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Sotinel, Thomas


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3 articles of this author have been cited in the European Press Review so far.


Le Monde - France | 17/10/2006

The development of film festivals

The journalist Thomas Sotinel analyses the evolution of European film festivals created on the model of the Venice Mostrain 1934. This model "is built on a selection meant to unite the best of world film production presented for a first time internationally. ... This Venetian model is today confronted with mutations of film production and the appearance of other international events like the Toronto International Film Festival (TIFF), which offers the city's public a gigantic programme and refuses the principle of competition. This autumn 2006 it is the country that founded classical festivals, Italy, that is opening up to this North American variation. Refusing the label 'Festival', the Rome film fest, that opened its doors on October 13th, draws part of its inspiration from the Canadian festival, by plunging the films into the middle of town, by summoning all kinds of genre, all shapes and sizes."

Le Monde - France | 15/08/2006

Simplicity rewarded at the Locarno Film Festival

The Golden Leopard, the top prize at the Locarno International Film Festival in Switzerland, was awarded last weekend to the film 'Das Fraulein' by Swiss director Andrea Staka. Thomas Sotinel looks back at the 59th Locarno festival. "Locarno's new artistic director Frédéric Maire has managed to redefine the place of the festival. Rather than seeking to occupy the same ground as its rivals, which attempt with varying degrees of success to practice ecumenicism - embracing Hollywood superproductions and experimental film on the fringes of contemporary art - the Locarno Festival has chosen to showcase independent cinema, where producers are always short of a euro or two, and where film-makers work out of necessity on projects with doubtful commercial prospects."

Le Monde - France | 31/05/2006

The end of the Cannes utopia

Film critic Thomas Sotinel analyses "the impossible Cannes consensus" according to which all the films at the Cannes Film Festival must be given the same treatment. "Since the Official Selection competition was entrusted to the organisers - before 1972, participating countries chose the films themselves - the programme has aspired to distil the best of world cinema according to utopian rules since a film from Burkina Faso is privy to the same treatment as a Hollywood production. This utopia was born in the 1970s when the directors took control of the American moviemaking industry. ... Over the decades, however, the gap between the commercial and the artistic has widened. ... This divorce is intolerable for a festival that aspires to retain its central place in the life of world cinema, both as a commercial event and as a means of artistic expression." 

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