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“Mimosas,” the second feature from Morocco-based director Oliver Laxe, won the Nespresso Grand Prize at this year’s Cannes Critics’ Week, and Nespresso isn’t a terrible idea for anyone who walks in without preparation for this minimalist travelogue and crypto-Western, which offers relatively few clues to its goals and intents. Still, those familiar with the ethnographic works of Ben Rivers (who gets a thanks in the closing credits) and the films of Argentine director Lisandro Alonso (“Jauja”) will find much to admire in the movie’s combination of spiritual musings and stunning landscapes. Favoring longueurs by design, it is a decidedly noncommercial project that asks to be taken or left on its own terms.
Laxe’s first feature, “You All Are Captains” (which showed in Directors’ Fortnight in 2010), combined fiction and documentary elements, and he has said that “Mimosas” was inspired by his own travels with Saïd Aagli, who »
- Ben Kenigsberg
Roles don’t come much more to-die-for than Marion Crane, the unfortunate soul who took moviedom’s coldest shower in Psycho. And, since Carlton Cuse — executive producer of A&E’s sublime prequel, Bates Motel — recently revealed to TVLine that Season 5 would find Norman’s best-known victim checking in, the hunt is on for a top-notch actress who will really, er, kill in the part.
Marion’s stay at the Bates Motel “will be a big moment,” Cuse said. And a long one, too — he went on to »
There is a moment in Sean Penn’s new film — for some reason screening this week in competition in Cannes — when, having navigated the safe passage of a group of refugees from Liberia to Sierra Leone, Charlize Theron’s aid worker asks herself, “In this place of so much war, had I found peace?” It’s a paradoxical query in which basically everything right and terribly wrong about The Last Face can be found. Indeed, cakes are being had and eaten by all involved.
Penn — an active humanitarian who enjoys commendably passing bags of rice out of the backs of trucks — would like nothing more than to educate his audience on the daily horrors of this sort of work on the front line. Good for him. However, while perched upon that high horse, he chooses to also use those horrors as a backdrop and catalyst for a romance between two »
- Rory O'Connor
Contains spoilers for Bates Motel seasons 1-4.
Over the past few years a quirky, violent, blackly comedic and very clever television series has challenged the notions of exactly what a reboot can be. Adapting an iconic horror property invited cynicism from the first announcement and while early episodes didn’t exactly blow people away, the show gradually came into its own, subverting everything that was expected from it in terms of both quality and its approach to the original work it was reinventing. In the process it gained critical and cult adoration, and continued the legacy of a beloved classic of the macabre with impressive aplomb.
I’m talking, of course, about Hannibal.
Hannibal, while dearly departed, carved a niche into the hearts of its many fans, »
Updated: “Personal Shopper,” the new psychological thriller from Olivier Assayas, premiered to strong reviews, but also boos at Cannes this week. In a press conference on Tuesday, the French director and star Kristen Stewart shrugged off the negative response from some audience members.
“When you come to Cannes, you’re prepared,” said Assayas. “You’re prepared for anything.”
Comparing premiering a film to giving birth, he added: “Movies have a life of their own … people have expectations of a film and then the film is something else.”
Stewart and the rest of the “Personal Shopper” cast interjected to note that the harsh reaction was not universal. “Hey, everyone did not boo,” Stewart said with a chuckle.
At another point, Assayas argued that the audience was put off by the film’s ambiguous closing. “It happens to me once in a while where people just don’t get the ending,” he said. »
- Brent Lang
“There’s a certain perverse genius to unveiling a ghost movie at Cannes that relies on the audience to deliver the ‘boos’ as the final credits roll, although one doubts that’s quite what Olivier Assayas was going for with his peculiar ‘Personal Shopper,'” Variety Chief International Film Critic Peter Debruge wrote in his review.
Here’s what other critics had to say:
Personal Shopper got the first boos I heard at #Cannes2016, which led me to only clap harder. I found it beguiling. Stewart is mesmerizing.
— Nigel M. Smith (@nigelmfs) May 16, 2016
Heard some people booing and laughing at "Personal Shopper". Same thing last year with "Sea of Trees". #Cannes can't handle ghosts! »
- Variety Staff
A firmer hand with the plot – and with Shia Labeouf – might have benefitted this admirably loose-limbed and atmospheric immersion into a little-seen world
Andrea Arnold is the brilliant British film-maker who created two modern gems in the social-realist tradition in the form of Red Road and Fish Tank, and in my view a near-masterpiece in the form of her much-misunderstood Wuthering Heights, a work of such radical simplicity and raw experience it actually seemed to predate the literary work.
Now in American Honey she has created a long, often intriguing and humidly atmospheric film which sometimes dwindles into listlessness. It’s a road movie in the un-accented style of Gus Van Sant – particularly his Elephant and Paranoid Park. The drifting camera shots directed straight up into a blue sky, bisected occasionally with telegraph poles, are very similar to Van Sant’s Elephant. There’s something of Larry Clark or Harmony Korine in the featureless, »
- Peter Bradshaw
Nick Broomfield is no stranger to controversy.
Over the course of his career, he’s tangled with the likes of Suge Knight and Courtney Love, making provocative documentaries such as “Biggie & Tupac” and “Kurt & Courtney.” The director’s next project, a look at the life and career of Whitney Houston, has put him in the crosshairs of the pop star’s estate. But Broomfield says he’s not worried.
“I feel strongly that I cannot do a particularly insightful film into what happened with Whitney Houston and her life with the estate’s approval,” said Broomfield. “The reasons will become apparent when the film comes out.”
Although Broomfield is tight-lipped about the thesis of the film, he did give some indication about what his focus will be. He’s less interested in Houston’s troubles with drugs than he is in investigating the toll that her meteoric climb up the charts took on her psyche. »
- Brent Lang
James Schamus has spent most of his career as a tastemaker and acclaimed producer, working with filmmakers like Ang Lee, Michel Gondry and Gus Van Sant during his tenure at Focus Features, establishing the studio as one of the finest indie outlets. Now he’s getting behind the camera, and for his first feature film, he’s tackled an adaptation of […]
- Kevin Jagernauth
In our final instalment before this year’s Cannes Film Festival, we look back at the highs and lows of Screen’s 2015 Jury Grid.
Last year, as ever, Screen’s Jury Grid of critics cast their judgements on the films in Competition at Cannes.
Haynes was awarded the festival’s Queer Palm for the adaptation of Patricia Highsmith’s 1950’s lesbian love story ‘The Price of Salt’, and The Assassin won best director for Cannes first-timer Hsiao-Hsien. The films both scored 3.5 apiece out of a possible 4, but neither claimed the festival’s top prize.
(Photo by Alberto E. Rodriguez/Getty Images for Disney)
Two-time Academy Award nominee Naomi Watts (Divergent series, The Impossible) and rising superstar Daisy Ridley (Star Wars VII: The Force Awakens) are in final negotiations to star in Ophelia, the highly-anticipated and dynamic reimagining of Shakespeare’s “Hamlet” focusing on the untold story of Ophelia’s (Ridley) tragic romance with the prince and her relationship with his mother Queen Gertrude (Watts), it was announced today by Covert Media’s CEO Paul Hanson.
To be directed by Claire McCarthy (The Waiting City), Ophelia is based on the award winning novel by Lisa Klein and adapted for the screen by the acclaimed and award-winning writer Semi Chellas (“Mad Men,” “The Eleventh Hour”).
“Ophelia is brimming with youth-fueled charisma, exploring the nature of true love and beauty, and I’m so excited to bring this fresh mythic spin to Hamlet from a female perspective, »
- Michelle McCue
Eli Roth’s Cabin Fever was something of a breath of fresh air when it came out back in 2002, his debut feature displaying an obvious love of the genre while playing it just serious enough to provide an alternative to the slew of self-aware clones of Wes Craven’s Scream trilogy that had concluded two years previously.
It wasn’t a perfect film, but it was enjoyable and sufficiently gory to appeal to the horror crowd, and holds up to the day as a great Saturday night fright flick to watch with a pizza and a few beers. Quite why Roth, who is a producer on the film (one of seventeen!), decided that it needed a remake, then, is puzzling. The original came out only fourteen years ago, which is a short time frame to be remaking or rebooting a franchise (unless it’s Spider-man, of course, which has been »
Contact, 1985 and Elephant, 1989.
Directed by Alan Clarke.
Two films reflecting on the 1980’s in Northern Ireland.
Alan Clarke, director of Scum and The Firm, is a director of men. These could be men in prisons or aggressive, violent offenders keen to tattoo swastikas on their foreheads, as he did in Made in Britain. The BFI, in their retrospective of Clarkes’ films this month exhibited a double bill showcasing two films that revel in the conflict of male dominance in very different ways. They share the setting of Northern Ireland, but with perspectives of two striking definitions of warfare.
Contact, directed by Clarke in 1985, is a thoughtful observation on the military in rural Northern Ireland, near Dundalk (we can assume from the few moments of conversation made). A team is based in a small, cramp accommodation and the Platoon Commander (Sean Chapman) has a room that could barely be a back cupboard. »
- Simon Columb
ABC announces Michael K. Williams and Ivory Aquino have joined the cast of the When We Rise TV series. Whoopi Goldberg, Rosie O'Donnell, Denis O'Hare, and David Hyde will guest star in the limited event series featuring the Lbgtq+ civil rights movement.
When We Rise is executive produced by Dustin Lance Black, Laurence Mark, Bruce Cohen, and Gus Van Sant for ABC. Van Sant, who worked on the Milk feature film, with Black and Cohen, will direct the two-hour premiere of the seven-episode event limited series.
Read More… »
Exclusive: Wme has signed writer-producer-director Dustin Lance Black, who won the Original Screenplay Oscar in 2009 for penning Milk. He most recently created and wrote the upcoming seven-episode ABC event series When We Rise, about the gay rights movement. He will also direct the final two episodes, with Milk helmer Gus Van Sant, Dee Rees and Thomas Schlamme also taking helming duties. Black’s credits include writing J Edgar starring Leonardo DiCaprio and helmed by… »
Michael K. Williams has joined the cast of ABC’s limited series “When We Rise.” Williams, who starred in “Boardwalk Empire” and “The Wire” for HBO and “Hap and Leonard” for Sundance TV, will play African-American community organizer Ken Jones in the project from “Milk” screenwriter Dustin Lance Black.
Also joining the miniseries is Ivory Aquino, who will play transgender activist Cecilia Chung.
“When We Rise,” tells the story of the gay-rights movement from its early, tumultuous stages in the 20th century to its enormous strides in recent years. Williams and Chung join a cast that includes Whoopi Goldberg as Pat Norman, the first openly gay employee of the San Francisco Health Department; Rosie O’Donnell as Del Martin, co-founder of the first lesbian organization in the country; Denis O’Hare as Jim Foster, openly gay Democratic party organizer; and David Hyde Pierce.
The seven-part series is written by Black, »
- Daniel Holloway
“American Jesus,” drawn by artist Peter Gross, follows a modern 12-year-old boy who realizes he is the second coming of Jesus Christ who has returned to Earth in the present day in a final effort to save mankind.
Several of Millar’s original works — “Kingsman: The Secret Service,” “Wanted” and “Kick-Ass” — have been adapted into feature films. He has other comic series such as “Superior,” “Chrononauts,” “Empress,” “Huck,” “Mph »
- Dave McNary
Tony Black on remakes, and how and why they success and fail…
Harking back to the days of big stars headlining even bigger films, The Magnificent Seven trailer exploded online this week showcasing the always A-list Denzel Washington alongside, among others, Hollywood’s newest megastar Chris Pratt, in a remake of the legendary 1960’s Yul Brynner headlining Western. It’s just one of a flood of remakes we’ve seen over the last decade, a tide that shows no sign of slowing down with dozens more either about to land, or in production and pre-production. Edward Gardiner here on Flickering Myth recently argued how it’s fine to enjoy remakes of the classic movies we enjoyed as children or younger adults, and while many never recapture the glory of the original they do at least bring great pictures back into the public consciousness. Antoine Fuqua’s take on the Seven »
- Tony Black
Mubi is exclusively showing two new, brilliant and unconventional films from Spain: Luis López Carrasco's El Futuro (April 11 - May 10) and Ion de Sosa's Androids Dream (April 12 - May 11). We asked the two filmmakers—friends and collaborators—a few questions about their work. For an in-depth exploration of the two films, we recommend Michael Pattison's article, Back to the Future: Androids Dream and El Futuro.Spanish directors Ion de Sosa (front left) and Luis López Carrasco (back right).Notebook: How did you each manage to bring your projects to life?Luis LÓPEZ Carrasco: After living in Berlin for a few months through a scholarship program, I came back to Spain in 2010 fully energized with the aim to set up a production company, finance my own projects and support friends whose work I deeply admire. The international success of Los Hijos Collective led me to believe »
Title: The Sea of Trees Director: Gus Van Sant Starring: Matthew McConaughey, Naomi Watts, Ken Watanabe. If you google “the perfect place to die” your result will be the Aokigahara Forest, The Suicide Woods of Mount Fuji. This phrase, which is the title of Wataru Tsurumui’s bestselling book, has inspired director Gus Van Sant for a new film that explores a man’s introspection on the way he has lead his life as a husband. An American scientist, Arthur Brennan (Matthew McConaughey), travels to the “Suicide Forest” in Japan, the site of numerous suicides, to end his life. There he encounters a Japanese man, Takumi Nakamura (Ken Watanabe), who wants to [ Read More ]
The post The Sea of Trees Movie Review appeared first on Shockya.com. »
- Chiara Spagnoli Gabardi
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