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Ana Lily Amirpour’s “A Girl Walks Home Alone at Night” won the Cartier prize for best film from the Revelation jury — comprising Audrey Dana, Anne Beres, Lola Bessis, Christine & the Queens, Freddie Highmore and Clemence Poesy.
The Michel »
- Elsa Keslassy
Sundance winner Whiplash won the Grand Prize in Deauville Saturday night, awarded by the jury including incoming Cannes president Pierre Lescure and legendary French directors Jean-Pierre Jeunet, Claude Lelouch, Andre Techine and Costa-Gavras. The drumming drama from director Damien Chazelle, which received a long standing ovation at its screening, also won the audience award for favorite film of the festival. Chazelle said that receiving the prize from the jury stacked with Oscar, Cesar and Palme d'Or winners was a special honor. "I feel like Deauville has taken a little piece of me, mostly my money at the casino, but this
- Rhonda Richford
Seeds of Yesterday: Horovitz’s Debut a Tonally Uncomfortable Adaptation
Playwright and screenwriter Israel Horovitz makes his directorial debut with My Old Lady, an adaptation of his own play which originally opened back in 2002. At times a richly observed portrait of coming to terms with the traumatic events of the past when we’re finally forced to, more often than not, the film’s awkward tonal shifts lends the film a generally unpleasant ambience. There’s no smooth segue from its belabored setup from hokey comedy to unctuous soap opera of seedy family secrets. Fans of its three main star attractions will find Kline, Smith, and Scott-Thomas in overall fine form, though the artificial quality of the material often makes their interactions feel forced.
A down and out New Yorker in his late 50’s, Mathias Gold (Kevin Kline) thinks he’s solved all his financial problems when his estranged father »
- Nicholas Bell
Jessica Chastain was the darling of Deauville Friday night, accepting a career honor from incoming Cannes president Pierre Lescure at the opening ceremony just three short years after receiving the newcomer award at the festival. "I'm such a fan of French cinema. I take so much inspiration from your filmmakers, writers, actors and actresses. To be welcomed and encouraged by you is a dream come true for me," she said, as she stood onstage with legendary directors Costa-Gavras, Andre Techine, Claude Lelouch and Jean-Pierre Jeunet. In his speech, Lescure, whose tenure officially started in July, called Chastain
- Rhonda Richford
Visionary director Jean-Pierre Jeunet (Amelie) puts a surreally disorientating spin on the series as Sigourney Weaver's Ripley endures her fourth encounter with the nastiest xenomorphs in the universe. Here, she is resurrected by geneticists who - somewhat foolishly- have cloned her in an attempt to replicate the alien DNA that has been impregnated within her for 200 years. So when a crew of space smugglers (including Ron 'Hellboy' Perlman and a mysterious Winona Ryder) intercept the research vessel she's on, they get more than they bargained for. »
The first time I recall Terry Gilliam‘s name being used to sell me on a movie it was City of Lost Children, but that was through a critic blurb making a comparison between the Brazil director and City‘s Jean-Pierre Jeunet and Marc Caro. Prior to that, though, he’d actually lent his name as a presenter for their Delicatessen. I might not have discovered those movies without the endorsement. Later, Gilliam also put his name in a similar manner on Bill Plympton’s Idiots and Angels. As a Gilliam fan, I fell in love with Jeunet’s work immediately, while I’d already been into Plympton and now had more reason to appreciate the animation legend. I don’t know that Gilliam attached his name to anything before, between or after those two — I’m not counting the BBC TV adaptation of the book The Last Machine: Early Cinema and the Birth of the »
- Christopher Campbell
There may be no other genre of film that juggles trends as often and openly as horror. One decade it’s the slasher; one decade it’s the ghost story; the next it’s found footage. The door does and will continue to revolve. That’s not going to change.
Fortunately for fans of this diabolical branch of celluloid, every now and then those shifts come on the heels of a landscape-altering production or the birth of a franchise destined to change the way we view film. We’ve seen movies evolve so much in the last 80-plus years it’s insane.
It’s almost hard to grasp, but it happens. And it often takes career-defining projects and game-changing films to make the shift a reality. Here are 15 horror franchises that enhanced or completely altered the face of horror as we know it.
Ridley Scott’s greatest achievement, »
- Matt Molgaard
Paris– Adele Haenel (“Love at First Fight”), Anais Demoustier (“The New Girlfriend”) and Reda Kateb (“Lost River”) are among the 10 Talents to Watch selected by Unifrance, the French film promotion org.
The other actors and directors selected by Unifrance are actors Raphael Personnaz, Celine Salette, Gaspard Ulliel and four femmes directors Celine Sciamma, Mia Hansen-Love, and Alix Delaporte and Melanie Laurent, who is also a popular actress.
Haenel, who delivered a breakthrough performance in Katell Quillevere’s “Suzanne,” showed her range in Thomas Cailley’s “Love at First Fight” (“Les Combattants”), in which she played the lead actress. A fresh romantic dramedy set in an Army survival program, “Love at First Fight” proved to be Directors’ Fortnight hit, winning a record four awards.
Haenel also starred in Andre Techine’s “French Riviera” which played at Cannes in the official selection.
Demoustier made her debut at age 13 in Michael Haneke’s »
- Elsa Keslassy
Haugesund, Norway– Deauville will celebrate its 40th anniversary with a strong competition lineup of U.S. indies, leading up with Anton Corbijn’s “A Most Wanted Man” and Reese Witherspoon starrer “The Good Lie.”
The Normandy-set festival will also play Cannes’ Directors’ Fortnight alumni: Damien Chazelle’s “Whiplash” and Jim Mickle’s “Cold in July,” as well as David Robert Mitchell’s “It Follows,” a Critics’ Week competitor. Other contenders include Nathan Silver’s “Uncertain Terms,” Mark Jackson’s “War Story,” Ira Sachs’s “Love is Strange,” Mike Cahill’s “I Origins,” Carter Smith’s “Jamie Marks is Dead” and Gregg Araki’s “White Bird in a Blizzard.”
Beyond “Whiplash,” which won Sundance’s grand jury prize, Deauville will play three other feature debuts: Ana Lily Amirpour’s “A Girl Walks Home Alone at Night,” A.J. Edwards’ “The Better Angels” and Saar Klein’s “Things People Do.”
Deauville will also »
- Elsa Keslassy
London — U.K. broadcaster Channel 4 revealed today that the new chief of its filmmaking division, Film4 — which has backed Oscar-winning pics like Steve McQueen’s “12 Years a Slave” and Danny Boyle’s “Slumdog Millionaire” — would be David Kosse, who is president, international, at Universal Pictures. Variety spoke to Kosse about his new role.
Kosse, who joins Film4 on Nov. 1, said it was a bit early to speak about specific plans for Film4, but added that he had no intention of changing the “creative remit” of the production unit. “There continues to be a focus on emerging filmmakers, young talent and creative risk-taking,” he said.
Recent pics from emerging U.K. talent backed by Film4 include Yann Demange’s feature debut “’71,” which premiered in Berlin competition, and Daniel Wolfe’s first film “Catch Me Daddy,” which bowed in Cannes’ Directors’ Fortnight.
- Leo Barraclough
Kosse joins from Universal Pictures where he is president, international, and will take up his new post on Nov. 1.
Kosse will oversee the development, financing and green-lighting of all feature films, and support for the production and distribution of all Film4-backed releases both in the U.K. and internationally.
See Also: Film4’s New Chief David Kosse Speaks to Variety About Challenges of Role
Upcoming pics include Lone Scherfig’s drama about a boisterous Oxford student dining club, »
- Leo Barraclough
Horror is really the only genre that has entries that, while “good,” may not necessarily mean “recommended.” So, how does that affect what is “definitive?” A recent conversation brought up the nightmare of a movie A Serbian Film (great review here from Justine) which, by all accounts, is a horror film. But, while everyone in film circles knows about the film (many have even seen it), I can’t imagine anyone actually recommending it. It’s made impact, sure. But at what cost? The best horror films aren’t simply there to scare and disgust viewers. They’re there to serve as metaphors for other issues, however big or small. But the best ones are those that do it in a way that, while still may scare and disgust you, will also make you think and reevaluate your situation.
40. À l’intérieur (2007)
English Title: Inside
- Joshua Gaul
Following previous announcements of their film lineup, the Fantasia International Film Festival has released their full lineup of movies to be shown at the 18th Annual festival, starting July 17.
New additions to the lineup include 2014 Cannes Selection When Animals Dream, directed by Jonas Alexander Amby and the return of Fantasia’s showcase of animated films, Axis.
Tickets for the festival go on sale starting July 16, and the festival runs through August 5.
View the whole press release of additional announcements below:
Fantasia Celebrates Its 18th Birthday
With Over 160 Feature Films Montreal, Thursday July 10, 2014 – 2014 is the year that Fantasia turns 18. We can’t believe it either. Fantasia’s 18th birthday means over 160 features and something in the neighborhood of 300 shorts, many being shown for the first time on this continent, a good number screening here for the first time anywhere in the world.In addition to being stacked with a multitude of breathtaking debut filmmaker discoveries, »
- Brian Welk
Wow. My head must have been buried in the sand because, aside from a few cursory glances at a poster here and there around the net, I had been more or less unfamiliar with the new Terry Gilliam film, The Zero Theorem. Not anymore. This new U.S. trailer is fantastic. It's utterly striking and unique and reminds us of what Gilliam is capable of. I'm so relieved someone gave him some money to play around with again. The Zero Theorem stars Christoph Waltz as Qohen Leth, a computer hacker who searches for the meaning of life while being distracted by Management, a shadowy figure from an Orwellian corporation; Melanie Thierry, Tilda Swinton, and David Thewlis also star. The film hits iTunes on August 19th and limited theaters on September 19th. Hit the jump for The Zero Theorem trailer! As you'll see below, it's pretty great, right? I like how »
- Evan Dickson
Michel Gondry is something of an enigma in the film world, and one who reportedly found himself in an uncomfortable position during and after The Green Hornet. His latest, Mood Indigo, is hitting in limited release on July 18th, and its the film to see this summer, if you get the chance.
Returning to the wonder of his beginnings (Eternal Sunshine of the Spotless Mind), and taking a lot of notes from the past thirty years of French cinema, and Jean-Pierre Jeunet (and, borrows his favorite leading lady), Gondry’s lastest looks like it could easily be one of the year’s best.
Check out the new clip below, which expands on their meeting, which is hinted at in the trailer above.
Courtesy of Drafthouse Films.
Mood Indigo Clip – Colin meets Chloé
- Marc Eastman
The Hundred Year-Old Man Who Climbed Out the Window and Disappeared was first described to me as “a European Forrest Gump with lots of explosions,” and I was sold! After watching it, I’m pleased to report that this description is dead on. Adapted by director Felix Herngren from Jonas Jonasson’s bestselling book of the same name, The 100 Year Old Man is a loose-limbed, historically sprawling shaggy dog of a movie. Enjoyment is predicated on your acceptance of the ridiculous and, most importantly, of you being able to appreciate the sight of a terrified skinhead being squashed to death by an elephant’s butt.
We open with the titular 100-year-old Allan Karlsson (Robert Gustafsson) mourning the death of his beloved cat at the hands of a fox. Clutching a stick of dynamite in his withered hand, he shuffles through the snow and plants it in the ground. Boom. No more fox. »
- David James
Isabelle Huppert will add to her trophy case of lifetime achievement honors when the Munich International Film Festival presents the legendary French actress with its CineMerit Award. Huppert, whose numerous accolades include a Bafta, two acting Palm d'Ors in Cannes, a Cesar and numerous European Awards, will attend the Munich Fest to present her latest feature, Paris Follies from director Marc Fitoussi. Photos Gone Too Soon: 8 Oscar Winners and Nominees Who Met Tragic Ends The 2014 Munich festival kicks off Friday with Jean-Pierre Jeunet's The Young and Prodigious T.S. Spivet. Jeunet will attend the German premiere of
- Scott Roxborough
★★★★☆French director Jean-Pierre Jeunet has demonstrated a deft ability for creating fantastical worlds, as previously seen in Delicatessen (1991), The City of Lost Children (1995) and his big crossover hit, Amélie (2001). All of these showed a gift for aesthetically-pleasing oddities, and his new work, The Young and Prodigious T.S. Spivet (2013), is no exception. It's also his second American feature, his last being the poorly-received Alien Resurrection (1997). It seems the source material, a beautifully illustrated tome by Reif Larsen about a cartography-obsessed boy genius, is a perfect fit, redeeming him of past sins and creating a plush, modern fairytale with strains of Mark Twain's Huckleberry Finn.
- CineVue UK
Sony Pictures Classics honchos Michael Barker and Tom Bernard have been feted up one side and down the other lately. The duo celebrated 20 years of Spc in 2012 and have received awards from the Museum of the Moving Image and the Gotham Awards as of late. Tonight they will receive the Los Angeles Film Festival's Spirit of Independence Award as the love keeps pouring in. Given that we recently celebrated the 20th anniversary of Fox Searchlight — another crucial entity in the indie film space — it seemed like we were over due for a similar appreciation of Sony Classics' 22 years of output. The interesting thing, though, is that unlike Searchlight, there isn't necessarily anything outwardly identifiable about Sony Classics films as, well, "Sony Classics films." They all have a strong whiff of good taste but they don't have the heavy marketing footprint of some of the studio's contemporaries. Barker and Bernard's cinephile passion is always evident, »
- Gregory Ellwood, Guy Lodge, Kristopher Tapley
Innocence and intelligence animate this visually compelling film about a child genius
Jean-Pierre Jeunet's adaptation of Reif Larsen's book The Selected Works of Ts Spivet takes gleeful visual pleasure in the tale of a young genius from Montana who runs away to Washington to receive a Smithsonian Institute award after apparently inventing a perpetual motion machine. Like Martin Scorsese's Hugo, which also featured a young boy at large in an automated world, Jeunet's poignantly playful film uses self-conscious/aware 3D as a mechanical throwback a way into a lost world of machines (and situations), the complex workings of which are always on view. Thus, while Scorsese's stereoscopic adventure explored the birth of the moving image (remember, 3D is as old as cinema itself), Jeunet harks back to his own experiments with a View-Master as an eight-year-old, cutting and rearranging frames to construct his first homemade movies, uncovering in »
- Mark Kermode, Observer film critic
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