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Program

One summer at a lakeside Russian estate, friends and family gather for a weekend in the countryside. While everyone is caught up in passionately loving someone who loves somebody else, a tragicomedy unfolds about art, fame, human folly and the eternal desire to live a purposeful life. The film explores, with comedy and melancholy, the obsessive nature of love, the tangled relationships between parents and children, and the transcendent value and psychic toll of art.

Country:
USA, 2018
Group:
FEST 47 Gala
Duration:
98'
Director:
Michael Mayer
Screenplay:
Stephen Karam
Cast:
Elisabeth Moss, Saoirse Ronan, Annette Bening, Corey Stoll, Mare Winningham, Jon Tenney, Glenn Fleshler, Michael Zegen, Billy Howle, Brian Dennehy
Festivals:
2018 Trajbeka, Sidnej, Majami, Travers Siti / Tribeca Film Festival, Sydney Film Festival, Miami Film Festival, Traverse City Fi
Filmography:
2018 The Seagull / Galeb
2006 Flicka / Flika
2004 A Home at the End of the World / Dom na kraju sveta
Cinematography:
Matthew J. Lloyd
Editing:
Annette Davey
Music:
Nico Muhly, Anton Sanko
Producer:
Jay Franke, David Herro, Robert Salerno, Tom Hulce, Leslie Urdang
Production:
KGB Media, Mar-Key Pictures
Distributer:
Con Film

Showing

23Feb

Time: 19:00
Price: 400 RSD
Fontana

27Feb

Time: 12:00
Price: 300 RSD
Jugoslovenska kinoteka, Makavejev Hall

01Mar

Time: 20:00
Price: 400 RSD
Cineplexx UŠĆE Shopping Center, sala 5

02Mar

Time: 18:00
Price: 400 RSD
Cineplexx BIG Beograd, sala 3

Michael Mayer (1960) is an American theatre, film and television director and a playwright. He studied acting at New York University's Graduate Acting Program at the Tisch School of the Arts. After directing on- and off-Broadway for more than 15 years, devoting himself to musicals and opera directing as well, Mayer made his feature film directorial debut with A Home at the End of the World in 2004. Mayer directed a film adaptation of Anton Chekhov's classic play The Seagull, which had its world premiere at the Tribeca Film Festival in 2018.

Best known as a director of musicals that started on the margins and reached Broadway (…), Mayer avoids conventions of the stage in his third feature by keeping his actors in motion or in shadowy interior close-ups. The play’s condensed fourth act may feel like a shadow to Chekhov devotees, but the playwright’s view of these Russian dark ages comes through clearly.

David d'Arcy, Screen Daily

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