Kino Lorber has acquired North American rights to Bruno Dumont’s recent Berlinale selection The Empire.
‘The Empire’: Berlin Review
Anamaria Vartolomei, Camille Cottin, Lyna Khoudri, and Fabrice Luchini star in the sci-fi farce about extraterrestrial forces who descend on Earth after the birth of a baby in a French village triggers a secret intergalactic war.
The film won the Silver Bear Jury Prize in Berlin and is a Tessalit Productions production in co-production with Red Balloon Film, Ascent Film, Novak Prod, Rosa Filmes, and Furyo Films.
Jean Bréhat and Bertrand Faivre produced, and the co-producers are Dorothe Beinemeier,...
‘The Empire’: Berlin Review
Anamaria Vartolomei, Camille Cottin, Lyna Khoudri, and Fabrice Luchini star in the sci-fi farce about extraterrestrial forces who descend on Earth after the birth of a baby in a French village triggers a secret intergalactic war.
The film won the Silver Bear Jury Prize in Berlin and is a Tessalit Productions production in co-production with Red Balloon Film, Ascent Film, Novak Prod, Rosa Filmes, and Furyo Films.
Jean Bréhat and Bertrand Faivre produced, and the co-producers are Dorothe Beinemeier,...
- 3/7/2024
- ScreenDaily
Kino Lorber has acquired North American distribution rights to Bruno Dumont’s “The Empire,” a sci-fi satire starring Anamaria Vartolomei (“Happening”), Camille Cottin (“Call My Agent!”), Lyna Khoudri (“The Three Musketeers”) and Fabrice Luchini.
“The Empire” just world premiered in competition at the Berlin Film Festival, where it won the Silver Bear Jury Prize. The movie marks Dumont’s follow up to “France,” a dark comedy starring Léa Seydoux which competed at the Cannes Film Festival.
Kino Lorber is planning a theatrical release later this year, followed by a home video, educational and digital release on all major platforms. The acquisition of “The Empire” marks the sixth time that Kino Lorber has collaborated with Dumont, with previous releases including “Li’l Quinquin,” “Coincoin and the Extra-Humans,” “Slack Bay,” “Camille Claudel 1915” and, most recently, “France.”
The film is set in a quiet and picturesque fishing village in Northern France, where a special...
“The Empire” just world premiered in competition at the Berlin Film Festival, where it won the Silver Bear Jury Prize. The movie marks Dumont’s follow up to “France,” a dark comedy starring Léa Seydoux which competed at the Cannes Film Festival.
Kino Lorber is planning a theatrical release later this year, followed by a home video, educational and digital release on all major platforms. The acquisition of “The Empire” marks the sixth time that Kino Lorber has collaborated with Dumont, with previous releases including “Li’l Quinquin,” “Coincoin and the Extra-Humans,” “Slack Bay,” “Camille Claudel 1915” and, most recently, “France.”
The film is set in a quiet and picturesque fishing village in Northern France, where a special...
- 3/7/2024
- by Elsa Keslassy
- Variety Film + TV
Italian producer Massimo Cristaldi, who as a production manager worked with masters such as Federico Fellini and Francesco Rosi before setting up his own company and shepherding films including prizewinning drama “Sicilian Ghost Story,” has died. He was 66.
Cristaldi’s death was announced over the weekend by his Rome-based company Cristaldi Pictures in a statement that did not specify the cause.
Born in 1956, Massimo Cristaldi was the only son of prominent producer Franco Cristaldi, the triple Oscar-winner who made Pietro Germi’s “Divorce Italian Style,” Federico Fellini’s “Amarcord” and Giuseppe Tornatore’s “Cinema Paradiso.”
In 1974 Massimo Cristaldi started cutting his teeth in the film business first as a production assistant and eventually, starting in the 1980s, becoming a line producer on many of his father’s productions, working with Fellini, Rosi, Tornatore, and many other Italian cinema greats.
After Franco Cristaldi’s death in 1992, he took over management of...
Cristaldi’s death was announced over the weekend by his Rome-based company Cristaldi Pictures in a statement that did not specify the cause.
Born in 1956, Massimo Cristaldi was the only son of prominent producer Franco Cristaldi, the triple Oscar-winner who made Pietro Germi’s “Divorce Italian Style,” Federico Fellini’s “Amarcord” and Giuseppe Tornatore’s “Cinema Paradiso.”
In 1974 Massimo Cristaldi started cutting his teeth in the film business first as a production assistant and eventually, starting in the 1980s, becoming a line producer on many of his father’s productions, working with Fellini, Rosi, Tornatore, and many other Italian cinema greats.
After Franco Cristaldi’s death in 1992, he took over management of...
- 4/11/2022
- by Nick Vivarelli
- Variety Film + TV
Salvo – Fabio Grassadonia & Antonio Piazza
Section: Critics’ Week
Buzz: A first feature film from Sicilian directors, Fabio Grassadonia and Antonio Piazza, selected for Critics’ Week, it is a crime noir with a touch of the surreal. Shot by director & cinematographer Daniele Cipri, the images are haunting and promising. The producer Fabrizio Mosca defined the film as “an extreme, stylized, researched and rigorous film, in the style of Le Samourai by J.P. Melville.” A statement that produces anticipatory excitement. One hopes it is precisely as promised.
The Gist: Salvo is a mafia killer in Palermo. Rita is twenty and blind from birth. Salvo sneaks into Rita’s house, to kill her brother. There is a fight, a ferocious, hand to hand struggle. Rita’s blind eyes, trembling with rage and distress, staring at him yet unseeing, seem to disturb Salvo and he closes them with his hands covered in blood.
Section: Critics’ Week
Buzz: A first feature film from Sicilian directors, Fabio Grassadonia and Antonio Piazza, selected for Critics’ Week, it is a crime noir with a touch of the surreal. Shot by director & cinematographer Daniele Cipri, the images are haunting and promising. The producer Fabrizio Mosca defined the film as “an extreme, stylized, researched and rigorous film, in the style of Le Samourai by J.P. Melville.” A statement that produces anticipatory excitement. One hopes it is precisely as promised.
The Gist: Salvo is a mafia killer in Palermo. Rita is twenty and blind from birth. Salvo sneaks into Rita’s house, to kill her brother. There is a fight, a ferocious, hand to hand struggle. Rita’s blind eyes, trembling with rage and distress, staring at him yet unseeing, seem to disturb Salvo and he closes them with his hands covered in blood.
- 5/15/2013
- by Moen Mohamed
- IONCINEMA.com
San Francisco International Film Festival
SAN FRANCISCO -- A series of static, poetic tableaux rather than a full-blown cinematic experience, screenwriter-director Emanuele Crialese's "Golden Door" (Nuovomondo) drains the drama and iconography out of an inherently dramatic, iconic story of the voyage of poor Italian immigrants from the old country to the promised land of America at the turn of the 20th century. In the end, Crialese's keen eye for beauty, painterly compositions, appealing whimsical sequences and solid performances from his cast aren't enough to compensate for an absence of narrative oomph that could have sustained interest over the course of the movie.
Although Miramax is behind the marketing, this wafer-thin fable will be lucky to attract even a small art-house audience. The film opens exclusively May 25 in New York and June 1 in Los Angeles.
The story opens with two barefoot men, the sad-eyed, laconic Salvatore (Vincenzo Amato) and his son Angelo (Francesco Casisa), scrambling up a fog-shrouded, rocky hillside in Sicily in search of guidance from their patron saint. This scene, which betrays neither time nor place, along with the sight of peasants traversing the countryside carrying gigantic vegetables, lends an aura of myth to the journey of Salvatore's family. The land of milk and honey is represented here, literally, with immigrants swimming in a sea of white liquid while Nina Simone sings on the soundtrack and piles of coins rain down from trees.
Later, in the cramped quarters aboard ship, Salvatore meets Lucy (an impassive Charlotte Gainsbourg), an enigmatic single woman with a past. She sparks the erotic imagination of the men -- Salvatore promptly proposes -- and arouses suspicion among the women.
A good portion of the film is set within the confines of Ellis Island, where the new arrivals run a humiliating gantlet of invasive physical examinations and pseudo-scientific aptitude tests with a strong whiff of eugenics. Those deemed unfit are promptly deported. Aurora Qattrocchi is wonderful as the proud Fortunata, the indomitable, deeply superstitious matriarch, who knows b.s. when she sees it and doesn't hesitate to point it out. The film could have used more of her fire.
Agnes Godard, responsible for the superb, lyrical cinematography in Claire Denis' "Beau Travail", provides surreal, dreamlike imagery, fog being a prominent metaphor. Unfortunately, Crialese has a weakness for never-ending takes and doesn't develop characters beyond a few broad strokes: Salvatore is simple and kind, and the deaf-mute, Pietro (Filippo Pucillo, whose slouch, floppy hat and blondish curls are reminiscent of Harpo Marx), is smarter than he seems.
The result is an unsatisfying film that makes it difficult to understand what should be at the heart of any immigrant saga: Why these people risked everything and departed for the unknown. Crialese even deprives us and them of a glimpse of Lady Liberty.
GOLDEN DOOR
Miramax Films
Alexandre Mallet-Guy and Fabrizio Mosca present a Memento Films/Titti Films/Respiro production with Arte France Cinema
Credits:
Director-screenwriter: Emanuele Crialese
Producer: Alexandre Mallet-Guy, Fabrizio Mosca, Emanuele Crialese
Executive producer: Bernard Bouix, Tommaso Calevi
Director of photography: Agnes Godard
Production designer: Carlos Conti
Music: Antonio Castrignano
Costume designer: Mariano Tufano
Editor: Maryline Monthieux
Cast:
Lucy: Charlotte Gainsbourg
Salvatore Mancuso: Vincenzo Amato
Fortunata Mancuso: Aurora Quattrocchi
Angelo Mancuso: Francesco Casisa
Pietro Mancuso: Filippo Pucillo
Don Luigi
Vincent Schiavelli
Running time -- 118 minutes
MPAA rating: PG-13...
SAN FRANCISCO -- A series of static, poetic tableaux rather than a full-blown cinematic experience, screenwriter-director Emanuele Crialese's "Golden Door" (Nuovomondo) drains the drama and iconography out of an inherently dramatic, iconic story of the voyage of poor Italian immigrants from the old country to the promised land of America at the turn of the 20th century. In the end, Crialese's keen eye for beauty, painterly compositions, appealing whimsical sequences and solid performances from his cast aren't enough to compensate for an absence of narrative oomph that could have sustained interest over the course of the movie.
Although Miramax is behind the marketing, this wafer-thin fable will be lucky to attract even a small art-house audience. The film opens exclusively May 25 in New York and June 1 in Los Angeles.
The story opens with two barefoot men, the sad-eyed, laconic Salvatore (Vincenzo Amato) and his son Angelo (Francesco Casisa), scrambling up a fog-shrouded, rocky hillside in Sicily in search of guidance from their patron saint. This scene, which betrays neither time nor place, along with the sight of peasants traversing the countryside carrying gigantic vegetables, lends an aura of myth to the journey of Salvatore's family. The land of milk and honey is represented here, literally, with immigrants swimming in a sea of white liquid while Nina Simone sings on the soundtrack and piles of coins rain down from trees.
Later, in the cramped quarters aboard ship, Salvatore meets Lucy (an impassive Charlotte Gainsbourg), an enigmatic single woman with a past. She sparks the erotic imagination of the men -- Salvatore promptly proposes -- and arouses suspicion among the women.
A good portion of the film is set within the confines of Ellis Island, where the new arrivals run a humiliating gantlet of invasive physical examinations and pseudo-scientific aptitude tests with a strong whiff of eugenics. Those deemed unfit are promptly deported. Aurora Qattrocchi is wonderful as the proud Fortunata, the indomitable, deeply superstitious matriarch, who knows b.s. when she sees it and doesn't hesitate to point it out. The film could have used more of her fire.
Agnes Godard, responsible for the superb, lyrical cinematography in Claire Denis' "Beau Travail", provides surreal, dreamlike imagery, fog being a prominent metaphor. Unfortunately, Crialese has a weakness for never-ending takes and doesn't develop characters beyond a few broad strokes: Salvatore is simple and kind, and the deaf-mute, Pietro (Filippo Pucillo, whose slouch, floppy hat and blondish curls are reminiscent of Harpo Marx), is smarter than he seems.
The result is an unsatisfying film that makes it difficult to understand what should be at the heart of any immigrant saga: Why these people risked everything and departed for the unknown. Crialese even deprives us and them of a glimpse of Lady Liberty.
GOLDEN DOOR
Miramax Films
Alexandre Mallet-Guy and Fabrizio Mosca present a Memento Films/Titti Films/Respiro production with Arte France Cinema
Credits:
Director-screenwriter: Emanuele Crialese
Producer: Alexandre Mallet-Guy, Fabrizio Mosca, Emanuele Crialese
Executive producer: Bernard Bouix, Tommaso Calevi
Director of photography: Agnes Godard
Production designer: Carlos Conti
Music: Antonio Castrignano
Costume designer: Mariano Tufano
Editor: Maryline Monthieux
Cast:
Lucy: Charlotte Gainsbourg
Salvatore Mancuso: Vincenzo Amato
Fortunata Mancuso: Aurora Quattrocchi
Angelo Mancuso: Francesco Casisa
Pietro Mancuso: Filippo Pucillo
Don Luigi
Vincent Schiavelli
Running time -- 118 minutes
MPAA rating: PG-13...
- 4/26/2007
- The Hollywood Reporter - Movie News
Gossip columnists are desperate to discover details of the budding friendship between Nicole Kidman and producer Fabrizio Mosca. Nicole has been spotted with the Italian movie-maker on several occasions, Thanks to Fabrizio's six foot two inch stance, the stunning redhead will be able to keep wearing high heels, which she recently boasted her divorce from Tom Cruise would allow her to do. The pair attended the premiere of The Others at the Venice film Festival over the weekend, and were seen together earlier this year in May when they attended a Moulin Rouge showing in the French Riviera. According to website Peoplenews.Com Fabrizio recently questioned press, saying, "How do you know I am dating Nicole Kidman?"...
- 9/5/2001
- WENN
According to London's The Mirror, and repeated in The New York Post, Nicole Kidman was secretly escorted around by Italian film producer Fabrizio Mosca during her four days in Cannes. Richard Roxburgh, one of Nicole's co-stars in Moulin Rouge, told the paper that "Fabrizio was Nicole's date for the night [of the premiere]. They are close." The article detailed further, more intimate and less public time spend together by the pair. When confronted with the claims, Mosca said "How do you know I am going out with Nicole Kidman?" He then added "I guess it is difficult to keep secrets." Mosca was not a subject of conversation though when Nicole appeared on Oprah Winfrey's talk show Friday. Kidman openly discussed her feelings about the controversy in which she has been embroiled, though she avoided discussing certain aspects of her private life, saying "I'm in a position where if I start to answer any of this stuff ... we have two children 8 and 6 (and) they are the most important things to us and as a mother my job now is to protect them ... from any ... scrutiny they are going to get and in terms of what they're going to read." Kidman did discuss her surprise at who ended up being sources of strength and support when the news of the divorce and subsequent miscarriage came out. "Surprisingly some people I thought would be there have not been," she said. "It's hurtful. And people I would never have thought have been a life force." (This report was compiled by IMDb staff from various sources)...
- 5/21/2001
- WENN
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.