Joe (Ed Oxenbould) has been on the move. His parents are habitually restless, rambling generally eastward in search of new jobs, new neighborhoods, new lives. At fourteen, he’s too old to keep going through it and too young to do anything about it. Lately, they’ve settled in Montana. They don’t know anyone. Jerry (Jake Gyllenhaal), is making the best of his job at a golf course, which means nothing when he is suddenly fired. His wife,
They call Montana “Big Sky Country” which I’ve always found to be the most beautiful nickname. It doesn’t quite make sense – how could the sky be bigger there than in London or Paris or Asbury Park, New Jersey? – but somehow an image still develops in the mind. Those snowy mountaintops and unobstructed horizons get plenty of screen time in Wildlife, a small gem of a film directed by Paul Dano, adapted by him and Zoe Kazan from a Richard Ford novel.
It is a quiet, subtle story and, as is so often the case when an actor takes their first trip behind the camera, a showcase for terrific performances. Front and center here is Carey Mulligan as a young wife and mother in 1960 edging toward independence. Jeanette (Mulligan
Such is the case with Wash Westmoreland’s “Colette,” which just debuted at the Sundance Film Festival, starring Knightley in the eponymous role of the trailblazing French author. But while “Colette” itself includes plenty of “modern” touches and ideas, Knightley is also enthused by what she sees as an uptick in better, beefier roles for women in modern-set movies.
Read More:Keira Knightley Stays Away
“There was a kind of triple threat of fear involved in working with people I’ve known as friends for a decade,” Mulligan said. “It was really amazing to be able to work with someone who understands acting so well and understands the holes that you get into when you can’t understand something or the problems that you have in the room, in the moment with that one line.”
Read More:‘Wildlife’ Review: Carey Mulligan Is on Fire in Paul Dano’s Stunningly Beautiful Directorial Debut — Sundance 2018
Mulligan stars in the film as Jeanette, a mother trying to keep her family intact after her husband
Continue reading Carey Mulligan Shines In Emotionally Distant ‘Wildlife’ [Sundance Review] at The Playlist.
Adapted from Richard Ford’s 1990 novel of the same name, “Wildlife” begins in a calm and idyllic Montana town circa early 1960s. More specifically, it begins on the front lawn of a small house where a father and son are throwing a football just before dinner, disrupting the Edward Hopper tableaux like a fleck of stray paint. The two of them disappear around the side of the property,
The movie, adapted from a novel by Richard Ford, takes place in 1960 in the small town of Great Falls, Montana (the setting for several other Ford tales), and Dano instantly establishes his command as a filmmaker by re-creating the period with an authenticity that’s scrupulous enough to seem downright exotic. The desks in the school, the stacks and stacks of cans in the supermarket, the clunky way the channel changer works on the TV set — and, above all, the calm that hovers on the edge of desolation:
Dano has worked with the likes of Denis Villeneuve, Bong Joon-ho, Rian Johnson, Steve McQueen, and Paul Thomas Anderson, but the past collaborations that he seems to draw the most from for Wildlife are Ang Lee and Kelly Reichardt. Blending the emotional subtleties of a
Read More:‘American Animals’ Review: A True Heist Story About Four Idiot Kids Who Fowled Up — Sundance 2018
“I’d read about the story of this crime, and everything about it seemed quite unusual — not least the fact that it was perpetrated by a group of seemingly well-educated young men from pretty good backgrounds,” Layton says. “I initially thought it sounded like a good yarn, and the more I read about it, the more it seemed, like all capers, it was well planned but it didn’t quite go according to plan.”
Those young men actually appear in the film at one point, something that stars Evan Peters and Barry Keoghan both found necessary.
“If Dee Rees was a white man she’d be directing the next ‘Star Wars,’ she’d be nominated for an Oscar without question,” Mulligan said at Variety’s Sundance studio, just prior to Tuesday’s Academy Award nominations.
Many thought that Rees, who directed the critically-acclaimed “Mudbound,” was snubbed from this year’s Golden Globes race for Best Director along with “Lady Bird’s” Greta Gerwig and “Wonder Woman’s” Patty Jenkins.
“There’s something not right, and we’re working on it,” she added. “I think Greta [Gerwig] and Patty Jenkins have been overlooked for too long. If it doesn’t happen I fell like it will send out a big signal and I think that people will react to that.”
On the “Star
While the industry awaits the first big on-site deal in Sundance, where the much-fancied American Animals is expected to close soon, buzz is starting to emerge on several other titles heading into the first weekend.
Juliet, Naked, Blindspotting, Monsters And Men, and The Catcher Was A Spy were all in play on Saturday ahead of a cluster of anticipated premieres that includes Colette, Leave No Trace, Sorry To Bother You, Yardie, and Wildlife.
UTA Independent Film Group represents Us rights to American Animals, Bart Layton’s Us Dramatic Competition entry that impressed in its Friday night premiere and features Barry Keoghan (The Killing Of A Sacred Deer) in the tale of four youngsters who attempt an art heist. Sierra/Affinity handles international sales on Layton’s dramatic debut and first feature since the acclaimed Sundance 2012 documentary The Imposter.
Jesse Peretz’s Nick Hornby adaptation Juliet, Naked, a three-header
While the industry awaits the first big on-site deal in Sundance, where the much-fancied American Animals is expected to close soon, buzz is starting to emerge on several other titles over the first weekend.
Boots Riley’s outrageous satire Sorry To Bother You drew multiple key buyers to Saturday evening’s world premiere at The Library, with Amazon Studios, Focus Features, Neon, Aviron, Sony Pictures Worldwide Acquisitions, and Samuel Goldwyn Films among those in attendance. Endeavor Content represents worldwide rights.
Across town Wash Westmoreland’s Colette starring Keira Knightley was receiving its premiere in the Eccles and has been high on buyers’ must-see lists. The Premieres selection from Number 9 Films, Killer Films and Bold Films stars Knightley as the titular French author. Westmoreland directs and shares a writing credit with his late husband and collaborator Richard Glatzer (who died in 2015) and Rebecca Lemkowicz. [link
Distributors are descending on Park City, Salt Lake City, and Sundance in search of their successors, hoping not to repeat last year’s blunder by Fox Searchlight, which paid $9.5 million for “Patti Cake$,” a film that reaped only $800,000 domestically.
Here’s our constantly-updated compendium of every 2018 Sundance acquisition.
Read More:Top 20 Acquisition Titles of the 2018 Sundance Film Festival Star Keira Knightley, Ethan Hawke, and More
Title: “Seeing Allred”
Section: U.S. Documentary Competition“I feel fortunate that ‘Seeing Allred’ captures my passion and battle for
From from 10 a.m. to 4 p.m. on Friday, January 19 through Monday, January 22, IndieWire will sit down with approximately 100 entertainment luminaries at 625 Main Street. Among those scheduled are Aubrey Plaza (“An Evening With Beverly Luff Linn”),Chloë Grace Moretz (“The Miseducation Of Cameron Post”), Chloë Sevigny (“Lizzie”), Chris O’Dowd and Rose Byrne (“Juliet, Naked”), Daveed Diggs (“Blindspotting”), Elle Fanning, Peter Dinklage, and Reed Morano (“I Think We’re Alone Now”), Ethan Hawke (“Blaze” and “Juliet, Naked”), Idris Elba (“Yardie”), Gus Van Sant (“Don’t Worry, He Won’t Get Far On Foot”), Maggie Gyllenhaal (“The Kindergarten Teacher”), Joan Jett (“Bad Reputation”), Keira Knightley (“Colette
But just a month ago, after sexual misconduct allegations surfaced against chairman Andrew Duncan, Saks took sole operating control of June and arrived at terms to buy out his stake.
“Unfortunately, when allegations like that exist, the place that we built is no longer a home,” Saks says. “It’s tarnished, so [taking over] felt like the necessary thing to do to protect these amazing pieces of work.” Though Duncan denied the accusations in a Dec. 15 statement, Saks says he “has very graciously chosen to take [his producer credit] off ‘Wildlife’ to give us the best opportunity for success” in Park City.
Following 2016 protests
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