ND/NF festival sets slate

'Where Will We Go Ahead Now?A Gotham's annual New Company directors/New Films festival has arranged a 29-feature slate that opens with Nadine Labaki's "Where Will We Go Ahead Now?Inch and shuts having a surprise screening. The final time Film Society of Lincoln subsequently Center, which co-presents ND/NF using the Museum of contemporary Art, skedded an identical surprise was included in last year's NY Film Festival. The under-systems pic switched to be an earlier cut of "Hugo," the Martin Scorcese film that continued to become major honours-season player. "Where Will We Go Ahead Now?Inch focuses on several Lebanese ladies who develop comical schemes to prevent their males from killing one another in religious conflicts. Acquired by The new sony Pictures Classics, the film has performed fests including Cannes, Toronto and Sundance. Another SPC film, Gareth Huw Evans' Indonesian thriller "The Raid," will have ND/NF because the 41-year-old event's first late evening screening, while animated graphic novel adaptation "The Rabbi's Cat," helmed by Antoine Delesvaux and Joann Sfar, would be the fest's first three dimensional offering. Narrative features on tap likewise incorporate Adam Leon's "Gimme the Loot," Roschdy Zem's "Omar Wiped out Me" and Mads Brugger's "The Ambassador," while Sundance alums "Five Damaged Cameras" and "How you can Survive a Plague" are some of the doc choices. Slate includes twelve shorts in addition to 1953 film "Fear and Desire," an earlier work by Stanley Kubrick. New Company directors/New Films runs March 21-April 1. Title from the surprise pic will not be introduced until right before the film unspools. Contact Gordon Cox at gordon.cox@variety.com

WGA names best original, adapted screenplay winners

'Midnight in Paris''The Descendants'Woody Allen's screenplay for "Midnight in Paris" has won the Writers Guild of America award for original screenplay. "The Descendants" has won the adapted screenplay award for Alexander Payne and Nat Faxon & Jim Rash, based on the novel by Kaui Hart Hemming.It's the fifth WGA award for Allen, who also won WGA awards for "Annie Hall," "Broadway Danny Rose," "Hannah and Her Sisters" and "Crimes and Misdemeneanors." The WGA nom was Allen's 20th. It's the third WGA screenplay award for Payne. He also won for "Election" and "Sideways." The documentary film award went to "Better This World" for Katie Galloway and Kelly duane de la Vega, who said afterwards they're developing it as a narrative feature."Modern Family" repeated as comedy series award winner wins, while the episodic comedy award went to "Modern Family" for Steven Levitan, Jeffrey Richman for "Caught in the Act.""Breaking Bad" and "Homeland" took two trophies each. They tied for best drama segment, while the drama series award went to "Breaking," and the new series award to "Homeland."TV animation award went to Joel H. Cohen for "Homer the Father" segment of "The Simpsons," which won over three other "Simpsons" episodes and single segs of "Futurama" and "Ben 10." Peter Gould took the longform award for "Too Big to Fail," and David Seltzer won the longform original award for "Cinema Verite.""After the Academy Awards" got the award for comedy variety music, and "The Colbert Report" won comedy variety talk.Karen Harris of "General Hospital" noted in her acceptance that ABC did not buy seats for their nominated writers. The derivative new media award was won by "The Walking Dead" for Greg Nicotero and John Esposito.The original new media award went to Heath Corson and Richie Keen for "Aim High."The videogame award went to Amy Hennig for "Uncharted 3: Drake's Deception." WGA children's TV award went to Nick's "Supah Ninjas" segment, "Hero of the Shadows." Contact Dave McNary at dave.mcnary@variety.com

Dylewska: Occupies challenges of 'Darkness'

Dylewska'In Darkness'Role model: "William Shakespeare, as they introduced within the plays sun and rain as something explaining the inside feelings of his protagonists. He's personally a ongoing way to obtain inspiration."Film or digital: "I like there is available an option. I choose film more often.InchPreferred tool: "Just a little light -- lately an Introduced type light -- so everything that's important is noticed in your vision in the stars."Representation: ZA AgencyLittle-known outdoors her native Belgium, Jolanta Dylewska should finally attract some attention here due to her masterful be employed in Agnieszka Holland's "In Darkness," that's Oscar-nominated for foreign-language film. Home, the 53-year-old d.p.'s work won the most effective prize within the world's premiere cinematography showcase, the Plus Camerimage film festival in November, beating such high-profile competitors as "The Tree of Existence" and "Melancholia.""The job, artistically and technologically, wound up being to supply the actual darkness in the sewers," states Dylewska in the film's harrowing, true World war ii story about Jews hiding beneath the German-occupied capital of scotland- Lvov. "Agnieszka would always shout, 'Darker, deeper!A She was much more courageous than me in entering the darkness. I used to be following her, building shadows and so the gestures as well as the glances in the stars wouldn't disappear, therefore the audience would feel touched with this particular darkness."Dylewska, who examined cinematography within the National Film School in Lodz, started out trying to direct, "however fell deeply deeply in love with the digital camera,In . she recalls. After lensing more than twelve shorts in class, she got her first offer to shoot a documentary. "It trained me to look into the planet faithfully, to constantly request myself before every film, who's the digital camera inside the story?" She's since applied this process to all or any her films. In Sergey Dvortsewoy's "Tulpan," the digital camera "was as being a naive character, carrying out a action rather than being aware of what can happen next," she states.In "The Boy round the Galloping Equine," "the earth got still, increased being black and white-colored.""I don't have my own, personal style," adds Dylewska who's in Moscow shooting Dvortsewoy's new film. "I approach every film as if it's my first. I look for a method particular to that particular certain film. My 'actors' are light, color, movement, depth of focus, texture, composition and perspective particular to each lens. People visual elements are telling the story. I really like the visual style being within the service in the primary dramaturgy in the film."Trailer: "In Darkness"Return to 10 Cinematographers to check out Contact the number newsroom at news@variety.com

Marc Webb talks The Amazing Spider-Man

With a new trailer set to land in US cinemas this week, The Amazing Spider-Man director Marc Webb has been speaking about how his take on Spidey will differ from the Sam Raimi trilogy.It's really important for us to be able to communicate that this isn't a remake of Sam Raimi's movie," says Webb to the annual Comic-Con magazine. "There's a new territory, there's a new villain, it's a different Peter Parker."One of the key elements Webb has sought to bring to the forefront in his version, is Spidey's keen sense of humour."We wanted that humour to come from a real place," he says. "My aim was to create a world where you could feel all those emotions. There are certainly darker, more intense feelings in this movie. There is betrayal, there is tragedy, but there's also humour and romance... There are moments of furiousness and gravity, absolutely. But are there moments of humour and levity and whimsy? Absolutely.""There's a punk rock quality to Peter Parker that's really irreverent and fun," continues Webb, "and that's something that Andrew embodies in a way that we haven't seen before. Certainly the materials that have come out have a darker sentiment or there's a darker projection, but we're very keen on staying loyal to the humour of Spider-Man."The Amazing Spider-Man opens in the UK on 4 July 2012.