China’s Huahua Media has signed on to remake two classic war films from the Balkans as part of a push to improve diplomatic ties between the Middle Kingdom and countries taking part in its “Belt and Road” global infrastructure project, Chinese reports said. The news follows Huahua’s return to the spotlight as an investor on the upcoming “Godzilla: King of the Monsters” franchise film, though the company was better-known in the past for a short-lived slate financing deal with Paramount in 2017.
The ambassadors to China from Serbia and from Bosnia and Herzegovina were present as Huahua inked a deal with the Sarajevo Film Center and a Serbian production company to remake two Serbo-Croatian-language films: 1969’s “The Bridge,” about the defense of a span against the Nazis in World War II, and 1972’s “Walter Defends Sarajevo,” helmed by the Bosnian director Hajrudin Krvavac.
“The remake is not only a...
The ambassadors to China from Serbia and from Bosnia and Herzegovina were present as Huahua inked a deal with the Sarajevo Film Center and a Serbian production company to remake two Serbo-Croatian-language films: 1969’s “The Bridge,” about the defense of a span against the Nazis in World War II, and 1972’s “Walter Defends Sarajevo,” helmed by the Bosnian director Hajrudin Krvavac.
“The remake is not only a...
- 5/9/2019
- by Rebecca Davis
- Variety Film + TV
Above: 1960 poster by Jerzy Flisak for Wild Strawberries (Ingmar Bergman, Sweden, 1957)
One of my favorite Polish poster designers, or indeed favorite poster designer from any country, is Jerzy Flisak (1930-2008). Incredibly prolific—I’ve seen maybe 200 Flisak movie posters and he made many more during his 30 year career—Flisak started out as a satirical cartoonist. A cheerful, simple, almost childlike style is evident in much of his work, which tends towards the bright, bold and colorful, often peopled with rosy cheeked buxom ladies. Much of that work is terrific and quite well known—like his posters for The Fireman’s Ball and Paper Moon—but what draws me to Flisak is his work that pulls in the opposite direction: towards the more serious, abstract and monochrome. Before Flisak was a cartoonist he had studied architecture and there is a very strong sense of structure, space and form in his work.
One of my favorite Polish poster designers, or indeed favorite poster designer from any country, is Jerzy Flisak (1930-2008). Incredibly prolific—I’ve seen maybe 200 Flisak movie posters and he made many more during his 30 year career—Flisak started out as a satirical cartoonist. A cheerful, simple, almost childlike style is evident in much of his work, which tends towards the bright, bold and colorful, often peopled with rosy cheeked buxom ladies. Much of that work is terrific and quite well known—like his posters for The Fireman’s Ball and Paper Moon—but what draws me to Flisak is his work that pulls in the opposite direction: towards the more serious, abstract and monochrome. Before Flisak was a cartoonist he had studied architecture and there is a very strong sense of structure, space and form in his work.
- 1/12/2014
- by Adrian Curry
- MUBI
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