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It seems like there might be a new angel in Harry Styles‘ life.
The former One Direction singer, 23, is rumored to be dating Victoria’s Secret model Camille Rowe, 27, according to reports by The Sun which also claim that the pair were seen spending time together over the weekend in New York City.
So, naturally, interest into who Rowe is and what she does has spiked as of late, particularly amongst Styles’ diehard boy band fans.
While Styles was recently ranked as having the world’s most handsome eyes and chin, he still hasn’t been able to make a »
- Yvonne Juris and Emily Kirkpatrick
“Back to Burgundy” stars French actors Pio Marmai, Ana Girardot, and Francois Civil. The story focuses on a man who left his family and his native Burgundy 10 years ago to tour the world. When learning of his father’s imminent death he returns to his childhood home where he, his sister and brother inherit their family vineyard. As the seasons go by and they work to save the vineyard, they’ll have to learn to trust each other again and reinvent their relationship.
“We are thrilled to bring to the U.S. Cedric Klapisch’s tender and charming tale of the ties that bind a family to each other and to the land they love,” said William Schopf, president of Music Box Films. “The »
- Dave McNary
May kicked off the summer movie season, but June brings some studio tentpoles actually worth seeing (yes, we didn’t like that one everyone else did last month). Along with popcorn entertainment, there’s some of the finest independent films of the year, ranging from a long-delayed final feature from a late master to Sundance favorites and more. We should also note that, despite getting a release last year, IFC seems to be putting the Palme d’Or-winning I, Daniel Blake back in theaters this week, and we recommend seeking it out if you missed it.
Matinees to See: Past Life (6/2), Band Aid (6/2), My Cousin Rachel (6/9), Megan Leavey (6/9), Score: A Film Music Documentary (6/16), Maudie (6/16), Harmonium (6/16), The Journey (6/16), All Eyez on Me (6/16), Lost in Paris (6/16), Pop Aye (6/28), The House (6/30), and The Little Hours (6/30).
15. It’s Only the End of the World (Xavier Dolan; June 30)
Synopsis: It would have been a lovely family dinner. »
- Jordan Raup
The 70-year-old festival has never been far from controversy.
A row over the inclusion of Netflix titles in official competition has cast a shadow over this year’s Cannes Film Festival, with boos for the Netflix logos, clashes between Jury members and a rule changes for next year.
Perhaps it’s appropriate however that a row has been front of centre on Cannes 70th birthday, as the festival is no stranger to a controversy…
Actress Simone Silva’s decision to go topless at a photocall resulted in a scrum which caused several broken bones.
New Minister of Cultural Affairs Andre Malraux formalised Cannes’ burgeoning film market, which has since become integral to the festival and the largest industry event in the global industry. At the time, however, it was a decision not welcomed by all; as a direct reaction to this commercialisation, the French Syndicate of Film Critics (Afcc) was founded.
La Dolce Vita won the »
Cannes — European film-tv powerhouse Studiocanal has nearly sold out in international at Cannes on its two big new English-language projects: Working Title-produced “Radioactive,” director Marjane Satrapi’s story of the loves, life and lasting importance of Marie Curie; and “The Tracking of a Russian Spy,” produced by The Picture Company and directed by Nima Nourizadeh (“Project X”).
In further business, Studiocanal’s two new French productions, the Gilles Lellouch-directed “Sink or Swim” and mainstream comedy “Marry Me, Dude” have proved market breakouts, pre-selling much of the world, a feat for French-language movies.
The robust business on Studiocanal’s Cannes market debutants proves that there is still a global market for high-profile larger upscale movies with pedigree producers. It also underscores something of a late surge in business announcements at Cannes this year, driven by its big sales players, from both the U.S. and Europe – and that much of the »
- John Hopewell and Elsa Keslassy
Better late than never. In February, the U.K. and Brazil ratified a film-tv co-production treaty first unveiled in 2012.
At the Rio Content Market in March, Brazilian and French film authorities signed a framework collaboration pact hailed as a first step toward their own bilateral co-production treaty. The main Brazil event at Cannes will be a U.K.-Brazilian co-production meet, organized by state-backed film promotional entity, Cinema do Brasil.
Brazil’s film industry has long been a force to reckon with on the international stage. But the thrust of its film policy abroad over the past decade has been into international co-production, particularly in Latin America. Spearheaded by state-backed film agency Ancine, this Portuguese-speaking nation has forged co-production treaties with a host of countries including Argentina, Uruguay, Canada, Chile, Italy, Germany, Spain, Portugal and Venezuela; and it is signatory to multilateral treaties such as the Ibero-American Film Integration and »
- Anna Marie de la Fuente
Author: Scott Davis
While acclaimed filmmaker Xavier Dolan isn’t heading to next week’s Cannes Film Festival with his new film, the first slew of images for his latest effort, The Death and Life of John F. Donovan, have arrived. Anticipation is already at fever pitch, though it may be a little while yet until we get to see the film.
Dolan’s previous films include I Killed My Mother, Mommy and, most recently last year, It’s Only The End of the World, which starred Marion Cotillard, Vincent Cassel, Lea Seydoux, Nathalie Baye and Gaspard Ulliel. His new film features as impressive a cast.
See Also: Read our review of It’s Only The End of the World
- Scott Davis
Paris — Signaling at least part of its Cannes line-up, Vivendi-owned Studiocanal, Europe’s biggest film group, will introduce “The Tracking of a Russian Spy,” from Nima Nourizadeh (“Project X”), at this year’s Cannes Film Market. Fruit of Studiocanal’s cornerstone U.S. production relationship with The Picture Company’s Andrew Rona and Alex Heineman, production on the title is already announced. What was not so certain was when Studiocanal would initiate its sales campaign.
With more announcements yet to come as the European powerhouse, like so many commonages this year, looks t be gong down to the wire in unveils, Studiocanal’s slate will also introduce to buyers Gilles Lellouche’s “Sink or Swim,” Mike Shaerer’s “The Little Witch,” and Tarek Boudali’s “Marry Me, Dude.”
Now firmly established as one of Cannes’ strongest sales slates, offering fully-financed international movies and a pick of French and German movies to risk-averse international distributors, »
- John Hopewell and Elsa Keslassy
In the vast majority of war movies, the act of combat is a show of force in which the stronger side wins, barreling through the enemy’s defenses like a bowling ball. But in “The Wall,” war is like a protracted game of chess, where each side is down to its final pieces on the board, and strategy matters.
A lean, back-to-basics thriller from director Doug Liman (who made the original “The Bourne Identity”) and first-time screenwriter Dwain Worrell (whose tricky script landed on the Black List), this wide-release Amazon Original film pits a pair of American snipers against an unknown foe, who just might be the notorious Iraqi sniper known as Juba, aka “the angel of death” — an adversary with 75 U.S. casualties notched on his belt, and countless others unconfirmed.
As this high-tension standoff escalates, we never learn who the mystery shooter is, though this much is certain: »
- Peter Debruge
Darren Aronofsky’s film portrays the horror and violence of becoming a different species.
When I first watched Darren Aronofsky’s 2011 film Black Swan, I immediately knew that it was the kind of film that required multiple viewings. Naturally, I went back to the theater and watched it again before buying a DVD copy which I have since worn out with repeated viewings. Black Swan is a dense and layered film, with so much to focus on: the theme of doubles and doppelgangers, the prominence of mirrors, the way the plot matches the story of Swan Lake, the meticulously crafted visuals, and the film’s obsession with differing expressions of femininity. However, it wasn’t until I took a class focusing on Animals in Cinema that I realized this film deals with a woman’s literal transformation into a swan. Nina’s (Natalie Portman) transformation into a swan neatly matches up with French philosophers Gilles Deleuze and »
- Angela Morrison
“Cartel Land” helmer Matthew Heineman is directing the movie.
Colvin covered every major conflict across the world — from Chechnya to Sri Lanka, where she lost the sight in her left eye in 2001. Colvin died in 2012 during a rocket attack while covering the siege of Homs in Syria for the U.K.’s Sunday Times
The drama has financing from Riverstone/Ingenious and will be sold by Bloom at the Cannes Film Festival.
- Justin Kroll
Following up perhaps career-best work in Olivier Assayas’ Personal Shopper, Kristen Stewart is going from ghosts to the depth of the ocean with her next film. As her recent haircut already proved, she’s begun shooting William Eubank‘s The Signal follow-up Underwater, and now the cast has expanded. Joining Stewart are T.J. Miller, Game of Thrones‘ Jessica Henwick, and Vincent Cassel.
The 20th Century Fox tentpole, described as an “underwater Armageddon,” is scripted by Brian Duffield and follows Stewart’s Nora, part of a underwater scientific crew who endure an earthquake and must fight for survival. While there’s no details on the supporting roles, we’d expect they are all part of the crew. As for Cassel, after taking part in Jason Bourne last summer, this marks his next Hollywood tentpole.
Check out Cassel’s post from the set below and another from Miller.
Underwater here we go… »
- Leonard Pearce
Monica Bellucci: a frequent visitor over the years at the Cannes Film Festival will host the opening and closing ceremonies. Photo: UniFrance
The figure in the spotlight as master of ceremonies at the opening and closing ceremonies of this year’s 70th edition of the Cannes Film Festival, which beam out live worldwide, will be Italian actress Monica Bellucci, the organisers have announced.
Bellucci, a frequent visitor to the Festival either on her own or with her ex-partner Vincent Cassel with whom she co-starred in Gaspard Noé’s controversial Irréversible in 2002, has carved out her career with many prestigious French and Italian directors as well as in the international arena. She appeared in Cannes for the first time with Morgan Freeman and Gene Hackman for Stephen Hopkins’ Under Suspicion in 2000.
She has had previous form in taking on the dual role in Cannes, presiding over the opening and closings »
- Richard Mowe
Screen investigates which films from around the world could launch on the Croisette, including on opening night.
With just over a month to go before the line-up for this year’s Cannes Film Festival is unveiled in Paris, Croisette predictions and wish lists are hitting the web thick and fast.
Screen’s network of correspondents and contributors around the world have been putting out feelers to get a sense of what might or might not make it to the Palais du Cinéma or one of the parallel sections.
Just like the Oscars, this year’s festival is likely to unfold amid a politically-charged atmosphere. Beyond Trump and the rise of populism across the globe, France will be digesting the result of its own presidential election on May 7. Against this background, the festival will be feting its 70th edition.
Below, Screen reveals which titles might - and might not - be in the running for a place at the »
7 March 2017 2:38 PM, PST | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »
Kristen Stewart and T.J Miller are attached to the film, which follows a crew of underwater researchers who must scramble to safety after an earthquake devastates their subterranean laboratory.
- Rebecca Ford
An adaptation of a play about a gay man’s return to the bosom of his family is not easy to watch – or listen to
The latest picture from the prolific Canadian wunderkind Xavier Dolan is certainly not the easiest watch. An adaptation of a play by Jean-Luc Lagarce that tells of the return of a sensitive, successful gay son to his tempestuous family home, this is stridently confrontational in its approach. Dolan favours so many extreme, spittle-flecked closeups of shouting family members that it leaves you gasping for breath and longing for a wide shot.
Gaspard Ulliel plays prodigal son Louis, Nathalie Baye is screechy and lurid as his mother and Marion Cotillard delivers sensitive work as the browbeaten sister-in-law he has never met. But it’s Vincent Cassel’s character who is the most problematic – older brother Antoine is furious but it’s a hollow, noisy anger that »
- Wendy Ide
Before Hollywood takes the spotlight this weekend, the film world turns its eyes to France for the annual Cesar Awards. Presented by the French Academy, this year’s nominees represent a distinct blend of international favorites, festival standouts and homegrown hits.
The evening’s winners at Paris’ Salle Pleyel featured a variety of upsets and sure things. Huppert, going into a busy weekend in the States, won her category. In a pair of surprises, Xavier Dolan and Gaspard Ulliel both won their respective categories for Dolan’s “It’s Only the End of the World.” Houda Benyamina’s debut feature “Divines” also won big, taking home prizes for Best First Film, »
- Steve Greene
It’s Only the End of the World, 2016.
Directed by Xavier Dolan.
After 12 years away from his family, a terminally ill writer returns home to break the news. But, as he struggles to re-connect with them, old wounds and frustrations rise to the surface, making it even harder for him to tell them the real reason for his visit.
Meet the family. Fractured, dysfunctional and belonging to writer Louis (Gaspard Ulliel) who hasn’t seen them for 12 years. During that time, older brother Antoine (Vincent Cassel) has married Catherine (Marion Cotillard) and had two children. Sister Suzanne (Lea Seydoux) is increasingly stoned and hippy-like, while mother (Nathalie Baye) has become increasingly garish in her choice of clothes and make-up. Louis might have a tenuous attachment to all of them – he keeps suggesting a visit to the previous »
- Freda Cooper
Author: Stefan Pape
The prolific, impressively young Xavier Dolan’s preceding endeavour was his finest yet, the indelible, irresistible drama Mommy, a film that contained a lot of shrieking, and yet amidst the emotional, piercing shouting matches, you always felt you could hear every single word. His latest, the curiously self-pitying It’s Only the End of the World, also features screaming – and lots of it – and yet in this instance you feel as though you aren’t actually catching a word, it’s just one big muffled mess.
In what seems to be a self-referential piece, Dolan casts Gaspard Ulliel as Louis, a terminally ill playwright returning back home for the first time in over a decade, with the intention of telling his family that he’s dying. Upon his arrival he’s met with the principle shrieker, his eccentric mother (Nathalie Baye), and his cynical sister Suzanne (Léa Seydoux »
- Stefan Pape
Berlin—Confirming the market appeal of France’s Cedric Klapisch after his “The Spanish Apartment” trilogy, his latest film, drama comedy “Back to Burgundy,” will have been sold significantly across the world by the end of the Berlin Festival.
More than 20 territories have already been secured, more will be closed in the next few days.
“Back to Burgundy’s” powerful rollout comes as a promo of “Gauguin,” starring “Black Swan’s” Vincent Cassel, on which the Cohen Media Group has U.S. rights, was presented to buyers at Berlin. Directed by Edouard Deluc (“Welcome to Argentina”), and penned by Deluc, Etienne Comar,(“Django”), Tomas Lilti (“Irreplaceable”) and Sarah Kaminsky (“Raid: Special Unit”), “Gauguin’s” first major territory deals look set to go down in the next few days.
Written by Klapisch and regular co-scribe Santiago Amigorena and screened to buyers at Berlin’s European Film Market, “Back to Burgundy” turns »
- John Hopewell
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