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1-20 of 69 items from 2016   « Prev | Next »


Ava DuVernay Original Prison Documentary Set To Open The 54th New York Film Festival

19 July 2016 7:15 AM, PDT | LatinoReview | See recent LatinoReview news »

The Film Society of Lincoln Center announces Ava DuVernay’s documentary The 13th as the Opening Night selection of the 54th New York Film Festival (September 30 – October 16), making its world premiere at Alice Tully Hall. The 13th is the first-ever nonfiction work to open the festival, and will debut on Netflix and open in a limited theatrical run on October 7.

Chronicling the history of racial inequality in the United States, The 13th examines how our country has produced the highest rate of incarceration in the world, with the majority of those imprisoned being African-American. The title of DuVernay’s extraordinary and galvanizing film refers to the 13th Amendment to the Constitution—“Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States . . . ” The progression from that second qualifying clause to the horrors of mass incarceration and »

- Kellvin Chavez

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Ava DuVernay’s ‘The 13th’ Will Open the 2016 New York Film Festival

19 July 2016 6:06 AM, PDT | The Film Stage | See recent The Film Stage news »

If the languid summer tentpole season has you down, fear not, as the promising fall slate is around the corner and today brings the first news of what we’ll see at the 2016 New York Film Festival. For the first time ever, a non-fiction film will open The Film Society of Lincoln Center’s festival: Ava DuVernay‘s The 13th. Her timely follow-up to Selma chronicles the history of racial inequality in the United States and will arrive on Netflix and in limited theaters shortly after its premiere at Nyff, on October 7.

“It is a true honor for me and my collaborators to premiere The 13th as the opening night selection of the New York Film Festival,” Ava DuVernay says. “This film was made as an answer to my own questions about how and why we have become the most incarcerated nation in the world, how and why we regard »

- Jordan Raup

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Catherine Deneuve to Receive the 2016 Lumière Award

20 June 2016 3:58 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Paris — Legendary French actress Catherine Deneuve will receive the 8th Lumière Award at France’s 2016 Lumière Grand Lyon Film Festival, a unique event which focuses near totally on film classics.

Clint Eastwood, Quentin Tarantino, Pedro Almodovar and Martin Scorsese figure among past recipients of the Lumière Award. They all travelled to Lyon to pick up the award, granted by Lyon’s Institut Lumière, run by French director Bertrand Tavernier and Cannes head Thierry Fremaux.

“This year’s Lumière Award goes to Catherine Deneuve for what she is, has done, says, acts, sings and delights from time immemorial and forever,” the Institut Lumière said Monday in a press statement.

“The face of French cinema,” according to Scorsese, Deneuve’s career is remarkable for its longevity, great films, the directors she has worked with, and the contrasting facets of a figure which confounds easy categorisation.

Deneuve began making films before France’s Nouvelle Vague, »

- John Hopewell and Elsa Keslassy

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Common To Topline ‘Black Samurai’ Television Adaptation

17 June 2016 11:11 AM, PDT | Indiewire Television | See recent Indiewire Television news »

A television adaptation of “Black Samurai” is in the works with Common set to star as Robert Sand, Variety confirms.

Based on Marc Olden’s 1974 book series, the story follows Robert after he is rescued by a Japanese samurai master and trains with him for seven years. After he suffers from racism in the military and his teacher is killed in front of him by terrorists, he sets out to seek revenge on the ones who took the lives of his friends.

Read More: Wilmer Valderrama Joins Cast of CBS’ ‘NCIS’

The series will be executive produced by Wu-Tang Clan’s RZA, Wu Films’ Mitchell Diggs and Diane Crafford and Andre Gaines with his Cinemation banner.

Robert Sand is like black Jason Bourne. ‘Black Samurai’ is one of the most unique, timely and fun experiences I’ve ever read, while at the same time tackling some serious subjects around race and diversity, »

- Liz Calvario

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Common To Topline ‘Black Samurai’ Television Adaptation

17 June 2016 11:11 AM, PDT | Indiewire | See recent Indiewire news »

A television adaptation of “Black Samurai” is in the works with Common set to star as Robert Sand, Variety confirms.

Based on Marc Olden’s 1974 book series, the story follows Robert after he is rescued by a Japanese samurai master and trains with him for seven years. After he suffers from racism in the military and his teacher is killed in front of him by terrorists, he sets out to seek revenge on the ones who took the lives of his friends.

Read More: Wilmer Valderrama Joins Cast of CBS’ ‘NCIS’

The series will be executive produced by Wu-Tang Clan’s RZA, Wu Films’ Mitchell Diggs and Diane Crafford and Andre Gaines with his Cinemation banner.

Robert Sand is like black Jason Bourne. ‘Black Samurai’ is one of the most unique, timely and fun experiences I’ve ever read, while at the same time tackling some serious subjects around race and diversity, »

- Liz Calvario

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Whit Stillman’s Top 10 Films

13 June 2016 11:25 AM, PDT | The Film Stage | See recent The Film Stage news »

“It kind of freed me from a lot of criticisms people have from my other films,” Whit Stillman told us at Sundance earlier this year, speaking about adapting Jane Austen‘s epistolary novel Lady Susan, which became Love & Friendship. “Things can work really well and not be entirely realistic and often they can be better than realism. We love the old James Bond films. They weren’t realistic, but they’re delightful. And the great 30s films. The Awful Truth with Cary Grant and Irene Dunne. It’s not realistic; it’s just perfect.”

To celebrate Stillman’s latest feature becoming his most successful yet at the box office, we’re highlighting his 10 favorite films, from a ballot submitted for the most recent Sight & Sound poll. Along with the aforementioned Leo McCarey classic, he includes romantic touchstones from Preston Sturges, Ernst Lubitsh, and François Truffaut. As for his favorite Alfred Hitchcock, he fittingly picks perhaps one of the best scripts he directed, and one not mentioned often enough.

We’ve covered many directors’ favorites, but this is one that perhaps best reflects the style and tone of an artist’s filmography. Check it out below, followed by our discussion of his latest film, if you missed it.

The Awful Truth (Leo McCarey)

Big Deal on Madonna Street (Mario Monicelli)

The Gay Divorcee (Mark Sandrich)

Howards End (James Ivory)

Miracle of Morgan’s Creek (Preston Sturges)

The Shop Around the Corner (Ernst Lubitsch)

Stolen Kisses (François Truffaut)

Stranger than Paradise (Jim Jarmusch)

Strangers on a Train (Alfred Hitchcock)

Wagon Master (John Ford)

See more directors’ favorite films.

»

- Jordan Raup

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Cinema Guild acquires 'The Death Of Louis Xiv'

10 June 2016 11:55 AM, PDT | ScreenDaily | See recent ScreenDaily news »

Cinema Guild has acquired Us rights from Capricci Films to Albert Serra’s recent Cannes selection and plans an early 2017 theatrical debut.

Jean-Pierre Léaud stars in The Death Of Louis Xiv, set in the French court of Versailles in August 1715 as the onset of fever heralds the beginning of the end of the Sun King.

Léaud received an honourary Palme d’Or last month, 57 years after his first appearance in Cannes aged 14 in Francois Truffaut’s The 400 Blows.

Cinema Guild’s upcoming releases include Mehrdad Oskouei’s Starless Dreams. »

- jeremykay67@gmail.com (Jeremy Kay)

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Cinema Guild Acquires Cannes Pic ‘The Death Of Louis Xiv’; FilmBuff Pulls Trigger On ‘I Am Gangster’

10 June 2016 11:30 AM, PDT | Deadline | See recent Deadline news »

Cinema Guild has acquired all U.S. distribution rights to Albert Serra's The Death of Louis Xiv, starring French New Wave legend Jean-Pierre Léaud. The film premiered as an Official Selection at Cannes, where Léaud was awarded an Honorary Palme d'Or, 57 years after his first appearance at the fest at age 14 in Francois Truffaut's 400 Blows. Cinema Guild will release Death of Louis Xiv theatrically in early 2017. Set in Versailles in August 1715, the film centers on Louis… »

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Fellini’s City of Women

30 May 2016 5:08 PM, PDT | Trailers from Hell | See recent Trailers from Hell news »

That naughty boy Federico Fellini goes all out with this essay-hallucination about women, a surreal odyssey that hurls Marcello Mastroianni into a world in which women are no longer putting up with male nonsense. It's an honest (if still somewhat sexist) effort by an artist acknowledging illusions and pleasures that he knows are infantile. City of Women Blu-ray Cohen Media Group 1980 / Color / 1:85 widescreen / 139 min. / La cittá delle donne / Street Date May 31, 2016 / 39.98 Starring Marcello Mastroianni, Anna Prucnal, Bernice Stegers, Iole Silvani, Donatella Damiani, Ettore Manni, Fiammetta Baralla, Catherine Carrel, Rose Alba. Cinematography Giuseppe Rotunno Film Editor Ruggero Mastroianni Original Music Luis Bacalov Written by Brunello Rondi, Bernardino Zapponi, Federico Fellini Produced by Franco Rossellini, Renzo Rossellini, Daniel Toscan du Plantier Directed by Federico Fellini

Reviewed by Glenn Erickson

Federico Fellini's 1980 City of Women was called 'wonderfully uninhibited' by The New York Times. Fellini's output slowed to a crawl in the 1970s, »

- Glenn Erickson

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Alexandre Astruc obituary

23 May 2016 7:15 AM, PDT | The Guardian - Film News | See recent The Guardian - Film News news »

Film-maker and writer whose theories on cinema influenced Truffaut, Godard and Chabrol

The writer and film director Alexandre Astruc, who has died aged 92, personified the gap between theory and practice. In his crucial and influential 1948 essay La Caméra-Stylo (The Camera-Pen) in L’Ecran Français, he wrote of the cinema becoming “a means of writing as supple and as subtle as that of written language”.

He called for an end to institutional cinema and for a new style that would be both personal and malleable. He was convinced that the cinema would replace the novel, but first the cinema must become more like the novel, in that cinéastes could express their obsessions and thoughts, even abstract ones, at the level of profundity and significance of an essay or novel. This was the first loud clarion call taken up by the young directors of the French New Wave a decade later, expanded and modified by François Truffaut, »

- Ronald Bergan

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Cannes Awards Wrap: How George Miller’s Jury Picked the Winners — And Losers

22 May 2016 2:16 PM, PDT | Thompson on Hollywood | See recent Thompson on Hollywood news »

As juror László Nemes (“Son of Saul”) said at the start of the Cannes Film Festival, juries are by their nature random. One thing you can count on is that the actors on the jury will shift the conversation. From the start, this year’s actors said they were looking for emotion. And that’s what the two top winners boast in abundance. “It was a collective decision,” said Miller of his “nine-headed beast,” describing the awards process as like creating a painting. “We looked at every variable, it’s not like ticking off a vote for the Oscars…we were looking at the awards like a totality. It took so much time, so much rigor, it was exhausting, emotionally, as everyone was talking so passionately.”

Thanks to jury chief Miller, it was Mel Gibson (whose “Blood Father” played well as a Cannes midnight movie) who presented the Palme d’Or to 79-year-old British director Ken Loach, winning for the second time (2006’s “The Wind that Shakes the Barley”); he’s won many other prizes over 18 films selected for Cannes. By far the most emotional movie of the festival, “I, Daniel Blake” (Sundance Selects) brought audiences to wrenching tears, including this writer. Based on research into England’s public welfare crisis, the film is a fictionalized story set in Newcastle about a joiner (Dave Johns) who can’t seem to convince the state to give him the disability he needs after a heart condition makes it impossible for him to work.

“The festival is very important for the future of cinema,” said Loach. “When there is despair, the people from the far right take advantage. We must say that another world is possible and necessary.”

Read More: The 2016 Indiewire Cannes Bible: Every Review, Interview and News Item Posted During the Festival

Many critics did not respond to Loach’s overtly political film because they didn’t think he was doing anything different from what he had done before. But they really didn’t like Xavier Dolan’s very theatrical “It’s Only the End of the World,” which won the consolation prize, the Grand Prix, which means that the jury responded very differently to this heartfelt adaptation of a play about a dysfunctional family, who scream in French in extreme closeup. (Dolan won the jury prize in 2014 for “Mommy.”)

“Thank you for feeling the emotions of the film,” said Dolan (who attacked the critical reaction to his film) in a speech during which he cried, lips trembling, and chewed on his hands. Maybe it will now be picked up for the U.S., although it won’t be a crowdpleaser.

Co-winner of the director prize, Romanian Cristian Mungiu (“Graduation”), had also won the Palme d’Or, for 2007’s “4 Months, 3 Weeks, 2 Days,” and his actresses shared the Actress prize for “Beyond the Hills.” Mungiu’s “Graduation” (Sundance Selects) sends a controlling father (Adrian Titieni) into a tailspin when his long-held post-graduation plans for his daughter (Maria Dragus) go terribly awry. Mungiu points out each individual’s role in doing the right thing when corruption and compromise often rule the day.

Co-winner Olivier Assayas, on the other hand, accepted his first Cannes award for “Personal Shopper” (IFC Films), his second English-language film starring Kristen Stewart (Cesar winner for “Clouds of Sils Maria”), whose character acquires fashionable clothes for a rich client. She tries to use her skills as a medium to communicate with her twin brother, who has recently died, when mysterious texts suddenly appear on her iPhone. It was a great Cannes for Stewart, who was well-received in Woody Allen’s “Cafe Society” (Amazon) as well, and for IFC/Sundance Selects, which is releasing “I, Daniel Blake,” “Graduation” and “Personal Shopper.”

Those who thought that the women who dominated the Cannes would come home with multiple awards were sorely disappointed. British director Andrea Arnold took home the jury prize for the third time for her daring American road movie “American Honey” (A24), a coming of age story starring Shia Labeouf and unknown Sasha Lane, making Arnold three for three at the fest after 2006’s “Red Road” and 2009’s “Fish Tank.”

Critics adored the film, which was shaped by the American midwestern landscape as well as the editing room. The film was vastly different from its original script and unlike anything else at Cannes this year. “Five hours ago I was sitting in my neighbor’s garden drinking tea,” Arnold said in her acceptance speech, thanking her cast and crew for the “team effort” on their “great adventure.”

Meanwhile, critics’ fave and the winner by a mile of the Screen International Critics Poll (see below), German director Maren Ade’s exquisite father-daughter comedy “Toni Erdmann” (Sony Pictures Classics), came home empty-handed. At the jury press conference jury chief Miller cited a “passionate” and long jury deliberation (which Mikkelsen described as “difficult”) on 21 films, directors, writers and many more actors as well as arcane jury rules that demand that the top three winners cannot win a second prize. Miller and Mads Mikkelsen both stated that they judged the films on their excellence, not on the sex of who directed them. “Each film was judged on its merits,” said Miller. “Filmmaking is filmmaking. It did not come up, we were looking at other issues.”

The first-time director prize went to “Divines,” a gangster thriller and female buddy movie directed by Houda Benyamina (Director’s Fortnight).

The jury defended the choice of Best Actress Jaclyn Jose for “Ma’ Rosa,” from Philippine director Brillante Mendoza, which some critics had suggested was a supporting role in a sprawling ensemble. “The critics were wrong,” said Donald Sutherland. “It’s a big-time leading role.”

“She’s the film,” said Arnaud Desplechin. “She broke my heart.”

The jury admitted that there were many strong actress contenders including “I, Daniel Blake”‘s Hayley Squires and Romanian actress Maria Dragus (“Graduation”), but they couldn’t award more than one prize for winners of the top three awards.

Asghar Farhadi’s “The Salesman” (Amazon/Cohen Media) was another surprise winner, taking home two prizes, for Best Actor and Best Screenplay. Shahab Hosseini plays an actor who is in the midst of moving apartments and starring in Arthur Miller’s “Death of a Salesman” when his wife (Taraneh Alidoosti) is assaulted in the shower of their new domicile by a man who assumes that she is the former tenant, a prostitute. When the door buzzes, the wife thinks she is letting in her husband, but winds up in the hospital with more than wounds to her head and psyche — her husband is hellbent on revenge.

The Honorary Palme d’Or went to Jean-Pierre Leaud, who came to the festival with his first film “The 400 Blows” in 1959 when he was 14 years old, and was hugged by Jean Cocteau. Juror Arnaud Desplechin presented the award. Leaud said this was the most joy he had felt since Francois Truffaut told him to take the script for “The 400 Blows.”

Among those who did not need to attend the closing ceremony were Isabelle Huppert, who earned raves for Paul Verhoeven’s provocative thriller “Elle” (Sony Pictures Classics), in which she plays a videogame entrepreneur who refuses to allow her violent rape in her own home to ruin her life. Verhoeven’s first French-language film is likely to play better in North America.

Read More: Cannes 2016: Complete List of This Year’s Winners

Also left out of the awards were “Paterson” (Amazon), American auteur Jim Jarmusch’s spare and austere portrait of a bus driver poet (Adam Driver) and his wife and muse (Golshifteh Farahani), as well as Jean-Pierre and Luc Dardennes’ “The Unknown Girl” (Sundance Selects), starring Adèle Haenel as an empathetic doctor who ignores a late-hour doorbell at her private practice and finds out that the young woman was murdered nearby. She embarks on a mission to identify the girl and inform her family of her death. Park Chan-Wook’s gorgeously wrought erotic drama “The Handmaiden” (Amazon) starring Kim Min-hee and newcomer Kim Tae-ri as secret lesbian lovers was also overlooked.

Among the anticipated films that disappointed the critics at Cannes (not to mention the jury) were Sean Penn’s aid worker romance “The Last Face,” starring Javier Bardem and Charlize Theron, which was seeking a North American buyer, and Nicolas Winding Refn’s “Neon Demon” (Amazon), starring Elle Fanning, who discovers that starving models in the Los Angeles fashion world literally eat each other alive. In one memorable scene, when one x-ray model known as the bionic woman (because she has altered so much of her body) throws up an eyeball, her best friend pops it into her own mouth. (With five films at the festival, Amazon won no awards.)

At the “Neon Demon” party, when I asked Cannes director Thierry Fremaux why so many movies wound up in Competition that the critics did not like, he said that the festival was not set up for the critics, although they clearly play an important role. He said that how movies played for audiences was important too. Clearly that included the Cannes jury.

Stay on top of the all the latest headlines! Sign up for our Daily Headlines email newsletter here.  Related storiesCannes Film Festival Awards 2016Cannes Today: New Talent EmergesHow Will the Cannes Film Festival Impact the Rest of the Year in Film? (Podcast) »

- Anne Thompson

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Cannes 2016. Albert Serra's "La mort de Louis Xiv"

20 May 2016 6:15 PM, PDT | MUBI | See recent MUBI news »

The death of a king, the death of cinema: in Albert Serra’s La mort de Louis Xiv we watch French New Wave legend Jean-Pierre Léaud embody the Sun King as a living body sinking into the shadows, slipping away while his attendants, doctors and sycophants carefully tend to him as if all will be fine. But will it? An actor synonymous with the 1960s re-invention of cinema, made in close collaboration with such epoch-defining directors as François Truffaut, Jean-Luc Godard, and Jacques Rivette, Léaud is now 71, five years younger than the age the most ambitious, powerful, and famous of French kings died of gangrene. The title spoils the fun on purpose: Albert Serra’s film is not about what happens; rather, it’s paying homage a king among men, the fading into the dark of a man inseparable from modern cinema.Those familiar with this Catalan director’s radical »

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Switzerland: Up Next! Claude Barras

18 May 2016 2:56 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Debuting at Cannes Directors’ Fortnight then competing at Annecy, the awaited “My Life as a Courgette” is the first animated feature of Swiss tooner Claude Barras.

Having snagged Annexe’s Work in Progress prize last year, “Courgette” has scored early and promising pre-sales, with Vertigo Media for Hungary, Folkets Bio for Sweden, and Cineart for Benelux.

The toon feature centres on Zucchini, a 10-year-old boy who ends up in an orphanage after his mother’s death.

Films inevitably echoes Francois Truffaut’s “The 400 Blows.” Barras revealed that Jean-Pierre Leaud, who will receive this year’s Palme d’honneur and stars in Albert Serra’s Cannes-selected “The Death of Louis Xiv,” inspired the “Courgette” teaser.

However, “the pattern has been reversed: abuse is suffered in the outside world and the orphanage is a place of appeasement and reconstruction,” Barras explained.

“Courgette” is a stop-motion tooner made with puppets about 10” high »

- Emilio Mayorga

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Cohen Nabs Bertrand Tavernier’s Cannes Classics Player ‘Journey’ (Exclusive)

16 May 2016 9:10 PM, PDT | Variety - Film News | See recent Variety - Film News news »

Cohen Media Group has acquired North American rights to Bertrand Tavernier’s “Journey Through French Cinema,” which premieres in Cannes Classics. “Journey” is a feature documentary charting the history of French cinema from the 1930s to the early 1970s.

The documentary includes interviews and footage from Jean Renoir, Claude Sautet, Jean-Luc Godard, Louis Malle, Francois Truffaut and Jacques Becker.

” ‘Journey Through French Cinema’ is already an important, perennial classic, destined to become required and inspiring viewing for cinephiles around the world. We could not be more proud to bring Tavernier’s masterpiece to our audiences across North America,” said Charles S. Cohen, founder and president of Cmg.

In the vein of Martin Scorsese ’s “Personal Journey Through American Movies,” Tavernier delivers a subjective and personal approach to French cinema; the doc also sheds light on the political and historical context of certain movies as well as shares anecdotes about some directors. »

- Elsa Keslassy

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Across The Croisette: A Brief History of the Directors' Fortnight

12 May 2016 6:37 AM, PDT | MUBI | See recent MUBI news »

Last year, the three-part, six-hours-and-twenty-two minutes long epic Arabian Nights by Portuguese director Miguel Gomes rejected a slot in the Cannes Film Festival’s second-rung Un Certain Regard section, opting instead to be premiered  at the Directors’ Fortnight (Quinzaine des Réalisateurs ), taking place in the same French Riviera city at the same time. Why wasn’t Arabian Nights in Cannes’ official competition? Gomes’ previous film, Tabu, won two prizes at the Berlin International Film Festival, finished 2nd Sight & Sound’s and Cinema Scope’s polls of the best films of 2012, 10th in the Village Voice’s, and 11th in both Film Comment’s and Indiewire’s; he was exactly the kind of rising art-house star who should have been competing in the most prominent part of the official festival. But organizers balked at the idea of offering such a lengthy film a slot in competition where two or three others could be chosen, »

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Cannes honour for veteran rebel by Richard Mowe - 2016-05-10 10:43:44

10 May 2016 2:43 AM, PDT | eyeforfilm.co.uk | See recent eyeforfilm.co.uk news »

The two faces of Jean-Pierre Léaud: (left) as the young rebel with a cause in his first film The 400 Blows and the veteran actor today Photo: Cannes Film Festival

French actor and New Wave icon Jean-Pierre Léaud, who started his career in François Truffaut’s The 400 Blows (Les 400 Coups) will receive an honorary Palme d’or at the closing ceremony of the Festival’s 69th edition on Sunday 22 May.

Léaud made his first appearance on the Croisette in 1959 as the young and rebellious hero Antoine Doinel, a character who continued through Antoine Et Colette (1962), Baisers Volés (Stolen Kisses) (1968), Domicile Conjugal (Bed And Board) (1970) and L'Amour En Suite (Love On The Run) (1979).

Other previous recipients of the honorary Palme include Agnès Varda in 2015 as well as Clint Eastwood, Manoel de Oliveira, Woody Allen and Bernardo Bertolucci in recent years.

Leaud stars as King Louis Xiv in Spanish director »

- Richard Mowe

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Jean-Pierre Léaud to receive Cannes honour

10 May 2016 2:31 AM, PDT | ScreenDaily | See recent ScreenDaily news »

The French actor and star of The 400 Blows will receive an honourary Palme d’Or at this year’s festival.

French actor and comedian Jean-Pierre Léaud will receive an honourary Palme d’Or at this year’s Cannes Film Festival.

The award will be presented during the festival’s closing ceremony on Sunday May 22.

First discovered by Francois Truffaut when he cast the young actor as the lead in his The 400 Blows, Léaud went on to have a glittering career in French cinema, working with the likes of Jean-Luc Godard (La Chinoise), Bernardo Bertolucci (Last Tango In Paris), Jacques Rivette (Out 1), and many others.

He made his debut at Cannes in 1959 with The 400 Blows at the age of just 14, and has since returned to the Croisette on numerous occasions, including with 2001’s The Pornographer, when he was awarded a Firpresci prize for his performance.

Léaud was also an assistant director to Godard on [link »

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Jean-Pierre Léaud To Receive Honorary Palme d’Or – Cannes

10 May 2016 1:57 AM, PDT | Deadline | See recent Deadline news »

The 400 Blows star Jean-Pierre Léaud made his first appearance on the Croisette at age 14 in François Truffaut‘s 1959 debut. Now, 57 years later, he will be the recipient of the Cannes Film Festival’s honorary Palme d’Or. Léaud joins such previous recipients as Agnès Varda, Clint Eastwood, Manoel de Oliveira, Woody Allen and Bernardo Bertolucci. The award will go to Léaud at the Closing Ceremony on May 22. Prior to that, a Special Screening of Albert Serra’s The Death Of L… »

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Cannes: Jean-Pierre Léaud to Receive Honorary Palme d’Or

10 May 2016 1:26 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Following the footsteps of Agnès Varda, another French film icon, Jean-Pierre Léaud, will be celebrated with a honorary Palme d’Or at Cannes Film Festival.

A symbol of the French New Wave, Léaud, who’s had a long relationship with Cannes, was discovered at 14 by François Truffaut with “The 400 Blows.” Leaud also starred in “Antoine and Colette,” “Stolen Kisses,””Bed and Board” and “Love on the Run.” He later starred in Bernardo Bertolucci’s Last Tango in Paris,” Jacques Rivette’s “Out 1,” Jean Eustache’s “The Mother and the Whore. which received the Cannes’s Special Grand Prize.

As part of Cannes’ tribute, Cannes will host a special screening of Albert Serra’s “The Death of Louis Xiv” in which Léaud starred.

Previous honorees include Clint Eastwood, Manoel de Oliveira, Woody Allen and Bernardo Bertolucci. The honorary Palme d’or will be given during the festival’s closing ceremony »

- Elsa Keslassy

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Being Charlie review – spoiled rich kid grows up in inspiring rehab drama

5 May 2016 3:43 PM, PDT | The Guardian - Film News | See recent The Guardian - Film News news »

Director Rob Reiner’s comeback film, based on a screenplay by his son, is packed with cliches about teenage drug addiction, but not without charm

Critics frequently cite François Truffaut’s theory that there can never be a true anti-war film. I’d like to extend this to the much smaller genre of films about young kids of privilege who get stuck in drug rehabs or mental wards. What adolescent doesn’t want to scowl and spit in the face of square adults who just don’t get it? Moreover, these boys (it’s almost always boys) brood their way right into the hearts and arms of understanding, sexy girls who also refuse to do what society says. What a blast! From David and Lisa to It’s Kind of a Funny Story (making stops along the way with scenes from Ordinary People and lesser known movies like Manic) I »

- Jordan Hoffman

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