time are solve whatever because hollywood is in the past

place to to to try to action films aren't well if you were inclined to do something ass i think russia is by far not the worst place in the world because we still have a certain african states ward for debut film or or two or filmmakers. i would say you can. you can make and just be here still for. i don't know half a million dollars which would be impossible in america for a you were saying in one of the interviews a quote the problem with contemporary art. movies is that they are mostly about the personality of their authors but it's almost impossible to say if the film is good or not what are the criteria for judges of such films when you what when you're in the jury. well i used to be on the jury right now and i thought the program

director thought i slept. like and thought of my judgment of the movies in a competition of twenty one for the first of all are certainly your best. best possible movies but. for the law for the jury members i would say but the mask important thing is to understand can feel if it's real or fake because it's very easy to make a fake or art and obviously no one agrees just makes little shorts and while most no dialogue or weapon can build things around here you know like water dripping from an hour from now one draw in five minutes here and would probably create i'm. not engines

free and of course we must look for comply of war for cotton if there is none you know nothing can say oh let's talk about about multiplying your own thoughts and feelings should you know it is today not only in movies movies general express anything else except his own feeling says their own personality well. we're coming back to your first question what does it actually tween one mean yeah when one are for means like a person. and the world around here. because without regard to your world bank within which is only a reflection of war on the wards and very dear but wouldn't be interesting because the sentiment human self is an art form but helps you to use for reality while

expressing yourself but you cannot. you cannot i'm it are the eyes of a part of both creation and you cannot only interest because you need something to express something to talk about but a camel to me trail a thing because you have to use it if it's not there well i'm planning to fail in the twentieth century the cinema was killed twice i mean the cinema life was characterized by the existence of a number of living classics hoots some of them made movies some of them quit making movies but they were around and they certainly reference as they set an example for everybody else today twenty first century is a time of the authority and i mean i mean authorities overthrown with every new generation even with half a generation they overthrow their thirty is is there do you have the same situation in cinema well i would say still because. because like all

there are all the authors all whom we really unlike on the war from the second part of the twentieth century are there and not getting younger you know like on three if we talk about woody allen or war or. even the last phone tree year or article recently or other famous european and american filmmakers they are already over fifty and we don't have one view but we have a new generation but it's not it's these names are not an olive branch means phillimore if you want just. thank you and your film by new filmmaker well nobody nobody would. go and watch it come out of my eyes there was a special reason thank you thank you very much for being with us and just a reminder that my guest today was alex a made a visit program director of the two and one international contemporary front.

that's it for now from all of us here at spotlight will be back to you for when they have party and take your. place.

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