/ world today news/ The head of the commission for feature cinema, Evgeni Mihailov, resigned
The volcano that has been smoldering for years at the National Film Center with every government grant award should soon erupt. Because the Phoenician signs never reach the producers, and quality productions are counted on the fingers. Especially since the strategies that everyone has suspected for a long time, but everyone refrains from verbalizing in public and outside the pub for obvious reasons, are starting to surface. And now the head of the commission for feature cinema, Yevgeny Mihailov, has resigned after being caught in copying by the director Lyudmil Todorov (“The summer of love of a lohman”, “Seamstresses”). The father of the “canaries” and his colleague in the jury, the critic Genoveva Dimitrova, brought out the same reasons. Yesterday, he submitted his request to leave to the acting head of the NFC, Georgi Cholakov. In fact, it was Cholakov who suggested that Yevgeny head the jury in question. However, what should Genoveva do, for whom it turns out that she is also in the warrant, the guild asks. And is Mikhailov’s gesture enough to get him out of the situation? No one is calling for a lynching, only for the clarification of the facts from the Kinajian secrets. And there it is about money, a lot of money – there are no box offices against them, almost no box offices.
The big drama will happen next week. Then the National Film Council must decide whether the results of the just-ended session are valid – it was at this session that school passions flared up with the “pistachios”. Because we are talking about six million leva of the people. The following films should be created with them to prove that the seventh art is not doomed in our country – because at least that’s how it seems lately. The next interim session and the following regular session may also remain in question.
What really happened behind the scenes these days? “Due to the impudence of the current members, for the first time there is evidence of secret arrangements in the commissions of the National Film Center,” said Lyudmil Todorov, who stayed below the line. And he cites the same motives entered by Dimitrova and Mihailov for his project – “Funeral”. “Told in the past tense, the scenario is skillfully constructed, balancing between lethargy and expansion, sacredness and play, and the linear narrative is punctuated by dreams (visions),” are the words in Dimitrova’s review. “Told in the past tense, the scenario is skillfully constructed, balancing between lethargy and expansion, sacredness and play, and the linear narrative is attacked by dreams (visions),” says Evgeni Mihailov’s cover. This is far from the only repetition with them.
Mihailov himself tried to defend the position under indigo – “he didn’t have time to write them himself”. And he adds the usual accusation that Bulgarian cinema is a “wasps’ nest”. Metodi Andonov’s daughters – Milena and Nevena – stood against Mihailov, whose project was also not approved by the commission.
“From the first grade until the end of his days, the copyist is a person who has not read his lesson, is not prepared and copies from a friend. With the copied, he will get a grade, but he remains ignorant. Based on the grade cards of Genoveva Dimitrova and Evgeni Mihailov, we count two disrespectful committee members to our project,” the sisters said. They filed a complaint with the Sofia Administrative Court, disputing the results of the session. Two more people who dropped out of the competition appealed to the magistrates.
“The fact that my motives in the rating cards of the commission for feature films appeared in the cards of its chairman, Evgeniy Mihailov, put me in a nightmare. Because of this outrage, I found myself in an absurd situation. On the one hand, I have fulfilled my duties as a member of On the other hand, the misappropriation of my arguments gave a reason to attack me as a participant in a conspiracy, questioning my professionalism and integrity, since I have been in “Kultura”, my bias towards Bulgarian cinema has been repeatedly documented. And it never occurred to me that I could become the object of such aggression,” was Genoveva Dimitrova’s reaction.
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