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Terrence Malick’s anticipated “Knight of Cups” and Andrew Haigh’s “45 Years,” with Charlotte Rampling and Tom Courtenay, will compete in competition at next February’s 65th Berlin Intl. Film Festival.
Starring Christian Bale, Cate Blanchett – who looks set for a busy Berlin – and Natalie Portman, “Knight of Cups” will world premiere at Berlin, where Malick took Berlin’s Golden Bear in 1999 for “The Thin Red Line,” which was also nominated for seven Academy Awards.
Kenneth Branagh’s “Cinderella,” also starring Blanchett – plus a large cast of Lily James, Richard Madden, Stellan Skarsgard, Holliday Grainger, Sophie McShera, Derek Jacobi and Helena Bonham Carter – will play out of competition, seeing its international premiere. Disney’s live-action version of the tale sees “Game of Thrones’” Madden playing Prince Charming opposite James, as Cinderella.
- John Hopewell
As Sony Pictures Classics co-president Michael Barker tends to put it, mornings like these always turn out to be bittersweet. Because for all of the attention that movies like "Foxcatcher," "Leviathan," "Still Alice" and "Whiplash" may have received from the Hollywood Foreign Press Association — a nice cross-section representing the diversity of the Spc slate — there are others like "Mr. Turner," "Saint Laurent" and "Wild Tales" left on the sidelines. But "Foxcatcher" in particular is surging as of late, no thanks to the early critics groups that have virtually ignored the film. "Every year and every film is a different thing — no one knows that better than you," Barker says. "I've had movies that have won critics awards out the wazoo that don't get recognized by the Hollywood Foreign Press or the Oscars. We've had films that have been recognized by the Hollywood Foreign Press and the Oscars that have not been recognized by the critics. »
- Kristopher Tapley
Marrakech’s jury prexy, Isabelle Huppert, has just completed a four-month stint in the United States, where she co-starred with Cate Blanchett in the Sydney Theater Company production of Jean Genet’s “The Maids,” at the Lincoln Center Festival, followed by her film roles in Joachim Trier’s “Louder than Bombs,” alongside Jesse Eisenberg and Gabriel Byrne, and in Guillaume Nicloux’s “The Valley of Love,” with Gerard Depardieu.
In an interview at the Marrakech film festival she explained that her recent intensive U.S. experience is a pure coincidence of back-to-back projects.
Huppert explained that she’s very happy with the roles that she has been offered recently and is not overly concerned about being typecast, for example »
- Martin Dale
Will a foreign-language film ever win an Oscar for best picture? The odds looked a bit more favorable when, in 2009, the Academy opted to increase its top category to 10 nominees — a tactic that was clearly aimed at better accommodating the Christopher Nolan movies of the world, but also one that, some of us dared to hope, might have the happy side effect of allowing a subtitled offering to slip into the running.
Since that overhaul (during which the Academy has gone from 10 best picture nominees to a more flexible “between five and 10”), exactly one offshore production, Michael Haneke’s French-language “Amour,” has benefited from the expansion. Progress of a sort, perhaps, especially considering that before “Amour,” the Academy had seen fit to nominate only eight such films for its top prize (roughly one per decade).
Yet it’s still disappointingly paltry, given the rich bounty of first-rate imports we’ve »
- Justin Chang
Just as Telluride, Toronto and, increasingly, New York are now viewed as the go-to launchpads for best picture contenders, the foreign-language race has its own key festivals — and they lie a bit further afield. About 70% of foreign-language film nominees in the past decade made either their world or international premieres at one of the so-called Big Three European fests: Cannes, Berlin and Venice.
Foreign-lingo films seem to appreciate the long-lead of sustained festival buzz. Almost every nominee in the category comes to the Academy’s attention via some variety of fest appointments — whether voters are aware of its provenance or not.
Among the record-breaking 83 titles submitted by individual nations for Oscar consideration this year are multiple established sprocket opera successes, from Cannes Palme d’Or winner “Winter Sleep” (Turkey’s submission) to Sundance Grand Jury Prize champ “To Kill a Man” (Chile’s pick).
“With any foreign-language movie, festivals are more than critical, »
- Guy Lodge
30. The Lovers on the Bridge (1991)
Directed by: Leos Carax
A romance the way only Leos Caraz could do it. “The Lovers on the Bridge” is a love story between an alcoholic, drug-addicted street performer named Alex (Denis Lavant) and a vagrant painter named Michele (Juliette Binoche) who lives on the streets after a previous relationship ended. She now suffers from an unkown disease that is slowly making her blind. The two live on the Pont Neuf, the oldest bridge in Paris, closed for repairs for the duration of the film. As Michele loses more and more of her sight, she has to depend on Alex to get her through the days. After a treatment is discovered, Michele’s parents try to find her using posters on the street and radio announcements. Alex, realizing that her health would remover her dependence upon him, does everything in his power to keep Michele »
- Joshua Gaul
John Waters and Edgar Wright have listed their top ten films of 2014 and the avalanche of nominations and awards has begun to rumble. Also in today's roundup of news and views: Interviews with Michael Haneke, Barry Gifford (Wild at Heart), Harmony Korine, Marion Cotillard and Chris Rock. Reviews of James Benning's Farocki and Shirley Clarke's Portrait of Jason and Ornette: Made in America. And Arte programmer Olivier Père reports on a visit he paid this summer to the set of Philippe Garrel's L’Ombre des femmes. » - David Hudson »
Director/writer Mona Fastvold and co-writer/actor Brady Corbet of The Sleepwalker, starring Gitte Witt, Christopher Abbott, Stephanie Ellis and Corbet, connect Michael Haneke's Caché and Funny Games, in which Corbet starred with Naomi Watts, Tim Roth and Michael Pitt, to Ingmar Bergman's Hour Of The Wolf and Andrei Tarkovsky's Solaris. We discussed Borderline Films' productions of Sean Durkin's Martha Marcy May Marlene and Simon Killer by Antonio Campos and how it began for Corbet. Lars von Trier's love of Douglas Sirk and Melancholia led the discussion to the films of Claire Denis, Bruno Dumont, Jean-Pierre Dardenne and Luc Dardenne. Scarlett Johansson's performance in Jonathan Glazer's Under The Skin in contrast to an Aki Kaurismäki film conjures up choices for all filmmakers to consider. »
- Anne-Katrin Titze
The personal experience of looking after one’s aging parents rings achingly true in “Radiator,” the directorial debut of Tom Browne, co-writer of 2001’s “The Nine Lives of Tomas Katz.” Depicting an adult son trying to support his long-suffering mother as she deals with her unraveling yet domineering husband, this family drama echoes Michael Haneke’s “Amour” in its subject matter, although the grotty setting couldn’t be further from that film’s chic Paris apartment. Flashes of dark humor and deeply resonant performances by the two senior actors (Richard Johnson, Gemma Jones) should help sell this specialty item to select audiences following a well-received London Film Festival bow.
In choosing to set his film at the real Cumbria stone cottage of his deceased parents, Browne takes advantage of a striking Lake District location and a chaotically jumbled interior, which no set decorator could ever hope to match. It’s »
- Charles Gant
Why give an Iranian film an Australian title? In the misleadingly named “Melbourne,” the distant city is but an abstract idea — like Michael Haneke’s “The Seventh Continent” — of a new life far removed from the hassles and stress that hound its central couple. Set almost entirely in a Tehran apartment, where the action unspools virtually in real time, Nima Javidi’s unnerving debut takes an incredibly relatable premise (impossible to discuss without revealing the surprise) and invites auds to speculate what they might do in the characters’ shoes, effectively minimizing the distance that can sometimes limit Western interest in Iranian cinema.
“Melbourne” debuted at the Venice Film Festival, where it kicked off the Intl. Critics’ Week sidebar, but has since managed to confuse potential champions as it travels the circuit, the title inadvertently disguising its true cultural identity. Fest programmers are constantly on the hunt for strong new Persian voices, »
- Peter Debruge
The slasher movie, if we'll admit it to ourselves, is about our fears of teen sexuality. Whether you're a teen made nervous by your own hormones or a parent afraid of what trouble those hormones will get your kid into, the slasher-movie villain is your fears made flesh. But with the release 30 years ago this week (November 9, 1984) of Wes Craven's "A Nightmare on Elm Street," the slasher film entered a new dimension.
With the creation of Freddy Krueger (played indelibly by Robert Englund), who could kill teens in their dreams, the slasher villain proved there was no place that was safe, not even the subconscious.
In retrospect, the genre may have peaked with the release of this film; after all, how many other slasher villains since have been anywhere near as memorable? Unlike his predecessors, Jason Voorhees (of the "Friday the 13th" movies) and Michael Myers (of the "Halloween »
- Gary Susman
Pawel Pawlikowski’s Ida leads the field for the 27th European Film Awards with five major nominations including Best European Film, Director, two Best Actress nods for co-leads Agata Trzebuchowska and Agata Kulesza, and Best Screenplay.
Close behind are Russian director Andrey Zvyagintsev‘s Leviathan and Turkey’s Palme d’Or winner Nuri Bilge Ceylan’s Winter Sleep, a pair of Cannes winners. Both films have been chosen to represent their country in the Academy Awards foreign language category.
The European Film Awards has increasingly become a bellwether for awards season, with previous Efa Best European Film winners Paolo Sorrentino’s The Great Beauty and Michael Haneke’s Amour going on to win the Best Foreign Language film at the Oscars.
The European Film Awards ceremony will be handed out in Riga, Latvia on »
- Ali Jaafar
Peculiarly, pathos has proven to be a more reliable element in comedies than in dramas. The pitiful man tends to incite a curious form of laughter than he would empathy, especially when his piteousness is welded with a muted strain of conceit. This is particularly a male phenomenon as well. By account of his built-in vanity and his lack of natural poise, the ultimate nonfulfillment of man, more than woman, almost seems deserved, as though karma has finally come forth to give the excessively proud its comeuppance. Since even in sadness these men refrain from grace, this blow to their vanity turns humorous, their every pretense conspicuous to a detached audience and their every lie palpable. We are prompted to engage with the work by laughing at the ignoble fool’s ignorance of everyone’s cognizance, as he lies and patronizes, while everybody sees through him except for himself. He »
- Morad Moazami
Alejandro G Ińárritu, Yimou Zhang, Mike Leigh and Jean-Marc Vallée are among the directors with films screening in competition at the 22nd Camerimage (Nov 15-22), the International Film Festival of the Art of Cinematography.
The main competition at the festival, held in the Polish city of Bydgoszcz, comprises:
Alejandro G Ińárritu’s Birdman (The Unexpected Virtue of Ignorance); USA, 2014; Cinematographer: Emmanuel Lubezki
Łukasz Palkowski’s Gods (Bogowie); Poland, 2014; Cinematographer: »
- firstname.lastname@example.org (Michael Rosser)
Orson Welles's legendary uncompleted final film, The Other Side of the Wind, featuring John Huston, Susan Strasberg, Lilli Palmer, Dennis Hopper and Peter Bogdanovich, will finally see the light of a projector, reports the New York Times. Also in today's roundup of news and views: Jonathan Rosenbaum on Jacques Tati and Abbas Kiarostami and Reverse Shot and The Believer on Martin Scorsese. Plus: Werner Herzog, Wim Wenders, Volker Schlöndorff, Margarethe von Trotta, Michael Haneke, Tom Tykwer, Nina Hoss and Christoph Waltz are among the more than 60 filmmakers and actors who have signed an open letter to Chancellor Angela Merkel protesting proposed cuts to the German Federal Film Fund. » - David Hudson »
Beverly Hills — Gregg Alexander is enamored by movies. He grew up in a conservative household where television was "Satan's tool," but he'd sneak off to friends' houses to watch theirs instead. He talks passionately about filmmakers like the Coen brothers, Michael Haneke and Mike Leigh and seems eager to be a part of an industry he finds incredibly efficient. So it's perfectly fitting that he would eventually make his way there via a collaboration on John Carney's "Begin Again," and maybe even more understanding that after 15 years of being relatively reclusive away from touring and the media, he's finally speaking out again in support of the film and his work on tracks like "Lost Stars," which is primed for a Best Original Song Oscar nomination. "It's been exciting and to some degree emboldened me and been a reminder that film and music are amazing dancing partners," Alexander says of his experience. »
- Kristopher Tapley
With Halloween fast approaching, EW is picking the five best films in a variety of different horror movie categories. Each day, we’ll post our top picks from one specific group—say, vampire movies or slasher flicks—and give you the chance to vote on which is your favorite. On Oct. 31, EW will reveal your top choices. Today, we’re ready to talk about those movies that hit a little too close to home. All horror movies prey on the psychological premise that there's beastliness roiling within everyone. But let's get real: You don't see news reports about werewolves, vampires, »
- Lanford Beard
Sympathy For Mr. Vengeance: Prochaska’s Grimly Pleasing Revenge Yarn
Selected as Austria’s entry for this year’s Foreign Language Oscar submission, The Dark Valley is perhaps director Andreas Prochaska’s most accomplished narrative effort, as he’s generally steeped in television or pulpy genre. His latest, a by-the-numbers Western, captures a rather poetic ambience, even as it manages to neglect both its protagonist and rather garish details that skews the film into horror film territory. UK star Sam Riley headlines the feature to grant it an even more hybridized feel of this adaptation of Thomas Willmann’s novel.
In the late 19th century, a mysterious stranger, Grieder (Riley) rides into an Austrian mountain village. The people are unaccustomed to strangers, isolated high above everyone in the mountains. A photographer, his reasons for staying seem unclear, but he befriends a young woman, Luzi (Paula Beer) and her widowed »
- Nicholas Bell
Isabelle Huppert is to head the competition jury at the 14th International Film Festival of Marrakech (Dec 5-13).
The French actress said: “I will take great pleasure in meeting the Moroccan audiences, and sharing their curiosity, enthusiasm and thirst to discover films from around the world - the way the festival has in its previous selections.”
Huppert’s breakthrough came in 1977 with her performance in Claude Goretta’s The Lacemaker. The following year, she won the Best Actress award in Cannes for her lead role in Claude Chabrol’s Violette.
The actress has since worked with French filmmakers such as Jean-Luc Godard, Maurice Pialat and Benoit Jacquot, as well as international directors such as Michael Cimino, Andrzej Wajda, Marco Ferreri and Joseph Losey.
- email@example.com (Michael Rosser)
The 50th anniversary edition of the Chicago International Film Festival, running from October 9-23, will feature, as Ray Pride notes, "notable appearances and master classes, including Michael Moore presenting his restored version of Roger & Me, a film that was nearly lost; producer-turned-online distributor Ted Hope talking about his memoir-manifesto, Hope For Film, and Oliver Stone, with a director’s cut of Natural Born Killers and Alexander: Ultimate Edition, a fourth version of his 2004 epic, reportedly with a warm handful of homoerotic content restored to its 207-minute duration. An Isabelle Huppert tribute will trail four features, including Michael Haneke’s The Piano Teacher and Claire Denis’s White Material, both shown in 35mm." » - David Hudson »
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