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Charlotte Mickie will leave Entertainment One Films International in mid-January, the company said Tuesday. The executive vice president has been with eOne since 2008, when eOne bought Maximum Films, where Mickie was managing director. At eOne, Mickie handled the acquisition, marketing and sales of “Incendies,” “Beasts of the Southern Wild” and “Animal Kingdom.” She has also worked at Celluloid Dreams, where she worked with Michael Haneke and Francois Ozon, and Alliance Atlantis, where she handled foreign sales for “Bowling for Columbine.” “The contribution Charlotte has made to the independent film community is unparalleled. She has helped countless young filmmakers find their voice. »
- Lucas Shaw
The executive vice-president of eOne Films International is leaving the company in mid-January 2014 as top brass announced they were launching the division Séville International.
The division of eOne’s Québec-based arm Les Films Séville will orchestrate sales on English-language and French-language Canadian films.
Longtime Montreal-based vice-president of international sales Anick Poirier will launch the unit and work alongside Les Films Séville president Patrick Roy and his team. Poirier will report to incoming eOne Films International president Harold van Lier.
eOne will make further announcements regarding international film operations early in the new year.
Mickie joined the company in 2008 after it acquired Maximum Films, where she had been serving as managing director.
Prior to that she spent many years overseeing all international films sales at Alliance Atlantis and founded »
- firstname.lastname@example.org (Jeremy Kay)
‘American Hustle,’ ‘Gravity’: AFI Awards 2013 - big-studio movies rule once again (photo: Christian Bale and Bradley Cooper in ‘American Hustle’) The American Film Institute has released AFI Awards list featuring the Top Ten Movies of 2013. As usual, the AFI Awards mostly focus on mainstream, popular fare from the big studios; in fact, they’re a sort of more upscale, Oscar-friendlier People’s Choice Awards, i.e., no Twilight, no The Fast and The Furious, no Adam Sandler, scattered super-hero movies, mostly bypassing Harry Potter. (You’ll see why they’re so big-studio-friendly once you scroll down a bit to check out the list of this year’s AFI Awards’ jury members.) Six of the AFI’s Top Ten 2013 movies come courtesy of the Hollywood majors: American Hustle, Captain Phillips, Gravity, Her, Saving Mr. Banks, and The Wolf of Wall Street. Additionally, 12 Years a Slave was released by Fox Searchlight Pictures, »
- Anna Robinson
Adèle Exarchopoulos (‘Blue Is the Warmest Color’) and Cate Blanchett (‘Blue Jasmine’): Best Actress tie two years in a row at Los Angeles Film Critics Awards (photo: Léa Seydoux and Adèle Exarchopoulos in ‘Blue Is the Warmest Color’) (See previous post: "James Franco Tattoos, Gold Teeth: Lafca Winners." Another non-Hollywood Los Angeles Film Critics Association’s selection was Best Actress co-winner Adèle Exarchopoulos, cited for her performance as a young woman who falls in love with blue-haired Léa Seydoux in Abdellatif Kechiche’s controversial Cannes Film Festival Palme d’Or winner Blue Is the Warmest Color. The lesbian romantic drama also took home the Lafca’s Best Foreign Language Film Award. Blue was also the luckiest color, at least in the Best Actress category: Cate Blanchett was Exarchopoulos’ co-winner, for her performance in Woody Allen’s Blue Jasmine, in which she plays a character somewhat similar to A Streetcar Named Desire »
- Andre Soares
Remakes are nothing new in Hollywood. Take a look back through cinema history and there are plenty of example of ideas and stories being recycled for new audiences. Take, for instance, Robin Hood and Zorro, whose big-screen exploits stretch right the way back to Douglas Fairbanks in the silent era.
Right now two high profile re-dos - Carrie and Oldboy - are screening in cinemas. Considering just how well the originals are regarded, it begs one simple question - why? One carries a recognisable name, the other is a critically lauded foreign-language cult film that has a limited audience.
In the end it may all boil down to making money, but that's still no excuse for some of the remakes that have been served up in recent memory. Digital Spy looks at 9 cinematic remakes that didn't need to happen below...
We now know that theatreland can sustain a musical about a calculating yuppie serial killer. But dare you take this lot on, Mr Lloyd Webber?
In theatres, the call for hot water and towels means an emergency nasal steaming is about to go down. But it wasn't always this way. In 50s England there were things that could not be spoken about. Could they be sung about? "Bloomin' Nora, Mrs Drake/ The rozzers will giva ya more than a caution/ When they find out you've been carryin' on/ With illegal backstreet abortions!" No, I guess not.
A man wearing six duffle coats pushes a trolley around a silent, post-apocalyptic wasteland, wondering whether to shoot his own son. There are no tap steps, only a silent, protracted dance with death. On celluloid, even the intermittent Warren Ellis soundtrack felt like a crass intrusion. Could the stark, post-everything »
- Rhik Samadder
Odd List Ryan Lambie Simon Brew 5 Dec 2013 - 06:54
Our voyage through history's underappreciated films arrives at the year 2001, and a vintage year for lesser-seen gems...
Stanley Kubrick and Arthur C Clarke may have seen 2001 as the year we'd head off to meet alien intelligences in the depths of space, but in reality, its cinematic landscape was dominated by fantasy rather than extra-terrestrials. Rowling and Tolkien dominated the box office, with Harry Potter And The Philosopher's Stone and The Fellowship Of The Ring earning almost $1bn each, while Monsters, Inc and Shrek thrilled old and young audiences alike.
At the other end of the spectrum of success, 2001 was such a vintage year for movies that we had to whittle our usual selection of 25 films down from an initial selection of more than 40. This is why the decision was made - with heavy heart - to exclude some of our favourite films, »
It's that busy time of year with tons of screenings, reviews to be written and awards handed out, and rising from the ashes of the chaos is yet another episode of the RopeofSilicon podcast. Today's episode is rather straight forward as we address several of your questions, play our regular round up of games and dig into the latest news including Paul Walker's sudden passing. If you are on Twitter, we have a Twitter account dedicated to the podcast at @bnlpod. Give us a follow won'tchac I want to remind you that you can call in and leave us your comments, thoughts, questions, etc. directly on our Google Voice account, which you can call and leave a message for us at (925) 526-5763, which may be even easier to remember at (925) 5-bnl-pod. Just call, leave us a voice mail and we'll add those to the show and respond directly. An »
- Brad Brevet
A lot of our favorite genre films are categorized explicitly as horror. Films like Halloween or Friday the 13th fit pretty neatly under the horror heading. However, there are a lot of quality horror titles that are more readily classified as science fiction or thriller than horror. There are myriad reasons why films with obvious horror overtones are marketed and classified as something other than horror: horror pictures often do lower box office number than sci-fi and thriller films; also, horror titles generally appeal to more of a niche audience, so studios appear to favor leveraging the thriller or science fiction elements of a film in order to attempt to interest a larger audience.
In the name of appropriate classification and equitable marketing practices we are spotlighting five films that aren’t always explicitly categorized as horror but we fondly regard as such.
One of the greatest films of its kind, »
- Tyler Doupe
Despite competition from Doctor Who, the fantasy saga's latest instalment enjoyed the third biggest UK opening of 2013
• More on the UK box office
• Donald Sutherland: 'I want Hunger Games to stir up a revolution'
It always looked to be one of the most anticipated films of the year, and so it has proved. The Hunger Games: Catching Fire opened in the UK with a mighty £12.19m, including Wednesday midnight and Thursday takings of £2.07m. That compares with £4.90m (including £431,000 in Thursday midnight previews) for the original Hunger Games. Comparing like-for-like Friday to Sunday figures, Catching Fire is 126% up on The Hunger Games, rising from £4.47m to £10.12m.
Including previews, the biggest openings of 2013 are Despicable Me 2 with £14.82m and Iron Man 3 (£13.71m); Catching Fire takes third place. Going strictly by Friday to Sunday takings, the biggest openings »
- Charles Gant
Spanish arthouse distributor-exhibitor Golem Cinemas has won the Best Entrepreneur of the year nod awarded during their annual confab by the EU-backed Europa Cinemas network of exhibitors which support European pics.
The Europa Cinemas confab, held Nov. 21-24 in Athens, also picked Pawel Pawlikowski’s pluriprized “Ida” for the Euro exhibs’ “Coup de Coeur” prize.
Golem Cinemas, which is based in Madrid and the northern city of Pamplona, owns 35 screens at seven movie theatres, ranging from upscale multiplexes to its flagship Alphaville arthouse in central Madrid.
Despite Spain’s economic woes, the company, co-headed by Josetxo Moreno and Pedro Zaratiegui, has been dogged in its determination to persevere, actually increasing its acquisitions, as a risk-spreading strategy, rather than cutting back. Golem’s current lineup includes high-profile Euro-produced pics including Asghar Farhadi’s “The Past,” Bertrand Tavernier’s “Quai d’Orsay,” and Michael Haneke docu-feature “Michael H. Profession: Director.”
The Kino Artis loop in Talinn, »
- Nick Vivarelli
The Americanization of Fertility: Scott’s Sterile Remake a Stale Venture
With Delivery Man, which is a remake of his 2011 French Canadian hit, Starbuck, director Ken Scott joins an elite group of filmmakers, such as Michael Haneke and George Sluizer, who have taken on the responsibility of directing English language remakes of their own prolific titles. Though these carbon copies, while even from the same authorial voices, are often subpar when compared to the first film, it often seems a protective and intriguing gesture. But even for those unfamiliar with Scott’s first film, which was just as ridiculous but managed to muster a reasonable amount of hangdog charm to coast by, there’s an unmistakable taste of canned inspiration at the center here, a tired formula that lazily regurgitates itself into the ill-fitting dress of the Hollywood star system.
David Wozniak (Vince Vaughn) is one of those loveable underachievers »
- Nicholas Bell
From Hitchcock's "Psycho" to Siegel and McGehee's "The Deep End," cinema loves its messed up mother-son relationships. But rarely are they handled with the mastery of Calin Peter Netzer's tale of smotherly love "Child's Pose," Romania's submission to the 2014 Academy Awards and also one of the country's strongest films in a surprising, prosperous New Wave of films by Cristian Mungiu and Cristi Puiu. Add Netzer to that list. Luminita Gheorghiu plays Cornelia, a wealthy, weathered, swilling matriarch who manipulates her entire family. Especially her son Barbu (Bogdan Dumitrache) who, after a hit-and-run, is about to undergo criminal prosecution for the manslaughter of a child. All wringing hands and cold calculation, Gheorghiu's is the sort of iconic performance that would get more plaudits if this weren't such a crowded year of other iconic performances. She has worked with Puiu and Mungiu before, as well as Michael Haneke, and once again »
- Ryan Lattanzio
After Lucia (Spanish: Después de Lucía), 2012.
Directed by Michel Franco.
After the tragic death of his wife, a father and his daughter move to Mexico City looking for a fresh start only to find that starting over can be complicated when so much has been left behind.
For around the first 45 minutes of After Lucia, the film is a quiet, straightforward examination of a father and daughter dealing with the after-effects of his wife/her mother Lucia’s death in a car accident. You’d be forgiven for thinking it’ll continue this way to the end – the film is tenderly titled ‘After Lucia’, after all. The father starts getting his life in order, daughter Alejandra (Ale) finds a welcoming group of friends at her new school; Ale even finds a potential new love, »
- Gary Collinson
Although there’s no “Pardon Our Dust” sign adorning the Academy of Motion Picture Arts and Sciences’ Wilshire Boulevard headquarters, even the casual observer will have noticed that the Academy has spent the past few years engaged in an extensive and seemingly endless home-improvement project.
And nowhere have Oscar’s renovations been more extensive than in the foreign-language film competition, where both the nominating and voting protocols have been extensively overhauled, with more changes possibly in the offing.
The latest and most significant foreign-language rule change, announced in spring and to be implemented this Oscar cycle, abolishes the longstanding requirement that Academy members have to see all five nominated films in a theatrical setting in order to cast ballots in that category. While that rule theoretically created a level playing field among the nominees (which might include a box office behemoth like “Amelie” alongside the relatively unknown Bosnian import “No »
- Scott Foundas
Above: The music video for "Suit & Tie".
Justin Timberlake's "Suit & Tie" video—which premiered online way back in February—is part retro menswear fantasy, part razzle-dazzle tech demo. Directed by David Fincher and photographed by Matthew Libatique, "Suit & Tie" was the first widely-seen work to have been shot on Red's Epic Monochrome, a sensor that only images in black & white.
The Monochrome isn't the first dedicated black & white sensor. Sweden's Ikonoskop introduced one—called, no joke, the A-Cam dll Panchromatic Carl Th. Dreyer Edition—last year. The Monochrome does, however, have the distinction of being 5K—about as high-end as you can get. It represents the cutting edge of anachronism.
Last year, the Academy Award for Best Picture went to a black & white film—The Artist. Additionally, at least five major 2012 arthouse releases were in black & white: Hong Sang-soo's The Day He Arrives, Guy Maddin’s Keyhole, Béla Tarr's The Turin Horse, »
- Ignatiy Vishnevetsky
Another grab-bag of Netflix picks from the various territories around the world showcases the eclectic nature of the acquisitions of the service. stop-motion animation from Australia, science fiction found footage from Ecuador, P.T. Anderson's "Master" case study on the culture of Scientology, cults and scoundrels, an Omnibus Horror Anthology, an overlooked American indie, and a Michael Haneke classic. Onward!...
[Read the whole post on twitchfilm.com...]
Two films about slavery in the United States have been released barely a year apart. One is by a renegade American auteur starring American actors; the other, based on a memoir, brought to the screen by a British video artist and a cast led by Brits playing American. Despite their similar subject matter, they are so vastly different in every other way that they barely deserve to be mentioned in the same sentence. However, their production, consumption by audiences, and subsequent responses raise important questions regarding contemporary society’s relationship to history.
The films in question are Quentin Tarantino’s spaghetti western revenge epic Django Unchained, which sees the titular slave join forces with a German bounty hunter to rescue Django’s wife from an evil plantation owner, and Steve McQueen’s adaptation of the Solomon Northup memoir 12 Years a Slave, which recounts the trials faced by a free black »
- Misa Shikuma
As an auteurist, Best Director, maybe even more than Best Picture, is the Oscar category that most fascinates me. The interesting thing about the category is that it tends to simultaneously be both a point of pride and shame for the Academy Awards. On the one hand, the Directors branch has done a decent job of nominating directors who push and expand the boundaries of cinema, regardless of the genre they work in and from whichever country they hail from. Directors such as Alfred Hitchcock, Federico Fellini, Stanley Kubrick, Ingmar Bergman, John Cassavetes, Francois Truffaut, David Lynch, Akira Kurosawa, and Spike Jonze have all seen recognition in this category (some multiple times) for films that received very little attention from any other branches of the Academy.
On the other hand, when it comes to actually crowning a Best Director (which is a job given to the Academy as a whole, »
- Christopher Lominac
Here's a fact of which not all awards-watchers are entirely aware: Michael Haneke hasn't won an Oscar. Neither has Francois Truffaut, nor Luis Bunuel. Pedro Almodovar has one for writing, but that's it. Ang Lee has two for directing, but nothing for “Crouching Tiger, Hidden Dragon.” And Ingmar Bergman, Federico Fellini and Akira Kurosawa each won honorary Oscars, but no competitive ones between them. At this point, some of you might be crying foul. You expressly remember Haneke accepting his Oscar only a few months ago. You've definitely seen Almodovar give two acceptance speeches. And you know your Oscar history: Fellini »
- Guy Lodge
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