Five years after the remarkable success of “Uncle Boonmee Who Can Recall His Past Lives” that won the Palme D'Or at Cannes in 2010 and many more festival awards, director and eclectic Thai video artist Apichatpong Weerasethakul presented “Cemetery of Splendour”, another imaginative and enigmatic work that elaborates on the author's fascination with the act of sleeping as a means of accessing deeper layers of consciousness and understanding.
Cemetery of Splendour is screening at Metrograph
In order to be enchanted by the director's imaginative and hypnotic world you need to unlock a certain receptiveness towards a non-traditional narrative, a storytelling that is more stratified than linear. The film takes place in the town of Khon Kaen, Isan province, Northwest of Thailand where the director grew up, and more than a story, there are many places and many stories. There is a former school transformed into a small country hospital in a...
Cemetery of Splendour is screening at Metrograph
In order to be enchanted by the director's imaginative and hypnotic world you need to unlock a certain receptiveness towards a non-traditional narrative, a storytelling that is more stratified than linear. The film takes place in the town of Khon Kaen, Isan province, Northwest of Thailand where the director grew up, and more than a story, there are many places and many stories. There is a former school transformed into a small country hospital in a...
- 2/14/2024
- by Adriana Rosati
- AsianMoviePulse
Christian Petzold, the director of the well-timed summer movie Afire with Anne-Katrin Titze: “I’m really sure that we don’t have summer movies. The Americans have summer movies, the French have summer movies.”
Christian Petzold’s slow-burning Afire, shot by Hans Fromm, stars Paula Beer, Thomas Schubert, Langston Uibel, Enno Trebs, and Matthias Brandt.
Nadja (Paula Beer) with Devid (Enno Trebs), Felix (Langston Uibel), and Leon (Thomas Schubert) in Afire
A scene in Leo McCarey’s An Affair To Remember (with Cary Grant and Deborah Kerr); Sophie Calle’s Voir La Mer and Hiroshi Sugimoto’s photographs; Astrid Lindgren; a Benjamin von Stuckrad-Barre touch; Uwe Johnson’s Mutmassungen über Jakob and Margarethe von Trotta’s Jahrestage series; Johan Wolfgang von Goethe; a Nanni Moretti quote; meeting Paul Dano’s Wildlife cinematographer Diego García (Apichatpong Weerasethakul’s Cemetery Of Splendor) in Tel Aviv; Billy Wilder, Fred Zinnemann, Curt Siodmak, Robert Siodmak,...
Christian Petzold’s slow-burning Afire, shot by Hans Fromm, stars Paula Beer, Thomas Schubert, Langston Uibel, Enno Trebs, and Matthias Brandt.
Nadja (Paula Beer) with Devid (Enno Trebs), Felix (Langston Uibel), and Leon (Thomas Schubert) in Afire
A scene in Leo McCarey’s An Affair To Remember (with Cary Grant and Deborah Kerr); Sophie Calle’s Voir La Mer and Hiroshi Sugimoto’s photographs; Astrid Lindgren; a Benjamin von Stuckrad-Barre touch; Uwe Johnson’s Mutmassungen über Jakob and Margarethe von Trotta’s Jahrestage series; Johan Wolfgang von Goethe; a Nanni Moretti quote; meeting Paul Dano’s Wildlife cinematographer Diego García (Apichatpong Weerasethakul’s Cemetery Of Splendor) in Tel Aviv; Billy Wilder, Fred Zinnemann, Curt Siodmak, Robert Siodmak,...
- 7/2/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
This review originally ran on September 10, 2022, in conjunction with the film’s world premiere at the Toronto International Film Festival.
Jennifer Lawrence’s movie stardom sometimes makes it hard to remember just how down-to-earth and gritty an actress she seemed to be when audiences first became aware of her in 2010’s “Winter’s Bone” — or even, before that, in 2008’s “The Burning Plain.” Those films were raw, artful indies and Lawrence’s charisma didn’t obscure the fact that even as a teenager, she was a tough, resourceful actress whose performances were grounded, not glamorous.
A decade and a lot of awards later, Lawrence comes as something of a shock when she appears onscreen, morose and barely verbal, in first-time feature director Lila Neugebauer’s “Causeway.” The drama, which premiered on Saturday at the Toronto International Film Festival, doesn’t provide an “oh yeah, she’s a really good actress” moment,...
Jennifer Lawrence’s movie stardom sometimes makes it hard to remember just how down-to-earth and gritty an actress she seemed to be when audiences first became aware of her in 2010’s “Winter’s Bone” — or even, before that, in 2008’s “The Burning Plain.” Those films were raw, artful indies and Lawrence’s charisma didn’t obscure the fact that even as a teenager, she was a tough, resourceful actress whose performances were grounded, not glamorous.
A decade and a lot of awards later, Lawrence comes as something of a shock when she appears onscreen, morose and barely verbal, in first-time feature director Lila Neugebauer’s “Causeway.” The drama, which premiered on Saturday at the Toronto International Film Festival, doesn’t provide an “oh yeah, she’s a really good actress” moment,...
- 11/3/2022
- by Steve Pond
- The Wrap
It comes as a bit of a surprise to see how jarring Jennifer Lawrence’s presence is in Causeway, her new film directed by first-time filmmaker Lila Neugebauer. A subdued character drama about a soldier recovering back home after suffering a brain injury in Afghanistan, it marks both Lawrence’s return to playing a central character since 2018’s Red Sparrow (unless you want to count her part in 2021’s ensemble Don’t Look Up) and her most grounded role in an even longer time. Go back to the mid-2010s and you’ll find her playing a Russian spy, a mutant superhero, a metaphor for mother nature, and (scariest of all) trapped in outer space with Chris Pratt, which might explain why it takes some adjusting to see her as a regular person trying to rebuild themselves. It’s a welcome and savvy move: Causeway serves as a reminder of her strengths,...
- 9/13/2022
- by C.J. Prince
- The Film Stage
Jennifer Lawrence, who won the Best Actress Oscar for Silver Linings Playbook in 2012 and followed that with a number of hig- profile movies like The Hunger Games series, American Hustle, Passengers, and mother!, hasn’t been seen on screen in a pure leading role since 2018’s Red Sparrow. Last year, she returned as part of the all-star ensemble in Adam McKay’s Don’t Look Up, and now she is finally back in a starring turn in the affecting but comparatively small drama Causeway, which had its world premiere today at the Toronto Film Festival.
As a returning veteran who was wounded in Afghanistan, Lawrence gets a chance to once again turn the volume down and deliver a low-key performance minus any hint of some of the flashier roles she has gotten since receiving her breakout first Oscar nomination in 2010’s Winter’s Bone. It is a pleasure to see this immensely...
As a returning veteran who was wounded in Afghanistan, Lawrence gets a chance to once again turn the volume down and deliver a low-key performance minus any hint of some of the flashier roles she has gotten since receiving her breakout first Oscar nomination in 2010’s Winter’s Bone. It is a pleasure to see this immensely...
- 9/10/2022
- by Pete Hammond
- Deadline Film + TV
Thai cinematographer Sayombhu Mukdeeprom – whose films include Luca Guadagnino’s Oscar nominee for best picture “Call Me by Your Name” and Apichatpong Weerasethakul’s Palme d’Or winner “Uncle Boonmee Who Can Recall His Past Lives,” and who recently lensed Netflix thriller “Beckett” – received the third Robby Müller Award on Thursday, following in the footsteps of Mexican Dp Diego García and American director Kelly Reichardt.
The trophy is given out by International Film Festival Rotterdam, the Netherlands’ Society of Cinematographers and Andrea Müller-Schirmer.
“When he films empty space, it becomes clear that it was actually never empty,” argued the jury, but Mukdeeprom was also feted by his illustrious collaborators, from Guadagnino and Tilda Swinton to “Arabian Nights” helmer Miguel Gomes.
“You came to work for one year, not knowing what we were going to shoot or how, so I think you are kind of crazy. In a very good way,...
The trophy is given out by International Film Festival Rotterdam, the Netherlands’ Society of Cinematographers and Andrea Müller-Schirmer.
“When he films empty space, it becomes clear that it was actually never empty,” argued the jury, but Mukdeeprom was also feted by his illustrious collaborators, from Guadagnino and Tilda Swinton to “Arabian Nights” helmer Miguel Gomes.
“You came to work for one year, not knowing what we were going to shoot or how, so I think you are kind of crazy. In a very good way,...
- 2/5/2022
- by Marta Balaga
- Variety Film + TV
Close-Up is a feature that spotlights films now playing on Mubi. Yorgos Lanthomos’s Nimic is exclusively showing on Mubi in the Luminaries series.A thriller in twelve minutes? Sure: just create a doppelganger that forces a person to confront themselves and their unstable identity. There is, apparently, nothing more terrifying than a steadily executed undoing of one’s personality, as Yorgos Lanthimos’s latest short film Nimic, testifies. With an elliptic story of a man, suddenly and inexplicably, being copied by a woman, the Greek-born director uses doubling as social criticism. And as in previous works, his preferred mode of address is one of stern disinterest, since all characters hold zero investment in the world outside their doorstep, hotel room (The Lobster), or royal palace (in The Favourite).Nimic is Lanthimos’s second artistically acclaimed short film following Necktie (2013), made as part of “Venezia 70 – Future Reloaded,” for which the...
- 12/16/2020
- MUBI
Because of the nature of the business, a cinematographer often has a more eclectic body of work than an actor or a director, and it is not unusual to see their work span continents. Even by these standards, however, Diego García’s filmography is quite impressive: His last four credits are Carlos Reygadas’s Our Time, Gabriel Mascaro’s Divine Love, Nicolas Winding Refn’s Too Old to Die Young, and Yorgos Lanthimos’s short film Nimic—four films produced in four different countries by directors with four different mother tongues. It isn’t surprising, then, to hear that García is particularly attentive to a director’s body of […]...
- 3/3/2020
- by Forrest Cardamenis
- Filmmaker Magazine-Director Interviews
Because of the nature of the business, a cinematographer often has a more eclectic body of work than an actor or a director, and it is not unusual to see their work span continents. Even by these standards, however, Diego García’s filmography is quite impressive: His last four credits are Carlos Reygadas’s Our Time, Gabriel Mascaro’s Divine Love, Nicolas Winding Refn’s Too Old to Die Young, and Yorgos Lanthimos’s short film Nimic—four films produced in four different countries by directors with four different mother tongues. It isn’t surprising, then, to hear that García is particularly attentive to a director’s body of […]...
- 3/3/2020
- by Forrest Cardamenis
- Filmmaker Magazine - Blog
After wowing audiences with his scorching and personal dramas “Post Tenebras Lux” and “Silent Light,” lauded Mexican auteur Carlos Reygadas returns with his most intimate work yet: a film about a crumbling marriage which stars the filmmaker and his own wife, Natalia López, as a couple dealing with the pain of an unfolding affair. The film also features the couple’s three children, starring as the kids of their characters, bull-breaker Juan and his whipsmart wife Esther.
Per the film’s official synopsis, it follows “a family [that] lives in the Mexican countryside raising fighting bulls. Esther is in charge of running the ranch, while her husband Juan, a world-renowned poet, raises and selects the beasts. When Esther becomes infatuated with a horse-breaker, Juan seems incapable to reach his own expectations about himself.”
The film premiered last year at the Venice Film Festival, and went on to screen at Tiff, Havana,...
Per the film’s official synopsis, it follows “a family [that] lives in the Mexican countryside raising fighting bulls. Esther is in charge of running the ranch, while her husband Juan, a world-renowned poet, raises and selects the beasts. When Esther becomes infatuated with a horse-breaker, Juan seems incapable to reach his own expectations about himself.”
The film premiered last year at the Venice Film Festival, and went on to screen at Tiff, Havana,...
- 5/30/2019
- by Kate Erbland
- Indiewire
Today we are recognizing Wildlife, as well as co-writer/director Paul Dano, plus co-writer Zoe Kazan and star Carey Mulligan. Our Hollywood Film Tributes recognize films and talent for their excellence in the art of filmmaking. In a just world, Dano and Kazan’s script for Wildlife would have been a no brainer Best Adapted Screenplay nominee. The former’s directorial debut is so well written, in addition to well directed and well acted, that it 100% was deserving of a citation. From our rave of a review back in October: 2018 has been a hell of a year for actors making their directorial debuts. Bradley Cooper is obviously getting a lot of the acclaim, but don’t sleep on Paul Dano. Along with his partner Zoe Kazan, they have adapted the Richard Ford novel Wildlife, with Dano directing. The result is something spectacular. Ever since the Sundance Film Festival, the movie has been building acclaim.
- 1/26/2019
- by Joey Magidson
- Hollywoodnews.com
Brazilian director Gabriel Mascaro excels at digging inside distinctive worlds and transforming them into poetry. His first two narrative features, “Neon Bull” and “August Wind” are lyrically transcendent works that blur the lines between reality and fiction. That makes the premise of his latest effort a welcome surprise: While “Neon Bull” depicted nomadic rodeo performers and “August Winds” reveled in the romance of a remote fishing village, “Divine Love” is an allegorical sci-fi story set in the near future.
Nevertheless, Mascaro and cinematographer Diego García have crafted a lush, intricate sociopolitical commentary that builds on the filmmaker’s inquisitive approach even as it sometimes overextends its ambition.
The movie takes its time developing its setup. At its center is Joana (Dira Paes), a devout Evangelical woman who works in Brazil’s notary office in 2027. Keen on talking would-be divorced couples into salvaging their crumbling marriages, she often coaxes them into...
Nevertheless, Mascaro and cinematographer Diego García have crafted a lush, intricate sociopolitical commentary that builds on the filmmaker’s inquisitive approach even as it sometimes overextends its ambition.
The movie takes its time developing its setup. At its center is Joana (Dira Paes), a devout Evangelical woman who works in Brazil’s notary office in 2027. Keen on talking would-be divorced couples into salvaging their crumbling marriages, she often coaxes them into...
- 1/26/2019
- by Eric Kohn
- Indiewire
Directing your first feature is always a daunting experience, but it’s hard to imagine that anyone has ever been better prepared for that particular challenge than Paul Dano. Familiar to audiences as one of the most compelling and accomplished actors of his generation, the 34-year-old New York native has spent the last two decades attending the greatest film school on Earth.
Only the Criterion Collection has collaborated with more of modern cinema’s top auteurs: Richard Linklater, Spike Jonze, Ang Lee, Paul Thomas Anderson, Kelly Reichardt, Steve McQueen, Bong Joon-ho, Denis Villeneuve, So Yong Kim, Rian Johnson, etc. He’s the only person on the planet who’s done a stint on “The Sopranos,” worked with Tom Cruise, and starred in an unexpectedly emotional movie about a farting corpse (“Swiss Army Man”).
Read More: ‘Wildlife’ Review: Carey Mulligan Is on Fire in Paul Dano’s Stunningly Beautiful Directorial Debut — Sundance 2018
Needless to say,...
Only the Criterion Collection has collaborated with more of modern cinema’s top auteurs: Richard Linklater, Spike Jonze, Ang Lee, Paul Thomas Anderson, Kelly Reichardt, Steve McQueen, Bong Joon-ho, Denis Villeneuve, So Yong Kim, Rian Johnson, etc. He’s the only person on the planet who’s done a stint on “The Sopranos,” worked with Tom Cruise, and starred in an unexpectedly emotional movie about a farting corpse (“Swiss Army Man”).
Read More: ‘Wildlife’ Review: Carey Mulligan Is on Fire in Paul Dano’s Stunningly Beautiful Directorial Debut — Sundance 2018
Needless to say,...
- 10/30/2018
- by David Ehrlich
- Indiewire
2018 has been a hell of a year for actors making their directorial debuts. Bradley Cooper is obviously getting a lot of the acclaim, but don’t sleep on Paul Dano. Along with his partner Zoe Kazan, they have adapted the Richard Ford novel Wildlife, with Dano directing. The result is something spectacular. Ever since the Sundance Film Festival, the movie has been building acclaim. Rightly so too, as this is one of 2018’s best works. Impeccably acted, brilliantly written, confidently directed, and full of quiet desperation, it’s rather magnificent. The film begins its theatrical run this week and is an absolute must see. Few works this year have been better. For his directorial debut, Dano has chosen Ford’s novel, which provides him ample material to explore. The film is a portrait of a family, as well as a marriage, coming apart. A period piece, we see Jerry (Jake Gyllenhaal...
- 10/17/2018
- by Joey Magidson
- Hollywoodnews.com
Early into Carlos Reygadas’ Our Time (Nuestro Tiempo), the camera follows Esther (Reygadas’ spouse Natalia López) as she drives home to her ranch, husband Juan (Reygadas himself) and kids. Esther is coming home from a motel where she met and slept with Phil (Phil Burgers), an affair Juan is slowly coming to terms with and will later encourage, in a toxic cuckolding game that will anchor the most part of Our Time’s whopping 173 minutes. The camera stays on her face, and then, as in a magic trick, moves into the car’s engine. It’s a moment of ineffable beauty: Esther drives home, enamored, a mellow tune engulfs the car, and a whole world vibrates inside of it, filling the screen with a cacophony of pistons, valves, and energy. The scene comes at the end of Our Time’s first act—if the word could ever apply to Reygadas...
- 9/7/2018
- MUBI
To know Carlos Reygadas is to be perplexed; it’s hard to say exactly what happens in his films, or even if they’re enjoyable. His most recent, “Post Tenebras Lux,” earned him Best Director laurels at Cannes even as it divided everyone who wasn’t on the jury. That elliptical, two-hour exploration of the family unit encompassed everything from an anatomically correct Satan to a little girl getting lost in a field. However, the film also contained moments of great beauty amid the willful abstraction.
“Nuestro tiempo” (“Our Time”), which runs 173 character-building minutes, is likely to be received as another fans-only proposition that converts few but pleases those already inclined to enjoy his work. Those who don’t will sigh to learn that it’s set on a bull ranch (the animals in Reygadas’ films have as difficult a time as the humans), and is another family drama in which the director casts himself,...
“Nuestro tiempo” (“Our Time”), which runs 173 character-building minutes, is likely to be received as another fans-only proposition that converts few but pleases those already inclined to enjoy his work. Those who don’t will sigh to learn that it’s set on a bull ranch (the animals in Reygadas’ films have as difficult a time as the humans), and is another family drama in which the director casts himself,...
- 9/5/2018
- by Michael Nordine
- Indiewire
Six years after Post Tenebras Lux, Mexican filmmaker Carlos Reygadas is returning. The highly-anticipated Our Time (aka Nuestro Tiempo) will premiere at the Venice International Film Festival next week, followed by a stop at Toronto International Film Festival, and now the first trailer has landed.
The film follows Reygadas himself alongside his real-life wife Natalia López in a story of a marriage in crisis, though the trailer teases a film far more expansive than that logline, especially considering its 173-minute runtime. Shot by Diego García, the cinematographer behind Neon Bull, Cemetery of Splendor, and the forthcoming Wildlife, we know it’ll at least be thoroughly gorgeous.
Reygadas has said in a director’s statement, “When we love someone, do we want her or his wellbeing above all else? Or only to the extent that such implicit act of generosity does not affect us too much? In short: Is love a relative matter?...
The film follows Reygadas himself alongside his real-life wife Natalia López in a story of a marriage in crisis, though the trailer teases a film far more expansive than that logline, especially considering its 173-minute runtime. Shot by Diego García, the cinematographer behind Neon Bull, Cemetery of Splendor, and the forthcoming Wildlife, we know it’ll at least be thoroughly gorgeous.
Reygadas has said in a director’s statement, “When we love someone, do we want her or his wellbeing above all else? Or only to the extent that such implicit act of generosity does not affect us too much? In short: Is love a relative matter?...
- 8/28/2018
- by Jordan Raup
- The Film Stage
It’s always a good sign when a film drops a Trailer almost six months in advance of its theatrical release. Having seen Wildlife, I can attest to it being one of the best movies of the year so far. The flick has played at the 2018 Sundance Film Festival as well as the Cannes Film Festival, stacking up on its bona fides. The directorial debut from Paul Dano has a ton going for it and could be a fall/winter awards contender. A Trailer recently debuted, highlighting a lot of what makes it so strong a work. You’ll be able to see it at the end of this article, but first…some discussion. The film is an adaptation of the Richard Ford novel of the same name. A drama centered on the Brinson family, as seen through the eyes of teenager Joe (Ed Oxenbould). Watching his father Jerry (Jake Gyllenhaal...
- 5/24/2018
- by Joey Magidson
- Hollywoodnews.com
One of the best films I saw at Sundance Film Festival this year was Wildlife, the directorial debut of Paul Dano. Starring Carey Mulligan, Ed Oxenbould, Bill Camp, and Jake Gyllenhaal, the film, written by Dano and Zoe Kazan, is a remarkably assured look at the dissolution of a family. After recently stopping by Cannes and ahead of an October release, IFC Films have now released the beautiful first trailer.
“Dano has worked with the likes of Denis Villeneuve, Bong Joon-ho, Rian Johnson, Steve McQueen, and Paul Thomas Anderson, but the past collaborations that he seems to draw the most from for Wildlife are Ang Lee and Kelly Reichardt,” I said in my review. “Blending the emotional subtleties of a drama like the The Ice Storm and the understated appreciation for location in all of Reichardt’s films, especially Certain Women, it’s a beautifully articulated drama in which every line has captivating subtext,...
“Dano has worked with the likes of Denis Villeneuve, Bong Joon-ho, Rian Johnson, Steve McQueen, and Paul Thomas Anderson, but the past collaborations that he seems to draw the most from for Wildlife are Ang Lee and Kelly Reichardt,” I said in my review. “Blending the emotional subtleties of a drama like the The Ice Storm and the understated appreciation for location in all of Reichardt’s films, especially Certain Women, it’s a beautifully articulated drama in which every line has captivating subtext,...
- 5/23/2018
- by Jordan Raup
- The Film Stage
Families are built upon two things: blood and belief. They can get by on the strength of one or the other (to have both is something of a luxury), but when the latter starts to wither, the former can only do so much to save it. This strange alchemy — the science responsible for so many American lives — percolates inside every frame of Paul Dano’s remarkable “Wildlife,” a tender, gorgeous, and exquisitely understated drama about a family that loses its faith in itself.
Adapted from Richard Ford’s 1990 novel of the same name, “Wildlife” begins in a calm and idyllic Montana town circa early 1960s. More specifically, it begins on the front lawn of a small house where a father and son are throwing a football just before dinner, disrupting the Edward Hopper tableaux like a fleck of stray paint. The two of them disappear around the side of the property,...
Adapted from Richard Ford’s 1990 novel of the same name, “Wildlife” begins in a calm and idyllic Montana town circa early 1960s. More specifically, it begins on the front lawn of a small house where a father and son are throwing a football just before dinner, disrupting the Edward Hopper tableaux like a fleck of stray paint. The two of them disappear around the side of the property,...
- 1/21/2018
- by David Ehrlich
- Indiewire
“I feel like I need to wake up, but I don’t know what from… or to,” Carey Mulligan’s Jeanette declares to her teenage son Joe (Ed Oxenbould) in Wildlife, Paul Dano’s remarkably assured, thematically rich directorial debut. The haze Jeanette finds herself in is due to her husband Jerry (Jake Gyllenhaal) having abandoned them to fight a wildfire close to the Canadian border. The absence of a patriarchal figure in their family, who have recently relocated to small-town Montana, leads to Jeanette discovering newfound, untidy emotional independence and her son is there to witness the protracted, quietly devastating unraveling of a marriage.
Dano has worked with the likes of Denis Villeneuve, Bong Joon-ho, Rian Johnson, Steve McQueen, and Paul Thomas Anderson, but the past collaborations that he seems to draw the most from for Wildlife are Ang Lee and Kelly Reichardt. Blending the emotional subtleties of a...
Dano has worked with the likes of Denis Villeneuve, Bong Joon-ho, Rian Johnson, Steve McQueen, and Paul Thomas Anderson, but the past collaborations that he seems to draw the most from for Wildlife are Ang Lee and Kelly Reichardt. Blending the emotional subtleties of a...
- 1/21/2018
- by Jordan Raup
- The Film Stage
Wildlife
We’ve been charting his perfs well before the likes of Reichardt and PTA brought him in as a supporting character, Paul Dano who has given us the riches of Michael Cuesta’s L.I.E., Little Miss Sunshine and So Yong Kim’s For Ellen. Based on the novel by Richard Ford, Dano teamed with his partner Zoe Kazan to adapt the project, and production took place in the fall of 2016 in Montana and Oklahoma.
Jake Gyllenhaal, Carey Mulligan and Ed Oxenbould take on the three-legged tale centering around 14-year-old Joe, who is the only child of Jeanette and Jerry—a housewife and a golf pro—in a small town in 1960s Montana. Nearby, an uncontrolled forest fire rages close to the Canadian border, and when Jerry loses his job—and his sense of purpose—he decides to join the cause of fighting the fire, leaving his wife and son to fend for themselves.
We’ve been charting his perfs well before the likes of Reichardt and PTA brought him in as a supporting character, Paul Dano who has given us the riches of Michael Cuesta’s L.I.E., Little Miss Sunshine and So Yong Kim’s For Ellen. Based on the novel by Richard Ford, Dano teamed with his partner Zoe Kazan to adapt the project, and production took place in the fall of 2016 in Montana and Oklahoma.
Jake Gyllenhaal, Carey Mulligan and Ed Oxenbould take on the three-legged tale centering around 14-year-old Joe, who is the only child of Jeanette and Jerry—a housewife and a golf pro—in a small town in 1960s Montana. Nearby, an uncontrolled forest fire rages close to the Canadian border, and when Jerry loses his job—and his sense of purpose—he decides to join the cause of fighting the fire, leaving his wife and son to fend for themselves.
- 1/15/2018
- by Eric Lavallée
- IONCINEMA.com
“A cinematographer is a visual psychiatrist — moving an audience through a movie […] making them think the way you want them to think, painting pictures in the dark,” said the late, great Gordon Willis. As we continue our year-end coverage, one aspect we must highlight is, indeed, cinematography, among the most vital to the medium. From talented newcomers to seasoned professionals, we’ve rounded up the examples that have most impressed us this year. Check out our rundown below and, in the comments, let us know your favorite work.
Arrival (Bradford Young)
At this point, it would be unfair to call Bradford Young an up-and-coming cinematographer. While it’s an accurate description in terms of his relative years behind the camera, the caliber of his work already feels like one of the most accomplished in the genre. Ahead of a Han Solo prequel, he got his first taste with sci-fi thanks to Denis Villeneuve‘s Arrival.
Arrival (Bradford Young)
At this point, it would be unfair to call Bradford Young an up-and-coming cinematographer. While it’s an accurate description in terms of his relative years behind the camera, the caliber of his work already feels like one of the most accomplished in the genre. Ahead of a Han Solo prequel, he got his first taste with sci-fi thanks to Denis Villeneuve‘s Arrival.
- 12/28/2016
- by The Film Stage
- The Film Stage
Neon Bull has received almost nothing but fine notices in its lead-up to a theatrical release, over the past few months earning plaudits for its vision of non-masculine lifestyles and aspirations within the ostensibly macho world of Brazilian bull-handling and rodeos. Along with posting a complimentary, if not slightly hesitant, review out of last fall’s Hamburg Film Festival, we named it one of the 50 best 2016 films we’ve already seen.
Being that Kino will begin releasing Gabriel Mascaro‘s picture next month, a domestic trailer has arrived. We think it’s worth taking note of, at least when our review says, “[Even] within this loose storytelling structure, Neon Bull still functions as a casually transportive experience and a compelling investigation of masculinity in modern-day Latin America. Driven by Mascaro’s freely associative direction that draws heavily from the physicality and animalistic nature of rodeo races, the film approaches human sexuality...
Being that Kino will begin releasing Gabriel Mascaro‘s picture next month, a domestic trailer has arrived. We think it’s worth taking note of, at least when our review says, “[Even] within this loose storytelling structure, Neon Bull still functions as a casually transportive experience and a compelling investigation of masculinity in modern-day Latin America. Driven by Mascaro’s freely associative direction that draws heavily from the physicality and animalistic nature of rodeo races, the film approaches human sexuality...
- 3/14/2016
- by Nick Newman
- The Film Stage
Watch: A Brazilian Cowboy Finds an Electrifying New Passion in Gabriel Mascaro's 'Neon Bull' Trailer
Stylistically eclectic and impressively prolific, Brazilian auteur Gabriel Mascaro made the jump to narrative filmmaking in 2014 with “August Winds,” after directing several documentaries exploring his homeland’s class divide. His latest fictional work, “Neon Bull,” received wide acclaim after it premiered at the Venice Film Festival and Tiff 2015.
Shot my Mexican cinematographer Diego García, who also recently lensed Apichatpong Weerasethakul's “Cemetery of Splendor,” Mascaro’s film follows a cowboy who works at a local rodeo and spends his days among bulls. But when he becomes fascinated with creating colorful and sensual clothing items, the protagonist finds himself caught between the life he has always known and the passion that has opened new possibilities.
Take a look at the U.S. trailer above.
Kino Lorber will release "Neon Bull" theatrically in NYC on April 8th at the Film Society of Lincoln Center and the film will also be featured in the upcoming New Directors/New Films series.
The Film Society of Lincoln Center will also screen a retrospective of the director's work titled 'Gabriel Mascaro: Ebbs and Flows,' which will take place April 15-21 and will give audiences a chance to see his diverse oeuvre.
The official synopsis reads as follows:
Wild, sensual and utterly transporting, Brazilian writer-director Gabriel Mascaro's second fiction feature unfolds within the world of the vaquejada, a traditional exhibition sport in which cowboys try to pull bulls to the ground by their tails. "Neon Bull" explores the vaquejada through the eyes of Iremar (Juliano Cazarre), a handsome cowboy who works the events. While he's not afraid to get his hands dirty, Iremar's real dream is to design exotic outfits for dancers. Synopsis courtesy of the Toronto International Film Festival.
Check out the mesmerizing official poster below...
Shot my Mexican cinematographer Diego García, who also recently lensed Apichatpong Weerasethakul's “Cemetery of Splendor,” Mascaro’s film follows a cowboy who works at a local rodeo and spends his days among bulls. But when he becomes fascinated with creating colorful and sensual clothing items, the protagonist finds himself caught between the life he has always known and the passion that has opened new possibilities.
Take a look at the U.S. trailer above.
Kino Lorber will release "Neon Bull" theatrically in NYC on April 8th at the Film Society of Lincoln Center and the film will also be featured in the upcoming New Directors/New Films series.
The Film Society of Lincoln Center will also screen a retrospective of the director's work titled 'Gabriel Mascaro: Ebbs and Flows,' which will take place April 15-21 and will give audiences a chance to see his diverse oeuvre.
The official synopsis reads as follows:
Wild, sensual and utterly transporting, Brazilian writer-director Gabriel Mascaro's second fiction feature unfolds within the world of the vaquejada, a traditional exhibition sport in which cowboys try to pull bulls to the ground by their tails. "Neon Bull" explores the vaquejada through the eyes of Iremar (Juliano Cazarre), a handsome cowboy who works the events. While he's not afraid to get his hands dirty, Iremar's real dream is to design exotic outfits for dancers. Synopsis courtesy of the Toronto International Film Festival.
Check out the mesmerizing official poster below...
- 3/11/2016
- by Carlos Aguilar
- Sydney's Buzz
From Blue Is the Warmest Color to Stranger by the Lake, from Pride to The Danish Girl, movies dealing with Lgbt issues or characters have become ever more present at film festivals and cineplexes these past years. Against such background it’s especially intriguing to consider something like Neon Bull – a Brazilian rodeo drama in which everybody turns out to be straight – and its place in queer cinema.
The story is centered around hunky groundskeeper Iremar (Juliano Cazarré), who spends his days at a rodeo in rural Brazil taking care of the animals, keeping up the localities and assisting with the races. On these chores he’s joined by a small, tightly-knit group of people including precocious girl Cacá and her mother Galega. They all dine together and sleep in neighboring hammocks, collectively facing down the monotony of an arduous, menial existence more as a family than co-workers. Iremar, meanwhile,...
The story is centered around hunky groundskeeper Iremar (Juliano Cazarré), who spends his days at a rodeo in rural Brazil taking care of the animals, keeping up the localities and assisting with the races. On these chores he’s joined by a small, tightly-knit group of people including precocious girl Cacá and her mother Galega. They all dine together and sleep in neighboring hammocks, collectively facing down the monotony of an arduous, menial existence more as a family than co-workers. Iremar, meanwhile,...
- 10/11/2015
- by Zhuo-Ning Su
- The Film Stage
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.