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Here's part two of our long delayed festival wrap in which we discuss favorites, celebrity run-ins and hilarious Q&A anecdotes. Enjoy the conversation with Nick Davis, Nathaniel R, and special guests Angelo Muredda and Amir Soltani and continue it in the comments
Discussion includes but is not limited to:
It Follows Felicity Jones, Mike Leigh, and Viggo Mortensen Documentary greats from Silvered Water to The Look of Silence Iran's Oscar Submission Directors: Mike Leigh, Peter Strickland, Lav Diaz, Jessica Hausner, and Damian Chazelle
You can listen at the bottom of the post or download on iTunes tomorrow. »
- NATHANIEL R
The Stockholm International Film Festival (Nov 5-16) is to present its Achievement Award to Us actress Uma Thurman.
The Kill Bill star will will visit Stockholm to receive the prestigious Bronze Horse and meet the audience during an exclusive “Face2Face”.
Thurman will also take part in the inauguration ceremony, which will include the unveiling of an ice sculpture by Chinese artist Ai Weiwei.
Weiwei was a Stockholm jury member last year but since he wasn’t allowed to leave China, he sent an empty chair named ”The Chair for Non-attendance” as symbol of his absence.
The festival will focus this year on Brazil »
- firstname.lastname@example.org (Michael Rosser)
During her keynote at Film London’s Production Finance Market, Alison Thompson remarks on the glut of films made today, but also sees some bright spots like the arrival of Netflix.
British sales veteran Alison Thompson said market conditions for sellers are as tough now as they have ever been.
“As we all know, the situation now is just about as bad as it can be,” Thompson said during her keynote speech at the Film London Production Finance Market.
“The television business, which was frankly driving the boom in film for 20 years, suddenly came a cropper so that independent distributors were losing their TV output deals, which were essentially underpinning the business they were doing.
“That, combined with the change to the DVD market - we’ve had a double hit. It has been really, really challenging. In fact, we are working in the most difficult time I have worked in in my entire career.”
Even so, Thompson »
- email@example.com (Geoffrey Macnab)
After Arthur Christmas and now this, Jim Broadbent will have to be careful he doesn’t end up typecast as Santa Claus (coming in 2016: Mike Leigh’s Kitchen Sink Santa!). He seems happy to fill out the red suit and beard for Get Santa, though, and the trailer is now online. Looking for all the world like Miracle On 34th Street given a more cynical British twist, Get Santa is set a few days before Christmas and finds the jolly figure in a bit of a bind. See, Santa was test-driving his brand new sleigh when he crashed in London. Now the reindeer are wandering through the city and the man himself has ended up in a garden shed, where he’s discovered by 9 year-old Tom (Kit Connor).Being a helpful sort, Tom doesn’t immediately hold him for ransom and demand all the toys in the world, but »
To close out our New York Film Festival coverage for the year, a quartet of takeaways from this annual highly curated celebration of international cinema. Nyff doesn't have a broad selection like a lot of festivals but there were goodies. I've asked each member of our team to send me a top ten list of things they learned (we did not consult each other on our lists).
Nathaniel's Top Ten Nyff Takeaways
1. 17 years after Boogie Nights, Julianne Moore is still 'the foxiest bitch in the world'
2. Birdman has a smorgasbord of quotable lines. My favorite on first viewing:
Popularity is just the slutty cousin of prestige."
3. Marion Cotillard is getting so mesmerizingly authentic onscreen pretty soon she's going to walk right off of it in character like she's reenacting The Purple Rose of Cairo. (I apologize for the image: no one wants to think of the Dardenne Brothers going 3-D. »
- NATHANIEL R
You’ll know Ian Hart’s face, even if you can’t quite place his name. It’s a great face, his, adaptably young and old, as comfortable atop a tracksuit as it is underneath a period trilby. Since his first real role as Scouse tearaway Rabbit in 1983 drama One Summer (alongside childhood friend and The Driver co-star David Morrissey), Hart has avoided type-casting by leaping from role to role and film to film with convincing ease. He’s played scallies, authors, footballers, drug dealers, psychiatrists, CIA agents, physicists and nineteenth century gangsters. He’s played Beethoven, Nobby Stiles, Hitler, Sir Arthur Conan Doyle, Voldemort (sort of), and John Lennon (thrice).
Lyon – Cohen Media Group, now a major force in U.S. classics restoration, distribution and overseas sales, will unveil three new sales titles at Mipcom and Lyon Lumière Fest’s Classic Films Market: “Magician: the Astonishing Life and Works of Orson Welles,” “Nurse Edith Cavell” and “Steamboat Bill Jr.”
Bowing Monday, the Lumiere Festival also screens a further three recent Cmg titles: “Thief of Baghdad,” “Jamaica Inn” and docu-feature “What Is Cinema?”
Newly restored, the heritage titles form part of the Cohen Film Collection: The Rohauer Library, created when Charles S. Cohen’s Cohen Media Group bought the 700-title-plus Rohauer Library in 2012 and committed to the complete digital and sometimes photochemical restoration of its contents.
World premiering at early September’s Telluride Festival, »
- John Hopewell
There’s presumably more heated drama behind the screen than there is upon it in “Effie Gray,” a literate, lovingly mounted and exceedingly well-behaved historical biopic that has sidled into British theaters after two years of less polite legal conflicts. Emma Thompson’s first adult-oriented film screenplay since her Oscar-winning work on “Sense and Sensibility” finds a fascinating human subject in the title character — the socially and sexually suppressed wife of leading Victorian art critic John Ruskin — but this admirable, watercolor-delicate tale of individual feminist emancipation never quite blooms into living color, hampered by spotty casting and Richard Laxton’s overly deliberate direction. Lush production values and name players — notably a conscientious Dakota Fanning in the lead — guarantee international exposure, but commercial prospects are as muted as the film itself.
The pic’s closing credits rather pointedly refer to the “original screenplay by Emma Thompson,” a still-piqued rejoinder to a »
- Guy Lodge
Timothy Spall stars as the artist and won Best Actor in May at the 2014 Cannes Film Festival 2014.
In her Cannes review, Sasha Stone (Awards Daily) wrote, “Mr. Turner is both a love letter to Britain’s greatest painter and a magnum opus for Leigh.”
Mr. Turner explores the last quarter century of the great if eccentric British painter J.M.W. Turner (1775-1851).
Profoundly affected by the death of his father, loved by a housekeeper he takes for granted and occasionally exploits sexually, he forms a close relationship with a seaside landlady with whom he eventually lives incognito in Chelsea, where he dies.
Throughout this, he travels, paints, stays with the country aristocracy, visits brothels, is a popular if anarchic member of the Royal Academy of Arts, has himself strapped to »
- Michelle McCue
The end of yet another film festival is behind us — does it feel like we’ve been fest-ing for weeks on end now? we have! — with the close of Gotham’s own New York Film Festival. As has become the festival’s standard, this year’s Nyff included a compelling mix of festival favorites, undiscovered gems and a few world premieres that have already upended the end-of-the-year cinematic landscape. The festival may be over, but we’ve got a feeling that these eleven films will continue to linger long after the curtains fall (and, hell, you can even see some of these right now in a theater near you, how’s that for service?). Are these the best films of Nyff? We certainly think so. Gone Girl David Fincher‘s crafty, creepy and dead funny take on Gillian Flynn‘s bestselling novel of the same name gets under your skin and doesn’t ever make its way »
- FSR Staff
Director: Mike Leigh; Screenwriter: Mike Leigh; Starring: Timothy Spall, Paul Jesson, Dorothy Atkinson, Marion Bailey, Karl Johnson, Ruth Sheen, Leslie Manville; Running time: 150 mins; Certificate: 12A
Mike Leigh is a director synonymous with kitchen sink realism, but in exploring the life of 19th-century landscape artist Jmw Turner, he takes the opportunity to get outdoors and capture some beautiful views. Less handsome but equally imposing is Timothy Spall as the man himself, always looking out and rarely looking inward, which is a strength (adding to the intrigue) and a weakness of the film.
Leigh homes in on the last 25 years of Turner's life when he is an artist of great renown, living in London with his doting father (Paul Jesson) and equally devoted housekeeper Hannah Danby (Dorothy Atkinson). There is a studied formality in the way Leigh conveys the dynamics between them, punctuated by bursts of impropriety. Turner is endearingly tactile with his old dad, »
Prior to Mr. Turner, I’d assumed J.M.W. Turner was some upper-class dork with a silly accent, spending his days flouncing around a field somewhere (probably wearing a stupid old-timey hat). I dutifully trotted around the Turner Collection at Tate Britain and appreciated (rather than enjoyed) his paintings, but to be honest, landscapes aren’t really my cup of tea. I figured Turner was just one of those artists you’re expected to like, an institution rather than something that speaks to the heart.
After watching Mike Leigh’s biopic, however, my thoughts have changed. Turner, as seen through the lens of Mike Leigh and the performance of Timothy Spall, is a weirdly primal, sexually charged pig man who spits on his canvases, responds to questions with bestial grunts and is tangled up in some compulsive quasi-bdsm relationship with his housekeeper. From the moment we first see him silhouetted against the horizon, »
- David James
Best British movies of all time? (Image: a young Michael Caine in 'Get Carter') Ten years ago, Get Carter, starring Michael Caine as a dangerous-looking London gangster (see photo above), was selected as the United Kingdom's very best movie of all time according to 25 British film critics polled by Total Film magazine. To say that Mike Hodges' 1971 thriller was a surprising choice would be an understatement. I mean, not a David Lean epic or an early Alfred Hitchcock thriller? What a difference ten years make. On Total Film's 2014 list, published last May, Get Carter was no. 44 among the magazine's Top 50 best British movies of all time. How could that be? Well, first of all, people would be very naive if they took such lists seriously, whether we're talking Total Film, the British Film Institute, or, to keep things British, Sight & Sound magazine. Second, whereas Total Film's 2004 list was the result of a 25-critic consensus, »
- Andre Soares
Mr. Turner has been gathering spectacular reviews and almost universal acclaim since its premiere at the Cannes Film Festival. Mike Leigh's epic, vibrant film explores a painter acknowledged as one of the greatest British artists, someone who experimented with style, technique and environment to create visceral landscapes and now iconic pieces of art. Mr. Turner looks at the final 25 years of the artist's life and how he was affected by the death of his father. The BFI London Film Festival played host as Mr. Turner was unveiled as the Time Out Gala at this year's event.Sporting an elegant moustache and flanked by some of the cast of the film including Paul Jesson, Marion Bailey and Ruth Sheen as well as director, Mike Leigh, Timothy Spall owned the red carpet, waxing lyrical about Turner and the complexities of such a character.“What sort of man is he? It's difficult to say because it's complicated. »
CineVue has teamed up with American Express to offer one lucky person the chance to win a pair of tickets to a screening of the hotly anticipated Mr. Turner (2014) on Saturday 11 October at Odeon West End 2 Cinema (11am) as part of the 58th BFI London Film Festival. Mr. Turner is Mike Leigh's sumptuous account of the latter part of the career of the great 19th century painter, J.M.W. Turner, who revolutionised landscape painting. Turner is played in inimitable form by Timothy Spall. Running from 8-19 October, Lff will showcase a diverse programme of British and international films in seventeen of the capital's cinemas. This is an exclusive competition for our Facebook and Twitter fans, so if you haven't already, 'Like' us at facebook.com/CineVueUK or follow us @CineVue before answering the question below.
- CineVue UK
Patti Smith loves movies. A few days before we chatted about her Best Original Song contender "Mercy Is" from Darren Aronofsky's "Noah," Smith and her friend Ralph Fiennes took in two screenings at the currently running New York Film Festival: Mike Leigh's "Mr. Turner" followed by Paul Thomas Anderson's "Inherent Vice." The double feature was "quite a juxtaposition," she says with a laugh (Smith enjoyed both films). And it's her taste for movie-going that landed her a job writing the haunting melody that underscores Aronofsky's film. The two first met when they bumped into each other at the Venice Film Festival, catching one another at films and chatting between screenings. Three years later, their off-the-cuff conversation is now an Oscar-eligible single. "Mercy Is" is not the first of Smith's songs to feature in a Hollywood picture, but it is her first original writing for screen. Below, she »
- Matt Patches
From the brothers Warner to the brothers Weinstein, the movie business has long been a fraternal affair, though sibling director teams (Coen, Hughes, Wachowski) are a relatively new concept, and one that always inspired a raft of predictable questions: How exactly does a directing team collaborate? Does one concentrate on the visual elements while the other works with the actors? Do they stand side-by-side on the set like a mythological two-headed beast? It was in this gentle spirit of inquiry — and cultural exchange — that the two sets of brother directors with films in the main slate of this year’s New York Film Festival sat down to meet last Sunday afternoon, on a large yellow sofa in the patron lounge of Lincoln Center’s Alice Tully Hall.
- Scott Foundas
After the official fall film launch of the Venice/Telluride/Toronto triumvirate, the first significant American fest is the New York Film Festival. But due to the quirks of international film festival branding, another event that plays out during roughly the same period offers many of the films showcased in New York as well as a great variety of additional international films. While New York provides the American launches of Jean-Luc Godard's Goodbye to Language, David Cronenberg's Maps to the Stars, Olivier Assayas' Clouds of Sils Maria, the Dardennes' Two Days, One Night and Mike Leigh's Mr. Turner (among many others) to great media attention, Vancouver quietly screens them across the country almost simultaneously, hot off their respective World or North American debuts at Toronto. For folks on the West Coast, the Vancouver International Film Festival is not just a great alternative to see these and other films, »
The 58th BFI London Film Festival begins today, and this year the event boasts over 245 features, and screenings of 148 live action and animated shorts. It is no doubt that with such a wide selection of films that there is an abundance of international talent. Some notable contributions to this year’s programme include films made by Brits, so it seems fitting to showcase some of the diverse work being presented by British directors at one of their home festivals. With five of these titles featuring as Gala events, and two in Official Competition, the following films are worthy of the hype.
Mike Leigh, raised in the Greater Manchester area, continues to add to his impressive repertoire of films with his most recent addition Mr. Turner. Leigh began his film career in the 1970s when he transitioned between theatre and film. His style, which portrays his subjects in raw intensity and reality, »
- Jazmine Sky Bradley
"It was the butler that did it," a youthful Mike Leigh joked to the queues of cinema-goers waiting to see Alfred Hitchcock's Psycho in the summer of 1960. Their pleasure in the film was dependent on not being tipped off in advance that the lead actress Janet Leigh was going to be stabbed to death in the shower or that, no, motel keeper Norman Bates wasn't just a normal guy. Hitchcock implored audiences not to give the end away – "it's the only one we have!" »
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