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1-20 of 349 items from 2017   « Prev | Next »


Cannes 2017. Caged In—Sofia Coppola's “The Beguiled”

1 hour ago | MUBI | See recent MUBI news »

What do we mean when we say that a filmmaker is “limited”? Is it that their talents are relatively confined? Or is it that because of their particular sensibilities, they choose to make films within a specific arena? Perhaps the better question is: How much does that matter? A filmmaker like Hong Sang-soo, for example—at Cannes this year with both The Day After and Claire's Camera—could certainly be described as “limited” in some respects; but he still produces some of the most consistent and interesting work in the contemporary cinematic landscape. It can't be denied, though, that it's always exciting when filmmakers push themselves and make films squarely outside their comfort zones, which could be said of Sofia Coppola who returns to Cannes this year with The Beguiled. Adapted from Thomas P. Cullinan’s gothic novel A Painted Devil as well as the original 1971 movie adaptation by Don Siegel, »

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Jane Campion on Lack of Female Filmmakers, ‘Top of the Lake: China Girl’

3 hours ago | Variety - Film News | See recent Variety - Film News news »

Jane Campion is a hugger. The Oscar winner, who punctuates every other sentence with a loud, earthy laugh, is so into physical affection that she won’t let a reporter from Variety leave an interview without dragging him onto a couch to snuggle with her and her “Top of the Lake: China Girl” co-director Ariel Kleiman. It’s definitely an unusual way to end a grilling by the press, but Campion claims this kind of emotional openness is one of the things that separates female filmmakers from their male counterparts.

“There’s a different ethos,” she says. “We’re always cuddling and carrying on. I was with Andrea Arnold last night and we were cuddling. Then Uma (Thurman) came along and we were all cuddling.”

Not that “China Girl” should be mistaken for something light and fluffy. It’s a hard-edged mystery that delves into the world of sex trafficking, »

- Brent Lang

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Cannes Days 7-8: "The Beguiled" and "Rodin"

4 hours ago | FilmExperience | See recent FilmExperience news »

Another day in May, more cheers and jeers for the competition films. Only five competition films are yet to screen: Fatih Akin's In the Fade (starring Diane Kruger), Good Time from the Safdie brothers, Sergei Loznita's A Gentle Creature, François Ozon's L'Amant Double  (with two of his favorites Marine Vacth and Jérémie Renier), and Lynne Ramsay's You Were Never Really Here (starring Joaquin Phoenix). 

Previously: Day 1, Days 2-4, and Days 5-6

And Don't Miss: Nicole in Cannes Pt 1 and Pt 2

So it looks like the frontrunners for the Palme d'Or, barring any of those five landing in a major way, are France's 120 Battements Par Minute, Sweden's The Square, or Russia's Loveless. But with Cannes and the mysteries of the group dynamics of juries, you never really know until the awards are announced. Pundits always forget that. People who assume that the Palme is a given for ___ are wrong nearly every year. »

- NATHANIEL R

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Sofia gets all her own way by Richard Mowe

5 hours ago | eyeforfilm.co.uk | See recent eyeforfilm.co.uk news »

Female power: (from left) - Colin Farrell as the alpha male in The Beguiled with Elle Fanning, Nicole Kidman, Sofia Coppola and Kirsten Dunst Photo: Richard Mowe

Director Sofia Coppola has attended the Cannes Film Festival more times than she cares to remember - the first being on father Francis Ford Coppola’s shoulders for the premiere of Apocalypse Now when she was 8.

Sofia Coppola: “To have meetings with the special effects team about wounds was definitely something out of my norm.” Photo: Richard Mowe

She has presented most of her own films including Marie Antoinette in 2006 and The Bling Ring in 2013. And two years ago she served on the Competition jury.

Today at her media encounter and before tonight’s (24 May) premiere of her latest film The Beguiled, a revisiting of Don Siegel’s 1971 version with Clint Eastwood, she talked about her interpretation of the Gothic Civil War »

- Richard Mowe

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‘Okja’ Cinematographer Darius Khondji On the Camera and Film That Made Him Fall in Love with Shooting Digital

5 hours ago | Indiewire | See recent Indiewire news »

Few master cinematographers working today are more associated with a classical approach to shooting on film than Darius Khondji. The very look of his movies has the feel of celluloid – the “China ink” blacks, the shadow detail, the softness and uniquely rich, but not sharp color palette, along with a density of image that comes from literally putting the silver back on the film in a special lab process.

It’s not surprising then that Khondji hasn’t been shy about his distaste for shooting digitally.

Read More: Cannes 2017 – Here Are the Cameras Used To Shoot 29 of This Year’s Films

“I felt we left film for digital too early, not in the right way and not for the right reasons,” Khondji told IndieWire in a recent phone interview from Cannes, where his new film “Okja” premiered. The great cinematographer’s opinion was not changed shooting Michael Haneke’s Palme »

- Chris O'Falt

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Nicole Kidman Promises To Work With More Female Directors: ‘I Think It’s Necessary’

5 hours ago | ET Canada | See recent ET Canada news »

As one of the many female stars of Sofia Coppola’s film “The Beguiled”, Nicole Kidman has vowed to work with more female directors moving forward. While speaking at the Cannes Film Festival on Tuesday, the 49-year-old actress criticized the lack of female filmmakers in Hollywood, while revealing that she plans to set a new precedent for […] »

- Cat Williams

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Cannes 2017 Deals: The Complete List of Festival Purchases

6 hours ago | Indiewire | See recent Indiewire news »

For domestic buyers looking to snag a hot title, the Cannes Film Festival isn’t exactly the most hospitable environment — all told and including festival sidebars like Critics’ Week and Director’s Fortnight, there are more than 75 films at this year’s festival, and while the fest offers up plenty in the way of foreign-language titles, most of the heavy-hitting English-language features landed on the Croissette with distribution deals already in place.

Read More: The Cannes Film Festival Buyers Guide: Who’s Buying the Movies You’ll Watch

Netflix arrived with both Noah Baumbach’s family drama “The Meyerowitz Stories” and Bong Joon Ho’s “Okja,” while Amazon has Todd Haynes’ “Wonderstruck” and Focus Features has Sofia Coppola’s “The Beguiled.” And while A24 has never bought a completed film at Cannes, the company launched four titles at the fest, including Yorgos Lanthimos’ “The Killing of a Sacred Deer” and the Safdie brothers’ “Good Time. »

- Kate Erbland

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Cannes 2017 Review: The Beguiled, A Campy Anatomy of Lust

6 hours ago | Screen Anarchy | See recent Screen Anarchy news »

Sofia Coppola is a filmmaker whose work I've appreciated from a distance. I know she's a great director, but apart from Marie Antoinette, her stories of rich white people and their troubles has held little interest for me. But as a fan of the gothic, horror, and period film, The Beguiled certainly would seem to fit in my wheelhouse of film love. And while not without some problems of gender representation, the film is a gorgeous and campy romp, disguising itself as a period piece with just the right touch of horror. Three years into the Us Civil War in the Virginia countryside, Martha Farnsworth (Nicole Kidman) maintains what little normalcy she can at her school, with her five young charges and teacher Edwina Dabney (Kirsten...

[Read the whole post on screenanarchy.com...] »

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Cannes Review: ‘The Beguiled’ is a Defiant and Sumptuous Genre Outing for Sofia Coppola

7 hours ago | The Film Stage | See recent The Film Stage news »

Cannon fire rumbles menacingly in the distance, but it’s human desire that might prove to be the greater threat after all in The Beguiled. Set to the backdrop of the American Civil War, Sofia Coppola‘s film is a sumptuous and often campy erotic horror, one that marks a confident debut genre outing for a director better-known for contemporary and often quite personal filmmaking (Lost in Translation, Somewhere, etc.). Although primarily based on the 1966 book by Thomas Cullinan, it appears, at first glance, to be a remake of Don Siegel’s 1971 film adaptation rather than any sort of new reading of the original text. Coppola, of course, is far too clever for that.

Colin Farrell portrays Corporal John McBurney, previously played by Clint Eastwood, a Union soldier who is found injured in a Mississippi forest by a young girl who decides to take him to her secluded Catholic presentation school to recover. »

- Rory O'Connor

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'The Beguiled': Film Review | Cannes 2017

7 hours ago | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »

The Beguiled is a respectable but pallid redo of a hothouse Civil War melodrama made with much more flair and power by Don Siegel, and starring Clint Eastwood, 46 years ago. Other than to place slightly more emphasis on the female empowerment angle of a group of Southern women turning the tables on an injured but scheming Yankee soldier they’ve taken into their isolated household, it’s hard to detect a strong raison d’etre behind Sofia Coppola’s slow-to-develop melodrama. Focus Features will release this modest effort in late June as counter-programming presumably aimed at a youngish female audience.

<img src="http://www.hollywoodreporter.com/sites/default/files/custom/Annie/THR-Cannes-2017.png" »

- Todd McCarthy

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‘The Beguiled’ Review: Nicole Kidman and Kirsten Dunst Subvert Male Fantasies in Sofia Coppola’s Sensational Southern Potboiler

8 hours ago | Indiewire | See recent Indiewire news »

Between “The Virgin Suicides” and “Marie Antoinette,” it was already quite clear that Sofia Coppola loves watching Kirsten Dunst struggle to make peace with some kind of purgatory. In “The Beguiled,” the mustiest and most conventionally entertaining film of Coppola’s brilliant career, Dunst is once again cast as a woman with so much to give and nowhere to go, but this is the first of her characters who actually has a legitimate hope of escaping from her limbo.

Alas, peace can be hard to come by in the middle of a war, and freedom even harder. And if Edwina Dabney wants to get herself out of the Confederacy, she might have to let the Union inside first.

Ruthlessly shorn from Thomas P. Cullinan’s 1966 novel of the same name (and not remade from the Don Siegel adaptation that first brought its story to the screen), “The Beguiled” is a lurid, »

- David Ehrlich

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Sofia Coppola’s ‘The Beguiled’ Wows Cannes While Nicole Kidman Calls Out Lack of Female Directors

8 hours ago | Thompson on Hollywood | See recent Thompson on Hollywood news »

It’s so far so good for Sofia Coppola’s “The Beguiled” at Cannes, which played well for the press on Wednesday morning. The movie is a gorgeously shot battle of the sexes led by the formidable duo of Nicole Kidman and Colin Farrell (who both star in another competition entry, “The Killing of a Sacred Deer”) along with Coppola’s “Virgin Suicides” star Kirsten Dunst and “Somewhere” star Elle Fanning.

Read More: With ‘The Beguiled,’ Sofia Coppola Seeks Cannes Redemption with a Southern-Gothic Remake

Writer-director Coppola reenters the Cannes spotlight with her high-profile adaptation of Don Siegel’s 1971 Clint Eastwood Civil War drama, based on the 1966 Thomas Cullinan novel. About two years ago, Coppola’s production designer Anne Ross urged her to remake the movie, a well-reviewed flop when released. Audiences weren’t ready for Eastwood’s tall, dark, and handsome soldier to be manhandled by a school full of vengeful women. »

- Anne Thompson

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Sofia Coppola’s ‘The Beguiled’ Wows Cannes While Nicole Kidman Calls Out Lack of Female Directors

8 hours ago | Indiewire | See recent Indiewire news »

It’s so far so good for Sofia Coppola’s “The Beguiled” at Cannes, which played well for the press on Wednesday morning. The movie is a gorgeously shot battle of the sexes led by the formidable duo of Nicole Kidman and Colin Farrell (who both star in another competition entry, “The Killing of a Sacred Deer”) along with Coppola’s “Virgin Suicides” star Kirsten Dunst and “Somewhere” star Elle Fanning.

Read More: With ‘The Beguiled,’ Sofia Coppola Seeks Cannes Redemption with a Southern-Gothic Remake

Writer-director Coppola reenters the Cannes spotlight with her high-profile adaptation of Don Siegel’s 1971 Clint Eastwood Civil War drama, based on the 1966 Thomas Cullinan novel. About two years ago, Coppola’s production designer Anne Ross urged her to remake the movie, a well-reviewed flop when released. Audiences weren’t ready for Eastwood’s tall, dark, and handsome soldier to be manhandled by a school full of vengeful women. »

- Anne Thompson

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Cannes Film Review: ‘The Beguiled’

9 hours ago | Variety - Film News | See recent Variety - Film News news »

Don Siegel’s 1971 Civil War drama “The Beguiled,” starring Clint Eastwood as a wounded Union soldier hiding out at a girls’ boarding school in rural Mississippi, is a quintessential film of the early ’70s — and by that, I don’t mean it’s any sort of masterpiece. Far from it. It’s a crudely lit piece of baroque Gothic exploitation, “gripping” yet overwrought, and it basically has the plot of a porn film. Eastwood’s character falls into one bed after another, and he receives a shockingly cruel punishment when Geraldine Page, as the turned-on but repressed headmistress, makes the vengeful decision to amputate his injured leg for dubious medical reasons. “The Beguiled” is like a mediocre Tennessee Williams play staged by Sam Peckinpah as a third-wave-feminist horror film. Yet there’s no denying it’s a picture of its time.

So why would Sofia Coppola want to remake it? »

- Owen Gleiberman

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Cannes 2017: The Beguiled Review

9 hours ago | HeyUGuys.co.uk | See recent HeyUGuys news »

Author: Jo-Ann Titmarsh

Don Siegel’s 1971 The Beguiled is a much loved classic, telling the story of a Union soldier holed up in a boarding school, where he beguiles each of the females and earns his comeuppance. So what would Sofia Coppola, one of a handful of female directors in competition in Cannes, bring to the story that is new by viewing it from a woman’s perspective? The answer is: very little.

Coppola remains faithful to the novel and the original screenplay, as we follow Amy (Oona Laurence) into the woods to forage for her infamous mushrooms. She’s a little red riding hood toting her basket all alone in the humid forest and she is about to stumble upon John McBurney (Colin Farrell), a wolf in Yankee clothing. As Amy helps the injured deserter back to her school, we meet the rest of the ladies: Martha (Nicole Kidman), the headmistress, »

- Jo-Ann Titmarsh

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Nicole Kidman: I will work with a female director every 18 months

9 hours ago | The Guardian - Film News | See recent The Guardian - Film News news »

Actor makes pledge as part of an effort to improve the number of women working behind the camera in film and television

Nicole Kidman has pledged to work with a female director at least once every 18 months as part of a wider effort to increase the number of women filmmakers in Hollywood.

Related: The Beguiled review – Sofia Coppola contrives hilariously fraught feminist psychodrama

Continue reading »

- Gwilym Mumford

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How to stage a Hollywood comeback

9 hours ago | The Guardian - Film News | See recent The Guardian - Film News news »

Avoiding tabloid headlines, choosing the right director and knowing your eccentricities are just a few of the secrets to Nicole Kidman’s reinvention

For all intents and purposes, the 70th Cannes film festival belongs to Nicole Kidman. She has four offerings his year and seems to be a virtual one-woman invasion on the Croisette. She’s the ruthless head of a girls’ seminary in Sofia Coppola’s The Beguiled; she reigns as the intergalactic punk monarch Queen Boadicea in How to Talk to Girls at Parties; she goes deadpan in high-concept head-scratcher, The Killing of a Sacred Deer, from The Lobster director Yorgos Lanthimos. She also forcibly integrates TV into the festival by virtue of her star power with a turn in season two of Top of the Lake.

Related: Nicole Kidman in Cannes: her tortuous journey to Queen of the Croisette

Continue reading »

- Charles Bramesco

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Sofia Coppola’s ‘The Beguiled’ With Nicole Kidman, Colin Farrell & Kirsten Dunst [Cannes Review]

9 hours ago | The Playlist | See recent The Playlist news »

The greatest favor you can do for Sofia Coppola‘s “The Beguiled,” and yourself before you watch it, is to put all thoughts of Don Siegel‘s 1971 Clint Eastwood-starred film of the same name from your mind. As a standalone film, Coppola’s version abounds in pleasures: from the starry cast (at least four of whom almost coincidentally seem to be hitting their career-best strides at exactly the same moment) to Philippe Le Sourd‘s cinematography, all misty woods, dangling creepers and softly sparkling candlelit interiors.

Continue reading Sofia Coppola’s ‘The Beguiled’ With Nicole Kidman, Colin Farrell & Kirsten Dunst [Cannes Review] at The Playlist. »

- Jessica Kiang

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The Beguiled review – Sofia Coppola contrives hilariously fraught feminist psychodrama

9 hours ago | The Guardian - Film News | See recent The Guardian - Film News news »

Colin Farrell plays a wounded soldier who throws himself on the mercy of a ladies’ seminary during the American civil war – and sets them all of a decorous flutter

Sofia Coppola delivers a very enjoyable southern melodrama, the tale of a handsome, badly wounded Union soldier in enemy terrain during the American civil war who throws himself on the mercy of a ladies’ seminary – of all the outrageous things. Their inhabitants are all of a decorous flutter at the idea of this semi-unclothed male to whom they must minister, intimately.

With its hilariously fraught psychodynamic, the film has hints of Black Narcissus and the famous Diet Coke ad about office workers admiring a perspiring worker slaking his thirst. It is adapted by Coppola from the 1966 Thomas P Cullinan novel - already filmed by Don Siegel in 1971 with Clint Eastwood in the lead role.

Continue reading »

- Peter Bradshaw

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Cannes: Sofia Coppola Speaks Out in Support of Theatrical Releases for Movies

9 hours ago | Variety - Film News | See recent Variety - Film News news »

Sofia Coppola, speaking at the Cannes Film Festival press conference for her American Civil War movie “The Beguiled,” spoke out in favor of giving films a theatrical release rather than an online-only release.

“[A film] always looks better seen on the big screen,” Coppola said, adding that the atmosphere in a theater added to the experience, and Philippe Le Sourd’s cinematography could be best appreciated on the big screen. “We shot it for the big frame and not a phone. I hope people will see it in the theater. That experience is such a unique one, especially in our modern lives, to really lose yourself in a film.”

Coppola was commenting on the issue in the light of Cannes’ recent decision that from next year all films in competition must secure a theatrical release in France, so excluding streaming companies like Netflix that prefer to release their films online only.

Coppola »

- Leo Barraclough

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2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006 | 2005 | 2004 | 2003 | 2001 | 2000 | 1999

1-20 of 349 items from 2017   « Prev | Next »


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