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An independent jury appointed by German Films decided on Tuesday to send „Two Lives“ by Georg Maas into the race for the Best Foreign Language Film. German Films will submit the film to the Academy of Motion Picture Arts and Sciences for consideration for a nomination.

The jury under the chairmanship of Dagmar Hirtz gave the following motivation:“The film ‘Two Lives’ convincingly portrays a largely unknown chapter of German history: the Norwegian “Lebensborn Children”. The legacy of the Third Reich guiltily interlinks itself with the machinations of the secret police of the GDR. The intensive interplay between Juliane Köhler and Liv Ullmann and the expressive cinematography are impressive.”

Read more: Germany sends „Two Lives“ into the Oscar race

The Lithuanian Parliament has passed new corporate tax-incentive legislation for the film industry. The tax incentive is modeled after current legislation in Hungary, and pledges a twenty-percent tax relief for films shot or produced in Lithuania.
The tax incentive is distributed according to several stipulations. Films must meet at least two of five cultural criteria, at least eighty percent of expenses must be incurred in Lithuania, and the total production budget has to meet or exceed 150,000LTL.

Read more: Lithuanian approves tax incentive for cinema.

In Croatia, preparations are underway for the shooting of season 4 of HBO's highly popular TV series "Game of Thrones". Based on the novels of "A Song of Ice and Fire" written by George R.R. Martin, the series was filmed on various locations in Europe, including Croatia.
The beautiful coastal city of Dubrovnik was used in season two and three to stand for King's Landing  – the capital of the Seven Kingdoms and one of the most important locations for the series - and the city of Qarth, which is visited by Daenerys Targaryen (played by Emilia Clarke).

Encouraged by the successful collaboration with the local production company Embassy Films, the financial benefit of the newly introduced production incentive program and the variety of locations, the producer's have decided to extend the shoot in Croatia, adding the locations in and around Split to Season 4.
According to Embassy Films, filming in Croatia will take place between the months of August and September.



“Things that smell the same should stay together,” Pietro (Peter Mitterrutzner), the old carpenter says about honey and wood. This is also the case for parents and their children. “But I no longer know what smell I have,” Dani (Jean-Christophe Folly) replies. He was born in Togo and escaped to Italy after war broke out in Libya. He does not feel like a good father, nor does he enjoy looking at his infant child, not yet turned one, who survived her mother in the journey over at sea.

Dani is staying in a guest-house in Pergine, a small village in the Trentino mountains, by the Mocheni valley. He goes to work for Pietro every day. Pietro has a daughter-in-law, Elisa (Anita Caprioli) and a rowdy 10-year-old grandchild, Michele (Matteo Marchel). Dani and Michel share the same wound, the same pain. Michele has just lost his father in a mountain accident and blames his mother.  


La prima neve by Andrea Segre, presented in the Horizons section of the Venice Film Festival, reveals new elements in the director’s style, albeit not veering off path. As a communications sociologist, Segre became interested in European immigration, getting involved in the international non profit world. After making various documentaries, he turned to fiction in 2010, with Shun Li and the Poet, which won the European Parliament’s Lux prize in 2012.
“But for the second film, the challenge was not to start off with a similar them that the first,” the director told Cineuropa. “What happens to Dani when he comes into that family is that he becomes necessary to those people. Which is something that happens to many families and companies across Italy. I therefore tried to show the normal side of things, rather than the problems that may occur when different cultures meet. And this was what was needed in order to tell the story of a father who is unable to be a father and a son who no longer can bring himself to be a son. To film all of this in the woods was my dream.”
“The core of my research and narration is basically the dignity that you can find in a crisis, a situation of suffering, of injustice, because to lose a father is unjust. When I looked at these situations in real life, I saw a great ability of people to tell the story of this dignity and make it become an element for rebirth, especially when you are not alone, when there is someone with whom to share and rebuild. This is something that also happens to the people in my documentaries, Mare chiuso and Il sangue verde.”


The land is, as so often happens in films, one of the film’s protagonists. One of the starting points from which this idea was born was the meeting between people fleeing the Libyan war who were welcomed in Trentino, in Val di Cembra, in a state of isolation and abandonment. The woods, like lagoons, are places where a strong nature enable you to feel surrounded and intimate. I wanted the place where both pains met to be where nature gave you the opportunity to be at home.”


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