Timothée Chalamet and Armie Hammer are racking up accolades and early awards for playing lovers in “Call Me by Your Name,” but director Luca Guadagnino insists he didn’t cast them as a a pair or because he sensed they would work well together.
“I felt that if I loved them and wanted them, they were going to want and love one another,” said Guadagnino when he was a guest on IndieWire’s Filmmaker Toolkit podcast. “It was a bet, but you always have to make a bet. Filmmakers are all charlatans, you have to pretend you know what you are doing and you have to pretend that you are doing something very deep, but sometimes you are just improvising.”
Guadagnino also did not spend much time rehearsing with the two actors beforehand. Shooting the film largely in chronological order, the director said he and his leads just “figured it...
“I felt that if I loved them and wanted them, they were going to want and love one another,” said Guadagnino when he was a guest on IndieWire’s Filmmaker Toolkit podcast. “It was a bet, but you always have to make a bet. Filmmakers are all charlatans, you have to pretend you know what you are doing and you have to pretend that you are doing something very deep, but sometimes you are just improvising.”
Guadagnino also did not spend much time rehearsing with the two actors beforehand. Shooting the film largely in chronological order, the director said he and his leads just “figured it...
- 12/1/2017
- by Chris O'Falt
- Indiewire
“Mudbound” is not a multi-character film in the spirit of director Robert Altman, or 2006 Oscar-winner “Crash.” Instead of being a sprawling tapestry, the intertwined stories of two very different farming families (one black, one white) unfolds into one increasingly cohesive narrative.
“It’s almost like one story [that is] being handed off and everyone is [unaware] they are having similar conversations with themselves,” said director Dee Rees when she was a guest on IndieWire’s Filmmaker Toolkit podcast. “At one point [cinematographer] Rachel [Morrison] was like, ‘When has this ever worked?’ And I was like, ‘I don’t know, but this will be the film where it works.’”
To accomplish this, Rees grounds the audience in the subjectivity of six different protagonists, each with their own internal monologue. It’s something a novel — like Hillary Jordan’s “Mudbound,” which Rees and co-writer Virgil Williams’ adapted — can do effortlessly by accessing the internal thoughts of various characters,...
“It’s almost like one story [that is] being handed off and everyone is [unaware] they are having similar conversations with themselves,” said director Dee Rees when she was a guest on IndieWire’s Filmmaker Toolkit podcast. “At one point [cinematographer] Rachel [Morrison] was like, ‘When has this ever worked?’ And I was like, ‘I don’t know, but this will be the film where it works.’”
To accomplish this, Rees grounds the audience in the subjectivity of six different protagonists, each with their own internal monologue. It’s something a novel — like Hillary Jordan’s “Mudbound,” which Rees and co-writer Virgil Williams’ adapted — can do effortlessly by accessing the internal thoughts of various characters,...
- 11/24/2017
- by Chris O'Falt
- Indiewire
Sean Baker is a filmmaker who puts a premium on making his films feel as authentic as possible. For example, sometimes he will use a handheld camera to follow his characters — who are often played by first-time performers — to give a scene a sense of documentary realism. After “Tangerine” — Baker’s iPhone-shot indie breakout — he started to wonder if image stabilization advances in smartphone cameras was changing what audiences thought “real” footage looked like.
“Audiences see homemade raw footage, but with a stabilizer on,” said Baker when he was guest on IndieWire’s Filmmaker Toolkit podcast. “So everybody is shooting their Youtube and Instagram videos and they are all very smooth — so we’re changing the way audiences think about how cameras are held and if shots are stable or not.” This led Baker to consider if he could employ a documentary-style steadicam effectively to his next film, “The Florida Project.
“Audiences see homemade raw footage, but with a stabilizer on,” said Baker when he was guest on IndieWire’s Filmmaker Toolkit podcast. “So everybody is shooting their Youtube and Instagram videos and they are all very smooth — so we’re changing the way audiences think about how cameras are held and if shots are stable or not.” This led Baker to consider if he could employ a documentary-style steadicam effectively to his next film, “The Florida Project.
- 11/17/2017
- by Chris O'Falt
- Indiewire
Every week, IndieWire asks a select handful of film critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)
This week’s question: In honor of Greta Gerwig’s “Lady Bird,” what is the best coming-of-age movie ever made?
Siddhant Adlakha (@SidizenKane), Birth.Movies.Death.
While it may not fit the western paradigm of a traditional coming of age film (neither a high school setting nor teenage angst or confusion find themselves the focus), “Lion” holds the distinction of being a rare modern movie that gets to the root of key questions of dual identity, questions that will only become more prominent in the age of globalism. It’s the most extreme version of having your feet in two cultures; Saroo Brierley (Sunny Pawar, Dev Patel) finds himself...
This week’s question: In honor of Greta Gerwig’s “Lady Bird,” what is the best coming-of-age movie ever made?
Siddhant Adlakha (@SidizenKane), Birth.Movies.Death.
While it may not fit the western paradigm of a traditional coming of age film (neither a high school setting nor teenage angst or confusion find themselves the focus), “Lion” holds the distinction of being a rare modern movie that gets to the root of key questions of dual identity, questions that will only become more prominent in the age of globalism. It’s the most extreme version of having your feet in two cultures; Saroo Brierley (Sunny Pawar, Dev Patel) finds himself...
- 11/6/2017
- by David Ehrlich
- Indiewire
One of the most unexpected breakouts at this year’s Sundance Film Festival was Danielle MacDonald for playing Patricia Dombroski — aka Patti Cake$ — a 23-year-old, heavy-set Jersey girl with dreams of rap stardom. MacDonald carries the film not only with her acting, but her hip hop performances. There was just one problem that the Australian actress faced: She had never rapped before in her life.
Read More:‘Patti Cake$’ Review: Here’s the Best Hip-Hop Movie Since ‘Hustle & Flow’ – Sundance 2017
“I just wanted an actress first,” said writer-director Jasper in an interview for IndieWire’s Filmmaker Toolkit podcast this week. “We decided to cast an actress over a musician just because there are so many heavy scenes, there’s comedic scenes, there’s dramatic scenes, she had to do some much – she had to carry the film, she’s in every single scene.”
Jasper, who was musician before he was a filmmaker,...
Read More:‘Patti Cake$’ Review: Here’s the Best Hip-Hop Movie Since ‘Hustle & Flow’ – Sundance 2017
“I just wanted an actress first,” said writer-director Jasper in an interview for IndieWire’s Filmmaker Toolkit podcast this week. “We decided to cast an actress over a musician just because there are so many heavy scenes, there’s comedic scenes, there’s dramatic scenes, she had to do some much – she had to carry the film, she’s in every single scene.”
Jasper, who was musician before he was a filmmaker,...
- 8/17/2017
- by Chris O'Falt
- Indiewire
The idea of a Hollywood star getting some indie street cred by taking a massive pay cut to support the work of an edgy, up-and-coming auteur is hardly a new concept, but describes at least half the films at Sundance. However, the films of Josh and Benny Safdie are more than their somewhat simplified reputation as gritty New York filmmakers, and the decision by Robert Pattinson to star in the pair’s new film isn’t your run-of-the-mill case of an actor looking for street cred.
The Safdies’ distinctive guerilla-style approach to filmmaking on busy streets, often with amateur performers – who embody the underbelly of the city – is a cinematic world based on complete authenticity and the product of an immersive creative process that requires, as Benny described it, “being put through the ringer.”
Read More:Robert Pattinson Gives a Career-Best Performance in the Safdie Brothers’ ‘Good Time’ — Cannes 2017 Review...
The Safdies’ distinctive guerilla-style approach to filmmaking on busy streets, often with amateur performers – who embody the underbelly of the city – is a cinematic world based on complete authenticity and the product of an immersive creative process that requires, as Benny described it, “being put through the ringer.”
Read More:Robert Pattinson Gives a Career-Best Performance in the Safdie Brothers’ ‘Good Time’ — Cannes 2017 Review...
- 8/11/2017
- by Chris O'Falt
- Indiewire
Before writer-director Kogonada’s “Columbus” was a critically acclaimed breakout at this year’s Sundance Film Festival, he first made a name for himself in the film world by creating popular video essays about great auteurs ranging from Stanley Kubrick to Wes Anderson. As a recent guest on IndieWire’s Filmmaker Toolkit podcast, he discussed how these online videos were key to his transition from the academic world – where he was writing a dissertation about the films of Yasujiro Ozu – to becoming a filmmaker himself.
“I feel like I’ve always been an accidental academic,” said Kogonada (who does not use his last name and has never revealed it publicly). “I had a set of questions that started one way and was very philosophical and a bit existential, but it ultimately led me to Ozu.”
Read More‘Columbus’ Review: Kogonada’s Directorial Debut Is a Feast for the Eyes and...
“I feel like I’ve always been an accidental academic,” said Kogonada (who does not use his last name and has never revealed it publicly). “I had a set of questions that started one way and was very philosophical and a bit existential, but it ultimately led me to Ozu.”
Read More‘Columbus’ Review: Kogonada’s Directorial Debut Is a Feast for the Eyes and...
- 8/7/2017
- by Chris O'Falt
- Indiewire
At its heart, “A Ghost Story” is a meditation on the enormity of time. It’s a topic writer and director David Lowery has on his mind quite a bit, so much that he can turn simple matters in his personal life into an existential crisis.
“I remember wanting to buy a vintage movie poster on eBay,” said Lowery, when he was a guest on IndieWire’s Filmmaker Toolkit podcast. “[T]hen thinking, well, I shouldn’t spend the money on this because in 200 years I’m going to be dead and a million years after that the poster’s not going to exist anymore, so what’s the point.”
Read More: The 17 Best Indie Movies of 2017 (So Far)
The jumping off point for “A Ghost Story” stemmed from an argument Lowery and his wife were having about moving out of their small rental house in Dallas. Just like with the poster,...
“I remember wanting to buy a vintage movie poster on eBay,” said Lowery, when he was a guest on IndieWire’s Filmmaker Toolkit podcast. “[T]hen thinking, well, I shouldn’t spend the money on this because in 200 years I’m going to be dead and a million years after that the poster’s not going to exist anymore, so what’s the point.”
Read More: The 17 Best Indie Movies of 2017 (So Far)
The jumping off point for “A Ghost Story” stemmed from an argument Lowery and his wife were having about moving out of their small rental house in Dallas. Just like with the poster,...
- 7/14/2017
- by Chris O'Falt
- Indiewire
When Trey Edward Shults was 18 years old, he went to Hawaii for the summer to stay with his aunt Krisha – yes, the same Krisha who starred in his 2016 breakout “Krisha.” His aunt was connected to small filmmaking community on the island and got her nephew jobs working on commercials and other productions.
Read More: ‘It Comes at Night’: Why A24 Took a Gamble on a New Filmmaker’s Ambitious Horror Vision
“I lucked out and got on this Terrence Malick movie,” said Shults when he was guest on IndeWire’s Filmmaker Toolkit podcast. The small crew, sans Malick, was shooting footage of a volcano for the documentary “Voyage of Time.”
“It was five guys with an IMAX camera,” said Shults. “I loved movies, but I didn’t know how they were made, really. I didn’t even get what the guy [the film loader] in the changing bag with the film was...
Read More: ‘It Comes at Night’: Why A24 Took a Gamble on a New Filmmaker’s Ambitious Horror Vision
“I lucked out and got on this Terrence Malick movie,” said Shults when he was guest on IndeWire’s Filmmaker Toolkit podcast. The small crew, sans Malick, was shooting footage of a volcano for the documentary “Voyage of Time.”
“It was five guys with an IMAX camera,” said Shults. “I loved movies, but I didn’t know how they were made, really. I didn’t even get what the guy [the film loader] in the changing bag with the film was...
- 6/16/2017
- by Chris O'Falt
- Indiewire
Sam Esmail’s paranoid fictional world of hackers, the FBI and one all too powerful corporation has struck a cord with the devoted fans of “Mr. Robot,” but the show has also become known for being oddly prescient since it first premiered two summers ago. It’s therefore natural to speculate whether Season 3 (currently in production) will be impacted by the election of President Trump – and the idea that Russia “hacked” the United States election – especially considering that Esmail hasn’t been shy about sharing his opinions about the 45th President.
Read More: The ‘Mr. Robot’ Experiment: Can a TV Show Be Shot Like an Indie Film?
“I don’t think it’s political to dislike Trump,” said Esmail, during an interview for this week’s Filmmaker Toolkit Podcast. “I don’t think it’s controversial to say he’s a bad president. He’s clearly a bad president. He...
Read More: The ‘Mr. Robot’ Experiment: Can a TV Show Be Shot Like an Indie Film?
“I don’t think it’s political to dislike Trump,” said Esmail, during an interview for this week’s Filmmaker Toolkit Podcast. “I don’t think it’s controversial to say he’s a bad president. He’s clearly a bad president. He...
- 6/2/2017
- by Chris O'Falt
- Indiewire
When Netflix announced it would finance the third season of the British sci-fi anthology “Black Mirror,” series creator Charlie Brooker knew he’d be accused of selling out. And then, the much-regarded, much-discussed “San Junipero” episode seemed to confirm his critics’ worst fears. For a show that revolved around dark stories of the future in which technology wreaks havoc, here was a fairly optimistic story about two women failing in love in the virtual-reality world of a sunny California beach town in the ’80s.
“‘San Junipero’ was the first script I wrote for season three, and it was partly I thought I’m going to blow up my idea of what a ‘Black Mirror’ episode is, so it has a very different tone,” said Brooker, who joined IndieWire’s Filmmaker Toolkit podcast with executive producer Annabel Jones. “And partly, I’d read people moaning, ‘Oh, I see Black Mirror’s gone to Netflix,...
“‘San Junipero’ was the first script I wrote for season three, and it was partly I thought I’m going to blow up my idea of what a ‘Black Mirror’ episode is, so it has a very different tone,” said Brooker, who joined IndieWire’s Filmmaker Toolkit podcast with executive producer Annabel Jones. “And partly, I’d read people moaning, ‘Oh, I see Black Mirror’s gone to Netflix,...
- 5/26/2017
- by Chris O'Falt
- Indiewire
French director Mia Hansen-Love is seeing more and more opportunities come to her. The filmmaker’s last film, the critically acclaimed “Things To Come,” starred Isabelle Huppert in a superb performance, and it’s opened even more doors for the respected filmmaker. While her next project will still be the hostage drama “Maya,” starring Romain Kolinka as a reporter who heads to India after being held hostage in Syria, she’s already looking ahead to its follow-up, the relationship drama, “Bergman Island.”
Screen Daily report that Greta Gerwig (who had a small role in Hansen-Love’s “Eden”), Mia Wasikowska and John Turturro have joined the cast.
Continue reading Greta Gerwig & Mia Wasikowska To Star In Mia Hansen-Love’s ‘Bergman Island’ at The Playlist.
Screen Daily report that Greta Gerwig (who had a small role in Hansen-Love’s “Eden”), Mia Wasikowska and John Turturro have joined the cast.
Continue reading Greta Gerwig & Mia Wasikowska To Star In Mia Hansen-Love’s ‘Bergman Island’ at The Playlist.
- 5/18/2017
- by Edward Davis
- The Playlist
Exclusive: Producer Charles Gillibert launches project at Cannes.
Greta Gerwig, Mia Wasikowska and John Turturro have signed for French filmmaker Mia Hansen-Love’s English-language debut Bergman Island, set on the Swedish island of Faro which was home to the late director Ingmar Bergman.
The picture revolves around an American filmmaking couple who retreat to the island for the summer to each write screenplays for their upcoming films in an act of pilgrimage to the place that inspired Bergman.
As the summer and their screenplays advance, the lines between reality and fiction start to blur against the backdrop of the Island’s wild landscape.
Hansen-Love’s long-time producer Charles Gillibert, who previously collaborated with the director on Things To Come and Eden, is launching financing on the project at Cannes under his CG Cinema banner. A sales agent has yet to be set.
The production, which was developed with the support of Sweden’s Filmregion Stockholm-Mälardalen through...
Greta Gerwig, Mia Wasikowska and John Turturro have signed for French filmmaker Mia Hansen-Love’s English-language debut Bergman Island, set on the Swedish island of Faro which was home to the late director Ingmar Bergman.
The picture revolves around an American filmmaking couple who retreat to the island for the summer to each write screenplays for their upcoming films in an act of pilgrimage to the place that inspired Bergman.
As the summer and their screenplays advance, the lines between reality and fiction start to blur against the backdrop of the Island’s wild landscape.
Hansen-Love’s long-time producer Charles Gillibert, who previously collaborated with the director on Things To Come and Eden, is launching financing on the project at Cannes under his CG Cinema banner. A sales agent has yet to be set.
The production, which was developed with the support of Sweden’s Filmregion Stockholm-Mälardalen through...
- 5/18/2017
- ScreenDaily
Although the thunderous awards campaign for Isabelle Huppert’s performance in Elle somewhat obscured the rightful acclaim which should have equally been bestowed upon her turn in Mia Hansen-Love’s Things to Come, it was a phenomenal year for the accomplished French star.
Continue reading...
Continue reading...
- 5/9/2017
- by Nicholas Bell
- IONCINEMA.com
After James Gray finished reading David Grann’s book “The Lost City of Z: A Tale of Deadly Obsession in the Amazon” – a nonfiction chronicle of British explorer Percy Fawcett’s obsessive quest to find a lost civilization buried deep in the Amazonian jungle – he was confused why Brad Pitt had sent it to him.
“I have absolutely no idea what they want me to do this,” said Gray when he was guest on IndieWire’s Filmmaker Toolkit podcast. “There had been nothing in my career as a director that had shown I could do anything like this.”
Paramount had bought the book for Pitt , whose production company Plan B (“Moonlight,” “12 Years a Slave”) ultimately produced the film. Pitt had always wanted to work with Gray, and while it didn’t happen this time, Pitt will star in Gray’s Sci Fi film “Ad Astra,” which is shooting this summer.
“I have absolutely no idea what they want me to do this,” said Gray when he was guest on IndieWire’s Filmmaker Toolkit podcast. “There had been nothing in my career as a director that had shown I could do anything like this.”
Paramount had bought the book for Pitt , whose production company Plan B (“Moonlight,” “12 Years a Slave”) ultimately produced the film. Pitt had always wanted to work with Gray, and while it didn’t happen this time, Pitt will star in Gray’s Sci Fi film “Ad Astra,” which is shooting this summer.
- 4/14/2017
- by Chris O'Falt
- Indiewire
Walter Hill is one of the great action and genre directors of the last 40 years, having made classics like “The Driver,” “The Warriors,” directed the pilot of HBO’s “Deadwood,” and produced, guided and rewrote the first three “Alien” films. With his latest film, “The Assignment” (originally titled “REAssignment” when it premiered at Tiff last fall), Hill finds himself in the unusual position of receiving sharp criticism for being transphobic.
Read More: ‘Rogue One’ Director Gareth Edwards on Avoiding Hollywood’s Addiction to Numbing Visual Effects
“Want to know the truth, I don’t think it is very controversial,” said director Walter Hill, when he was a guest on IndieWire’s Filmmaker Toolkit podcast. “It’s been attacked mainly by people that haven’t seen the movie.”
In “The Assignment,” Frank Kitchen (Michelle Rodriguez) is a hitman, who one day wakes up in a seedy hotel room stunned to discover...
Read More: ‘Rogue One’ Director Gareth Edwards on Avoiding Hollywood’s Addiction to Numbing Visual Effects
“Want to know the truth, I don’t think it is very controversial,” said director Walter Hill, when he was a guest on IndieWire’s Filmmaker Toolkit podcast. “It’s been attacked mainly by people that haven’t seen the movie.”
In “The Assignment,” Frank Kitchen (Michelle Rodriguez) is a hitman, who one day wakes up in a seedy hotel room stunned to discover...
- 4/7/2017
- by Chris O'Falt
- Indiewire
Gareth Edwards grew up dreaming he would follow in the footsteps of his hero Steven Spielberg: He’d go to film school and make a short that would gain him entry into Hollywood.
“That never happened because my short film was rubbish,” said Edwards, who was guest on IndieWire’s Filmmaker Toolkit.
Beyond his film being bad, Edwards realized the competition to be a director had multiplied since Spielberg had started out and it took more than a good short to get a foot in the door in Hollywood. Edwards’ first short, which he made with a his computer animator roommate, was one of the first student works ever to mix CGI with live action. The experience opened Edwards’ eyes to the computer as being the future of filmmaking and he now saw his path to Hollywood could be to make his own films from home, doing the editing and effects himself.
“That never happened because my short film was rubbish,” said Edwards, who was guest on IndieWire’s Filmmaker Toolkit.
Beyond his film being bad, Edwards realized the competition to be a director had multiplied since Spielberg had started out and it took more than a good short to get a foot in the door in Hollywood. Edwards’ first short, which he made with a his computer animator roommate, was one of the first student works ever to mix CGI with live action. The experience opened Edwards’ eyes to the computer as being the future of filmmaking and he now saw his path to Hollywood could be to make his own films from home, doing the editing and effects himself.
- 4/5/2017
- by Chris O'Falt
- Indiewire
IndieWire’s Filmmaker Toolkit podcast is an exploration of how good movies get made through in-depth conversations with filmmakers about their artistic process. This fall and winter we were fortunate to host guests whose films are favorited to take home Academy Awards this weekend. As we get ready for the Oscars, here’s a look back at some of what we learned from the writers, directors and editors behind this year’s best films.
The Filmmaker Toolkit podcast is available on iTunes, Stitcher, SoundCloud and Google Play Music.
“Arrival” Screenwriter Eric Heisserer
Ted Chiang’s “The Story of Your Life” is a beloved sci-fi short story, but no one thought it was natural fit for the big screen. Well, nobody besides Eric Heisserer, who was emotionally devastated the first time he read Chiang’s 32 page story. He wanted to find a way to capture that feeling in a movie, but...
The Filmmaker Toolkit podcast is available on iTunes, Stitcher, SoundCloud and Google Play Music.
“Arrival” Screenwriter Eric Heisserer
Ted Chiang’s “The Story of Your Life” is a beloved sci-fi short story, but no one thought it was natural fit for the big screen. Well, nobody besides Eric Heisserer, who was emotionally devastated the first time he read Chiang’s 32 page story. He wanted to find a way to capture that feeling in a movie, but...
- 2/25/2017
- by Chris O'Falt
- Indiewire
From an editing perspective, there couldn’t be two films more different than Damien Chazelle’s “Whiplash” and his “La La Land.” While both feature musical performances, “La La Land” is anchored by gliding, well-choreographed musical numbers, while “Whiplash” is driven by hard-pounding percussive cutting, for which editor Tom Cross won the Oscar for Best Editing.
“The thing with ‘Whiplash’ is we could always point to needing to keep up a certain amount of brutality and tension and suspense and velocity,” said editor Tom Cross who, along with Damien Chazelle, was recently a guest on IndieWire’s Filmmaker Toolkit Podcast. “We didn’t really have that to fall back on with ‘La La Land.'”
Read More: Filmmaker Toolkit Podcast: ‘Moonlight’ Director Barry Jenkins Reveals the Unconventional Way He Cast His Three Leads (Episode 10)
Although “Whiplash” features more cutting, according to Chazelle editing the film was a fairly straightforward process.
“The thing with ‘Whiplash’ is we could always point to needing to keep up a certain amount of brutality and tension and suspense and velocity,” said editor Tom Cross who, along with Damien Chazelle, was recently a guest on IndieWire’s Filmmaker Toolkit Podcast. “We didn’t really have that to fall back on with ‘La La Land.'”
Read More: Filmmaker Toolkit Podcast: ‘Moonlight’ Director Barry Jenkins Reveals the Unconventional Way He Cast His Three Leads (Episode 10)
Although “Whiplash” features more cutting, according to Chazelle editing the film was a fairly straightforward process.
- 2/21/2017
- by Chris O'Falt
- Indiewire
“The Other Side of Hope”
Winsome, sweet, and often very funny, the second chapter of Aki Kaurismäki’s unofficial trilogy about port cities is a delightful story about the power of kindness that unfolds like a slightly more somber riff on 2011’s “Le Havre.” The Finnish auteur’s latest refugee story begins with a twentysomething Syrian man named Khaled (terrific newcomer Sherwan Haji), who escapes from Aleppo after burying most of his family and sneaks into Finland by stowing away in the cargo hold of a coal freighter. His path eventually crosses with Wikström (Sakari Kuosmanen), a newly single restauranteur who could use a helping hand. Part Roy Andersson and part Frank Capra, “The Other Side of Hope” deepens the director’s recognition of how immigrants and refugees are victimized by their invisibility, and its timeliness could help it strike a chord with domestic audiences. “Le Havre” grossed more than...
Winsome, sweet, and often very funny, the second chapter of Aki Kaurismäki’s unofficial trilogy about port cities is a delightful story about the power of kindness that unfolds like a slightly more somber riff on 2011’s “Le Havre.” The Finnish auteur’s latest refugee story begins with a twentysomething Syrian man named Khaled (terrific newcomer Sherwan Haji), who escapes from Aleppo after burying most of his family and sneaks into Finland by stowing away in the cargo hold of a coal freighter. His path eventually crosses with Wikström (Sakari Kuosmanen), a newly single restauranteur who could use a helping hand. Part Roy Andersson and part Frank Capra, “The Other Side of Hope” deepens the director’s recognition of how immigrants and refugees are victimized by their invisibility, and its timeliness could help it strike a chord with domestic audiences. “Le Havre” grossed more than...
- 2/20/2017
- by David Ehrlich, Eric Kohn and Jude Dry
- Indiewire
“There was her, there was me, and there was me beside myself. There were three of us.” That’s how Catherine (Lolita Chammah) describes what it was like to deal with a newborn daughter as a single parent in the deepest throes of depression. That’s all that she says on the subject, but it’s more than enough for us to understand why the woman — now in her early 30s — once felt the need to skip town and leave her baby with the child’s grandmother, Elisabeth (Isabelle Huppert, who happens to be Chammah’s mom in real life, as well).
But that was a long time ago, and Catherine has found some good pills to keep the darkness at bay. Now she’s returned to Luxembourg without any advance warning, finally ready to be a mother more than 10 years after she became one. If only it were so...
But that was a long time ago, and Catherine has found some good pills to keep the darkness at bay. Now she’s returned to Luxembourg without any advance warning, finally ready to be a mother more than 10 years after she became one. If only it were so...
- 2/10/2017
- by David Ehrlich
- Indiewire
Luca Guadagnino’s lush Italian romance premiered at the Sundance Film Festival to rave reviews, including from IndieWire’s David Ehrlich, who wrote of the director’s work: “[Guadagnino] stays attuned to the raw energy of trying to feel someone out without touching them, of what it’s like to live through that one magical summer where the weather is the only part of your world that doesn’t change every day.”
Read More: ‘Call Me By Your Name’ Review: Luca Guadagnino Delivers A Queer Masterpiece — Sundance 2017
Based on the 2007 novel of the same name by André Aciman, “Call Me By Your Name” is an elegant and restrained romance between Elio (Timothée Chalamet), the 17-year-old son of an academic, and Oliver (Armie Hammer), the handsome American intern who has come to stay the summer in the Northern Italian villa Elio’s family owns.
Of the film’s influences, Ehrlich writes: “While...
Read More: ‘Call Me By Your Name’ Review: Luca Guadagnino Delivers A Queer Masterpiece — Sundance 2017
Based on the 2007 novel of the same name by André Aciman, “Call Me By Your Name” is an elegant and restrained romance between Elio (Timothée Chalamet), the 17-year-old son of an academic, and Oliver (Armie Hammer), the handsome American intern who has come to stay the summer in the Northern Italian villa Elio’s family owns.
Of the film’s influences, Ehrlich writes: “While...
- 1/30/2017
- by Jude Dry
- Indiewire
Call it the battle of two Meryls. In one corner, there's the record-breaking queen of American cinema, Meryl Streep. Her opponent? The so-called "Meryl Streep of France," Isabelle Huppert. And on Feb. 26, the two will battle it out for the Best Actress honor at the 89th annual Academy Awards. But who is Isabelle Huppert, and how did she seemingly become an overnight film sensation in her 60s? (Spoiler alert: there was nothing "overnight" about it.) Here are eight things you need to know about the actress. She's been in the acting game for a long time. Although the current buzz around Huppert is regarding her Oscar nominated turn in Elle as a businesswoman on the hunt for her rapist, the 63-year old made her silver screen debut 40 years ago, starring in the French film, La Dentellière. You might be saying her name wrong. Fight the urge to rely on American English phonetics.
- 1/27/2017
- by Michelle Konstantinovsky
- Popsugar.com
“It Felt Like Love” was a no-to-low budget film that announced the arrival of major filmmaking talent. Premiering in the Next category at the 2012 Sundance Film Festival, Hittman shot it using available light and a skeleton crew (often just cinematographer Sean Porter) and delivered a film filled with visual poetry grounded in a working-class Brooklyn rarely seen onscreen.
Read More: How These 20 Sundance Festival Films Got Their Start in the Sundance Labs
Recognized as a directing talent to watch, it might be assumed Hittman would have little difficulty making another independent feature on a slightly bigger canvas.
“The murky period between films is very challenging,” said Hittman when she was a guest on IndieWire’s Filmmaker Toolkit. “On one hand, I made a film that was a festival success, but it wasn’t a box-office success and it didn’t have [name] cast, so I wasn’t attracting a certain level...
Read More: How These 20 Sundance Festival Films Got Their Start in the Sundance Labs
Recognized as a directing talent to watch, it might be assumed Hittman would have little difficulty making another independent feature on a slightly bigger canvas.
“The murky period between films is very challenging,” said Hittman when she was a guest on IndieWire’s Filmmaker Toolkit. “On one hand, I made a film that was a festival success, but it wasn’t a box-office success and it didn’t have [name] cast, so I wasn’t attracting a certain level...
- 1/27/2017
- by Chris O'Falt
- Indiewire
“Is it better to speak or to die?” That’s the core question of “Call Me By Your Name,” which surfaces in a scene where a character reads the words of Marguerite of Navarre in “The Heptaméron,” but it’s an idea at the heart of all queer narratives. It’s been especially present in queer cinema, where muteness and survival are often the most bittersweet bedfellows. But “Call Me By Your Name” not only quotes Marguerite’s words, it suffuses them into every fiber of its being. It’s a great film because of how lucidly it poses her question, and an essential one because of how courageously it answers it.
Directed by Luca Guadagnino with all of his usual cool (“I Am Love”) and adapted from André Aciman’s beloved 2007 novel of the same name, the rapturous “Call Me By Your Name” nearly rates alongside recent Lgbt phenomenons “Carol” and “Moonlight,...
Directed by Luca Guadagnino with all of his usual cool (“I Am Love”) and adapted from André Aciman’s beloved 2007 novel of the same name, the rapturous “Call Me By Your Name” nearly rates alongside recent Lgbt phenomenons “Carol” and “Moonlight,...
- 1/23/2017
- by David Ehrlich
- Indiewire
Golden Globe best actress winner Isabelle Huppert added the French Film Award to her trophy cabinet during a ceremony Monday night at the French culture ministry.
Huppert — who was said to have just returned from Los Angeles on Monday morning with her Elle trophy safely stored in her suitcase — accepted the honor from film-promotion body UniFrance. The award is fairly new and coincides with the film body’s French film festival and market.
Actress Sandrine Kiberlain and directors Benoit Jacquot, Joachim Lafosse, Mia Hansen-Love and Anne Fontaine were among those that turned out to celebrate Huppert.
Directors...
Huppert — who was said to have just returned from Los Angeles on Monday morning with her Elle trophy safely stored in her suitcase — accepted the honor from film-promotion body UniFrance. The award is fairly new and coincides with the film body’s French film festival and market.
Actress Sandrine Kiberlain and directors Benoit Jacquot, Joachim Lafosse, Mia Hansen-Love and Anne Fontaine were among those that turned out to celebrate Huppert.
Directors...
- 1/17/2017
- by Rhonda Richford
- The Hollywood Reporter - Movie News
Fresh out of Nyu, filmmaker Nanfu Wang spent the summer of 2013 with maverick Chinese women’s right activist, Ye Haiyan (aka “Hooligan Sparrow”) as she protested and called attention to a child rapist who evaded sexual assault charges by claiming he had hired the young women for sex (in China it is common for rapists to hide behind far weaker prostitution laws).
Wang soon became part of Sparrow’s small group of activists travelling the country, being harassed by authorities and putting their lives put in danger. Wang eventually got out of China with her footage, framing up her riveting documentary, which premiered as “Hooligan Sparrow” at last year’s Sundance Film Festival.
Read More: Pablo Larraín On Catching Ghosts to Make His ‘Neruda’ and ‘Jackie’
Wang, who like Haiyan, grew up in rural China and had to leave school at early age to support her family, told IndieWire’s...
Wang soon became part of Sparrow’s small group of activists travelling the country, being harassed by authorities and putting their lives put in danger. Wang eventually got out of China with her footage, framing up her riveting documentary, which premiered as “Hooligan Sparrow” at last year’s Sundance Film Festival.
Read More: Pablo Larraín On Catching Ghosts to Make His ‘Neruda’ and ‘Jackie’
Wang, who like Haiyan, grew up in rural China and had to leave school at early age to support her family, told IndieWire’s...
- 1/13/2017
- by Chris O'Falt
- Indiewire
Isabelle Huppert is stirring Oscar talk (and she damn well should) for the potent provocation of her acting in Elle, directed by Dutch wildman Paul Verhoeven. But to see her in Things to Come, as a character who is the polar opposite of the powerhouse she plays in that story of rape and revenge, is to cement Huppert's reputation as one of the best actresses on the planet. Written and directed by Mia Hansen-Love (Eden), the film gives the legendary French star the role of Nathalie, a Paris philosophy professor whose academic husband,...
- 1/11/2017
- Rollingstone.com
Every year, IndieWire looks beyond the countless top 10 lists written by critics to widen the field. We turn to friends and colleagues in the independent film community — programmers, distributors, publicists and others — to give them the opportunity to share their favorite films and other media from the past 12 months. We also invited them to share their resolutions and anticipated events for 2017.
The Best of 2016: IndieWire’s Year in Review Bible
Cameron Bailey, Artistic Director, Toronto International Film Festival
I’m limiting my list to films that had Us and Canadian theatrical releases in 2016. I saw far more than 10 this year that I liked, but if I have to be brutal, I’ll limit it to the films that lifted me.
1. “Moonlight”
2. “Julieta”
3. “Toni Erdmann”
4. “Cemetery of Splendor”
5. “Arrival”
6. “Fences”
7. “13th”
8. “American Honey”
9. “Things to Come”
10. “Moana”
Michael Barker, Co-President, Sony Pictures Classics
“Now is the winter of our discontent.
The Best of 2016: IndieWire’s Year in Review Bible
Cameron Bailey, Artistic Director, Toronto International Film Festival
I’m limiting my list to films that had Us and Canadian theatrical releases in 2016. I saw far more than 10 this year that I liked, but if I have to be brutal, I’ll limit it to the films that lifted me.
1. “Moonlight”
2. “Julieta”
3. “Toni Erdmann”
4. “Cemetery of Splendor”
5. “Arrival”
6. “Fences”
7. “13th”
8. “American Honey”
9. “Things to Come”
10. “Moana”
Michael Barker, Co-President, Sony Pictures Classics
“Now is the winter of our discontent.
- 12/30/2016
- by Eric Kohn
- Indiewire
December has been a big month for director Pablo Larraín, who has not just one, but two award season films currently in theaters. What’s interesting is that both films are about 20th century icons, Jackie Kennedy and Pablo Neruda, yet they couldn’t be more different. So much so, that after seeing both you might not recognize they were made by the same director.
When Larraín was on the IndieWire’s Filmmaker Toolkit podcast, he explained the connective tissue between both projects was the way the two icons attempted to control their legacy.
Read More: Filmmaker Toolkit Podcast: ‘Oj: Made in America’ Director Ezra Edelman on Making an Eight Hour Oscar Contender (Episode 11)
“What I think is interesting is [in] both cases they tried…to shape what people might be thinking about them and that’s not possible,” said Larraín. “So there’s a gap, a black space, where things...
When Larraín was on the IndieWire’s Filmmaker Toolkit podcast, he explained the connective tissue between both projects was the way the two icons attempted to control their legacy.
Read More: Filmmaker Toolkit Podcast: ‘Oj: Made in America’ Director Ezra Edelman on Making an Eight Hour Oscar Contender (Episode 11)
“What I think is interesting is [in] both cases they tried…to shape what people might be thinking about them and that’s not possible,” said Larraín. “So there’s a gap, a black space, where things...
- 12/22/2016
- by Chris O'Falt
- Indiewire
Read More: 2017 Oscar Predictions
It’s one of the most competitive Best Actress races in years.
“Birdman” nominee Emma Stone came out of Venice (winning Best Actress), Telluride and Toronto with raves for her role as a singer-dancer-actress in Damien Chazelle’s Tiff audience-winner “La La Land.” Amy Adams also broke out at Telluride (which gave her a tribute packed with clips of her Oscar-nominated performances in “American Hustle,” “The Master,” “The Fighter,” “Doubt,” and “Junebug”) in sci-fi thriller “Arrival,” ably carrying her starring role as an empathetic linguist able to communicate with alien visitors. She also stars in a more glamorous vein in Tom Ford’s divisive “Nocturnal Animals,” which doesn’t hurt.
Breaking out at Venice and Toronto, where Fox Searchlight snapped it up for a December 9th release, was Pablo Larrain’s “Jackie,” starring Natalie Portman as the grieving widow of John F. Kennedy in the aftermath of his killing.
It’s one of the most competitive Best Actress races in years.
“Birdman” nominee Emma Stone came out of Venice (winning Best Actress), Telluride and Toronto with raves for her role as a singer-dancer-actress in Damien Chazelle’s Tiff audience-winner “La La Land.” Amy Adams also broke out at Telluride (which gave her a tribute packed with clips of her Oscar-nominated performances in “American Hustle,” “The Master,” “The Fighter,” “Doubt,” and “Junebug”) in sci-fi thriller “Arrival,” ably carrying her starring role as an empathetic linguist able to communicate with alien visitors. She also stars in a more glamorous vein in Tom Ford’s divisive “Nocturnal Animals,” which doesn’t hurt.
Breaking out at Venice and Toronto, where Fox Searchlight snapped it up for a December 9th release, was Pablo Larrain’s “Jackie,” starring Natalie Portman as the grieving widow of John F. Kennedy in the aftermath of his killing.
- 12/20/2016
- by Anne Thompson
- Thompson on Hollywood
Read More: 2017 Oscar Predictions
It’s one of the most competitive Best Actress races in years.
“Birdman” nominee Emma Stone came out of Venice (winning Best Actress), Telluride and Toronto with raves for her role as a singer-dancer-actress in Damien Chazelle’s Tiff audience-winner “La La Land.” Amy Adams also broke out at Telluride (which gave her a tribute packed with clips of her Oscar-nominated performances in “American Hustle,” “The Master,” “The Fighter,” “Doubt,” and “Junebug”) in sci-fi thriller “Arrival,” ably carrying her starring role as an empathetic linguist able to communicate with alien visitors. She also stars in a more glamorous vein in Tom Ford’s divisive “Nocturnal Animals,” which doesn’t hurt.
Breaking out at Venice and Toronto, where Fox Searchlight snapped it up for a December 9th release, was Pablo Larrain’s “Jackie,” starring Natalie Portman as the grieving widow of John F. Kennedy in the aftermath of his killing.
It’s one of the most competitive Best Actress races in years.
“Birdman” nominee Emma Stone came out of Venice (winning Best Actress), Telluride and Toronto with raves for her role as a singer-dancer-actress in Damien Chazelle’s Tiff audience-winner “La La Land.” Amy Adams also broke out at Telluride (which gave her a tribute packed with clips of her Oscar-nominated performances in “American Hustle,” “The Master,” “The Fighter,” “Doubt,” and “Junebug”) in sci-fi thriller “Arrival,” ably carrying her starring role as an empathetic linguist able to communicate with alien visitors. She also stars in a more glamorous vein in Tom Ford’s divisive “Nocturnal Animals,” which doesn’t hurt.
Breaking out at Venice and Toronto, where Fox Searchlight snapped it up for a December 9th release, was Pablo Larrain’s “Jackie,” starring Natalie Portman as the grieving widow of John F. Kennedy in the aftermath of his killing.
- 12/20/2016
- by Anne Thompson
- Indiewire
Find out what made our top 10 films of 2016 - and which films feature on Team Screen’s overall top 10.Scroll down for Screen’s overall top 10
Screen’s esteemed critics have had their turn. Now, Screen staff, contributors and correspondents reveal their favourite films seen in 2016. Festival premieres and UK/Us theatrical releases are deemed eligible.
Matt Mueller (editor)
Moonlight (dir. Barry Jenkins)La La Land (dir. Damien Chazelle)Aquarius (dir. Kleber Mendonça Filho)Mustang (dir. Deniz Gamze Ergüven)Hell Or High Water (dir. David Mackenzie)Embrace Of The Serpent (dir. Ciro Guerra)Little Men (dir. Ira Sachs)Suntan (dir. Argyris Papadimitropoulos)Love & Friendship (dir. Whit Stillman)Nocturnal Animals (dir Tom Ford)Jeremy Kay (Us editor)
Manchester By The Sea (dir. Kenneth Lonergan)Neruda (dir. Pablo Larrain)Aquarius (dir. Kleber Mendonça Filho)Deadpool (dir Tim Miller)Fire At Sea (dir. Gianfranco Rosi)Moonlight (dir. Barry Jenkins)Oj: Made In America (dir. Ezra Edelman)[link=tt...
Screen’s esteemed critics have had their turn. Now, Screen staff, contributors and correspondents reveal their favourite films seen in 2016. Festival premieres and UK/Us theatrical releases are deemed eligible.
Matt Mueller (editor)
Moonlight (dir. Barry Jenkins)La La Land (dir. Damien Chazelle)Aquarius (dir. Kleber Mendonça Filho)Mustang (dir. Deniz Gamze Ergüven)Hell Or High Water (dir. David Mackenzie)Embrace Of The Serpent (dir. Ciro Guerra)Little Men (dir. Ira Sachs)Suntan (dir. Argyris Papadimitropoulos)Love & Friendship (dir. Whit Stillman)Nocturnal Animals (dir Tom Ford)Jeremy Kay (Us editor)
Manchester By The Sea (dir. Kenneth Lonergan)Neruda (dir. Pablo Larrain)Aquarius (dir. Kleber Mendonça Filho)Deadpool (dir Tim Miller)Fire At Sea (dir. Gianfranco Rosi)Moonlight (dir. Barry Jenkins)Oj: Made In America (dir. Ezra Edelman)[link=tt...
- 12/20/2016
- ScreenDaily
Dubai/Exclusive: Acclaimed French actress Isabelle Huppert is in line to make her starring debut in an Arab film, playing a Morocco-born French woman in Abdellah Taïa’s The Treasure.
The $1.6m feature is one of several high-profile projects that are seeking completion funding as part of the Dubai Film Connection co-production forum. Representing the film here is Roman Paul, co-head of Razor Films, the Berlin production company involved in both Paradise Now and Wadjda.
Taïa, the Moroccan writer and filmmaker, said Huppert will play the role of the newly destitute Janine who goes in search of hidden treasure in Morocco’s Atlas Mountains, accompanied by her building’s superintendent.
“It’s a confrontation between two worlds, the Orient and the West, in a French postcolonial Morocco,” explained Taïa. This will be his second narrative feature after his adaptation of his own largely autobiographical novel Salvation Army that told the story of a gay man negotiating his way...
The $1.6m feature is one of several high-profile projects that are seeking completion funding as part of the Dubai Film Connection co-production forum. Representing the film here is Roman Paul, co-head of Razor Films, the Berlin production company involved in both Paradise Now and Wadjda.
Taïa, the Moroccan writer and filmmaker, said Huppert will play the role of the newly destitute Janine who goes in search of hidden treasure in Morocco’s Atlas Mountains, accompanied by her building’s superintendent.
“It’s a confrontation between two worlds, the Orient and the West, in a French postcolonial Morocco,” explained Taïa. This will be his second narrative feature after his adaptation of his own largely autobiographical novel Salvation Army that told the story of a gay man negotiating his way...
- 12/10/2016
- ScreenDaily
As underwhelming a year as 2016 has been in the eyes of many critics and cineastes alike, that can’t be said for the work of actress Isabelle Huppert. With at least four genuinely superb performances in films like Valley Of Love, Elle and Louder Than Bombs (along with one we will be talking about at length here), 2016 has proven to be a banner year for the underrated actress. Oscar buzz has surrounded her work in the Paul Verhoeven-directed Elle, and art house rats are seemingly given new reason to embrace her and her work at an almost quarterly rate. And yet there’s one performance that has both gone underrated and yet may be one of her most rewarding from this new period in her career.
In Things To Come, Huppert stars as a strong-willed philosophy teacher named Nathalie, who has helped raise a beautiful and well-to-do family with her husband Heinz.
In Things To Come, Huppert stars as a strong-willed philosophy teacher named Nathalie, who has helped raise a beautiful and well-to-do family with her husband Heinz.
- 12/2/2016
- by Joshua Brunsting
- CriterionCast
Welcome back to the Weekend Warrior, your weekly look at the new movies hitting theaters this weekend, as well as other cool events and things to check out.
This Past Weekend:
It wasn’t a bad Thanksgiving weekend, especially for the Weekend Warrior who pretty much nailed two of his predictions for the weekend! Disney Animation’s Moana indeed at opened at #1 with $55.5 million for the three-day weekend (exactly my prediction), although it ended up with more--$81.1 million--in its first five days. The Brad Pitt-Marion Cotillard spy thriller, Allied (Paramount), directed by Robert Zemeckis, also opened with $18 million, right on track with my prediction. I guess I could take some comfort on being spot on with two of the Thanksgiving releases—like I said last week, that holiday weekend is a bear to predict—but I way overestimated the other two movies as sequelitis indeed hit Billy Bob Thornton...
This Past Weekend:
It wasn’t a bad Thanksgiving weekend, especially for the Weekend Warrior who pretty much nailed two of his predictions for the weekend! Disney Animation’s Moana indeed at opened at #1 with $55.5 million for the three-day weekend (exactly my prediction), although it ended up with more--$81.1 million--in its first five days. The Brad Pitt-Marion Cotillard spy thriller, Allied (Paramount), directed by Robert Zemeckis, also opened with $18 million, right on track with my prediction. I guess I could take some comfort on being spot on with two of the Thanksgiving releases—like I said last week, that holiday weekend is a bear to predict—but I way overestimated the other two movies as sequelitis indeed hit Billy Bob Thornton...
- 11/30/2016
- by Edward Douglas
- LRMonline.com
Eden is a film about passion, at least at first. It’s about youth and the thrill of finding community in art, the music that takes over your soul. It’s about dancing, drugs, and sex. It’s Almost Famous and Finding Llewyn Davis, sort of. By the time it ends it’s covered over two decades of dreams and successes, setbacks and failures, all of the above and nothing at all. Mia Hansen-Love‘s fourth feature begins in the early 1990s. A French teenager named Paul (Felix de Givry) and his friends are on the cusp of falling deeply in love with garage, the genre of electronic dance music that grew up at Paradise Garage in New York City. These are early days, with raves held in caves and disused submarines hanging around the French countryside. Paul has a moment of revelation under some trees in the early dawn, his...
- 10/6/2014
- by Daniel Walber
- FilmSchoolRejects.com
Continuing its buying spree, new U.S. distributor Broad Green Pictures has scooped up North American rights to Mia Hansen-løve's Eden, about the Parisian DJs who gave rise to the electronic dance movement in the early 1990s. Hansen-løve wrote the script with her brother, Sven Hansen-løve, whose life served as the inspiration for the French movie, which makes its U.S. premiere at the upcoming New York Film Festival after screening at the Toronto Film Festival earlier this month. Bgp is planning a spring 2015 release. See more 25 of the Most Anticipated Foreign Films of 2014
read more...
read more...
- 9/23/2014
- by Pamela McClintock
- The Hollywood Reporter - Movie News
Film to receive Us premiere at New York Film Festival on Sept 30.
Bertrand Bonello’s Saint Laurent, exploring the life of late French fashion designer Yves Saint Laurent, has been selected as France’s Foreign-Language Oscar submission.
The picture is set to premiere in the Us at the New York Film Festival on Sept 30. Sony Pictures Classics is handling its Us release.
It will hit French cinemas on Wednesday (Sept 24), distributed by EuropaCorp.
The film stars Gaspard Ulliel as the iconic designer with support from Jeremie Renier as his long-time partner Pierre Bergé and Lea Seydoux as model and muse Loulou de la Falaise.
It focuses on the period 1967 to 1976 when the designer was at the height of his powers but also battling with drink, drugs and depression behind the scenes.
It was produced by Eric and Nicolas Altmayer of Paris-based Mandarin Cinema and EuropeCorp with support from co-producers Arte Cinema and Orange Studio.
Ironically, the film...
Bertrand Bonello’s Saint Laurent, exploring the life of late French fashion designer Yves Saint Laurent, has been selected as France’s Foreign-Language Oscar submission.
The picture is set to premiere in the Us at the New York Film Festival on Sept 30. Sony Pictures Classics is handling its Us release.
It will hit French cinemas on Wednesday (Sept 24), distributed by EuropaCorp.
The film stars Gaspard Ulliel as the iconic designer with support from Jeremie Renier as his long-time partner Pierre Bergé and Lea Seydoux as model and muse Loulou de la Falaise.
It focuses on the period 1967 to 1976 when the designer was at the height of his powers but also battling with drink, drugs and depression behind the scenes.
It was produced by Eric and Nicolas Altmayer of Paris-based Mandarin Cinema and EuropeCorp with support from co-producers Arte Cinema and Orange Studio.
Ironically, the film...
- 9/22/2014
- ScreenDaily
Below you will find our total coverage of the 2014 Toronto International Film Festival, including a round up on experimental short films, reviews, and the festival-spanning dialog between our two main critics at Tiff. More interviews will be added to the index as they are published.
Correspondences
Between Fernando F. Croce and Daniel Kasman
#1
Fernando F. Croce on Pedro Costa's Horse Money, Lisandro Alonso's Jauja, and Olivier Assayas' Clouds of Sils Maria
#2
Daniel Kasman on Pedro Costa's Horse Money, Peter Ho-Sun Chan's Dearest, Roy Andersson's A Pigeon Sat on a Branch Reflecting on Existence, Takashi Miike's Over Your Dead Body, and Sono Sion's Tokyo Tribe
#3
Fernando F. Croce on Sono Sion's Tokyo Tribe, Jessica Hausner's Amour Fou, Johnnie To's Don't Go Breaking My Heart 2, and Abel Ferrara's Pasolini
#4
Daniel Kasman on Alexandre Larose's brouillard passage #14, Friedl vom Gröller's...
Correspondences
Between Fernando F. Croce and Daniel Kasman
#1
Fernando F. Croce on Pedro Costa's Horse Money, Lisandro Alonso's Jauja, and Olivier Assayas' Clouds of Sils Maria
#2
Daniel Kasman on Pedro Costa's Horse Money, Peter Ho-Sun Chan's Dearest, Roy Andersson's A Pigeon Sat on a Branch Reflecting on Existence, Takashi Miike's Over Your Dead Body, and Sono Sion's Tokyo Tribe
#3
Fernando F. Croce on Sono Sion's Tokyo Tribe, Jessica Hausner's Amour Fou, Johnnie To's Don't Go Breaking My Heart 2, and Abel Ferrara's Pasolini
#4
Daniel Kasman on Alexandre Larose's brouillard passage #14, Friedl vom Gröller's...
- 9/16/2014
- by Notebook
- MUBI
Like wild geese in reverse, movie lovers and the press corps head to the Great White North in early September— specifically, to the Toronto International Film Festival, which ended yesterday — for any number of reasons: to catch up with some of the best movies of the previous Sundance and Cannes as the flicks make one last fest-circuit stop; to see stars in their natural habitat, i.e. on a red carpet with microphone shoved in their faces; to stumble across something weird, wild or off-the-world-cinema grid that may not be coming soon,...
- 9/15/2014
- Rollingstone.com
Every year at the Toronto Film Festival, the festival's director Cameron Bailey draws up a list of 16 films that change the way people look at the world. This year India for the first time features in the list.
Shonali Bose's Margarita, With A Straw has made it into Bailey's wish list of cinematic experiences that "transform the way people see the world through film."
Calling the film "a gorgeous coming of age story" Cameron has placed it at no.7 in his list of life-changing experiences.
Connecting excitedly from Toronto director Shonali Bose says, "We got standing ovations for our screenings and there is a huge buzz about our film. To top it all, we are on Cameron Bailey's prestigious 'mission list' of films that change the way you look at the world. There are only 16 films in that list."
Shonali further informs that many representatives from various countries...
Shonali Bose's Margarita, With A Straw has made it into Bailey's wish list of cinematic experiences that "transform the way people see the world through film."
Calling the film "a gorgeous coming of age story" Cameron has placed it at no.7 in his list of life-changing experiences.
Connecting excitedly from Toronto director Shonali Bose says, "We got standing ovations for our screenings and there is a huge buzz about our film. To top it all, we are on Cameron Bailey's prestigious 'mission list' of films that change the way you look at the world. There are only 16 films in that list."
Shonali further informs that many representatives from various countries...
- 9/15/2014
- BollywoodHungama
Exclusive: Mia Hansen Love, Francois Ozon dramas and Cannon Films doc among Toronto haul.
UK distributor Metrodome has secured UK and Ireland rights to a trio of films that played at this year’s Toronto International Film Festival (Sept 4-14): Mia Hansen Love’s well-received drama Eden, Francois Ozon’s The New Girlfriend and documentary Electric Boogaloo: The Wild, Untold Story of Cannon Films.
All three will play at the London Film Festival (Oct 8-19).
Metrodome acquired Eden from sales agent Kinology in a deal negotiated by Metrodome head of acquisitions Giles Edwards and Kinology’s CEO Grégoire Melin.
Directed by French auteur Mia Hansen Love and starring Felix De Givry, Pauline Etienne and Greta Gerwig, Eden charts the rise and fall of one of the DJs who pioneered the French electro music scene in the 1990s.
The film features cameo’s from the likes of Daft Punk, Joe Smooth, the late Frankie Knuckles...
UK distributor Metrodome has secured UK and Ireland rights to a trio of films that played at this year’s Toronto International Film Festival (Sept 4-14): Mia Hansen Love’s well-received drama Eden, Francois Ozon’s The New Girlfriend and documentary Electric Boogaloo: The Wild, Untold Story of Cannon Films.
All three will play at the London Film Festival (Oct 8-19).
Metrodome acquired Eden from sales agent Kinology in a deal negotiated by Metrodome head of acquisitions Giles Edwards and Kinology’s CEO Grégoire Melin.
Directed by French auteur Mia Hansen Love and starring Felix De Givry, Pauline Etienne and Greta Gerwig, Eden charts the rise and fall of one of the DJs who pioneered the French electro music scene in the 1990s.
The film features cameo’s from the likes of Daft Punk, Joe Smooth, the late Frankie Knuckles...
- 9/15/2014
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
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.