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1-20 of 28 items from 2015   « Prev | Next »


Blast from the Past: Cotillard Naked and Dead in Hitchcock Photo-Homage

18 December 2015 2:10 PM, PST | Alt Film Guide | See recent Alt Film Guide news »

Marion Cotillard 'Psycho' scream. Marion Cotillard in 'Psycho' A few years ago – more exactly, in Feb./March 2008 – Vanity Fair published a series of images honoring Alfred Hitchcock movies made in Hollywood. (His British oeuvre was completely ignored.) The images weren't from the movies themselves; instead, they were somewhat faithful recreations featuring early 21st century stars, including several of that year's Oscar nominees. And that's why you get to see above – and further below – Marion Cotillard recreating the iconic Psycho shower scene. Cotillard took home the Best Actress Oscar at the 2008 ceremony for her performance as Edith Piaf in Olivier Dahan's La Vie en Rose / La môme. Janet Leigh, the original star of Hitchcock's Psycho, was shortlisted for the 1960 Best Supporting Actress Oscar, but lost to another good-girl-gone-bad, Shirley Jones as a sex worker in Richard Brooks' Elmer Gantry. More nudity, less horror Looking at the Marion Cotillard Psycho images, »

- Andre Soares

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Afm: Elle Driver signs films from Bouchareb, Grau, Cleven, Dana

2 November 2015 11:19 PM, PST | ScreenDaily | See recent ScreenDaily news »

Exclusive: Oscar-nominated Bouchareb explores plight of parents who lose children to Isis.Elle Driver has boarded Jorge Michael Grau’s earthquake drama 7.19 am and Rachid Bouchareb’s Road to Istanbul [pictured], about a mother who goes in pursuit of her Isis recruit daughter, ahead of the American Film Market (Afm). The company also start pre-sales on Audrey Dana’s comedy If I Were a Boy, in which she stars as a woman who wakes up with a penis, and Harry Cleven’s fantasy romance Angel. Franco-Algerian Bouchareb’s Road to Istanbul stars Belgian actress Astrid Whettnall as a single mother on a quest to find her 18-year-old daughter after she leaves Belgium to join the Islamic State with a Jihadist boyfriend. “My goal is to film the incomprehension of a mother totally caught off guard by the changes in her daughter on reaching legal age… Alone, divorced and abandoned by the authorities, she must try »

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Alleluia | Blu-ray Review

13 October 2015 5:30 PM, PDT | ioncinema | See recent ioncinema news »

After premiering in the Directors’ Fortnight sidebar at the 2014 Cannes Film Festival, Belgian auteur Fabrice du Welz’s excellent fourth feature Alleluia went on to play in the esteemed Vanguard lineup in the Toronto International Film Festival before nabbing Best Actor and Actress awards at Fantastic Fest for superb performances from Laurent Lucas and Lola Duenas. Although this didn’t translate into notable box office profit for Us distributor Music Box Films (released in mid-July for a limited theatrical run, the title didn’t crack ten grand in its paltry five week run), du Welz’s beautiful cult-classic in the making will eventually secure a greater following. A recent Blu-ray re-release of Criterion Collection’s presentation of the 1969 Leonard Kastle film, The Honeymoon Killers, based on the same romantic killing spree, should funnel some attention to it, as well as du Welz’s break into English language in 2016 with his next title. »

- Nicholas Bell

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Exclusive Interview: Jean-Pierre Jeunet on Harvey Weinstein's Antics, 'T.S. Spivet,' and Amazon's 'Casanova'

9 August 2015 1:41 PM, PDT | Sydney's Buzz | See recent Sydney's Buzz news »

An object is never just an object in a Jean-Pierre Jeunet film, every artifact visible in his frames represents a piece of his wondrous imagination transmuted into its tangible form. Assertively, Jeunet refers to the collection of elements that compose a film not as a toolbox, but as a toy box in which every vibrant component serves a purpose to create a greater treasure. The auteur revels in the enchanting playfulness of his craft and propels it to new inventive heights with painstaking artistry. Each magical thought populates his worlds like unexpected gifts waiting to be continuously discovered with every viewing.

Such meticulously devotion for detail is as prevalent in the physical elements that construct his narrative as in the characters that emanate from his boundless ingenuity. Delightfully offbeat and adorned with endearingly eccentric qualities, they are all idiosyncratic children of his dark preoccupations and uplifting fantasies. From Amélie Poulain and her mission to spread joy, to Louison’s quirky quest for love in “Delicatessen,” or Mathilde’s unbreakable hope in “A Very Long Engagement," and even T.S. Spivet’s desire to use his genius for practical purposes to bond with his family. Each one struggling to achieve a triumph much bigger than themselves, while roaming Jeunet’s sublimely beautiful spaces.

Jeunet is magician who channels his visionary powers into stylistic marvels and poignant storytelling. Therefore, when after several years of arduous work he releases a new feature, it becomes a major event for cinema lovers around the world. Unsurprisingly, when I found out his most recent film was finally being in released stateside an overwhelming feeling of excitement took over me. However, it was strange that I had not heard anything about this release until the week of. It was only when searching that week’s releases that “The Young and Prodigious T.S. Spivet” appeared – two years after its original release in most countries.

On The Weinstein Company’s official site there was no mention of the film, neither on their Facebook page, YouTube channel, or Twitter account. It was as if they had no association with Jeunet’s film, yet it was well known that the company had acquired the rights early on. The director had been verbal about the uncertainty of the film’s U.S. release due to Harvey Weinstein’s desire to create his own cut of the film. Still, I refused to believe that a film by such an important filmmaker could simply be quietly dumped into theaters without any effort to promote it.

TWC never replied to any of my emails, and every PR person and fellow journalist I asked had no idea the film was even scheduled to open that week on Friday July 31st. After tracking down Jean-Pierre Jeunet’s French representatives, they pointed me to Gaumont, the French distributor and sales agent that handled the film. Both mentioned that neither they nor Mr. Jeunet were even aware of the U.S. release. “As you know, the worst or the best can happen with TWC. For this release we definitely face the worst,” added one them.

It’s outrageous and insulting to think that a filmmaker of Jeunet’s caliber still has to endure a distributor’s pressures to reedit a film or face retribution that directly affects the release of his work in a major market. Unfortunately, in the spectrum of Harvey Weinstein’s vengeful antics this has not been the worst. Regardless of whether or not critics dislike Olivier Dahan's  “Grace of Monaco,” it’s ludicrous to think that the film that opened the 2014 Cannes Film Festival, starring Nicole Kidman, and bought by one of the U.S. most important distributors,  could end up premiering on Lifetime. This paints a scary picture for filmmakers, as it seems that in order to receive a successful release from certain distributors they must compromise their artistic integrity.

To discuss this terrible occurrence and the film itself, Mr. Jeunet graciously agreed to speak with me via Skype from Europe. Despite the circumstances, it was a dreamlike experience to have the opportunity to chat with one of cinema’s greatest directors, whose films have filled so many with mesmerizing wonder.

Once I had introduced myself and thanked him for his time, Mr. Jeunet began the interview inquiring about the release of his latest film "The Young and Prodigious T.S. Spivet," which is ironically his most American work to date and has been blatantly disowned by its U.S. distributor.

Read More: Jeunet's Disarmingly Imaginative 'The Young and Prodigious T.S. Spivet' Analyzes American Duality with Dark Undertones and Awe-Inspiring 3D Cinematography

Jean-Pierre Jeunet: Have you seen the film?

Aguilar: Yes, I've seen it twice now. 

Jean-Pierre Jeunet: Did you see it in 3D? 

Aguilar: Yes, I was lucky enough to be able to see it on the big screen and in 3D

Jean-Pierre Jeunet: Where did you see it? 

Aguilar: I went to the only theater in L.A. playing the film in 3D, the Downtown Independent. 

Jean-Pierre Jeunet: How many theaters in L.A. are playing "T.S. Spivet"? Is it only playing in one theater?

Aguilar: I think about 4 or 5 theaters in total, but only one of those played it in 3D.

Jean-Pierre Jeunet: But there was no advertisement, no commercials, no promotion, no nothing, right? So I suppose the theaters were empty. 

Aguilar: Yes, sadly there were only a few people there. I'm not sure if you are aware but the U.S trailer for the film came out on Thursday July 30th, just a day before the release. Nobody knew about the release as there were no press screening, a press release, or even any mention of the film in The Weinstein Company’s website. I found out the film was opening by chance. TWC was not replying to any press inquiries related to your film. Were you aware of any of this?

Jean-Pierre Jeunet: Absolutely not. We learned about this by chance because they have a contract with Netflix. The contract says that you have to release the film in 100 theaters, no more and no less. This is the only reason they released the film, to keep that contract and keep a good relationship with Netflix. It's also probably because Harvey Weinstein is still pissed off because I refused to reedit my film. "T.S. Spivet" is a fake American movie because it's a movie produced in Europe and Canada, so I have the final cut. I always choose this specifically to avoid this kind of problem, but with Mr. Weinstein you never avoid this kind of problem, of course [Laughs]. You know, we had exactly the same story with "Delicatessen," a long time a go. With "Amelie" he wanted me to reedit it, but because it was a success he decided to release the film in the same version as Europe. He wanted Caro and me to reedit "Delicatessen" but we said, "Ok. We have another idea for a modification, you cut our names out of the credits," so they never cut "Delicatessen" either. However, "Delicatessen" only became a success on video because it had a very bad theatrical release. But this release of "T.S. Spivet" is just a caricature. [Laughs].

Aguilar: This is your most American film, which could have had a better chance with audiences here in the U.S. It's in English and you have big names like Helena Bonham Carter and Judy Davis. It's a shame the release took so long and was handled like this.

Jean-Pierre Jeunet: It was an American movie. Kyle Catlett, the kid, is from New Jersey. He is an American kid. It's a pity because this is my only American movie and it was not distributed in the U.S. Now it's being distributed but not under good conditions. It's also a pity because when Harvey Weinstein signed the deal he said, "We will do something even better than with 'Amelie'" and when he learned I didn't want to modify the film he gave up because he wanted to reedit the film. He needs that to survive. He is like a dog who needs to pee on a tree. 

Aguilar: What did he want you to cut or modify? Was it about the darker undertones in the film?

Jean-Pierre Jeunet: We don't know! It's a question of principle. He doesn't even know it himself probably. He needs to give the film to an American editor and say, "Do something!" There is not a specific problem, he just needs to reedit the film. He does that with every movie except "The Artist." You know why? Michel Hazanavicius told me it was because the score was part of the entire film and matched the entire film. If Harvey Weinstein had reedited the film he would have had to rerecord the whole score one more time and it would have been very expensive. So he didn't reedit the film [Laughs]. It was very clever of Hazanavicius in fact. 

Aguilar: Were you angry that the film wasn't getting released in the U.S. for so long? 

Jean-Pierre Jeunet: I was very sad, not angry, but very sad. Now it's been two years and I accept it. You can never deal with Mr. Weinstein. Of course I didn't do that, it was Gaumont the French distributor.  Other U.S. distributors wanted "T.S. Spivet" and when they told me that Weinstein wanted it I told them, "Be careful, because we know him and he will want to reedit." They said, "No, no, he will respect your film. He knows that. He won't touch a frame." Of course, he cheats all the time. 

Aguilar: Now tell me about the film. I know it's been two years, so hopefully you remember the details. But since you never got the chance to do any U.S. press for the films, I'm sure people want to know more. How did you become aware of the book? It feels like a perfect match. It's like if the book was written exactly for your sensibilities.

Jean-Pierre Jeunet: I have a reader. He read the book and said it was for me. I was in Australia shooting some commercials and he send me the book and told me, "Read as soon as as possible because it's a book for you." Maybe it was a book too much for me because it's very close to my own preoccupations. I knew it wasn't going to be too easy because the main character is a kid and it's not a film for kids. That's probably the reason it wasn't a huge success everywhere. It's always the same story with films with kids, like the Stephen Daldry movie,"Extremely Loud & Incredibly Close," or the Terry Gilliam's movie, "Time Bandits." Every time that you have the main character be a kid it's not so easy. 

Aguilar: I feel there's a connection between T.S. Spivet and Amelie Poulain. They both have this broken relationship with their parents after a tragic event and they are both incredibly creative. Is that something that drew you into the book? 

Jean-Pierre Jeunet: Yeah. You know, when I met Reif Larsen, the author of the novel, he told me, "When I saw 'Amelie' I had the feeling that someone had scratched my head." We have he same feelings, we use the same references, and we are now very close. He is kind of like a son to me. 

Aguilar: Do you feel like you gravitate to these type of characters and stories whether you are writing them or adapting them? 

Jean-Pierre Jeunet: It's very difficult to find a story for a feature because you are going to spend 3 or 4 years of your life on it. In some ways the story of T.S is always the same story of all my films. It's a story of a kid fighting against a monster. That's the theme of all my films.  But this one was an opportunity to make something different for me because it was in English and with big American landscapes. It was also the opportunity to shoot in 3D because T.S. Spivet's  objects or creations were an opportunity to create something original in 3D, so I was very happy to make this adaptation. 

Aguilar: Tell me about working in 3D. It feels like today films use it in a gratuitous way or simply for commercial purposes, but in "T.S. Spivet" there is a specific reason for its use and it's always motivated by the story. 

Jean-Pierre Jeunet: Absolutely, it was part of the concept from the beginning. During the writing and during the storyboard process I was thinking about 3D. It wasn't just a commercial reason because it's complicated, especially when you are picky. You spend a lot of time on it and you lose some time on set, you lose some time during the post-production to fix every detail to avoid, for example, anything that could cause headaches. We made something, I would say, almost perfect technically, although it's never perfect but it's not bad. We had the stereographer Demetri Portelli, he worked on "Hugo," the Scorsese movie.

Aguilar: So you got the best of the best in terms of 3D

Jean-Pierre Jeunet: Yes, and we got every award related to 3D.  We got three or four awards. One from the Advance Imaging Society, one from Camerimage, one Lumiere Award, and we got the French César for the Cinematography. We got a lot of awards for both the cinematography and the use of 3D.

Aguilar: For me the film is about a certain American duality, the one driven by intellectual pursuits, modernity, and invention,  and the other that's more traditional, rural, and almost mythical. T.S.'s father is a cowboy and his mother is a scientist, but he is in between these two realities. .

Jean-Pierre Jeunet: Yes. In someways I am T.S. Spivet because, like him, I love to draw sketches and to create some inventions. Sometimes I win an award like he does. I don't take the train - I'm afraid of trains - but I take an airplane to get my award and, like T.S., I like to go back to my ranch to draw sketches because I love doing that. I'm a lot like T.S. Spivet, but I'm not a genius.

Aguilar: It's also a film about American culture and some of its negative aspects. There is evidently a certain commentary about the culture of guns in this country, but there is also the talk show sequence, which is very much about how the media seeks conflict and exploits emotions as an spectacle. 

Jean-Pierre Jeunet: The guns especially are very American, but I didn't think about that when I made the film. But then, when you have an accident or a event involving guns happening in the U.S. almost every week, I realized I was speaking about that. The TV aspect is not only in the U.S., it's everywhere, even in France now. They are interested in controversy, scandal, polemic. That's everywhere now. 

Aguilar: Tell about the production design, which is always perfect in your films. Every frame in every film you make is packed with so many whimsical details.

Jean-Pierre Jeunet: I love that. I love to spend a lot of time to prepare and to create some objects just for the film. Now all these things are in my office in Paris. I have a collection of objects from all my films. I love details and I love to invent and be picky with everything. It's a kind of toy box. Orson Welles spoke about his electric train. It's kind of like a Meccano set in which everything is about making the most beautiful film you can. In this box you have the costumes, the dialogue, the music, the production design, you have everything, and the game is to use everything to build this toy.

Aguilar: Regarding "T.S. Spivet," were you concerned about the fact that one of the main plot points in the story is a young boy's death? Did you worry about how this would be perceived by the audience?

Jean-Pierre Jeunet: That was something in the book that I knew from the beginning wouldn't be easy. Of course, when you speak about the death of a kid it's not easy, especially for kids. But I accepted that because I was very moved by the speech at the end of the novel. That was a big moment to shoot with Kyle Catlett.

Aguilar: Dominique Pinon is in this film as in every one of your films. You always find a great role to include him.

Jean-Pierre Jeunet: He can speak like an American because he was a student in the U.S, so I didn't see any reason not to include Dominique Pinon because he surprises me every time. This time it was very difficult because he only had two days and he came from Paris to do it. We shot for two nights and he came back for the premiere of the film in Paris tight before his theater play. Just in case Ron Perlman was ready to replace Dominique Pinon

Aguilar: Kyle Catlett is incredibly charming in the film. How did you find the ideal young actor to play T.S. Spivet?

Jean-Pierre Jeunet: It's always the same story. You see thousands of kids and suddenly you have a surprise in front of you, by Skype now of course. My first reaction was, "He is too small, too little, too young. He is not T.S. Spivet" But when you have a kid who is a world champion in martial arts, he speaks five languages, and who is able to cry on command, you think, " Oh my God, this is an interesting kid. I have to meet him!" Little by little he became T.S. Spivet 

Aguilar: Can you tell me about shooting the Amazon TV pilot, "Casanova."? I can't wait to see what you did with this story.

Jean-Pierre Jeunet: Yes. It's finished. They are be close to releasing it on Amazon. If I understand the rules of the game, if the spectators are happy with it they vote on the internet and say, "We want to see the first season of the series."  If they don't say that it will be dead [Laughs]. Those are the rules of the game with Amazon, they are used to doing that. It's strange because they spent $10 million dollars to make something beautiful, and it's a project that makes me think about "Barry Lyndon" or "Dangerous Liaisons." I shot it like if it was a feature, thinking about the details, the costumes, and it was with my usual crew, almost everybody, and we made something beautiful. The director of photography is Pierre Gill, who was in charge of Second Unit in "T.S Spivet."

Aguilar: Diego Luna is the protagonist of "Casanova," and this is your first time working with him. How did that go?

Jean-Pierre Jeunet: I had a great relationship with him. We became friends. Every night we were watching soccer together - the Champions League. He is a great actor and a good guy. 

Aguilar: Are you working on a new feature film at all or are you waiting for the right project?

Jean-Pierre Jeunet: I was expecting an idea from you [Laughs]. 

Aguilar: You've worked in French and English, now you need to make a Jean-Pierre Jeunet film in Spanish.

Jean-Pierre Jeunet: Sure [Laughs]. I'm looking for something but it's very difficult because I would like to surprise myself. I always try to find something new and it's not so easy. 

Aguilar: What's your take on the current state of cinema? TV is becoming more important and cinema is changing rapidly. 

Jean-Pierre Jeunet: There are so many movies now. When you want to watch a movie on VOD you have some many films to chose from, it's crazy. Now it's so difficult to make something that will endure like "Delicatessen" or "Amelie." Now it's very difficult because you have so many films. But I continue to think that I have to work just for my pleasure, which is very selfish in fact. 

Aguilar: After so many years making films and facing all the struggles it involves, why are you still in love with cinema?

Jean-Pierre Jeunet: It's a pleasure to make. I also make something else just for the pleasure of it, and you can find it on my official site, which is English as well. In the news section you will find some pictures of animals I make with stuff found in nature. My wife finds some sticks, wood, or leaves, and I make animals out of them and it's the same process. It's a pleasure to make. Except with my animals I don't need financiers, I don't need money, I don't need a producer, and I don't need Harvey Weinstein to kill it. It's just a pleasure to make.

Aguilar: It's so unfortunate that the "T.S. Spivet" didn't get the released it deserved becasue of someone's control issues

Jean-Pierre Jeunet: It's a question of honor for him. He wants to reedit. He needs to reedit. 

Aguilar: At least those lucky enough to see it will see your version. You've kept your creative integrity.

Jean-Pierre Jeunet: Exactly. People will see it on Netflix maybe, in 2D unfortunately, but it will be my film. It won't be Harvey Weinstein's movie.

"The Young and Prodigious T.S. Spivet" is still playing in select theaters around the country. »

- Carlos Aguilar

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Watch: First U.S. Trailer For Jean-Pierre Jeunet's 'The Young And Prodigious T.S. Spivet' Which Opens This Week

30 July 2015 2:21 PM, PDT | The Playlist | See recent The Playlist news »

Harvey Weinstein, champion of auteur filmmakers? Not always. Earlier this year, Jean-Pierre Jeunet claimed Harv wanted to re-edit and/or recut his latest film, "The Young and Prodigious T.S. Spivet." It's a complaint that Bong Joon-Ho ("Snowpiercer") and Olivier Dahan ("Grace Of Monaco") have also recently leveled at the head of The Weinstein Company, but even their films got treated much better than this. Essentially being dumped into theaters tomorrow, the studio has finally released the first U.S. trailer for movie. How's that for support? Kyle CatlettNiamh WilsonHelena Bonham CarterCallum Keith Rennie, and Judy Davis star in the movie about a young boy who wins a contest at the Smithsonian Institute, which changes his life. Here's the official synopsis:  T.S. Spivet lives on a ranch in Montana with his mother who is obsessed with the morphology of beetles, his father (a cowboy born a hundred years. »

- Kevin Jagernauth

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Nicole Kidman’s ‘Grace Of Monaco’ Goes From Cannes Calamity To Emmy Contender

16 July 2015 12:29 PM, PDT | Deadline TV | See recent Deadline TV news »

What a long, strange trip it's been for Grace Of Monaco. The Nicole Kidman starrer was crowned Cannes' opening-night film amid much French fanfare in 2014 and then quickly fizzled on the Croisette, beset as it was by harsh reviews. It didn't help that it also was the subject of a battle over cuts between U.S. distributor The Weinstein Co and director Olivier Dahan as well as protests from the royal family of Monaco over the depiction of Princess Grace and Prince Rainier… »

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Nicole Kidman’s ‘Grace Of Monaco’ Goes From Cannes Calamity To Emmy Contender

16 July 2015 12:29 PM, PDT | Deadline | See recent Deadline news »

What a long, strange trip it's been for Grace Of Monaco. The Nicole Kidman starrer was crowned Cannes' opening-night film amid much French fanfare in 2014 and then quickly fizzled on the Croisette, beset as it was by harsh reviews. It didn't help that it also was the subject of a battle over cuts between U.S. distributor The Weinstein Co and director Olivier Dahan as well as protests from the royal family of Monaco over the depiction of Princess Grace and Prince Rainier… »

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‘Grace Of Monaco’ gets Emmy nod

16 July 2015 11:22 AM, PDT | ScreenDaily | See recent ScreenDaily news »

After a brief and tumultuous career as a feature film the Nicole Kidman starrer earned a nomination on Thursday for best television movie.

Grace Of Monaco, which opened Cannes last year, will vie for the Emmy with Agatha Christie’s Poirot: Curtain, Poirot’s Last Case, Bessie, Hello Ladies: The Movie, Killing Jesus and Nightingale.

Critics branded the Grace Kelly biopic a flop when it debuted on the Croisette in May 2014. By that time Us distributor The Weinstein Company had postponed the release twice – no doubt aware the film had a shot at Cannes – and were mired in an ongoing spat with director Olivier Dahan.

Back in October 2013 the Frenchman had railed publicly to national newspaper Liberation about his displeasure over the fact that there were two versions of the film – his cut and the Weinsteins’ cut. Lotus Entertainment handled international sales.

Earlier this year it emerged that Grace Of Monaco would not get a Us theatrical »

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Visions of Antarctica by Anne-Katrin Titze

13 June 2015 3:17 AM, PDT | eyeforfilm.co.uk | See recent eyeforfilm.co.uk news »

March Of The Penguins director Luc Jacquet on his Wild-Touch Ice & Sky project Photo: Anne-Katrin Titze

The closing night film of this year's Cannes Film Festival was Luc Jacquet's documentary Ice And The Sky (La Glace Et Le Ciel), featuring the work of glaciologist Claude Lorius on the impact of climate change discovered in Antarctica. Oscar winner for March Of The Penguins, Jacquet, together with Marion Cotillard, who won the Oscar for her portrayal of Édith Piaf in Olivier Dahan's La Vie En Rose (La Môme) and was nominated as Best Supporting Actress for Luc Dardenne and Jean-Pierre Dardenne's Two Days, One Night (Deux Jours, Une Nuit), came to New York for the Wild-Touch official launch of Ice & Sky.

Following their presentation in Le Skyroom on the 8th floor of the French Institute Alliance Française about the new program created with an educational digital cross-disciplinary approach to bring awareness of climate issues, »

- Anne-Katrin Titze

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'Grace of Monaco' screenwriter dismantles the film in live Tweet session

28 May 2015 10:11 AM, PDT | Hitfix | See recent Hitfix news »

You might remember "Grace of Monaco." A Grace Kelly biopic directed by Olivier Dahan ("La Vie en Rose") with Nicole Kidman in the lead and Tim Roth as her Prince Rainier, the film was picked up for distribution by The Weinstein Company and landed an opening night slot at the 2014 Cannes Film Festival. It seemed like a perfect combination of material and talent, and a possible awards player. But it ended up panned on the Croisette and destined for a premiere on the Lifetime television channel here in the Us. Earlier this week, the film's screenwriter, Arash Amel, took to Twitter to live-Tweet the Lifetime airing and, well, he had a lot to say. "The purpose of this live Tweet is to correct the record, an explanation, an apology and most of all a bit of lighthearted fun," he wrote, tagging each of his Tweets with the #GOMFacts hashtag. If »

- Kristopher Tapley

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Cannes Isa of the Day: Grégoire Melin of Kinology

15 May 2015 9:16 AM, PDT | Sydney's Buzz | See recent Sydney's Buzz news »

The Isa of the Day segment of SydneysBuzz resumes for the Cannes Film Festival 2015. ISAs, or International Sales Agents, help to bring films into global distribution by selling distribution rights to distributors worldwide.Topics include new trends in distribution and sales, inspirational success stories, film slates and more. A worthy read for any serious filmmaker looking to have a better understanding of the chain of business between producing a film and sharing it with the world. 

Kinology was founded by its Managing Director, Grégoire Melin in May 2008. This newly created sales entity represents some of the most ambitious and innovative European feature films starring international talent such as Jean-Francois Richet’s hit Public Enemy Number One, Olivier Dahan’s My Own Love Song, and Mathieu Kassovitz’s Rebellion

Founder & President of Kinology Grégoire Melin shares more:

The company was created seven years ago, right before Cannes 2008. 

I started EuropaCorp with Luc Besson and Pierre Olange, a talented marketing person and now producer. I was in charge of international sales there, which was great because I worked on all these big franchises like Transformers and Taken, among many others. I worked on about 60 films while I was there.

Europa was fantastic, and I’ll never be able to thank Luc and Pierre enough for all the opportunities they’ve given me to meet great people and great directors, but there comes a moment when it gets hard to sell the films you didn’t choose yourself. That is why I created my company, Kinology.

Gaellle Mareschi, head of International Sales & Development, is also coming from Europa ( she worked there after I left) and joined me in 2010. Since then, we have been working together and are the only two sales agents.

We work on 5-7 films a year, and it’s difficult to say which kind of projects we are choosing, because we work on concept films. For example, the first film which was very successful for us was “Buried”.  We loved the script and immediately signed on the film long before it was shot. In Europe, it’s not financiers financing the film and then they are looking for a sales agent. It’s much more that the sales agents take the risk with the equity for the film in the beginning. 

We’ve done many films like “Days of Grace”, “Heartbreaker”, and “Spring Breakers”. Again, these are very eclectic but very concept-driven films. We don’t care whether it’s English or French. We were also the sales agent on “A Girl Walks Home Alone At Night”.  We love to launch unique visions with new or unique directors, and if I don’t think a film is right for us, I will not take it.

We love the distributors we are working with. I love this job, and going to market is really exciting because we know we are going to get countless meetings with people we love. We are also very hands-on when it comes to marketing.

Now we’re working on Terry Gilliam’s Don Quixote, and just came back from Spain after working with Terry – we aim to start shooting the film in August. This is an example of how we are very hands-on and try to really support the producers we are working with. Since we are working on very few films, it gives us time to go really in-depth. We know everything about the films, every crew person, every element, and are very close to the projects.

We don’t usually have that many films in Cannes, but this year we have films we really adore. Both are premiering at the festival. One is called “Mustang”, and we have a fantastic animation film that is winning prizes all around the world called “Mune” by Alexandre Heboyan. »

- Erin Grover

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"Grace of Monaco" Goes Direct-To-Lifetime

8 April 2015 1:40 PM, PDT | Dark Horizons | See recent Dark Horizons news »

The Nicole Kidman-led "Grace of Monaco," which was critically lambasted when it opened last year's Cannes Film Festival, is finally getting a U.S. release.

What's making big news though is that it's skipping theatrical and VOD, and going straight to the Lifetime network where it will premiere on May 25th.

The story focuses on a period in the early 1960s when Monaco was involved in a stand-off over taxes with France and Grace Kelly was contemplating a return to Hollywood.

After a poor performance in international release, North American distributor The Weinstein Company opted to sell the Olivier Dahan-directed film directly to Lifetime rather than book it into U.S. theaters.

Source: THR »

- Garth Franklin

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Nicole Kidman's Grace of Monaco for Us premiere on TV, not cinemas

8 April 2015 9:57 AM, PDT | Digital Spy | See recent Digital Spy - Movie News news »

Nicole Kidman's biopic Grace of Monaco will have its Us premiere on Lifetime, rather than in cinemas.

The film's release has proved contentious, with Us distributor Harvey Weinstein and Grace of Monaco director Olivier Dahan publicly battling over edits.

A Us cinema released was previously scheduled for November 2013 and later March 2014, but was pulled from the schedule on both occasions.

Kidman even publicly admitted that she had no control over the content of the Grace Kelly biopic, which was panned by European critics.

Grace of Monaco has now been acquired by cable channel Lifetime for its Us premiere.

The film will be airing on Lifetime on May 25 at 8pm Et.

Grace of Monaco dramatises the Hollywood icon's romance with Prince Rainier III of Monaco during her later years away from the film industry.

The movie had its international premiere at the Cannes Film Festival last year.

Watch a trailer »

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Nicole Kidman’s Grace Kelly biopic goes from Cannes to Lifetime

8 April 2015 9:18 AM, PDT | SoundOnSight | See recent SoundOnSight news »

From the festival circuit to your couch on a lazy Thursday afternoon.

That is the course for Nicole Kidman’s Grace of Monaco, which will sees it’s U.S. premiere on Lifetime after opening the Cannes Film Festival a year ago. Deadline reported the news on Tuesday.

While the film hit theaters (to tepid responses by critics) overseas, it had yet to open in American theaters. It was also in the midst of controversy after The Weinstein Company and director Olivier Dahan fought of cuts. Deadline mentions that it is unclear whether Lifetime will use the cut by Dahan or Weinstein’s. The director’s cut was used in the premiere at Cannes.

In an interview with Deadline at Sundance this year, Harvey Weinstein hinted at the possibility that the film could find life on TV rather than a theatrical run. “The script we signed on for was like The King’s Speech, »

- Zach Dennis

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Shocker: Weinstein's Cannes Opener 'Grace of Monaco' Goes to Lifetime

8 April 2015 5:02 AM, PDT | Thompson on Hollywood | See recent Thompson on Hollywood news »

Harvey Weinstein, who had closed a $5 million deal for U.S. rights to the $35 million "Grace of Monaco" starring Oscar-winner Nicole Kidman (TWC's "The Hours") in her seventh movie with him, as 60s era Grace Kelly, originally slated the film for November 2013 for an Oscar season run, promoting it at Cannes 2013, but then postponed it to spring 2014. Weinstein was furious when French filmmaker Olivier Dahan--who was looking to follow on the success of "La Vie En Rose," which had won an Oscar for Marion Cotillard as Edith Piaf--booked it as the opening night movie at Cannes 2014 just ahead of its global release.  Watch: Nicole Kidman Talks 'Strangerland' and 'Grace of Monaco' (Video Interview) It was the wrong way to introduce a middlebrow melodrama that should never have had awards in its sights. In “Grace of Monaco,” Nicole Kidman is strong as poised Oscar-winning movie star Grace Kelly, who in 1962 faced the reality. »

- Anne Thompson

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Grace of Monaco to premiere on Lifetime channel in Us

8 April 2015 1:04 AM, PDT | The Guardian - TV News | See recent The Guardian - TV News news »

Nicole Kidman-fronted turkey, which opened Cannes last year, bypasses theatrical release in the Us and goes straight to TV channel famed for trashy melodrama

As a biopic of one of the most famous women in the world, starring Oscar-winner Nicole Kidman and with La Vie en Rose’s Olivier Dahan in the director’s chair, Grace of Monaco was expected to carve out a place as an awards-season contender after it was announced as the opening film of the 2014 Cannes film festival. But following rows over distribution, a spat with the Monégasque royal family and scathing reviews, it has been revealed that the film will receive its belated Us debut a year later on the Lifetime channel.

Related: Olivier Dahan: 'I don't read the Grace of Monaco critics'

Related: Grace of Monaco review: Cannes opens with a royal biopic worse than Diana

Continue reading »

- Ben Child

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Nicole Kidman is Coming To Lifetime? Huh?

7 April 2015 3:54 PM, PDT | E! Online | See recent E! Online news »

Nicole Kidman…in a Lifetime movie? As hard as that is to believe, it's kinda true! After years of delays and being taken off the release schedule indefinitely, the Kidman-starring Grace of Monaco is skipping the theaters entirely and airing on Lifetime on May 25, according to the network. The film, which was directed by Olivier Dahan, was originally supposed to be released in theaters in November 2013 before it was delayed indefinitely in January 2014. It then premiered at Sundance in May to some not-so-favorable reviews, and currently sits at 9% on Rotten Tomatoes. (Yikes!) Grace of Monaco takes place in 1962, six years after former Hollywood actress Grace Kelly (Kidman) married »

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Oof! From Cannes to Lifetime: The Fall of 'Grace of Monaco'

7 April 2015 2:59 PM, PDT | Rope of Silicon | See recent Rope Of Silicon news »

I remember a time when Grace of Monaco was an Oscar hopeful in everyone's eyes. It opened the Cannes Film Festival in 2014, Nicole Kidman was playing a screen legend sure to garner some attention, Olivier Dahan was directing (whose La Vie En Rose garnered Marion Cotillard an Oscar), and The Weinstein Company was sure to position it like they did The Imitation Game. Oh, how the mighty have fallen. After receiving scathing reviews from just about everyone out of Cannes and no one wanting to touch it with a ten-foot pole, Variety reports the film will premiere on Lifetime on May 25. You read that right. Lifetime. A film that opened Cannes will now be playing on the same station that houses the Lindsay Lohan-starring Liz and Dick and the Grumpy Cat movie. I can hardly believe it myself. Lifetime may not have the same stigmatization to others than it does for myself, »

- Mike Shutt

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Nicole Kidman's 'Grace Of Monaco' Goes Straight-To-Cable, Will Debut On Lifetime

7 April 2015 2:48 PM, PDT | Indiewire Television | See recent Indiewire Television news »

Ouch. When The Weinstein Company first picked up "Grace Of Monaco" back in 2013, they had big, Oscar-filled dreams. The company was reported to have paid a whopping $5 million guarantee (for comparison sake, they spent $7 million landing "The Imitation Game" last year), committing to $10 million marketing, at least an 800 screen bow for the movie. But things went south.  In the fall of 2013, director Olivier Dahan spoke out candidly about his battles with producer Harvey Weinstein. Things got so heated, The Weinstein Company considered not even releasing the movie at all, but changed their mind. But the writing was on the wall after "Grace Of Monaco" premiered at Cannes last year and was destroyed by critics. Since then, things have been quiet about how the movie would  be released, and short answer is, it's pretty much being dumped. Read: The 6 Most Unintentionally Hilarious Moments From Cannes Opener...

»

- Kevin Jagernauth

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Nicole Kidman's 'Grace Of Monaco' Goes Straight-To-Cable, Will Debut On Lifetime

7 April 2015 2:48 PM, PDT | The Playlist | See recent The Playlist news »

Ouch. When The Weinstein Company first picked up "Grace Of Monaco" back in 2013, they had big, Oscar-filled dreams. The company was reported to have paid a whopping $5 million guarantee (for comparison sake, they spent $7 million landing "The Imitation Game" last year), committing to $10 million marketing, at least an 800 screen bow for the movie. But things went south.  In the fall of 2013, director Olivier Dahan spoke out candidly about his battles with producer Harvey Weinstein. Things got so heated, The Weinstein Company considered not even releasing the movie at all, but changed their mind. But the writing was on the wall after "Grace Of Monaco" premiered at Cannes last year and was destroyed by critics. Since then, things have been quiet about how the movie would  be released, and short answer is, it's pretty much being dumped. Read: The 6 Most Unintentionally Hilarious Moments From Cannes Opener »

- Kevin Jagernauth

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