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Volker Bertelmann has won the film composer of the year at the 23rd World Soundtrack Awards (WSA), which took place tonight (October 21), at the closing night of Film Fest Gent.
Bertelmann was nominated for his scores for War Sailor, All Quiet On The Western Front and Memory Of Water. Other nominees in this category included Carter Burwell for The Banshees of Inisherin, Catherine Called Birdy and To Catch A Killer and Hildur Guðnadóttir for Women Talking and Tár.
Nicholas Britell took home the prize for television composer of the year for his work on the first season of Andor and fourth season of Succession. It is the second time in a row he has won this award, the third time he has won in this category and his sixth WSA win overall.
Further awards went to ‘Your Personal Trash Man Can” for best original song, from The Marvelous Mrs Maisel series five, written by Thomas Mizer and Curtis Moore, while Amelia Warner was named winner of the public choice award for Mr. Malcolm’s List. Avatar: The Way Of Water’s Simon Franglen took home the discovery of the year award.
Film composer of the year
Volker Bertelmann for War Sailor, All Quiet On The Western Front, Memory Of Water
Television composer of the year
Nicholas Britell for Andor (s1), Succession (s4)
Best original song
‘Your Personal Trash Man Can’ from The Marvelous Mrs Maisel (S5), written by Thomas Mizer and Curtis Moore and performed by Phillip Attmore, Jake Corcoran, RJ Higton, Tommy Sutter, and cast
Discovery of the year
Simon Franglen for Avatar: The Way Of Water
Public choice award
Amelia Warner for Mr. Malcolm’s List
Sabam award for best original composition by a young composer
Best original score for a Belgian production
Dirk Brossé for Our Nature
Lifetime achievement award
Nicola Piovani, Laurence Rosenthal
WSA game music award
River Boy (Narayana Johnson) for Cult Of The Lamb
WSA industry award
– Armessa Movie News
Sarah Jessica Parker is set to executive produce “Front Row,” a gripping documentary feature following a group of talented Ukrainian ballet dancers.
Directed by Miriam Guttmann, the award-winning filmmaker of “Seeds of Deceit,” the documentary is produced by Scenery (“Human Playground”), a joint venture with Banijay Benelux. Parker and Alison Benson are exec producing via Pretty Matches Productions, alongside The Ruderman Foundation.
“Front Row” is represented globally by Banijay Rights and will be introduced to buyers at Mipcom, the international TV conference kicking off Oct. 16. The documentary is expected to be completed in 2024.
In “Front Row,” Guttmann charts the journey of a group of Ukrainian dancers in exile as they form a new ballet company, ‘United Ukrainian Ballet’. While performing Alexei Ratmanskiy’s version of ‘Giselle’ in Washington D.C., Alexis, one of the leading ballet dancers, befriends Oleksandr, a front-line soldier, who lost both his legs in a battle on the Ukrainian border with Russia. A friendship forms and Oleksandr is welcomed into the rest of the ballet company, more than ever determined to dance with his disability.
Parker, who currently serves as a vice chairman of the Board of Directors for the New York City Ballet, says “‘Front Row’ puts perseverance and the human condition on display against the punishing backdrop of war.”
“Giving these dancers an international platform to tell their stories through the power, beauty and grit of ballet is a profound honor,” Parker added.
Described as a tale of adversity and resilience, “Front Row” alludes to the devastation of war through video calls between the dancers and their families back home, contributing to a deep sense of survivor’s guilt among the dancers.
Isidoor Roebers, Scenery’s founder and producer, said: “‘Front Row’ is set to be a fascinating insight into the world of ballet, showcasing the unwavering determination and dedication of a group of dancers from Ukraine.”
‘Front Row’ is a nuanced and multi-layered piece, giving a sneak peek into an untapped world of dance and adversity,” Roebers continued. He said “Sarah Jessica’s involvement in the project, thanks to partnership with CAA, will undoubtedly add an enriching and inspiring dimension, making it an unmissable title for buyers around the globe.” Both Scenery and Parker are repped by CAA.
Now in post-production, the documentary is part of Banijay Rights’ Mipcom roster. Simon Cox, EVP of content and acquisitions at Banijay Rights said the banner was “captivated to join Scenery in producing this incredible story from the outset and now with the equally passionate Sarah Jessica Parker on board.”
“Front Row” was backed by the Netherlands Film Production Incentive and Banijay Rights. Besides Parker and Benson, co-executive producers include Claire Demere and associate producer Gaby Edwards. The film is supported by executive producers The Ruderman Foundation and Bart Meuter.
Parker, who is also an executive producer on the HBO Max show “And Just Like That,” recently starred on Broadway opposite her husband, Matthew Broderick, in the revival of one of the great American comedies, ‘Plaza Suite.’ The play will have its U.K. premiere at the Savoy Theatre in London on Jan. 17.
Credit: Andrew Day
Armessa Movie News
With Friday the 13th happening in October, you’d expect theatrical and streaming executives would have been rubbing their hands in glee at the prospect of spooky synergy across screens both big and small, only for Taylor Swift: The Eras Tour and The Burial to emerge as the two biggest hits across the mediums.
You couldn’t have made it up, but at the same time a concert film is blowing any and all theatrical competition clear out of the water, a courtroom drama packing rave reviews and a pair of Academy Award-winning stars on top form have cemented themselves as the single most popular new arrivals at multiplexes and on-demand.
Per FlixPatrol, The Burial has topped the charts in more countries than any other streaming title across the Friday the 13th weekend, reaching number one in 33 countries around the world. Certified Fresh on Rotten Tomatoes at 91 percent and carrying an equally-stellar 84 percent audience approval rating, it just goes to show that good movies are more than capable of seizing attention even when horror is right on the tip of everybody’s tongue.
Grizzled veteran Tommy Lee Jones plays a funeral home owner trying to save his family owned and operated business from corporate vultures, with Jamie Foxx’s savvy lawyer stepping in to help him fight his corner. Loosely based on a true story, the legal subgenre is always worth checking out when it’s handled correctly, and it would be fair to say based on both the reviews and its debut among subscribers that The Burial has ticked off both of those boxes in style.
– Armessa Movie News
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