1-20 of 237 items from 2015 « Prev | Next »
"Cinema is a matter of what's in the frame and what's out." If you need to be inspired again about the amazing power of cinema, just watch any of these. There have been some outstanding video essays recently about aspect ratios, a number of them, so I decided to collect all of them together into one place. This way you can get the full dose, over 32 minutes discussing the history of the aspect ratio, the way filmmakers have used it throughout the years, and some recent examples of how it's still possible to push the boundaries of cinema. At the beginning of the year, I wrote a passionate long form piece on Xavier Dolan's Mommy and its brilliant use of aspect ratio. The most recent video profiles Dolan's Mommy and Tom at the Farm. Enjoy. Here's the most recent video - De Filmkrant's Cutting the Edge: Freedom in Framing, »
- Alex Billington
Meet some of the best directors working today, who haven't gone down the blockbuster movie route...
Ever find it a bit lame when the same big name directors get kicked around for every high profile project? Christopher Nolan, Jj Abrams, maybe the Russo Brothers? With so much focus on blockbuster films these days, getting a major franchise job seems like the main acknowledgement of success for a filmmaker. And yes, both the financial and creative rewards can be great. But there are plenty of other directors out there, doing their own thing, from art house auteurs to Dtv action specialists.
Here are 25 examples.
Even if you don’t know his name, you’ve probably seen Lee Hardcastle’s ultraviolent claymations shared on social media. He first started getting noticed for his two-minute remake of The Thing, starring the famous stop motion penguin Pingu. Far from just a cheap one-joke mash-up, »
Depp will topline as Isadora Duncan, a San Francisco native who grew up in poverty and became a dance prodigy, quickly achieving worldwide fame. She had a crucial role in the life of Fuller, who will be interpreted by French musician-turned-thesp Soko. Fuller, who was born in rural America, pioneered the Serpentine dance and turned out to achieve international recognition at the turn of the 20th century.
Alain Attal, who is producing via his outfit Les Productions du Tresor, »
- Elsa Keslassy
As the Toronto International Film Festival wraps up its 40th incarnation, the winners of the festival’s 2015 event have now been announced. Previous winners at the festival have included Steve McQueen’s 12 Years a Slave, Gareth Evans’ The Raid, and Xavier Dolan’s Laurence Anyways. Thus, many film fans have looked at the awards as an indicator of what to look out for in subsequent months when theatrical and VOD release dates get announced. The winners of Tiff 2015 are as follows.
Grolsch People’s Choice Documentary Award: Winter on Fire: Ukraine’s Fight For Freedom, directed by Evgeny Afineevsky.
City of Toronto »
- Deepayan Sengupta
If you’ve ever gasped at the horrors afflicted on films when they’re adjusted for certain television broadcasts or back in the harrowing days of fullscreen DVDs, then you at least have a basic familiarity with the history of the aspect ratio, and particularly how vital a proper presentation is to the experience.
Wes Anderson, Xavier Dolan, Edgar Wright, and a handful of other directors have recently had fun playing with various shifting aspect ratios in their films and today brings a pair of video essays that take a look at the history of the formats. Those looking for a fairly brief overview can turn to a new video from Now You See It, which goes into more recent examples. However, if you’re looking for something far more in-depth, we’ve also shared Filmmaker Iq’s thorough video essay.
- Leonard Pearce
Epistemology of the Closet: Dunn’s Impressive Debut a Pronounced Portrait of Agitated Angst
Notable short filmmaker Stephen Dunn (Pop-up Porno, 2015) makes an impressive feature debut with Closet Monster, a film easily classified as a coming-of-age/coming-out drama but augmented by a masterful sense of tone and visual authority. As ambient as a thriller but without the frills of genre as metaphor, you’d be hard pressed to recall a recent cinematic endeavor that so vividly and compellingly relates the modern queer teen’s terrified angst so effectively. Grappling with familiar yet nevertheless pertinent issues in regards to the heteronormative machinations Lgbt youth struggle to navigate, the Canadian helmer unveils an original and moody psychological portrait of agonized adolescence.
Oscar (Connor Jessup) is an aspiring special effects make-up artist finishing up his last year of high school in small town Newfoundland. Hanging out with his friend Gemma (Sofia Banzhof), who »
- Nicholas Bell
The first teaser poster for acclaimed filmmaker Xavier Dolan’s It’s Only the End of the World has appeared online and you can view it right here…
Based on a play of the same name by Jean-Luc Lagarce, It’s Only the End of the World follows “a writer as he goes back to his hometown, intending on announcing his upcoming death to his family. However, as resentment soon rewrites the course of the afternoon, all attempts of empathy are sabotaged by people’s incapacity to listen and love.”
Marion Cotillard (Macbeth), Léa Seydoux (Spectre), Vincent Cassel (Black Swan), Nathalie Baye (Catch Me If You Can) and Gaspard Ulliel (Saint Laurent) star in the film, which is expect to arrive in 2016.
- Scott J. Davis
Exclusive: Anick Poirier has been promoted to svp of international sales at Seville International as the company arrives in Toronto with a seven-strong slate.
Also receiving their world premieres are Leena Yadav’s Parched and André Turpin’s Endorphine, while Andrew Cividino’s Sleeping Giant and Tim Godsall’s Len And Company are in line for North American premieres.
Poirier most recently served as vp of international sales at Seville International, which launched in March 2014. She joined the eOne fold when the company acquired Les Films Séville in 2008.
- firstname.lastname@example.org (Jeremy Kay)
Two series highlighting too-often overlooked actors, Robert Ryan and Gloria Grahame, open tomorrow in New York. More goings on: "The best of all heist movies" (the Voice's Alan Scherstuhl), Jules Dassin's Rififi (1955) returns to Film Forum. An exhibition devoted to the friendship between Walt Disney and Salvador Dalí is on view in San Francisco. Tsai Ming-liang's feature debut, Rebels of the Neon God, arrives in Nashville, along with Xavier Dolan's Tom at the Farm. And then there's the two-month-long retrospective in London: The Complete Films of John Waters (Every Goddam One of Them…). » - David Hudson »
The film.s Australian producer Trish Lake is in Venice with Rowe and the two lead actors, Suzanne Clément (winner of the Un Certain Regard . Best Actress award at Cannes in 2012 for her role in Xavier Dolan.s Laurence Anyways) and Canadian actor Paul Doucet.
Lake said to be in Venice with such an international co-production between Canada and Australia at Venice Days was very exciting..
"There is already strong word of mouth on the film - a real buzz about it in the festival," she said..
"There were more than a hundred 100 media representatives who attended the first day.s press screening and, from what I understand, that is something of a record number for the first day of a Venice Days press screening.
.The fact that we have an Australian writer-director, »
- Inside Film Correspondent
Vice-president of international sales Anick Poirier has assembled a sales slate that includes five festival selections including the world premiere of Leena Yadav’s tale of four ordinary women in India.
Parched (pictured) will screen in Special Presentations and stars Tannishtha Chatterjee, Radhika Apte, Surveen Chawla, Adil Hussain, Lehar Khan, Riddhi Sen, Mahesh Balraj and Chandan Anand. Gersh represents Us rights.
The roster includes Special Presentation world premieres of Julio Medem’s Ma Ma starring Penélope Cruz as a woman with cancer, as well as Hany Abu-Assad’s The Idol, which Poirier and her team have sold widely.
André Turpin’s Endorphin gets its world premiere in Vanguard and weaves together the lives of three seemingly unconnected women all named Simone De Koninck.
Andrew Currie’s Contemporary World Cinema dysfunctional family drama The Steps also gets its world premiere and stars Jason Ritter, Emmanuelle Chriqui, James Brolin, Christine Lahti and Vinay Virmani.
Rounding out the »
- email@example.com (Jeremy Kay)
In some marital-strife dramas, one hopes for spouses to work out their differences; in others, a swift separation seems the kindest outcome for characters and viewers alike. “Early Winter,” the first predominantly English-language feature from Australian-born auteur Michael Rowe, oscillates between both these descriptions — and finally invites little emotional investment either way. While retaining the reserved compositional grace and objective eye for domestic minutiae that earned the helmer Cannes plaudits for 2010’s “Leap Year,” Rowe’s latest uncovers few compelling human truths by stepping so far back from the withering marriage of a Montreal couple, as the December freeze all-too-symbolically sets in. Save for one nugget of melodramatically withheld tragedy, it’s a relationship study more authentic than it is involving, lensed with exquisite care and performed with grim commitment by Paul Doucet and Suzanne Clement. A commercial cold front like awaits “Early Winter” past the fest circuit.
Already unveiled »
- Guy Lodge
The enfant terrible of Quebecois cinema Xavier Dolan has made a name for himself among critics and festival audiences with such stylized, emotionally extravagant films as the epic trans romance Laurence Anyways and the in-your-face family drama Mommy. But it turns out he can direct a mean thriller as well. Well, sort of. Tom at the Farm, adapted by Dolan and Michel Marc Bouchard from Bouchard’s own play, has the outward trappings of a genre piece. And as such, it’s fairly suspenseful. But at heart, it’s still very much an Xavier Dolan film — ragged, explosive, and often moving.The story concerns Tom (Dolan, looking like he stole Meg Ryan’s hair from City of Angels), who arrives at the rural family home of his deceased boyfriend Guillaume to attend a memorial service. But he learns that Guillaume’s mom, Agathe (Lise Roy), doesn’t know that her »
- Bilge Ebiri
The ferocious rhymes of hip-hop icons N.W.A.’s controversial 1988 anthem “F–k tha Police” scarcely seem to have aged when they blast on to the soundtrack of “Straight Outta Compton,” echoing into a world where the abuse of black Americans at the hands of law-enforcement officials remains common headline news. But if “Compton” is undeniably of the moment, it’s also timeless in its depiction of how artists and writers transform the world around them into angry, profane, vibrant and singular personal expression. A conventional music-world biopic in outline, but intensely human and personal in its characterizations and attention to detail, director F. Gary Gray’s movie is a feast for hip-hop connoisseurs and novices alike as it charts the West Coast rap superstars’ meteoric rise, fractious in-fighting and discovery that the music business can be as savage as the inner-city streets. A very smart piece of »
- Variety Staff
Xavier Dolan is a master of atmosphere. His films live in the spaces between words. They’re made of the network of glances that underlie a conversation, the spiraling tension that lurks just beyond tangible grasp. Though he deals in abstractions — jealousy, hate, love, Freudianism — he delivers his stories in precise gestures that contain a universe within them. Read More: Unsettling Trailer for Xavier Dolan's Psychological Thriller 'Tom at the Farm' If you’re unfamiliar with the director’s work, “Tom at the Farm” is a great place to start. Not only is it a stark embodiment of Dolan’s auteur capabilities, but he also stars in the film. Dolan claims it’s his most accessible film to date, and he's not wrong. Unlike his other films, melodramas teeming with manic energy and bursting at the seams, "Tom at the Farm" is a taut, measured genre effort. It stands »
- Emily Buder
I have the romantic’s weakness for tales of thwarted opportunities in the relationship department. Saddest and most frustrating are those for whom faulty communication, intentional or otherwise, generates the lion’s share of the blame. Ever read Poe’s short story “The Purloined Letter?” It involves theft, blackmail, a woman of royal lineage — it’s opiated Poe, what do you expect? — but we Little People can suffer in our more ordinary ways from the exchange of tainted information. I use the word exchange purposely: The action pains not only the victim, but the perp as well. Quebecois director Xavier Dolan puts […] »
- Howard Feinstein
Xavier Dolan’s “Tom at the Farm” opened to strong reviews at the Venice Film Festival two years ago and picked up distribution in roughly 40 countries. But it never found a buyer in the United States until recently, when Amplify Releasing set the French-language thriller to open today in theaters and on VOD. “Tom” follows a young Montreal man (Dolan) who travels to rural Canada for his ex-boyfriend’s funeral.
Dolan’s profile has been on the rise since 2014’s “Mommy,” which won the jury prize at Cannes for the Quebecois director. He returned in May to the Croisette, where he served on the Cannes jury; recently finished filming “It’s Only the End of the World,” starring Marion Cotillard; and is about to start production on his first English-language film, “The Death and Life of John F. Donovan,” about a closeted Hollywood movie star played by Kit Harington.
- Ramin Setoodeh
The new issue of Screening the Past features articles on Béla Tarr's Damnation, Robert Altman, Barbara Stanwyck, Otto Preminger and costume designer Edith Head. Also in today's roundup: The films besides Alfred Hitchcock's Vertigo that inform Christian Petzold's Phoenix; more discussion of David Foster Wallace and The End of the Tour; Frederick Raphael's memoir; Jonathan Rosenbaum's conversation with Jim Jarmusch about Dead Man; Xavier Dolan on Tom at the Farm; Jacques Rivette revivals on both sides of the Atlantic; a Vittorio De Sica retrospective; Yasujiro Ozu's Tokyo Story tops a list of the best of Asian cinema; and more. » - David Hudson »
Before you press play on the following video, we’ve got a question to ask: How cool are your co-workers? If you tell them that you’re going to watch a clip from the new Xavier Dolan movie, will they know that Dolan is the acclaimed young actor-writer-director behind movies like the Cannes-honored Mommy? Might they even remember that his latest release, Tom at the Farm, was actually filmed before Mommy, but it’s finally making its Stateside debut this Friday (in theaters and on Digital HD)? If your colleagues still require a plot synopsis, tell them that Dolan plays the titular Tom, who visits the family of his deceased ex-lover, Guillaume, only to find out that Guillaume had never even told them he was gay. Tentative Tom switches up his story and claims only to be a friend of Guillaume’s, but the late man’s conservative, domineering brother »
- Kyle Buchanan
Read More: Exclusive: Watch a Clip From Xavier Dolan's 'Tom at the Farm' Canadian actor-writer-director Xavier Dolan is only 26 years old, but his growing list of achievements is as vast and accomplished as filmmakers three times his age. His 2009 debut, "I Killed My Mother," won the Art Cinema Award, the Prix Regards Jeunes and the Sacd Prize at Cannes' Director's Fortnight. His second feature, "Heartbeats," earned the top prize at the Sydney Film Festival in June 2010. After a two-year hiatus, his nearly three hour romance, "Laurence Anyways," won Suzanne Celement the Cannes Best Actress Prize, and last year's heralded masterpiece, "Mommy," tied for the coveted Cannes Jury Prize. These days, Dolan is at various stages in completing two star-studded dramas: "The Death and Life of John F. Donovan," starring Kit Harington, Jessica Chastain, Kathy Bates and Susan Sarandon, and the Marion Cotillard-headlining "It's Only the End of »
- Zack Sharf
1-20 of 237 items from 2015 « Prev | Next »
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