{"id":238532,"date":"2019-11-27T00:30:04","date_gmt":"2019-11-27T05:30:04","guid":{"rendered":"https:\/\/canadianinquirer.net\/v1\/?p=238532"},"modified":"2019-11-27T00:30:04","modified_gmt":"2019-11-27T05:30:04","slug":"bulgarian-premiere-of-theodore-ushevs-the-physics-of-sorrow-attracts-record-number-of-viewers","status":"publish","type":"post","link":"https:\/\/canadianinquirer.net\/v1\/2019\/11\/27\/bulgarian-premiere-of-theodore-ushevs-the-physics-of-sorrow-attracts-record-number-of-viewers\/","title":{"rendered":"Bulgarian premiere of Theodore Ushev&#8217;s The Physics of Sorrow attracts record number of viewers."},"content":{"rendered":"<figure id=\"attachment_238534\" aria-describedby=\"caption-attachment-238534\" style=\"width: 612px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/canadianinquirer.net\/v1\/wp-content\/uploads\/2019\/11\/Theodore_Ushev.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-238534\" src=\"https:\/\/canadianinquirer.net\/v1\/wp-content\/uploads\/2019\/11\/Theodore_Ushev.jpg\" alt=\"\" width=\"612\" height=\"707\" srcset=\"https:\/\/canadianinquirer.net\/v1\/wp-content\/uploads\/2019\/11\/Theodore_Ushev.jpg 612w, https:\/\/canadianinquirer.net\/v1\/wp-content\/uploads\/2019\/11\/Theodore_Ushev-260x300.jpg 260w\" sizes=\"auto, (max-width: 612px) 100vw, 612px\" \/><\/a><figcaption id=\"caption-attachment-238534\" class=\"wp-caption-text\">FILE: Theodore Ushev au festival international du film d&#8217;animation d&#8217;Annecy 2016 (<a href=\"https:\/\/commons.wikimedia.org\/w\/index.php?curid=49571951\">Photo By Boungawa &#8211; Own work, CC BY-SA 4.0<\/a>)<\/figcaption><\/figure>\n<p><strong>Theodore Ushev&#8217;s<\/strong>\u00a0new film,\u00a0<strong><em><a href=\"https:\/\/mediaspace.nfb.ca\/epk\/the-physics-of-sorrow\/\">The Physics of Sorrow<\/a><\/em><\/strong><em>,<\/em>\u00a0had what is most likely the highest attendance ever for a short film at its Sofia premiere on November 17, 2019. The film played at Hall 1 of the\u00a0<a href=\"http:\/\/www.ndk.bg\/home\">National Palace of Culture<\/a>\u00a0as part of the 33rd edition of the\u00a0<a href=\"https:\/\/www.kinomania.bg\/en_EN\/filmi.html\">Kinomania festival<\/a>\u00a0and, according to organizers, sold nearly 3,000 tickets, in addition to being attended by hundreds of accredited press and industry members. With a capacity of 3,750 seats, Hall 1 was packed with film-goers eager to see the latest opus by the Bulgarian-born, Montreal-based director.<\/p>\n<p>The enthusiastic audience gave the film a six-minute standing ovation. The screening was preceded by a cine-concert performance of Vivaldi&#8217;s The Four Seasons by the\u00a0<a href=\"https:\/\/www.geidai.ac.jp\/english\/\">Tokyo University of Arts<\/a>.\u00a0<strong><em>The Physics of Sorrow<\/em><\/strong>\u00a0is a\u00a0<a href=\"https:\/\/www.nfb.ca\/\">National Film Board of Canada<\/a>\u00a0production (Marc Bertrand) with the participation of\u00a0<a href=\"https:\/\/www.arte.tv\/fr\/\">ARTE France.<\/a><\/p>\n<p>Narrated by\u00a0<strong>Rossif Sutherland<\/strong>, with a special guest-voice appearance by\u00a0<strong>Donald Sutherland<\/strong>,\u00a0<em><strong>The Physics of Sorrow<\/strong><\/em>\u00a0ranks as Theodore Ushev&#8217;s most ambitious, intimate and poignant film to date. Inspired by the novel by Bulgarian writer\u00a0<strong>Georgi Gospodinov,<\/strong>\u00a0it is the first fully animated film made using the encaustic-painting technique.\u00a0<em><strong>The Physics of Sorrow<\/strong><\/em>\u00a0tracks the outlines of an unknown man&#8217;s life as he sifts through memories of circuses, bubble-gum wrappers, first crushes, army service from his youth in communist Bulgaria, and an increasingly rootless and melancholic adulthood in Canada\u2014all the while struggling to find home, family and self.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Theodore Ushev&#8217;s\u00a0new film,\u00a0The Physics of Sorrow,\u00a0had what is most likely the highest attendance ever for a short film at its &hellip;<\/p>\n","protected":false},"author":44,"featured_media":238534,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,106],"tags":[],"class_list":["post-238532","post","type-post","status-publish","format-standard","has-post-thumbnail","category-entertainment","category-hollywood","mauthors-national-film-board","mauthors-government-of-canada"],"_links":{"self":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/238532","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/users\/44"}],"replies":[{"embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/comments?post=238532"}],"version-history":[{"count":1,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/238532\/revisions"}],"predecessor-version":[{"id":238535,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/238532\/revisions\/238535"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/media\/238534"}],"wp:attachment":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/media?parent=238532"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/categories?post=238532"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/tags?post=238532"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}