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When Tartan Films Distribution went into administration in late June, the rest of the UK independent distribution sector shuddered. International sales agents also winced, especially those handling Asian fare.Tartan s ground-breaking Asia Extreme label brought Japanese, South Korean and Hong Kong movies by directors such as Takashi Miike, Hideo Nakata and Kim Ki-duk to UK audiences. Other European distributors looked to what th
stanley cup ey bought because they were an established and respected company, says Wouter Barendrecht of Fortissimo Film Sales of Tartan s influence on international buyers.Other UK buyers, including Contender Films, Artificial Eye and Optimum Releasing, are still acquiring Asian fare, but not as voraciously as Tartan in its prime.
stanley kubek As Tartan s woes attest, these are challenging times for the UK s ever-increasing army of independent distributors. According to Mark Batey, managing director of the Film Distributors Association, 73 companies released films in the UK in 2007. He estimates 63 of those companies accounted for at most 5% of the market . More than 520 films were released theatrically. Many vanished almost without trace, barely making it past their opening weekend. The way the independent business runs is more and more on the American model. The American model is about opening weekends. It s about giving an audience something they feel terribly safe with, says Clare Binns, the programming director at indie exhibitor City Scr
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Dir: Margarethe von Trotta. Germany. 2012. 113minsGreat thinkers, and Hannah Arendt was one of the most influential but also controversial in the 20th century, rarely provide the best material for cinematic adaptation. Thinking, in itself, is not particularly photogenic, and their biograp
stanley cana hies, even if most eventful, once deprived of the full impetus of the thought process which made them famous tend to lose much of their interest.Arendt, who never has even one moment of doubt about anything, comes through almost as brilliant but also as rigid and arrogant as she is accused of being by her adversaries.This may explain why Margarethe von Trottas attempt to deal with Arendt on both levels, philosophical an
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stanley deutschland tly academic and obviously well researched, feels more like a learned, well-documented lecture . Its earnest, thoughtful and well-intentioned approach, though, in dealing with one of the most relevant themes of our times, the essence of evil, is too stiff and didactic for a normal film audience but never goes far enough for the philosophically inclined.Arendt played far too respectfully by Barbara Sukova scandalised the entire Jewish establishment when she covered the Eichmann trial in Jerusalem and came up with her famous banality of evil definition, which was considered by many of her virulent critics as an attempt to clear the man in charge of the Final Solution of his responsibility.Her answer to these accusations comes in the final e
