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“Everybody Loves Somebody” has something for everybody. Star Karla Souza says the “awesome romantic comedy” is part-Spanish, part-English, and all indebted to old Jewish men. Or so director Catalina Aguilar Mastretta told her. “This is an awesome romantic comedy — the director is a fan of Woody Allen,” the actress told TheWrap’s Stuart Brazell. “She said the other day in an interview, I learned how to do movies and how to love people through these older Jewish men and their movies, and now these older Jewish men can see my movie and learn a little bit about love too.” The actress, »
- Beatrice Verhoeven
Another period piece is coming our way from writer-director Woody Allen. We know little about his latest movie, titled Wonder Wheel, which is typical of Allen’s movies. Rarely are character and plot details shared early on. But we do know his latest film stars Justin Timberlake, Kate Winslet, and Juno Temple and it takes place in the 1950s. Below, […]
- Jack Giroux
Although it hasn’t been officially announced by U.S. distributor Amazon Studios yet, if history repeats itself, a new Woody Allen film will arrive this summer. It’s also the most fitting release window in some time for the director as his next feature takes place in the summer days of the 1950s, specifically in Coney Island. Although no more plot details beyond the setting have been revealed, the newly announced title should be of no surprise to those familiar with the Brooklyn locale.
Titled Wonder Wheel, it takes its name from Deno’s amusement park located there, whose circular main attraction opened back in 1920. This title was revealed by Mars Film CEO Stephane Celerier (via Woody Allen Pages), so presumably they’ll reunite with Allen to distribute his latest film in France once again.
- Leonard Pearce
A new year is upon us, which means Woody Allen has a fresh feature film on the way. As per usual, he keeps everything under lock and key until he’s ready for the world to see it, but Italian distributor Lucky Red has revealed the goods just a little bit early.
Read More: Why We Have To Separate The Art From The Artist, And Why We Can’t
- Kevin Jagernauth
My first meeting as a member of the New York Film Critics Circle was December 1989 and, in those days, the group met at the old Newspaper Guild building, then on West 44th Street. The meeting room was a cramped, windowless enclosure with fake wood-panel walls, a full assortment of ashtrays and the ambiance of — well, interior designers have a technical name for enclosures like this: Shit-hole, I believe, is the term of trade.
But when I walked into this unprepossessing little room, here were people whose names were magical to me, critics whose work helped shape the way I looked at movies as a college student and then as a nascent critic and film journalist. Pauline Kael. Andrew Sarris. Rex Reed. Richard Schickel.
Schickel, who died Saturday at 84, may have been the name that struck the deepest chord at that time. Long before I discovered either Kael or Sarris, I »
- Marshall Fine
After screening in Telluride and Toronto last fall, “Maudie” is finally ready to tell the masses about the life of Canadian artist Maud Lewis. Sally Hawkins stars in the biopic, which was directed by Aisling Walsh, who previously helmed a BBC miniseries adaptation of Sarah Waters’ “Fingersmith” (which also served as the inspiration for Park Chan-wook’s “The Handmaiden”). Watch the trailer below.
The film takes place in Nova Scotia circa the 1930s and finds the desperate artist taking a job working for a fish peddler played by Ethan Hawke. Lewis, one of her country’s most highly regarded folk artists, specialized in small paintings depicting outdoor settings; the small size of her canvases had to do with Lewis’ rheumatoid arthritis.
Hawkins received an »
- Michael Nordine
Author: Stefan Pape
“What I’ve always loved about you, Max…” is a line we hear uttered in Volker Schlondorff’s Return to Montauk – which, unsurprisingly, is a film by an author (the talented Colm Toibin – behind the novel that inspired Brooklyn) about an author. Naturally self-indulgent in parts, the film also suffers from the frustrating trope of having a writer converse with dialogue similar to the words he gets paid to write – rather than talk normally like a normal human being.
Stellan Skarsgard plays Max, embarking on a book tour which leads him to New York City, promoting his latest piece of literature. It’s the city where an old flame resides, and he decides – despite being in a relationship with Clara (Susanne Wolff) – to get back in touch, arriving, uninvited to the workplace of Rebecca (Nina Hoss). Initially she has no intention of seeing him, but as he pleads for her attention, »
- Stefan Pape
“The Other Side of Hope”
Winsome, sweet, and often very funny, the second chapter of Aki Kaurismäki’s unofficial trilogy about port cities is a delightful story about the power of kindness that unfolds like a slightly more somber riff on 2011’s “Le Havre.” The Finnish auteur’s latest refugee story begins with a twentysomething Syrian man named Khaled (terrific newcomer Sherwan Haji), who escapes from Aleppo after burying most of his family and sneaks into Finland by stowing away in the cargo hold of a coal freighter. His path eventually crosses with Wikström (Sakari Kuosmanen), a newly single restauranteur who could use a helping hand. Part Roy Andersson and part Frank Capra, “The Other Side of Hope” deepens the director’s recognition of how immigrants and refugees are victimized by their invisibility, and its timeliness could help it strike a chord with domestic audiences. “Le Havre” grossed more than »
- David Ehrlich, Eric Kohn and Jude Dry
Close-Up is a column that spotlights films now playing on Mubi. Albert Brooks' Modern Romance (1981) is showing February 17 - March 19, 2017 in the United Kingdom in the series The Rom Com Variations. She’s out of my lifeShe’s out of my lifeAnd I don’t know whether to laugh or cry—Michael Jackson, “She’s Out of My Life”“cras amet qui numquam amavitquique amavit cras amet”—The Magus (John Fowles) Life comes at you fast. As someone recently on the receiving end of an unexpected breakup, I was a little cool on the idea of watching Albert Brooks’ 1981 film Modern Romance—whose premise was summarized, on the one-sheets at the time, in the following terms: “Robert was madly in love with Mary. Mary was madly in love with Robert. Under the circumstances they did the only thing they could do… they broke up.” But then, in that brutal darkness of heartache, »
Richard Schickel, the longtime film critic for Time magazine who also wrote 37 books, mostly on film, and directed a number of documentaries on film subjects, died on Saturday in Los Angeles of complications from a series of strokes, his family told the Los Angeles Times. He was 84.
“He was one of the fathers of American film criticism,” his daughter, writer Erika Schickel, told the Times. “He had a singular voice. When he wrote or spoke, he had an old-fashioned way of turning a phrase. He was blunt and succinct both on the page and in life.”
He wrote and/or directed more than 30 documentaries, mostly for television.
Schickel shared a 1977 Emmy nomination for the documentary “Life Goes to the Movies” and received two nominations in 1987 for the documentary “Minnelli on Minnelli: Liza Remembers Vincente,” which he directed.
Schickel wrote film reviews for Life magazine from 1965 until the magazine folded in »
- Carmel Dagan
Recently I wrote a column about the inherent struggles that come with separating the art from the artist. Most of the time this isn’t a problem as even the most educated film fans probably don’t know the intimate personal details of the writers, directors, and producers behind the movies they watch. There are, of course, situations with prominent filmmakers that manage to allow the skeletons to escape from the closet and stumble from the shadows into the tabloids all too eager to share their scandals.
Last year saw Nate Parker and his film Birth of a Nation go from critical darling to the highest priced acquisition ever at the Sundance Film Festival to a ‘mortal lock’ for a Best Picture Nomination and then rocketing into a downward spiral towards oblivion only rivaled by a heroin junkie »
- Anghus Houvouras
In his 2015 film Youth, Italian film-maker Paolo Sorrentino used Harvey Keitel’s character Mick as a mouthpiece, delivering a diatribe about the war between film and TV through the ageing director’s dialogue. “This is cinema, and that’s just television!” he tells his muse. “Television is shit!” Her ominous response? “Television is the future, Mick.”
Smash cut to the beginning of 2017 and Sorrentino’s unveiling The Young Pope, perhaps his most opulent vision to date – in 10 parts on HBO. He’s just one of the many artists making a mass exodus from the cinema to TV, lured by the promises of handsome budgets, greater creative control, and the wider canvas of extended run times. Danish enfant terrible Nicolas Winding Refn »
- Charles Bramesco
“Awards! They do nothing but give out awards!” – Alvy Singer in Los Angeles.
What normally wins the best picture Oscar can usually be divided between miserable and horrible. Most of the time a typical Academy voter comes off like one of those guys with saliva dribbling down his mouth who wanders into a cafeteria with a shopping bag screaming about socialism. Tuning in each year is irrational and crazy and absurd, but we keep going, I guess, because we need the eggs.
Continue reading »
- Jordan Hoffman
Berlin — Creating one of the biggest independent creation-production TV hubs in the Spanish-speaking markets which is aimed at making contents for the whole world, Spain’s Mediapro, a “The Young Pope” co-producer, has bought a substantial stake in Argentina’s Burman Office. Headed by Daniel Burman, a leading light of the New Argentine Cinema, Burman Office is set to produce “Edha,” Netflix’s first TV series in Argentina.
One of the key axes in a fast-emerging new independent production TV scene in Latin America and Spain, the alliance will be unveiled Feb. 16 in Berlin by Mediapro head Jaume Roures and Burman. It builds on a strategic co-development deal between Mediapro and Burman Office for high-end fiction TV series and formats that was announced last July.
- John Hopewell and Emilio Mayorga
All five backed Sorogoyen’s latest 2016 release, “May God Save Us,” a harrowing serial killer thriller which, consolidating Sorogoyen’s reparation as a director to track, was distributed by Warner Bros. in Spain, won best screenplay at September’s San Sebastian Festival last year and was still racking up international sales for Latido at this week’s Berlin European Film Market.
The lead producer on “May God Save Us,” Gerardo Herrero and Mariela Besuievsky’s Tornasol Films, an arthouse institution in Spain, produced Juan Jose Campanella’s “The Secret in Their Eyes,” which won an Academy Award for best foreign-language film in 2009.
- John Hopewell
The Museum of Modern Art and the Film Society of Lincoln Center has today announces their complete lineup for the 46th annual New Directors/New Films (Nd/Nf), running March 15 – 26. Dedicated to the discovery of new works by emerging and dynamic filmmaking talent, this year’s festival will screen 29 features and nine short films. This year’s lineup boasts nine North American premieres, seven U.S. premieres, and two world premieres, with features and shorts from 32 countries across five continents.
The opening, centerpiece, and closing night selections showcase three exciting new voices in American independent cinema that all recently debuted at Sundance: Geremy Jasper’s “Patti Cake$” is the opening night pick, while Eliza Hittman’s “Beach Rats” is the centerpiece selection and Dustin Guy Defa will close the festival with “Person to Person.” Other standouts include “Menashe,” “My Happy Family,” “Quest” and “The Wound.”
Read More: The Sundance Rebel: »
- Kate Erbland
Author: Stefan Pape
Sally Potter returns to the silver screen with a wickedly fast-paced, endearingly transient comedy that, while unashamedly overstated, is grounded by its connections to modern British politics – making it all rather apt for this picture to thrive in its farcicality. The monochrome aesthetic may give this piece a timeless feel, but it seems like a particularly pertinent presentation of a nation who currently find their left wing politics in turmoil.
The film opens with Kristin Scott Thomas as Janet, pointing a gun at the camera. Rewind an hour or so, and we learn she’s the host of a dinner party, inviting friends round to celebrate her recent promotion to shadow health minister, and its a dinner party, we have already gathered, that is to eventually turn sour. Her husband Bill (Timothy Spall) is in a peculiar mood, not exactly one for conversation – but the arrival of »
- Stefan Pape
Water And Sugar: Carlo Di Palma, The Colours Of Life premiered at last year’s Venice Film Festival.
Adriana Chiesa is selling Water And Sugar: Carlo Di Palma, The Colours Of Life, the new feature doc about the legendary cinematographer (and Chiesa’s late husband), at this week’s European Film Market (Efm) and has reported deals for the UK (Swipe Films) and Spain (Film Buro). Instituto Luce will release the film in Italy this spring.
Directed by Fariborz Kamkari, the documentary profiles Di Palma’s career from being focus puller on Vittorio de Sica’s Bicycle Thieves (1948) to his credits as a cinematographer on films including Blow-Up (1966) and 11 Woody Allen films.
The film screened recently at the Santa Barbara International Festival, which Chiesa reveals that Iranian-born director Kamkari wasn’t able to attend because of the Trump travel ban then in place.
At Efm, Adriana Chiesa Enterprises has also begun sales on They Called Her Maryam »
- email@example.com (Geoffrey Macnab)
Author: Stefan Pape
Indie auteur Alex Ross Perry returns to the silver screen with Golden Exits, which begins opens with Emily Browning’s Naomi, sat on her doorstep, singing New York Groove by Kiss, and instantly the viewer is beguiled – an essential introduction to the character, for it’s her very arrival in the Big Apple which causes such disruption, as we becomes as absorbed by her, in much of the same way the myriad of male character that orbit around her also feel.
Hailing from Australia, Naomi has landed a job that will ensure she can remain on American soil for a few months, working as an assistant to Nick (Adam Horovitz) as he archives materials concerning his dead father-in-law. Spending every day together, in a modest sized office, this ignites the jealousy in Nick’s wife Alyssa (Chloe Sevigny) and the scepticism in her sister Gwendolyn (Mary-Louise Parker). For good reason too, »
- Stefan Pape
It’s one thing to give your movie a title as sweepingly ambitious as On Body and Soul, but quite another to deliver something equally transcendent. With this competition entry from Hungary, we saw some encouraging signs of artistic experimentation on the first full day of the Berlin Film Festival that’s sorely missing from the opening night presentation, but a home-run is still elusive.
The film opens with shots of two deer roaming, gently grazing against each other in a snow-capped forest. It’s a lovely sight not just for the natural grandeur and inherent serenity of wildlife, but also the camera’s intense focus, describing the texture and temperature of the scene in great detail. This quietly evocative introduction, which would prove to be a recurring theme and much more than mere decoration, leads to a montage of animals in captivity, waiting to be butchered and men, resting »
- Zhuo-Ning Su
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