Indie News
An otherwise rote and unsurprising Frankenstein story about a madman who loses control of the monster he’s created, Ali Abbasi’s “The Apprentice” does exactly one thing that no other movie ever has before or will again: It makes you feel the smallest possible mote of sympathy for Roy Cohn. That isn’t a compliment, necessarily, but it is some kind of testament to the talent of the actor who plays him, and also a very different kind of testament to the unparalleled soullessness of the future world leader who Cohn helped to invent.
When this scuzzy little drama first begins in the late 1970s, it’s Sebastian Stan’s Donald J. Trump — then an insecure Manhattan nepo baby who fumbles around the city in search of his slumlord father’s non-existent affection — whose receding humanity is still visible enough to inspire the same tender pity once evoked by Michael Corleone,...
When this scuzzy little drama first begins in the late 1970s, it’s Sebastian Stan’s Donald J. Trump — then an insecure Manhattan nepo baby who fumbles around the city in search of his slumlord father’s non-existent affection — whose receding humanity is still visible enough to inspire the same tender pity once evoked by Michael Corleone,...
- 5/20/2024
- by David Ehrlich
- Indiewire
Nicolas Cage just might be the most terrifying serial killer onscreen…if he really is the murderer.
Cage stars in and produces “Longlegs,” the latest horror film from writer/director Oz Perkins who previously helmed “The Blackcoat’s Daughter” (2015), “I Am the Pretty Thing That Lives in the House” (2016), and “Greta and Hansel” (2020).
Perkins, the son of “Psycho” star Anthony Perkins, is officially credited as Osgood Perkins for “Longlegs.” The film is produced by Cage’s Saturn Pictures, Range, Traffic, Oddfellows, and C2 Motion Picture Group. Actress
The feature centers on a series of occult murders that are connected to an FBI detective’s (Maika Monroe) past. A cold case is reawakened; Cage, Blair Underwood, and Alicia Witt co-star in the film.
Cage previously teased his role in a conversation with horror icon John Carpenter for Document Journal. The Oscar winner hinted that his character might be the killer as he...
Cage stars in and produces “Longlegs,” the latest horror film from writer/director Oz Perkins who previously helmed “The Blackcoat’s Daughter” (2015), “I Am the Pretty Thing That Lives in the House” (2016), and “Greta and Hansel” (2020).
Perkins, the son of “Psycho” star Anthony Perkins, is officially credited as Osgood Perkins for “Longlegs.” The film is produced by Cage’s Saturn Pictures, Range, Traffic, Oddfellows, and C2 Motion Picture Group. Actress
The feature centers on a series of occult murders that are connected to an FBI detective’s (Maika Monroe) past. A cold case is reawakened; Cage, Blair Underwood, and Alicia Witt co-star in the film.
Cage previously teased his role in a conversation with horror icon John Carpenter for Document Journal. The Oscar winner hinted that his character might be the killer as he...
- 5/20/2024
- by Samantha Bergeson
- Indiewire
Nicolas Cage never went away, but he’s had a recent career resurgence. “Pig” and “The Unbearable Weight of Massive Talent” were both critical successes for the star. Last year’s more commercial “Renfield” put Cage’s talent front and center as he took on the iconic, villainous role of Dracula. And the surreal, nuanced turn in “Dream Scenario” even put him back in the Oscar conversation last year, even if he ultimately missed a nomination.
Continue reading ‘Longlegs’ Trailer: Nicolas Cage & Maika Monroe Star In Oz Perkins’ Serial Killer Horror Arriving July 12 at The Playlist.
Continue reading ‘Longlegs’ Trailer: Nicolas Cage & Maika Monroe Star In Oz Perkins’ Serial Killer Horror Arriving July 12 at The Playlist.
- 5/20/2024
- by Josh Halpern
- The Playlist
Editor’s note: This post was previously published on Thursday, May 16. It’s been updated to include more honorees, including John Mulaney, for this edition of IndieWire Honors.
IndieWire, the definitive outlet for creative independence in film and TV, announced on Thursday, May 16 a new edition of its IndieWire Honors event focused entirely on television. Curated and selected by IndieWire’s editorial team, IndieWire Honors is a celebration of the creators and stars responsible for some of the most stellar work of the TV season.
Hosted by “Just for Us” comedian Alex Edelman, the latest edition of the event will be celebrated at an intimate cocktail reception taking place Thursday, June 6 in Los Angeles. Exclusive editorial content, including honoree profiles, will also be featured on IndieWire beginning May 29 and will continue throughout the lead-up to the awards night, followed up video interviews and more content from the event. Other honorees...
IndieWire, the definitive outlet for creative independence in film and TV, announced on Thursday, May 16 a new edition of its IndieWire Honors event focused entirely on television. Curated and selected by IndieWire’s editorial team, IndieWire Honors is a celebration of the creators and stars responsible for some of the most stellar work of the TV season.
Hosted by “Just for Us” comedian Alex Edelman, the latest edition of the event will be celebrated at an intimate cocktail reception taking place Thursday, June 6 in Los Angeles. Exclusive editorial content, including honoree profiles, will also be featured on IndieWire beginning May 29 and will continue throughout the lead-up to the awards night, followed up video interviews and more content from the event. Other honorees...
- 5/20/2024
- by IndieWire Staff
- Indiewire
Consider what we know about Garfield the cat: He’s orange, a little plump, he loves lasagna, he hates Mondays, and — ah, well, that’s about it. Enough information to fill about four comic strip panels, wouldn’t you say? And yet, somehow, this lazy kitty and his very mild exploits have inspired three television series (with one more on the way), a dozen prime-time specials, and three feature-length films.
While previous cinematic iterations of Garfield’s story have stretched his adventures to wacky ends — the 2004 “Garfield: The Movie” essentially acted as an origin story, while its 2006 sequel “Garfield: A Tale of Two Kitties” put a “Prince and the Pauper”-ish twist on his life — the latest in a long, looooooong line of Garfield adaptations goes in the opposite direction. Mark Dindal’s garishly animated “The Garfield Movie” — not to be confused with “Garfield: The Movie” — inserts a beloved feline...
While previous cinematic iterations of Garfield’s story have stretched his adventures to wacky ends — the 2004 “Garfield: The Movie” essentially acted as an origin story, while its 2006 sequel “Garfield: A Tale of Two Kitties” put a “Prince and the Pauper”-ish twist on his life — the latest in a long, looooooong line of Garfield adaptations goes in the opposite direction. Mark Dindal’s garishly animated “The Garfield Movie” — not to be confused with “Garfield: The Movie” — inserts a beloved feline...
- 5/20/2024
- by Kate Erbland
- Indiewire
OpenAI says its “Sky” voice for ChatGPT’s Voice Mode is not an imitation of Scarlett Johansson’s voice. It is instead the “natural speaking voice” of one of its compensated voice talents, per a blog post. Still, the company says it will “pause” the availability of Sky while it addresses the issue.
“We believe that AI voices should not deliberately mimic a celebrity’s distinctive voice — Sky’s voice is not an imitation of Scarlett Johansson but belongs to a different professional actress using her own natural speaking voice,” the post reads. “To protect their privacy, we cannot share the names of our voice talents.”
OpenAI stated that they employ “well-known, award-winning” casting directors and producers to cast voice actors for the products.
But some users of the OpenAI tech questioned whether Sky was Scarlett — or at least trying to replicate her famous voice. Johansson previously voiced a fake...
“We believe that AI voices should not deliberately mimic a celebrity’s distinctive voice — Sky’s voice is not an imitation of Scarlett Johansson but belongs to a different professional actress using her own natural speaking voice,” the post reads. “To protect their privacy, we cannot share the names of our voice talents.”
OpenAI stated that they employ “well-known, award-winning” casting directors and producers to cast voice actors for the products.
But some users of the OpenAI tech questioned whether Sky was Scarlett — or at least trying to replicate her famous voice. Johansson previously voiced a fake...
- 5/20/2024
- by Samantha Bergeson
- Indiewire
The idea of a film about queer rodeo performers is pretty powerful stuff. Rodeos are typically seen in film as these hyper masculine events where real cowboys prove their mettle. But in “National Anthem,” we see a completely different side of the rodeo.
Read More: Summer Movie Preview: 50 Must-See Films To Watch
As seen in the trailer, “National Anthem” follows the story of a young man who finds himself in a community of queer rodeo performers.
Continue reading ‘National Anthem’ Trailer: Charlie Plummer Stars In Film About Queer Rodeo Performers at The Playlist.
Read More: Summer Movie Preview: 50 Must-See Films To Watch
As seen in the trailer, “National Anthem” follows the story of a young man who finds himself in a community of queer rodeo performers.
Continue reading ‘National Anthem’ Trailer: Charlie Plummer Stars In Film About Queer Rodeo Performers at The Playlist.
- 5/20/2024
- by Martin Miller
- The Playlist
Nicola Coughlan is nowhere near done with “Bridgerton,” but the star of Season 3 can’t help looking down the road. After making the seamless jump from wallflower to leading lady with Penelope’s story, she recognizes that her character will move to the periphery after Parts 1 and 2 premiere this summer.
“I was talking to Luke Newton about this the other day,” Coughlan told IndieWire the day before “Bridgerton” Season 3 – Part 1 premiered. “There’s something nice about kind of going back to the drawing board thing as an actor. You’re not going back to point zero, but it’s nice to go ‘Now I’ve got to work my ass off again to get a job.'”
Coughlan was conscious of the fact that a lot of actors reach a point where they no longer accept auditions, just offers, but she feels it’s too important to test the waters...
“I was talking to Luke Newton about this the other day,” Coughlan told IndieWire the day before “Bridgerton” Season 3 – Part 1 premiered. “There’s something nice about kind of going back to the drawing board thing as an actor. You’re not going back to point zero, but it’s nice to go ‘Now I’ve got to work my ass off again to get a job.'”
Coughlan was conscious of the fact that a lot of actors reach a point where they no longer accept auditions, just offers, but she feels it’s too important to test the waters...
- 5/20/2024
- by Proma Khosla
- Indiewire
There have been a million films about films. How many times have you seen a director make a movie about the love of movies? It’s so commonplace that it almost loses its meaning. But when a filmmaker like Arnaud Desplechin makes a film about films, such as “Filmlovers!” you pay attention.
Read More: ‘Hayao Miyazaki & The Heron’ Trailer: Go Behind-The-Scenes Of Miyazaki’s Latest In New Cannes Doc
As seen in the trailer for “Filmlovers!” the movie follows the story of a young kid who becomes obsessed with films after seeing one on the big screen.
Continue reading ‘Filmlovers!’ Trailer: Arnaud Desplechin’s Latest Is A Coming-Of-Age Story About The Love Of Film at The Playlist.
Read More: ‘Hayao Miyazaki & The Heron’ Trailer: Go Behind-The-Scenes Of Miyazaki’s Latest In New Cannes Doc
As seen in the trailer for “Filmlovers!” the movie follows the story of a young kid who becomes obsessed with films after seeing one on the big screen.
Continue reading ‘Filmlovers!’ Trailer: Arnaud Desplechin’s Latest Is A Coming-Of-Age Story About The Love Of Film at The Playlist.
- 5/20/2024
- by Martin Miller
- The Playlist
Ti West is channeling Paul Schrader for his trilogy ender “MaXXXine.” Oh, and “The Terminator.”
Writer/director West told Total Film that the 1985 Hollywood-set horror film is just as “hardcore” as Schrader’s filmography, with high concept tie-ins of “The Terminator” and “Vice Squad.” Plus, of course, what “X” film is complete without a hint of giallo?
“It’s poppy, but still grounded in more of a grittier ’80s than a shopping-mall ’80s,” West described his film. “You’re seeing the glamorous side of the movie business and the seedy side of Hollywood.”
West said “MaXXXine” has “a ‘Terminator’-like aesthetic to a Paul Schrader hardcore thing to ‘Vice Squad’ to giallo,” all mixed together.
“MaXXXine” is one of IndieWire’s most anticipated films of 2024, with Mia Goth reprising the role of adult-film star and aspiring actress Maxine Minx for the latest franchise installment. Goth previously played Maxine in “X...
Writer/director West told Total Film that the 1985 Hollywood-set horror film is just as “hardcore” as Schrader’s filmography, with high concept tie-ins of “The Terminator” and “Vice Squad.” Plus, of course, what “X” film is complete without a hint of giallo?
“It’s poppy, but still grounded in more of a grittier ’80s than a shopping-mall ’80s,” West described his film. “You’re seeing the glamorous side of the movie business and the seedy side of Hollywood.”
West said “MaXXXine” has “a ‘Terminator’-like aesthetic to a Paul Schrader hardcore thing to ‘Vice Squad’ to giallo,” all mixed together.
“MaXXXine” is one of IndieWire’s most anticipated films of 2024, with Mia Goth reprising the role of adult-film star and aspiring actress Maxine Minx for the latest franchise installment. Goth previously played Maxine in “X...
- 5/20/2024
- by Samantha Bergeson
- Indiewire
Related Images is a column in which filmmakers invite readers behind the scenes, into their sketchbooks, or otherwise through the looking glass to learn more about their creative processes.Rachel Walden's Lemon Tree is now showing exclusively on Mubi in many countries.Gordon Rocks (The Son). Photograph by Eli Freireich.Several years before I made Lemon Tree, my mother encouraged me to ask my grandfather about “the road trip he took with the orange tree." She said that it would make a great short film. This is the transcription of J. L. Burgess (a.k.a. Papa)—one of the best storytellers I have ever met—telling me that story, which I worked into an outline/beat sheet that would later become Lemon Tree. I decided not to work from a formal script, so we made the entire film off that outline. People always ask me where the lemon tree is in the movie.
- 5/20/2024
- MUBI
One of the biggest criticisms of Marvel Studios, as of late, is that the continuity has become too difficult to keep up with. The general movie-goer isn’t able to watch “Doctor Strange in the Multiverse of Madness,” for example, without doing some sort of superhero homework to catch up. Well, to help alleviate those concerns, Marvel Studios is emphasizing different “banners” to show that not everything is connected, and viewers don’t have to follow every project.
Continue reading Marvel Television Banner Part Of Plan To Tell Viewers “You Can Jump In Anywhere” at The Playlist.
Continue reading Marvel Television Banner Part Of Plan To Tell Viewers “You Can Jump In Anywhere” at The Playlist.
- 5/20/2024
- by Martin Miller
- The Playlist
Movies don’t always need to have a message. Themes are inherent to storytelling, but there are plenty of movies that can simply coast on vibes and star power, or which undermine their own messaging when it gets heavy-handed and preachy. The films that often get audiences really thinking are the ones that cushion that messaging in a mesmerizing story, which don’t tell you what to think but what to think about. Writer and director Sandhya Suri’s debut feature, “Santosh,” premiering at Cannes, is one such film.
“Santosh” is named after its lead character, Santosh Saini — a young widow unaccustomed to working but is now forced to by necessity, who inherits her husband’s profession due to a bizarre legal loophole (a real clause known as “appointment on compassionate ground”). Overnight, Santosh finds herself thrust into the local police force, where a murder investigation becomes a crash course...
“Santosh” is named after its lead character, Santosh Saini — a young widow unaccustomed to working but is now forced to by necessity, who inherits her husband’s profession due to a bizarre legal loophole (a real clause known as “appointment on compassionate ground”). Overnight, Santosh finds herself thrust into the local police force, where a murder investigation becomes a crash course...
- 5/20/2024
- by Proma Khosla
- Indiewire
“Emilia Pérez” has some competition on its heels in the Cannes competition: Coralie Fargeat’s body horror feminist industry satire “The Substance” premiered at the Palais last night to ecstatic raves and applause. While I’m not sure another genre film of this one’s gross-out, dare-you-to-lose-your-dinner extremeness can take the Palme d’Or so soon after big winner “Titane” surely paved the way three years ago for “The Substance” to be in the competition at all, this return to form for lead Demi Moore would be a bold choice from the jury.
I’d more expect to see Fargeat in contention for Best Director, as jury president Greta Gerwig might want to support a female filmmaker in a competition lacking in them. There are just four among the 22 films competing for the Palme, and at least one, “Wild Diamond,” feels like Thierry Frémaux’s effort to round that total of women directors up,...
I’d more expect to see Fargeat in contention for Best Director, as jury president Greta Gerwig might want to support a female filmmaker in a competition lacking in them. There are just four among the 22 films competing for the Palme, and at least one, “Wild Diamond,” feels like Thierry Frémaux’s effort to round that total of women directors up,...
- 5/20/2024
- by Ryan Lattanzio
- Indiewire
More than just a director of animation, Hayao Miyazaki is one of the best filmmakers (of any kind) of all time. His films are beloved and studied. You might as well just hand him an Oscar when he makes a new one. So, it’s incredibly interesting to see what all goes into the making of one of his features.
Read More: ‘The Substance’ Review: Demi Moore & Margaret Qualley Switch In A Visionary Twist On ‘Death Becomes Her’ [Cannes]
As seen in the trailer for “Hayao Miyazaki and the Heron,” you get a behind-the-scenes look at the creation of the Oscar-winning feature, “The Boy and the Heron.” Over the course of the two-hour documentary, you see the relationship between the filmmaker and his producing partner Toshio Suzuki, as both people play off each other and Suzuki, in particular, pushes Miyazaki to go even further with his creativity.
Continue reading ‘Hayao Miyazaki...
Read More: ‘The Substance’ Review: Demi Moore & Margaret Qualley Switch In A Visionary Twist On ‘Death Becomes Her’ [Cannes]
As seen in the trailer for “Hayao Miyazaki and the Heron,” you get a behind-the-scenes look at the creation of the Oscar-winning feature, “The Boy and the Heron.” Over the course of the two-hour documentary, you see the relationship between the filmmaker and his producing partner Toshio Suzuki, as both people play off each other and Suzuki, in particular, pushes Miyazaki to go even further with his creativity.
Continue reading ‘Hayao Miyazaki...
- 5/20/2024
- by Martin Miller
- The Playlist
In Our Day.In the cinema, as elsewhere, the notion of “late style” has become a critical commonplace—shorthand for dealing with an artist’s “mature” work, particularly when said artists are dismissed or misunderstood after a period of acclaim. The problem with shorthand, of course, is that not everyone can read it, the result being that appeals to “late style” can come across as abdications of critical responsibility, promissory notes that have yet to be fulfilled. Such debts are in many cases eventually paid, obscure references to “late style” giving way to fuller, more perspicuous accounts of an artist’s achievement. Few would now dispute the considered analyses of how Howard Hawks, pivoting on the success of Rio Bravo (1959), made a deliberate move into the late-career languor of Hatari! (1962), Man’s Favorite Sport? (1964), and Red Line 7000 (1965). In the case of Hong Sang-soo, however, this critical due has yet to...
- 5/20/2024
- MUBI
Demi Moore is using her juiciest leading role in years to make a statement against the sexism of Hollywood.
Moore stars in Coralie Fargeat’s body horror Hollywood satire “The Substance,” which premiered in competition at Cannes to rave reviews. The actress plays an aging star who acquires a mysterious serum that births a younger, more ideal version of herself, played by Margaret Qualley. The two women are nude throughout the film, which shows the horrors of women going to extremes to preserve their self-image in Hollywood. Moore credited Qualley for being a “great partner” during a nude scene they share together.
“We were obviously quite close at some moments…and naked,” Moore said during the Cannes press conference (via The Hollywood Reporter). “But there was also a levity [in shooting those scenes].”
Moore explained that the gross-out horror feature, which debuted at Cannes Sunday night, undermines the “male perspective of the ideal woman” to a harrowing degree.
Moore stars in Coralie Fargeat’s body horror Hollywood satire “The Substance,” which premiered in competition at Cannes to rave reviews. The actress plays an aging star who acquires a mysterious serum that births a younger, more ideal version of herself, played by Margaret Qualley. The two women are nude throughout the film, which shows the horrors of women going to extremes to preserve their self-image in Hollywood. Moore credited Qualley for being a “great partner” during a nude scene they share together.
“We were obviously quite close at some moments…and naked,” Moore said during the Cannes press conference (via The Hollywood Reporter). “But there was also a levity [in shooting those scenes].”
Moore explained that the gross-out horror feature, which debuted at Cannes Sunday night, undermines the “male perspective of the ideal woman” to a harrowing degree.
- 5/20/2024
- by Samantha Bergeson
- Indiewire
This is an odd Summer Movie Season. Sure, there are some blockbusters being released, but it really doesn’t feel like any are destined to be monumental hits. Well, except one– “Deadpool & Wolverine.” That’s the only movie being released this summer that feels big. And now, with pre-sale tickets available, we can start figuring out just how big this movie is going to be.
Read More: ‘The Fantastic Four’: Natasha Lyonne Is The Latest Actor To Join Marvel’s All-Star Cast
With the announcement that tickets are now on sale for “Deadpool & Wolverine,” Disney and Marvel Studios have released a little trailer to drum up some excitement.
Continue reading ‘Deadpool & Wolverine’ Trailer: Ryan Reynolds & Hugh Jackman Are Here To Save Summer at The Playlist.
Read More: ‘The Fantastic Four’: Natasha Lyonne Is The Latest Actor To Join Marvel’s All-Star Cast
With the announcement that tickets are now on sale for “Deadpool & Wolverine,” Disney and Marvel Studios have released a little trailer to drum up some excitement.
Continue reading ‘Deadpool & Wolverine’ Trailer: Ryan Reynolds & Hugh Jackman Are Here To Save Summer at The Playlist.
- 5/20/2024
- by Martin Miller
- The Playlist
Joe Alwyn has been the center of much media attention in the last few years. That may be news if you’ve been living in a hermetically sealed bunker. But outside that particular and unsolicited spotlight, the dandyish 33-year-old British actor has carved his name out in films from idiosyncratic auteurs. There was Joanna Hogg’s “The Souvenir Part II” as a grieving and queer-flirting film editor; Claire Denis’ sensuous 2022 Cannes Grand Prix winner “Stars at Noon” as a Brit adrift in Nicaragua having lots of sex with Margaret Qualley’s character; and most recently “Kinds of Kindness,” whose director Yorgos Lanthimos he previously starred for as a lusty baron in “The Favourite.”
Alwyn is back this year at Cannes in three roles in “Kinds of Kindness,” co-written with Lanthimos by his friend and “Alps” and “The Lobster” collaborator Efthimis Flippou. Which means we are very much in the mode of old-school Lanthimos,...
Alwyn is back this year at Cannes in three roles in “Kinds of Kindness,” co-written with Lanthimos by his friend and “Alps” and “The Lobster” collaborator Efthimis Flippou. Which means we are very much in the mode of old-school Lanthimos,...
- 5/20/2024
- by Ryan Lattanzio
- Indiewire
Good luck to you and all who plod along dusty roads with you if the first chapter of Kevin Costner’s “Horizon: An American Saga” compels you to seek out the forthcoming second one. This Civil War-era, Old West expansion epic is a $100 million vanity project that finds the actor/filmmaker in familiar terrain, and with the gall to cast himself as an apparently swoon-inducing cowboy in a world where all the women are either ball busters, prostitutes, or profoundly stupid, and the men hayseeds or Great American Heroes.
Told across four interwoven tales in and around the territories that became Wyoming, Montana, and Kansas, “Horizon” gets its title from a fictional pioneer settlement in the 1860s that’s stomped out an Apache tribe now battling to get back their land. But their patted-on inclusion at all feels like a committee-driven, gun-to-the-head corrective rather than an organic necessity of the story.
Told across four interwoven tales in and around the territories that became Wyoming, Montana, and Kansas, “Horizon” gets its title from a fictional pioneer settlement in the 1860s that’s stomped out an Apache tribe now battling to get back their land. But their patted-on inclusion at all feels like a committee-driven, gun-to-the-head corrective rather than an organic necessity of the story.
- 5/20/2024
- by Ryan Lattanzio
- Indiewire
“Annie Hall” changed the game in being a cautionary tale about a couple that conspicuously doesn’t last, while at the same time an enduring case for the wonder and necessity of romance. “The Other Way Around” is a similarly wacky subversion of the rom-com theme in that its central couple, successful millennial director Ale (Itsaso Arana) and actor Alex (Vito Sanz), cheerfully announce to their friends and loved ones that they’re breaking up. A big party will mark the occasion and duly end the relationship — which, their friends remind them, has gone on forever (more than a decade). The only people who think this is a sane idea is Ale and Alex. Not even Ale’s father(played by director Jonás Trueba’s real-life father, Fernando) can fathom it, although it was originally his idea. The concept seems to be born out of a kind of 90s stand-up...
- 5/20/2024
- by Adam Solomons
- Indiewire
One of the finest films ever made about organized crime, “The Long Good Friday” (1980) sees the world of a London gangster abruptly destabilized by bomb attacks and murders of his associates. He and his henchmen attempt to uncover the attackers’ identities, all whilst trying not to worry their visitors in town for the weekend, who are members of the American mafia looking to invest in redevelopment in the area. This British mob classic may seem an odd film to evoke up top in a review of a French-language, Corsica-set debut feature. But one of the main strengths of director Julien Colonna’s “The Kingdom” is how it successfully pulls off a loosely similar, paranoia-driven fall-of-an-empire story within the context of a condensed time period.
The time frame in question is not quite as tight as “The Long Good Friday’s” 24-ish hours of mayhem, but instead a few weeks of...
The time frame in question is not quite as tight as “The Long Good Friday’s” 24-ish hours of mayhem, but instead a few weeks of...
- 5/20/2024
- by Josh Slater-Williams
- Indiewire
Cannes – For a moment, we thought Coralie Fargeat’s “The Substance” had overstayed its welcome. But, no, the “Revenge” director was just taking a breath before unleashing a wild and operatic ending for her Cannes Film Festival debut. A bold dissection on aging and self-hatred Fargeat’s latest work is an utter visual marvel and features superb performances from its lead actresses; Demi Moore and Margaret Qualley.
Continue reading ‘The Substance’ Review: Demi Moore & Margaret Qualley Switch In A Visionary Twist On ‘Death Becomes Her’ [Cannes] at The Playlist.
Continue reading ‘The Substance’ Review: Demi Moore & Margaret Qualley Switch In A Visionary Twist On ‘Death Becomes Her’ [Cannes] at The Playlist.
- 5/20/2024
- by Gregory Ellwood
- The Playlist
Un Certain Regard is always a time to explore new, daring films from first- and second-time feature filmmakers at the Cannes Film Festival. They’ll eventually be eligible for the Camera d’Or, the Un Certain Regard equivalent of the Palme d’Or. So if you’re looking for something to see outside the main competition at Cannes this year, Julien Colonna’s Un Certain Regard entry is a simmering and intense coming-of-age story about a teenage girl coming of age amid a criminal family. And that family is maybe one she doesn’t want to reconnect with but is forced to over one summer in Corsica, 1995. Watch an IndieWire exclusive clip from the film below.
Here’s the official synopsis: “Corsica, 1995. It’s Lesia’s first summer as a teenager. One day a man bursts into her life and takes her to an isolated villa where she finds her father,...
Here’s the official synopsis: “Corsica, 1995. It’s Lesia’s first summer as a teenager. One day a man bursts into her life and takes her to an isolated villa where she finds her father,...
- 5/20/2024
- by Ryan Lattanzio
- Indiewire
The second episode of “Interview with the Vampire” Season 2 introduced what fans of the Vampire Chronicles have been waiting for when Louis and Claudia finally crossed the threshold of the iconic Theatres des Vampires. The episode, titled “Do You Know What It Means To Be Loved By Death,” began with Louis and Armand co-narrating the memory of their first-ever meeting on the streets of postwar Paris and ended with Louis and Claudia’s quest to find more vampires at an end as not one, not two, but fourteen new vampires enter stage right and take their places in “Interview’s” story.
But who are all of these vampires? Where did they come from? And why are they using projection technology to trick live audiences into watching them drink people for real? These are many questions and in true “Interview” fashion, only some of them have answers.
What is the Theatres des Vampires?...
But who are all of these vampires? Where did they come from? And why are they using projection technology to trick live audiences into watching them drink people for real? These are many questions and in true “Interview” fashion, only some of them have answers.
What is the Theatres des Vampires?...
- 5/20/2024
- by Alexis Nedd
- Indiewire
Richard Linklater just had his hometown premiere for “Hit Man” in Austin May 15, at which his star and co-writer Glen Powell was inducted into the Texas Film Hall of Fame. But he’s already wrapped his next movie, “Nouvelle Vague.”
Shot in Paris, “Nouvelle Vague” tells the story of Jean-Luc Godard making his jump from Cahiers du Cinema film critic (Cahiers is also fittingly where the first look images from “Nouvelle Vague” made their debut) to filmmaker with the making of his first movie, “Breathless.” Guillaume Marbeck is Godard, and Zoe Deutsch plays his star Jean Seberg.
On the red carpet of the “Hit Man” premiere, Linklater talked to IndieWire about what he hopes viewers take away from “Nouvelle Vague” and, especially, what we can learn from the French New Wave filmmakers at this moment when there’s such doom and gloom about the future of cinema.
“Just absolute love and dedication to cinema,...
Shot in Paris, “Nouvelle Vague” tells the story of Jean-Luc Godard making his jump from Cahiers du Cinema film critic (Cahiers is also fittingly where the first look images from “Nouvelle Vague” made their debut) to filmmaker with the making of his first movie, “Breathless.” Guillaume Marbeck is Godard, and Zoe Deutsch plays his star Jean Seberg.
On the red carpet of the “Hit Man” premiere, Linklater talked to IndieWire about what he hopes viewers take away from “Nouvelle Vague” and, especially, what we can learn from the French New Wave filmmakers at this moment when there’s such doom and gloom about the future of cinema.
“Just absolute love and dedication to cinema,...
- 5/19/2024
- by Christian Blauvelt
- Indiewire
Few periods on the calendar mean more to cinephiles than the two weekends in May occupied by the Cannes Film Festival. Since its founding in 1946, the French festival has been a launchpad for some of the most artistically significant films of all time. The Palme d’Or is one of the most coveted film awards on the planet, and the festival’s ability to balance subversive arthouse work with major Hollywood premieres has led many to view it as the world’s most significant celebration of cinema.
The 2024 lineup featured a mix of buzzy premieres from New Hollywood titans like Francis Ford Coppola and Paul Schrader alongside exciting new works from emerging directors. Between the Main Competition, Un Certain Regard, special screenings, and sidebars like the Directors’ Fortnight and Critics’ Week, the onslaught of new films can be overwhelming for anyone who isn’t able to give the festival their 24/7 attention.
The 2024 lineup featured a mix of buzzy premieres from New Hollywood titans like Francis Ford Coppola and Paul Schrader alongside exciting new works from emerging directors. Between the Main Competition, Un Certain Regard, special screenings, and sidebars like the Directors’ Fortnight and Critics’ Week, the onslaught of new films can be overwhelming for anyone who isn’t able to give the festival their 24/7 attention.
- 5/19/2024
- by Christian Zilko
- Indiewire
Certainly the grossest, most way-out-there, and dare-you-to-lose-your-dinner film to debut in the Cannes competition so far, Coralie Fargeat’s “Revenge” follow-up “The Substance” premiered in the Palais Sunday night after a morning press screening that saw plenty of expected walkouts. Surely the same volume of repulsed exiters carried over to the premiere public screening, where Greta Gerwig’s jury got their first glimpse of the otherwise since-secretive film whose synopses and press notes tell you little. Mubi has distribution rights, which the company purchased just before the festival started. IndieWire’s David Ehrlich calls it an “instant classic.”
In this audacious, two-plus-hour feminist body horror, Demi Moore bares all to play a once-decorated actress quote-unquote past her prime named Elisabeth Sparkle, now resigned to Jane Fonda-esque fitness videos. But her time is finally up. She’s fired for being too old, sent packing home back to her sparse LA apartment,...
In this audacious, two-plus-hour feminist body horror, Demi Moore bares all to play a once-decorated actress quote-unquote past her prime named Elisabeth Sparkle, now resigned to Jane Fonda-esque fitness videos. But her time is finally up. She’s fired for being too old, sent packing home back to her sparse LA apartment,...
- 5/19/2024
- by Ryan Lattanzio
- Indiewire
An immensely, unstoppably, ecstatically demented fairy tale about female self-hatred, Coralie Fargeat’s “The Substance” will stop at nothing — and I mean nothing — to explode the ruthless beauty standards that society has inflicted upon women for thousands of years, a burden this camp-adjacent instant classic aspires to cast off with some of the most spectacularly disgusting body horror this side of “The Fly” or the final minutes of “Akira.”
If the “Revenge” director’s immaculately crafted debut tried to dismantle male toxicity with a shotgun blast square to the balls, Fargeat’s Cannes-approved follow-up turns that same attention inwards, allowing her to take aim at both the pointlessness she’s been conditioned to feel as a forty-something woman, and also at the resentment she’s been conditioned to feel toward her younger self. Squelching with fury at how a woman’s “fuckability” is used as the ultimate measure of her worth,...
If the “Revenge” director’s immaculately crafted debut tried to dismantle male toxicity with a shotgun blast square to the balls, Fargeat’s Cannes-approved follow-up turns that same attention inwards, allowing her to take aim at both the pointlessness she’s been conditioned to feel as a forty-something woman, and also at the resentment she’s been conditioned to feel toward her younger self. Squelching with fury at how a woman’s “fuckability” is used as the ultimate measure of her worth,...
- 5/19/2024
- by David Ehrlich
- Indiewire
Cannes 2024 Sales: A24 Acquires Rights to Ruben Öslund’s New Film ‘The Entertainment System Is Down’
For those keeping score, and we know Neon is, it’s four Palme d’Or victories for Neon, who bought “Anatomy of a Fall” out of last year’s Cannes Film Festival. The boutique shingle didn’t stop there, and also acquired “Robot Dreams” and “Perfect Days” as well. Netflix plunked down $11 million for “May December,” and the festival produced sales for other buzzy titles like “Jeanne du Barry” and “The Taste of Things.” All that, and with the specter of the writers strike hanging over it.
So what will sell big this year? Many of the titles in competition as part of this year’s Official Selection are up for grabs, even as Neon, A24, Mubi, and Searchlight are all arriving with at least one contender in the main race. We’ll be tracking everything that gets bought below throughout the festival and beyond.
Films Acquired During the Festival...
So what will sell big this year? Many of the titles in competition as part of this year’s Official Selection are up for grabs, even as Neon, A24, Mubi, and Searchlight are all arriving with at least one contender in the main race. We’ll be tracking everything that gets bought below throughout the festival and beyond.
Films Acquired During the Festival...
- 5/19/2024
- by Brian Welk
- Indiewire
In these trying times, “Saturday Night Live” wants character actors of all stripes to be extra careful when walking around New York City — but Jon Hamm can relax.
10 days after Steve Buscemi was hospitalized after being unexpectedly punched in the face, NBC’s late-night show mocked the situation with a lighthearted sketch about protecting our actors who are recognizable but not necessarily household names. Host Jake Gyllenhaal appeared as an NYPD officer urging actors to stay safe while briefing reporters about the issue.
“Just this week, national treasure Steve Buscemi was punched while walking through Kips Bay,” he said. “These types of attacks cannot and will not be tolerated. So to everyone watching, I have one important message: Stop punching character actors in the face.”
Gyllenhaal went on to explain that he believes Buscemi’s attack could be the start of a larger wave of crimes against character actors. He...
10 days after Steve Buscemi was hospitalized after being unexpectedly punched in the face, NBC’s late-night show mocked the situation with a lighthearted sketch about protecting our actors who are recognizable but not necessarily household names. Host Jake Gyllenhaal appeared as an NYPD officer urging actors to stay safe while briefing reporters about the issue.
“Just this week, national treasure Steve Buscemi was punched while walking through Kips Bay,” he said. “These types of attacks cannot and will not be tolerated. So to everyone watching, I have one important message: Stop punching character actors in the face.”
Gyllenhaal went on to explain that he believes Buscemi’s attack could be the start of a larger wave of crimes against character actors. He...
- 5/19/2024
- by Christian Zilko
- Indiewire
Cannes – There is nothing wrong with a three-hour movie. There have been absolute masterworks longer than 180 minutes. It sorta helps, however, if the film is, well, a movie. After watching Kevin Costner’s 181-minute-long “Horizon: An American Saga – Chapter 1,” we can’t argue its classification as a film, artist’s prerogative, but we’re still not sure it should be constituted as one by anyone else. And that’s for a multitude of reasons.
Continue reading ‘Horizon: An American Saga’ Review: Kevin Costner’s Sprawling Western With No End In Sight [Cannes] at The Playlist.
Continue reading ‘Horizon: An American Saga’ Review: Kevin Costner’s Sprawling Western With No End In Sight [Cannes] at The Playlist.
- 5/19/2024
- by Gregory Ellwood
- The Playlist
Cannes – Eduard Limonov was a complicated man. He was a poet, a novelist, and a political activist; at one point, a Russian dissident who lived in New York and Paris; he returned to his homeland to lead a fascist party that supported a return to an ideology closer to that of the former Soviet Union. His story is so expansive it could likely be chronicled in a 10-hour mini-series and still miss out on an outlandish or surprising period in his life.
Continue reading ‘Limonov. The Ballad’: Ben Whishaw Channels The Controversial Punk Russian Poet [Cannes] at The Playlist.
Continue reading ‘Limonov. The Ballad’: Ben Whishaw Channels The Controversial Punk Russian Poet [Cannes] at The Playlist.
- 5/19/2024
- by Gregory Ellwood
- The Playlist
Imagine a film where Cate Blanchett plays a version of Angela Merkel. And Charles Dance is a Joe Biden parody in full British accent. Now add Denis Ménochet as a boisterous French president carried around a damp forest in a wheelbarrow and Alicia Vikander as a beautiful diplomat who tells tales of the end of the world in frenzied Swedish. A feel more pinches of insanity and you would have “Rumours,” the newest by Canadian maverick trio Guy Maddin, Evan Johnson, and Galen Johnson.
Continue reading ‘Rumours’ Review: Guy Maddin’s Bonkers Political Satire With Cate Blanchett Loses Steam Midway Through [Cannes] at The Playlist.
Continue reading ‘Rumours’ Review: Guy Maddin’s Bonkers Political Satire With Cate Blanchett Loses Steam Midway Through [Cannes] at The Playlist.
- 5/19/2024
- by Rafa Sales Ross
- The Playlist
“If” (Paramount) may have fallen short of its anticipated $40 million opening, but the glass is at least half-full. Preview and initial numbers suggested it could end up around $28 million; instead, its initial estimate is $35 million.
That improvement, along with its A Cinemascore, suggests a film that could stick around. It would be a real boost for the cause of original non-franchise production. Domestic on “If” is better than foreign, which stands at $24 million, $20 million from this weekend. That puts it at $59 million worldwide.
The full weekend is projected to hit $99 million. If that becomes $100 million, it would mark the first time since Easter. By comparison, 2023 saw every weekend from April 7 through mid-August hit that level. In 2019, with significantly lower ticket prices, that was the case from post-Super Bowl through Labor Day.
‘The Fall Guy’©Universal/Courtesy Everett Collection
Any positive news is welcome. We are three weeks into summer playtime...
That improvement, along with its A Cinemascore, suggests a film that could stick around. It would be a real boost for the cause of original non-franchise production. Domestic on “If” is better than foreign, which stands at $24 million, $20 million from this weekend. That puts it at $59 million worldwide.
The full weekend is projected to hit $99 million. If that becomes $100 million, it would mark the first time since Easter. By comparison, 2023 saw every weekend from April 7 through mid-August hit that level. In 2019, with significantly lower ticket prices, that was the case from post-Super Bowl through Labor Day.
‘The Fall Guy’©Universal/Courtesy Everett Collection
Any positive news is welcome. We are three weeks into summer playtime...
- 5/19/2024
- by Tom Brueggemann
- Indiewire
There are plenty of North American filmmakers influenced by the giants of international cinema. These filmmakers import stylistic references, different tones and rhythms, perhaps key collaborators, such as a cinematographer, to films that nonetheless are born of their own local filmmaking cultures. For his second feature, following the anarchic political satire of his The Twentieth Century, Canadian director Matthew Rankin has imagined a different approach. His formally precise and very funny Universal Language, a Cannes’s Directors Fortnight discovery this year, is not only influenced by the Iranian cinema of Abbas Kiarostami and Jafar Panahi, among others, but considers a Winnipeg […]
The post “We Wanted to Film These Beige Structures the Way Terrence Malick Films a Sunset”: Director Matthew Rankin on the Canadian/Iranian Interzone of his Cannes-Premiering Universal Language first appeared on Filmmaker Magazine.
The post “We Wanted to Film These Beige Structures the Way Terrence Malick Films a Sunset”: Director Matthew Rankin on the Canadian/Iranian Interzone of his Cannes-Premiering Universal Language first appeared on Filmmaker Magazine.
- 5/19/2024
- by Scott Macaulay
- Filmmaker Magazine - Blog
There are plenty of North American filmmakers influenced by the giants of international cinema. These filmmakers import stylistic references, different tones and rhythms, perhaps key collaborators, such as a cinematographer, to films that nonetheless are born of their own local filmmaking cultures. For his second feature, following the anarchic political satire of his The Twentieth Century, Canadian director Matthew Rankin has imagined a different approach. His formally precise and very funny Universal Language, a Cannes’s Directors Fortnight discovery this year, is not only influenced by the Iranian cinema of Abbas Kiarostami and Jafar Panahi, among others, but considers a Winnipeg […]
The post “We Wanted to Film These Beige Structures the Way Terrence Malick Films a Sunset”: Director Matthew Rankin on the Canadian/Iranian Interzone of his Cannes-Premiering Universal Language first appeared on Filmmaker Magazine.
The post “We Wanted to Film These Beige Structures the Way Terrence Malick Films a Sunset”: Director Matthew Rankin on the Canadian/Iranian Interzone of his Cannes-Premiering Universal Language first appeared on Filmmaker Magazine.
- 5/19/2024
- by Scott Macaulay
- Filmmaker Magazine-Director Interviews
Emma Stone and Jesse Plemons are hungry, wolfing down sandwiches at the start of our “Kinds of Kindness” interview. They’re in Cannes to promote the singular three-part anthology film, which has been well-received. They laugh a lot. She’s a Yorgos Lanthimos veteran, and just won her second Oscar embodying the free-spirited Bella Baxter in “Poor Things.” After that, it seems, nothing will faze her and she’ll do anything for her soulmate director. Announced at Cannes: Their next movie to be shot this summer, “Bugonia” (Focus Features), a remake of a Korean thriller, co-starring Plemons.
The 36-year-old one-time child actor is the new kid in town, joining such familiar faces as Stone, Margaret Qualley, and Willem Dafoe in the Lanthimos ensemble. When the “Fargo” and “Killers of the Flower Moon” star got the call from his agent, even before he read the “Kinds of Kindness” script, he said,...
The 36-year-old one-time child actor is the new kid in town, joining such familiar faces as Stone, Margaret Qualley, and Willem Dafoe in the Lanthimos ensemble. When the “Fargo” and “Killers of the Flower Moon” star got the call from his agent, even before he read the “Kinds of Kindness” script, he said,...
- 5/19/2024
- by Anne Thompson
- Indiewire
Sex is politics and politics is sex in Kirill Serebrennikov’s recklessly beautiful, wildly entertaining English-language debut “Limonov: The Ballad.” This punk rock epic moves at the pace of a train coming off its tracks across Moscow, New York, Paris, and back to Russia again, starring Ben Whishaw in a career-crowning lead performance as the self-styled alternative poet and political dissident Eduard Limonov (who died in 2020). Based on French writer and journalist Emmanuel Carrère’s biographical novel, “Limonov” spans the 1960s to near present-day Siberia to tell with orgiastic excess the life story of the eventual founder of the National Bolshevik Party, which married a far-left youth movement to far-right fascist ideology. But while Limonov’s politics are inextricable from the libertine hedonist he was, Serebrennikov’s film is more a purely pleasurable romantic odyssey than political deep dive, radiating a countercultural energy that smacks of freewheeling ‘70s cinema more...
- 5/19/2024
- by Ryan Lattanzio
- Indiewire
Blue Sun Palace, Constance Tsang’s first feature, is a migrant story that’s vividly attuned to the temporal and emotional dislocation of those stranded far away from home. Set in Flushing, Queens—where the director grew up—the film follows three transplants as they forge new ties in the borough’s Chinese community, which Tsang depicts as a bubble suspended in time and space. Save for the occasional, blink-it-and-you-miss-it glimpses of road signs and billboards, there’d be no way of identifying this as a corner of New York City; Blue Sun Palace unfurls for the most part inside crammed apartments and massage parlors, where […]
The post “It’s Very Important, When You’re Choosing Actors, To Make Sure They Possess Something That Remains Almost Unknown”: Director Constance Tsang on Her Cannes-Premiering Blue Sun Palace first appeared on Filmmaker Magazine.
The post “It’s Very Important, When You’re Choosing Actors, To Make Sure They Possess Something That Remains Almost Unknown”: Director Constance Tsang on Her Cannes-Premiering Blue Sun Palace first appeared on Filmmaker Magazine.
- 5/19/2024
- by Leonardo Goi
- Filmmaker Magazine-Director Interviews
Blue Sun Palace, Constance Tsang’s first feature, is a migrant story that’s vividly attuned to the temporal and emotional dislocation of those stranded far away from home. Set in Flushing, Queens—where the director grew up—the film follows three transplants as they forge new ties in the borough’s Chinese community, which Tsang depicts as a bubble suspended in time and space. Save for the occasional, blink-it-and-you-miss-it glimpses of road signs and billboards, there’d be no way of identifying this as a corner of New York City; Blue Sun Palace unfurls for the most part inside crammed apartments and massage parlors, where […]
The post “It’s Very Important, When You’re Choosing Actors, To Make Sure They Possess Something That Remains Almost Unknown”: Director Constance Tsang on Her Cannes-Premiering Blue Sun Palace first appeared on Filmmaker Magazine.
The post “It’s Very Important, When You’re Choosing Actors, To Make Sure They Possess Something That Remains Almost Unknown”: Director Constance Tsang on Her Cannes-Premiering Blue Sun Palace first appeared on Filmmaker Magazine.
- 5/19/2024
- by Leonardo Goi
- Filmmaker Magazine - Blog
“Please stop me if any of the terms don’t make sense.” A few days before his feature debut, Eephus, will premiere in the Directors’ Fortnight, Carson Lund is sitting on a rooftop terrace in Cannes and worrying I may not catch all the jargon. Understandably. A chronicle of the last baseball game played at Soldiers Field in Douglas, Ma before the grounds will be paved over and replaced by a middle school, the chat’s testing my—admittedly limited—knowledge of the sport. Yet how you’ll respond to Lund’s wistful film won’t depend on your level of inside baseball. It will depend on […]
The post “I’ve Always Been Interested in Making My Own Version of Goodbye Dragon Inn: Director Carson Lund on His Cannes-Premiering Eephus first appeared on Filmmaker Magazine.
The post “I’ve Always Been Interested in Making My Own Version of Goodbye Dragon Inn: Director Carson Lund on His Cannes-Premiering Eephus first appeared on Filmmaker Magazine.
- 5/19/2024
- by Leonardo Goi
- Filmmaker Magazine-Director Interviews
“Please stop me if any of the terms don’t make sense.” A few days before his feature debut, Eephus, will premiere in the Directors’ Fortnight, Carson Lund is sitting on a rooftop terrace in Cannes and worrying I may not catch all the jargon. Understandably. A chronicle of the last baseball game played at Soldiers Field in Douglas, Ma before the grounds will be paved over and replaced by a middle school, the chat’s testing my—admittedly limited—knowledge of the sport. Yet how you’ll respond to Lund’s wistful film won’t depend on your level of inside baseball. It will depend on […]
The post “I’ve Always Been Interested in Making My Own Version of Goodbye Dragon Inn: Director Carson Lund on His Cannes-Premiering Eephus first appeared on Filmmaker Magazine.
The post “I’ve Always Been Interested in Making My Own Version of Goodbye Dragon Inn: Director Carson Lund on His Cannes-Premiering Eephus first appeared on Filmmaker Magazine.
- 5/19/2024
- by Leonardo Goi
- Filmmaker Magazine - Blog
In front of empty wooden bleachers on a late summer day in Massachusetts, two squads of out-of-shape, middle-aged men show up to play a game of baseball on what they all expect to be one of their saddest afternoons in recent memory. For decades, this recreational league has been the social glue that binds the men in this community together. But it’s all about to disappear when the local field is destroyed after the season, which ends today. So the men load their coolers up with cheap beer, spend copious amounts of time stretching, and prepare to give their summer haven a glorious send-off before they have to find something else to do with their weekends.
Carson Lund’s directorial debut shares its name with a slow-moving pitch that has largely been forgotten by modern baseball players — and it’s a fitting title for a film that embraces the...
Carson Lund’s directorial debut shares its name with a slow-moving pitch that has largely been forgotten by modern baseball players — and it’s a fitting title for a film that embraces the...
- 5/19/2024
- by Christian Zilko
- Indiewire
It’s hard to remember the last time a director prominently displayed their own vagina onscreen. Statistically speaking, most of them wouldn’t be able to do it if they tried. But Noémie Merlant has never shied away from an opportunity to redefine how female bodies are depicted on film, and “The Portrait of a Lady on Fire” star’s recent pivot behind the camera has only emboldened her efforts to reject the male gaze by inviting her characters to reclaim its oppressive hyper-sexualization on their own terms.
Needless to say, she’s happy to lead by example in her poisoned but delicious midnight snack of a second feature. Playing Élise, a C-list starlet who’s recently been cast as Marilyn Monroe in a TV movie (only to steal her boyfriend’s car and flee the set in a panic), Merlant crashes into “The Balconettes” dolled up to look like...
Needless to say, she’s happy to lead by example in her poisoned but delicious midnight snack of a second feature. Playing Élise, a C-list starlet who’s recently been cast as Marilyn Monroe in a TV movie (only to steal her boyfriend’s car and flee the set in a panic), Merlant crashes into “The Balconettes” dolled up to look like...
- 5/19/2024
- by David Ehrlich
- Indiewire
When Glen Powell was inducted into the Texas Film Hall of Fame in Austin May 15, there was one obvious person to give him the honor: The director who discovered Powell, when the actor was just 14 years old, Robert Rodriguez.
Powell grew up in Austin right at the moment that it was starting to become a solid film production hub, thanks in large part to Rodriguez, the auteur behind “El Mariachi” and “From Dusk Till Dawn” and who’d founded Austin’s Troublemaker Studios. When Rodriguez was casting for “Spy Kids 3-D: Game Over,” he was looking for a number of “local hires” to round out the cast.
“I remember distinctly how surprised I was [by Powell] because we’d cast a bunch of people from L.A.,” Rodriguez told IndieWire at the red carpet for the induction — which was also the Austin premiere of Netflix’s “Hit Man,” starring Powell and directed by Richard Linklater.
Powell grew up in Austin right at the moment that it was starting to become a solid film production hub, thanks in large part to Rodriguez, the auteur behind “El Mariachi” and “From Dusk Till Dawn” and who’d founded Austin’s Troublemaker Studios. When Rodriguez was casting for “Spy Kids 3-D: Game Over,” he was looking for a number of “local hires” to round out the cast.
“I remember distinctly how surprised I was [by Powell] because we’d cast a bunch of people from L.A.,” Rodriguez told IndieWire at the red carpet for the induction — which was also the Austin premiere of Netflix’s “Hit Man,” starring Powell and directed by Richard Linklater.
- 5/18/2024
- by Christian Blauvelt
- Indiewire
Jane Schoenbrun’s “I Saw the TV Glow” is a singular work of cinema, a film that earned rave reviews for committing to its distinct aesthetic and exploration of the ways that our attachments to pop culture that feel disposable to others can be linked to trans identity. But despite many hailing it as a perfect standalone movie, the filmmaker believes there might be even more stories to tell in the world of Owen and “The Pink Opaque.”
In a new interview with USA Today, Schoenbrun refused to rule out the possibility of making a sequel to “I Saw the TV Glow,” explaining that they’d be open to approaching the story again from a different perspective.
“I’ve been thinking about it for quite a while. I always ask myself, ‘Where do the characters go? Is there anywhere else after this?'” Schoenbrun said. “Sometimes there’s not an answer that deserves further exploration,...
In a new interview with USA Today, Schoenbrun refused to rule out the possibility of making a sequel to “I Saw the TV Glow,” explaining that they’d be open to approaching the story again from a different perspective.
“I’ve been thinking about it for quite a while. I always ask myself, ‘Where do the characters go? Is there anywhere else after this?'” Schoenbrun said. “Sometimes there’s not an answer that deserves further exploration,...
- 5/18/2024
- by Christian Zilko
- Indiewire
Bravo’s “Vanderpump Rules” has long been one of unscripted television’s most formally adventurous series, with a cinematic grammar that constantly evolves to express the feelings and ideas at each season’s center. Last season, for example, editor Jesse Friedman explored the “Scandoval” situation in which longtime cast member Tom Sandoval cheated on his girlfriend Ariana Madix by telling the story in reverse — a technique that had more in common with the work of Christopher Nolan and Harold Pinter than with other shows in the world of reality TV, and one that provided the perfect visual corollary for Ariana and her friends’ piecing together of the narrative. For the Season 11 finale, Friedman once again took some audacious stylistic risks that paid off not only emotionally, but indicated how the show as a whole might be coming to the end of an era.
The final moments of the season finale...
The final moments of the season finale...
- 5/18/2024
- by Jim Hemphill
- Indiewire
Few filmmakers have ever sacrificed more for their craft than Mohammad Rasoulof, the Iranian director who has faced non-stop legal pressure from his country’s government in recent years over his politically charged films. Rasoulof, who has been arrested and imprisoned on multiple occasions, is bringing his latest film, “The Seed of the Sacred Fig,” to the Main Competition at the 2024 Cannes Film Festival. But weeks before the film — which follows a judge in Tehran navigating political fallout from protests — was set to debut on the Croisette, Rasoulof was sentenced to eight years of imprisonment and a flogging in Iran.
Many interpreted the sentence as an attempt to force Rasoulof to pull his provocative film from Cannes. But the auteur soon fled the authoritarian country and found shelter in Germany with the hope of attending his film’s premiere this week. In a new interview with The Guardian, conducted from an undisclosed location,...
Many interpreted the sentence as an attempt to force Rasoulof to pull his provocative film from Cannes. But the auteur soon fled the authoritarian country and found shelter in Germany with the hope of attending his film’s premiere this week. In a new interview with The Guardian, conducted from an undisclosed location,...
- 5/18/2024
- by Christian Zilko
- Indiewire
It’s fitting that Ron Howard’s documentary “Jim Henson Idea Man” gets its name from the man himself. During an early bit of voiceover, we hear the “Sesame Street” and “Muppets” creator describe his take on just what it is he does: Idea man. Nothing more, nothing less.
As the film winds on, others are more lofty in their estimations. Henson was a “man with a purpose,” a superhuman, someone for whom terms like “incredibly productive” can’t do justice. He “wanted to do more than was humanly possible,” one of Henson’s adult children tells us. Howard’s film reminds us how true that was during Henson’s lifetime and into his continuing legacy.
Henson was a puppeteer and creator of everything from The Muppets to “Fraggle Rock,” an animator and actor, a TV genius (Henson’s fingerprints are still on every element of “Sesame Street”), and a filmmaker.
As the film winds on, others are more lofty in their estimations. Henson was a “man with a purpose,” a superhuman, someone for whom terms like “incredibly productive” can’t do justice. He “wanted to do more than was humanly possible,” one of Henson’s adult children tells us. Howard’s film reminds us how true that was during Henson’s lifetime and into his continuing legacy.
Henson was a puppeteer and creator of everything from The Muppets to “Fraggle Rock,” an animator and actor, a TV genius (Henson’s fingerprints are still on every element of “Sesame Street”), and a filmmaker.
- 5/18/2024
- by Kate Erbland
- Indiewire
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