Latest news with #FilmAlUla
Yahoo
23-05-2025
- Entertainment
- Yahoo
Paula Beer on ‘Mirrors No. 3,' Her Fourth Film With Christian Petzold and His Ensemble Approach
Mirrors No. 3 (Miroirs No. 3), the new feature from German director Christian Petzold that world premieres in the Directors' Fortnight, an independent sidebar of the Cannes Film Festival, on Saturday, May 17, marks his fourth collaboration with German star Paula Beer after Transit (2018), Undine (2020), and Afire (2023). The Match Factory closed multiple international deals for the movie just before Cannes. More from The Hollywood Reporter Film AlUla: "Saudi Filmmakers Are Like the Crown Jewels for Us" Palestine Film Institute Drums Up Support in Cannes - for Films and Gaza Michael Che Apologizes to Scarlett Johansson for Infamous Roast Beef Joke: "I Was Jealous" Beer, who has also made a name for herself with the likes of François Ozon's Frantz (2016), Florian Henckel von Donnersmarck's Never Look Away (2018), won the Silver Bear for best actress at the Berlin International Film Festival and the European Film Award for best actress for her role in Undine. In Mirrors No. 3, Beer plays piano student Laura. 'On a weekend trip to the countryside, Laura miraculously survives a car crash,' reads a synopsis of the film. 'Physically unhurt but deeply shaken, she is taken in by a local woman who witnessed the accident and now cares for Laura with motherly devotion. When her husband and adult son also give up their initial resistance to Laura's presence, the four of them slowly build up a family-like routine. But soon they can no longer ignore their past.' Barbara Auer, Matthias Brandt, and Enno Trebs are also part of the ensemble cast. Ahead of the film's premiere, the 30-year-old Beer talked to THR's Georg Szalai about her latest team-up with Petzold, why she likes working with him, her approach to acting, and why she dislikes movies with open endings. You have worked with Christian Petzold several times now and also have experience with the other actors in since they are also Petzold regulars. What do you like about his approach and his sets? The very special thing about working with Christian is that we're working like an ensemble. You know the people you're going to work with, and not only the cast members. It's also the crew who are always the same, or at least the head of is always the same. So you really come into a very familiar situation, and that, of course, helps a lot in opening up and having a feeling of trust during your work. Most of the time, when you go to a shoot, there are so many people, sometimes hundreds of people, and you need to get to know them. If you already know them and don't … need to build trust, of course, that helps you as an actor to be more at ease. Christian is always doing, or most of the time only doing, one take. Most directors, because we're shooting with digital cameras and you can do as many takes as you want, they do more, which doesn't necessarily cost more. So he's really into one take, and it's really concentrated and precise. But of course, that puts a lot of pressure on you, because you only have this one shot. So on the first shoot for Transit, I was still asking myself: 'Is that going in the right direction, or do I really feel comfortable in this style of working, or does Christian really like what I'm doing?' And now that we have done four films together, I don't have these questions anymore. Our relationship has developed a lot. I think we have a very good relationship where we trust each other, and at the same time, we can make jokes about each other, and it's not too serious. So sometimes I'm going to Christian saying, 'Well, I think we should do a second take. For me, it wasn't the best take.' And then he's like: 'Yeah, okay, you can have a second one.' And then most of the time he says: 'Okay, you were right. It's good. We'll take the second one.' So, for me, it feels more like a collaboration. Most of the time during shooting, I do feel that as an actor, I'm in this chain of where the story comes from. There's a head in front of me who has the story in mind, and I'm helping make this vision come alive, but I'm part of making it come alive. Do you still read scripts he sends you or just go for any role he has in mind for you? Just because we have done four movies already doesn't mean I will be in the next one, because I'm afraid that that could lead to a huge disappointment. So I always say to him, I need to read the script. And normally, he starts talking about his next projects during the shooting of the last one. So he always has an idea of what he's going to do next. And then we always have this little moment when he says: 'I'm thinking about this idea for my next movie.' And then he sums up the story in five minutes and gives me a mini pitch. And then he's like: 'What do you think? Do you like it?' And then I say: 'Yeah, I mean, these five minutes sound good. So he's really letting me in and sharing his thoughts and his process. But then, of course, he writes it on his own and sends me this book when it's ready. Christian's scripts are really special because they feel more like literature. Normally, scripts are quite technical. I really love reading his scripts. You sit down and you read the novel, but I still need to understand it, or [see] if I understood correctly what you want to tell with that story, because I can have my interpretation. So I need this check-up to know if you're on the same page to tell the story. It was the same with Mirrors No. 3. I had some questions or ideas or input for some scenes, and then we talked about it, and he adopted it – not 100 percent but we met in the middle. Laura seems full of trauma and emptiness, like she is maybe missing true connections or something else in her life. And your portrayal evoked quite contradictory emotions. You leave viewers with a lot of complex feelings. How did you approach Laura? I think it starts with the way Christian writes his books. I always feel that it's a story about a human being, and human beings are super complex and not easy to understand. And that's always the difficulty. When I start preparing for Christian's movies, it feels like a story about someone, and it's not a fictional character. It's really more about a human being, and [I try] to grab and understand this human being to build a character. You can't understand all parts. The characters Christian is writing are always 'she's somehow like this, but then she's like that,' and I have to build a bridge between them. Comparing when I first shot with Christian to [later work together], I realized my acting was changing, because I really feel at ease, and I'm trusting him a lot. I feel really safe shooting these movies, and there's never pressure, or you never have this moment of 'we need to proceed, because we don't have enough time.' I think that how Christian writes his books, and how he starts shooting, how the production organizes the shoots, affects a lot how the movies are in the end. And I think that helps to create characters that are not flat. We really have the time to develop that on set. I think before working with Christian, I was really precise and kind of a perfectionist when it came to my preparation for my characters. And now working with Christian, I realized that it's not all about being perfectly prepared, but also about being brave enough to open up completely on set and maybe do something that you would have never expected, or that wasn't your idea for the scene for that very day. Shooting with Christian is also about reacting very spontaneously to what happens in that very moment. And I think that helps a lot to create a complex human setup, because every day is different. And if you're not trying to pretend that it isn't like that, but you just accept that every day is different, I think it influences the character. So, I don't have a master plan to have a super-complex character. But there are so many topics inside of Christian's scripts, such as, as you said, trauma and emptiness and grief or lack of grief or not being able to accept feelings or feelings lost. When I saw the movie title (), I thought: 'Wait, isn't this the title of a musical piece?' But I had to look up details and found that it is part of a five-movement suite for solo piano by French composer Maurice Ravel. (Entitled 'A Boat on the Ocean,' it was written to evoke a boat sailing on the ocean.) Did you know anything about music or learn anything about it for this role? And does th I do play the piano, and started having lessons when I was six. It would have been different for me if [my character] played the flute or something. I would have been: 'I don't even know how to hold it.' And I do know Ravel, but I've never played Ravel because that is quite above my league. I'm not able to play Ravel because it's a masterpiece. But I've learned the beginning, so what I'm playing in a scene, I'm actually playing. But for me, it was really important to have this connection to the piano, because Laura, of course, is studying the piano. I think people who nowadays study a classical instrument have a certain thing in common, and that you can't ignore. I had a great teacher for my preparation. She finished her master's and played Ravel as well. It helped a lot seeing her play, and I had to watch piano players a lot, because I think how you play your instrument says a lot about your relationship to the instrument. In one movie, I played a ballet dancer. Now a piano student, and sometimes it does feel like a burden, because you're an actor, and my job is to pretend to be someone who's perfect at doing that. I wanted to create the image of a piano student, but that comes with the pressure of fulfilling what piano students are able to do, and I can never do that. But getting a feeling for what their love for this instrument, or their passion, or their frustration, is like, I think that's my job. So I focus mostly on the emotional part, because I don't want to create too much pressure for myself, because in the end, it's a movie, and we're creating images, and, of course, feelings through these images. You mentioned pressure. I remember that French auteur Francois Ozon once described you as 'the next Romy Schneider,' which is a huge compliment, especially in the French- and German-speaking worlds. Was that joy or pressure? How did you experience that comparison? I think they said that a lot in France, and I just took it as a compliment. I think if you do comparisons, it's always because you want to make something strange more familiar. I don't think I look like her. I make different things. But I'm German. She was German. And she went to France, so that's what we have in common. If they look at my [acting] and they feel reminded of her, of course, that's a huge compliment. Maybe it's because I started shooting when I was really young that I didn't take this as pressure. I had one shoot, and a few days before the first day, I thought: 'I have no idea why they picked me, and I absolutely don't feel ready to play this, and I don't know if it's going to be good.' And then I thought: 'Well, they decided to take me. I didn't ask them to make me play the role. So if I'm going to fuck it up, it's actually their problem and wrong decision.' And I kind of kept that [perspective]. But for me, pressure comes on set because you know that you only have a certain amount of time, and you know that everyone expects you to be good within this time frame. You only have these two or three hours, and with the angle or [type of shot], maybe 20 minutes. And if you're not brilliant in these 20 minutes, then your shot won't be. So, I feel making movies is about being ready at the right time. And of course, that is pressure, and you have to be able to deal with that. Christian Petzold's movies tend not to end in a way that puts a bow on things but leaves things more open for interpretation. How do you feel about the endings of movies? Personally, I hate open endings. I have gotten better, but I had a time when I never finished novels and always left 50 to 70 pages at the end, because I don't like when a story comes to an end and you don't like the ending. I prefer to stay in the vibe. Actually, the ending to Mirrors No. 3 is different from the [original] script. I remember we were meeting Christian before the shoot and talking about the ending. I said maybe it's a bit too pathetic [or dramatic] and doesn't really fit the vibe of the tragedy of this character. During the edit, Christian realized that the ending isn't working. So we shot the new ending in January of this year. Has he already pitched you on your fifth movie together? I know Christian's next idea. Maybe he's thinking of me for it, but I'm not sure if it's clear to him. I really like the story, so who knows?! For now, nothing is set. Best of The Hollywood Reporter Hollywood's Most Notable Deaths of 2025 Harvey Weinstein's "Jane Doe 1" Victim Reveals Identity: "I'm Tired of Hiding" 'Awards Chatter' Podcast: 'Sopranos' Creator David Chase Finally Reveals What Happened to Tony (Exclusive)
Yahoo
19-05-2025
- Entertainment
- Yahoo
Film AlUla: 'Saudi Filmmakers Are Like the Crown Jewels for Us'
In such a fast-moving industry, it can be easy to forget that, a mere six or so years ago, there was no film scene whatsoever in Saudi Arabia. The country has only been welcoming non-religious tourists since 2019, a year after cinemas reopened following a near 40-year ban. Now there are more than 800 to choose from. It's no wonder then, that Saudi-born Film AlUla acting executive director Zaid Shaker is buzzing with excitement. Perhaps even more so after 10 months in the role, since taking it on in July. 'All the pieces of the puzzle are falling into the right places,' says Shaker, who leads Film AlUla's mission to support film and TV production in the northwest region of Saudi Arabia, the kingdom's oldest UNESCO heritage site. 'We have lots of momentum. The [Saudi film] industry is thriving,' he continues. 'What's happening in AlUla is big, and I'm working with a fabulous team [that] makes any job easy. So, yes, I'm still very excited.' More from The Hollywood Reporter Palestine Film Institute Drums Up Support in Cannes - for Films and Gaza Eurovision 2025: Austria Wins Song Contest With Johannes Pietsch, Israel Places Second 'Die My Love' Review: Jennifer Lawrence Spirals Into Psychosis While Robert Pattinson Plunges Into Despair in Lynne Ramsay's Jarring Character Study Film AlUla Studios opened last spring and features 26,000-square-foot soundstages and a 61,500-square-foot backlot and also acts as a government liaison to support permitting and rebate or incentive applications. THR caught up with Shaker to find out how they've put the facility to use since opening, what additional spaces have already been added, and his thoughts on the continued growth of the Saudi film sector. Congratulations on the collaboration with MBS MENA Limited, made public this month. Has it already led to increased interest? Absolutely. We've had enquiries from studios and streamers eager to explore the facilities. We have strong momentum building for Q3 [the third quarter] and Q4, with a robust pipeline of local, regional, and international productions. Any new offerings for filmmakers we can share? Our state-of-the-art facilities are operation-ready: We are ready to receive our first film. It's looking very good. We have exciting news, which we'll be sharing soon, hopefully. Within our new facilities, we have a cutting-edge recording studio that can accompany a full orchestra. We have finalized the production hub, which is a creative space that can support filmmakers. And we have an amazing activation space within the facilities. Can you share details of any new confirmed shoots? This year, we are waiting to announce the first feature film production within the umbrella of the Stampede Arabia slate of films [which grew out of a pact with L.A.-based Stampede Ventures, run by Hollywood veteran Greg Silverman], which is very exciting. And there are also a couple of interesting talks. Are more companies coming to use the studio space or to take advantage of the location, or both? It's equally both. They're complementary. We can accommodate parallel productions: You can have a full production, shooting everything on the ground, and at the same time have two separate high-end productions shooting at the studio. AlUla has wonderful scenery and locations, these UNESCO heritage sites. But when it's really hot weather, people also need to be able to shoot indoors. So this gives you the ability to invite productions all year round. Have any new initiatives been introduced to speed up the growth of a skilled local workforce? Every initiative we do is centered around the local community: honing and up-skilling crew. We always incentivize training and have lots of programs with different partners, so we have these sort of continuous workshops to be able to raise the bar and introduce a sustainable film crew within the boundaries of AlUla. This is definitely evident in recent films such as [2023's] Norah, which was the first feature film from Saudi to premiere at the Cannes Film Festival: 40 percent of its crew was local. With Siwar, the most recent film by Osama Alkhurayji, which opened the Saudi Film Festival, 80 percent of the crew was local — so, double. AlUla Creates, meanwhile, is a very high-level and detailed training capacity-building program, which has yielded three short films, some of which screened at the Red Sea Film Festival. Will there be rough quotas for the percentage of Saudi employees on each project? While there are no fixed quotas, employing Saudi nationals — particularly in studio operations and support roles — is a key objective. AlUla's vibrant population of 65,000, with 65% under the age of 30, represents an incredible pool of dynamic, emerging talent. We also focus on strengthening the local economy by sourcing goods from local artisans and championing community-driven businesses. What new environmental practices have been introduced in AlUla? AlUla has lots of cultural significance. We are guardians and custodians of our important UNESCO heritage sites. For us, sustainability is a 360-degree approach toward everything. Lots of our incentives are granted to productions based on their sustainability measures, whether it's green or abiding by best international practices. Also, internally, we make sure to have all of our team attend every relevant seminar to keep up-to-date with every sustainable practice. Following 's Cannes success, which other local Saudi films are creating noise on the global scene, or which do you predict will? Looking forward, we have Hijra by Saudi filmmaker Shahad Ameen [the follow-up to 2019's Scales, which was Saudi's official Oscar submission in 2020]. It should be releasing at the end of this year. Some scenes were shot in AlUla, which is a testament to the fact that we never perceive any production as a one-time [thing]. And I have to mention Abdulaziz Alshlahei's Hobal [about a Bedouin family living in extreme isolation in the '90s], which, though not shot in AlUla, was a great stride for the Saudi ecosystem. Saudi filmmakers are like the crown jewels for us because, ultimately, one of the most important things we do is export our culture and enable these amazing storytellers. The Saudi Film industry launched with big fanfare from 2018. What is the focus now? To attract big buzzy international projects or foster more Saudi projects? The answer is somewhat holistic. For me, the more I am able to attract international films, the more I am able to introduce some sort of real-time training, shadowing programs to support local content. We have the bandwidth to entertain both, so it's about focusing. What stands out as an achievement you're proud of so far at AlUla? I am really proud of my team's resilience and persistence and how we are able to move ahead. The studios have a very personal spot in my heart. It was heartwarming to see the Saudi Film Festival opened by Siwar, a film shot in AlUla, this year. I'm also obviously proud of Norah. But for me, the studios — you have to see them to believe them. What's the Saudi film industry generally like right now? The kingdom now boasts more than 800 screens in a country that, eight or nine years ago, didn't have cinemas. Now you're talking about 42 percent of all of the Middle East box office revenue coming from Saudi. I bother all of my friends and family with this. The success of Hobal this year is a testimony that the audience in Saudi is very receptive, not only to commercial cinema but for unique stories. Whatever is happening in the MENA region, it's within the heart of Saudi and we're very fortunate to be working in AlUla and witnessing this and being a catalyst for what's happening. You're seeing it when you attend amazing platforms such as the Red Sea Film Festival or the Saudi Film Festival. You can see that [the Saudi industry is] brimming with this positive energy, this dialogue, [with] so many youths engulfed with this power of cinema. Best of The Hollywood Reporter 'The Goonies' Cast, Then and Now "A Nutless Monkey Could Do Your Job": From Abusive to Angst-Ridden, 16 Memorable Studio Exec Portrayals in Film and TV The 10 Best Baseball Movies of All Time, Ranked
Arab News
18-05-2025
- Entertainment
- Arab News
AlUla a ‘cinematic wonder,' says exec on 5th anniversary of Saudi Arabia's Film AlUla
CANNES: AlUla's natural landscapes are fast becoming a national icon for Saudi Arabia, attracting tourists who wish to experience the scenes for themselves. But since the inception of Film AlUla, the region's film agency, its sand dunes and historic landmarks have traveled the world through cinema. For the latest updates, follow us on Instagram @ As Film AlUla celebrates its fifth anniversary, Acting Executive Director Zaid Shaker sat down with Arab News to discuss the entity's milestones on the sidelines of the Cannes Film Festival in France. 'I think that our voice and our positioning (of) Film AlUla as a catalyst in the Saudi film industry has sort of echoed, and now we have amazing infrastructure,' Shaker said. Only seven years ago, cinemas reopened in the Kingdom after a 35-year ban. The establishment of Film AlUla in early 2020, under the mandate of the Royal Commission of AlUla, has played a hand in cementing Saudi Arabia's role in the international film industry. One of Film AlUla's headlining achievements is Tawfik Alzaidi's 'Norah,' released in 2023, which became the first Saudi feature film to premiere at Cannes. The film, which followed the story of a young girl in the 1990s with a thirst for artistic expression, featured a crew made up of 40 percent AlUla locals. This year, first-time director Osama Al Khurayji's 'Siwar' was the opener for the Saudi Film Festival, held at the King Abdulaziz Center for World Culture (Ithra) in Dhahran in April. The film follows two families, one Saudi and one Turkish, as they navigate societal challenges and personal upheavals. Here, AlUla acts as a stand in for the southern city of Najran and the shoot featured an 80 percent local crew. Film AlUla executives have long emphasized training the local community as part of their core mission. The area is home to roughly 65,000 residents, the executive said, and one of the core factors to creating a sustainable film sector is establishing a well-trained local crew. This is done through training programs for capacity-building and skill refinement. 'Whenever we work on attracting an international production, our organic by-product is sort of upskilling the locals so that they can take this forward and start narrating their own stories,' Shaker said. The entity recently announced a partnership with Manhattan Beach Studios, which operates more than 600 sound stages around the globe, as operators for their local facilities. 'We try to do everything looking at very high quality and the highest of standards… In partnering with MB Studios to manage our cutting-edge, state-of-the-art facilities, we are showing commitment locally, regionally and internationally, that our positioning is real, and that we offer a seamless, advanced experience to every storyteller that comes to AlUla,' Shaker said. Some of the first major Hollywood productions to shoot in the region were Anthony and Joe Russo's drama 'Cherry,' and Ric Roman Waugh's 'Kandahar,' and others followed. In 2024 alone, AlUla hosted 85 projects, ranging from films and TV series to commercials and music videos. These productions are largely incentivized by the country's rebates policies, operated under the umbrella of the Saudi Film Commission and the National Rebate Fund. 'We offer 40 percent rebates and an uplift of 10 percent incentives, which are usually designed based on training programs and marketing efforts,' he said. This rebate can be elevated to 50 percent when Saudi nationals are employed in key roles within the production. 'AlUla is blessed with a vast, diverse collection of amazing locations. It's awe inspiring — it's a cinematic wonder in itself. So part of the attraction and work in bringing productions and building a film sector relies on the sense of location,' Shaker said. 'It's building on this amazing backdrop, which spans, in its history, more than 200,000 years. The … location has witnessed lots of cultures, lots of civilizations, lots of stories. It's how we position these amazing, inspiring locations to be pivotal characters in any audio-visual production.'
Broadcast Pro
13-05-2025
- Business
- Broadcast Pro
Saudi Film Commission showcases cinema and investment opportunities at Cannes
The Saudi pavilion will host a booth for private production and distribution companies to enhance their global visibility and showcase collaboration and investment opportunities. Saudi Film Commission is making a prominent appearance at the 78th Cannes Film Festival, taking place in France from May 13 to 24, with a dedicated Saudi pavilion and a high-level delegation representing key partners across the Kingdom's cultural and investment sectors. These include the Ministry of Investment, Film AlUla, Neom, the Cultural Development Fund, MBC Studios, the King Abdulaziz Centre for World Culture (Ithra) and the Red Sea International Film Festival. Saudi Arabia's participation underscores its commitment to positioning the Kingdom as a growing player in the international film landscape. The Saudi pavilion will serve as a platform for private Saudi production and distribution companies to expand their international reach and explore collaboration and investment opportunities with global counterparts. Alongside this, the Film Commission is hosting a series of industry-focused panels and discussions aimed at fostering dialogue and knowledge exchange. These include sessions such as 'Pioneering Paths: How Filmmakers Can Forge Their Own Futures' and 'Saudi Films – Work in Progress,' which will spotlight current projects in development. A roundtable discussion titled 'The Business of Film Production' will delve into the financial dynamics of the global film industry. To promote collaboration and cultural exchange, events like 'Meet Saudi Creatives' and 'Cinematic Exchange' brunch will offer networking opportunities between Saudi creatives, industry professionals and potential international partners. These gatherings will also highlight milestones and progress in Saudi Arabia's rapidly growing film industry. The Saudi Film Commission's presence at Cannes aligns with its broader mission to nurture local talent, build a vibrant and sustainable film ecosystem, and ensure that Saudi cinema is represented on the world's most prestigious cultural platforms.
Leaders
12-05-2025
- Entertainment
- Leaders
Saudi Film Commission Showcases Industry Growth at 78th Cannes Film Festival
The Saudi Film Commission is participating in the 78th Cannes Film Festival, held in France from May 13 to 24, with a dedicated Saudi pavilion and an official delegation. The delegation includes key partners such as the Ministry of Investment, Film AlUla, NEOM, the Cultural Development Fund, MBC Studios, the King Abdulaziz Center for World Culture (Ithra), and the Red Sea International Film Festival. Cannes Film Festival First launched in 1946, Cannes is one of the most renowned film festivals in the world, drawing leading filmmakers and industry professionals from across the globe. Moreover, the Saudi pavilion will host a booth for private production and distribution companies, aiming to boost their global visibility and promote opportunities for international collaboration and investment. Throughout the festival, the commission will take part in a series of panel discussions and dialogue sessions featuring influential voices in global cinema. These include sessions titled 'Pioneering Paths: How Filmmakers Can Forge Their Own Futures' and 'Saudi Films – Work in Progress,' which will spotlight films currently under production. A roundtable discussion, 'The Business of Film Production,' will explore the financial and economic dynamics of the film industry. In addition, networking events such as 'Meet Saudi Creatives' and a brunch titled 'Cinematic Exchange' will connect commission members with private sector representatives to celebrate milestones in the Saudi film industry and explore avenues for future cooperation. Saudi Film Commission This strategic presence at Cannes aligns with the Saudi Film Commission's broader mission to strengthen the national film sector, support Saudi talent, and cultivate a global network that positions Saudi cinema prominently on the world stage. Related Topics : Saudi participation in Cannes Film Festival debut kingdom's artistic renaissance journey Israel Kills Gazan Photojournalist Selected to Screen Doc at Cannes Festival Saudi Film Commission Participates in Shanghai International Film Festival 2024 Saudi Cinema Revenues Hit SR845.6 Million in 2024 Short link :
