1-20 of 621 items from 2013 « Prev | Next »
Filmmakers including Michael Haneke, Jane Campion and Ken Loach are celebrating victory today after film was officially removed from thee table at the Us-eu trade talks. The talks, kicking off at the G8 summit in County Fermanagh, will now maintain the Cultural Exception which states that film has special status and cannot be treated like other trade goods.
The Trans-Atlantic Trade and Investment Partnership is considered massively important in revitalising Western economies and creating jobs, but Us domination of the film industry could have threatened the survival of small European production houses. Crucially, the Us accepted that film plays an important role in national identity, but the decision follows weeks of fierce negotiation during which France threatened to veto the talks altogether unless the Exception was maintained. It is not yet known if the Us will ask for concessions in another industry in return. »
- Jennie Kermode
Annecy – The more things change, as they say in France…
Twenty years after France fought a near-lone battle to preserve limitations on American pop culture, Gaul has done it again.
During 13 hours of negotiations at an European Union meeting in Luxembourg on Friday, E.U. trade ministers capitulated to the insistence of French trade minister Nicole Bricq (pictured) that cultural goods should be excluded from the forthcoming U.S.-E.U. trade negotiations.
The talks are aimed at freeing up commerce between the world’s two biggest trading partners.
The E.U. decided that audiovisual (i.e., films, TV and music) will not be part of the trade agreement talks. This means European countries can still limit imports of American fare. Hollywood doesn’t lose exactly, because these rules have been in place. But Hollywood doesn’t gain, because the studios could have significantly increased their B.O. take if these rules were dropped. »
- John Hopewell
The films of Ulrich Seidl – including the latest, Paradise: Love – show human behaviour in unsparing and explicit close-up. The aim, he says, is for the viewers to see themselves
Any old auteur can knock out a trilogy but it takes a special kind of genius to make one by accident. This is the position in which the 60-year-old Austrian filmmaker Ulrich Seidl finds himself. He receives me on a rainy afternoon in the Vienna office of his production company. Finger snacks of psychedelic hues (bright purple cabbage, unidentified pistachio-green paste) are spread out before us. A chintzy lamp dangling above us melts the food until the toppings start creeping off the bread; a signed portrait of Erich Von Stroheim looks on magisterially from the wall. Seidl himself is dressed head to toe in black: black waistcoat over a black shirt, black trousers, black shoes. His spiky-fluffy brown hair and bristly beard are speckled with silver. »
- Ryan Gilbey
★★★☆☆ The inaugural part of Austrian provocateur Ulrich Seidl's Paradise trilogy (with all three films receiving staggered releases in the coming months), Paradise: Love (Paradies: Liebe, 2012) is a bitter first dose of squirm-inducing realism. Focusing on one rotund holiday-goer's adventures as a sex tourist on the Kenyan coast, Seidl certainly doesn't shy away from the controversial, exploring themes of racial exploitation and societal injustice within a beach community bloated by its own troubling contradictions. Thankfully, this first entry still somehow manages to remain as enthralling as it is excruciating, despite its languid pace.
Known on the glistening white beaches of Kenya's coastlines as 'sugar mamas', numerous predatory European women have made a habit of embarking on sex tourist vacations, seeking out the attentions of young African men who sell love (well, sex) in order to earn a living and provide for their dependants. Fifty-year-old Austrian single mother Teresa (an oddly »
- CineVue UK
Lotta love in the room Tuesday night at the Museum of the Moving Image in New York for Sony Classics co-chiefs Tom Bernard and Michael Barker, recipients of Momi’s first annual Envision Award, and who were roasted, but not to the point of combustion. “They hold a record,” their arch-rival Focus CEO James Schamus began, and paused …. was he going to mention Bernard-Barker’s 135 career Academy nominations? A list of filmmakers that includes Woody Allen, Pedro Almodovar, Michael Haneke and Asghar Farhadi? Their taste? Their balls? Their good looks?No -- “For flying the largest number of Oscar nominees in coach.”The Sony boys notorious frugality came in for a few potshots, but so did their devotion to filmmakers they believe in. “I’m really happy to be here,” said Norman Jewison, “considering how much money I lost these guys,” referring to “The Statement” of 2003 (“I guess Americans weren »
- John Anderson
★★★☆☆ The films of Michael Haneke are often so steeped in ambiguity and intrigue that the very idea of shedding light on the methods of the Austrian auteur is an intrinsically tantalising proposition. While the theories on the films themselves espoused by Yves Montmayeur's portrait won't be novel to those familiar with Haneke's oeuvre, the on-set footage of the man at work is endlessly fascinating, revealing a typically meticulous artist, but also a supportive patriarch with an unexpected propensity for laughter and hugging. Montmayeur's intimacy with Haneke is Michael H. Profession: Director's (2013) greatest asset.
The director is predictably cagey about interpreting his own work, but he trusts Montmayeur enough to discuss the broader context of the films and, most importantly, to shoot him at work. The documentary is primarily interested in the professional life of Haneke. While we do get the occasional anecdote about his private life - including a »
- CineVue UK
Sony Pictures Home Entertainment will bring Michael Haneke‘s Academy Award-winning drama Amour (2012) to the small screen August 20, 2013. The film, which also won the Palm d’Or at the 2013 Cannes Film Festival, stars Emmanuelle Riva and Jean-Louis Trintignant as an elderly couple challenged by illness and age who continue to love through [...]
Continue reading: Home Entertainment News: June 11, 2013: Amour, Charlie Countryman »
- Romney J. Baldwin
During an intense evening presentation, the Filmmuseum Austria has presented a new book about Michael Haneke called "Haneke über Haneke" ("Haneke on Haneke"). The book comes out in German via Alexander Verlag. Originally published in France Haneke On Haneke is presented as a long discussion with the director of films like The White Ribbon and Caché. Michel Cieutat and Philippe Rouyer lead the interview and the book does not hide being inspired heavily by the famous interview of François Truffaut and Alfred Hitchcock. All of Haneke's films are discussed in detail, including his Oscar-winning Amour, while also offering some rare insight into the private life of one of the most accomplished directors in modern cinema. Haneke himself also appeared at the Filmmuseum and discussed many...
[Read the whole post on twitchfilm.com...]
In The Fall, a police officer was shot dead in the back of the head in front of his son. In Coronation Street, Karl threw Sunita down the Rovers Return cellar steps and left her to burn to death while he escaped and then tried to pin the blame for the the fire on her, the monster. In Broadchurch, unacceptably, lovely Olivia Colman as DS Miller discovered during the murder investigation that that her dull, new-mannish husband was a homicidal paedophile. In The Village, set in Derbyshire circa 1914, John Simm wore a flat cap and a frown for hours, while Maxine Peake's pursed lips said: "Tripe me no skrikings, ain't our lives miserable?" Or however downtrodden rustics talked in »
- Stuart Jeffries
Blu-ray & DVD Release Date: Aug. 20, 2013
Price: DVD $30.99, Blu-ray $35.99
The movie focuses on an elderly couple in Paris, Anne (Emmanuelle Riva, Can’t Say No) and Georges (Jean-Louis Trintignant, Le combat dans l’île), who are retired music teachers with a daughter (Isabelle Huppert, Special Treatment), who lives abroad. One day, Anne suffers a stroke which paralyzes her on one side of her body, and the couple’s enduring bond of love is severely test.
Amour was one of the most critically acclaimed films of the past year, winning the Golden Globe, BAFTA and Independent Spirit Award for Best Foreign Language film along with it’s Oscar victory. Other Academy Award nominations also included Best Achievement in Directing and Best Original Screenplay for Haneke, »
The Austrian director's latest is a tale of an African sex vacation, with at least one scene likely to provoke audience walk-outs
John Waters has said of Paradise: Love's Austrian director, "Fassbinder died, so God gave us Ulrich Seidl," and he's right, up to a point. Like his beady-eyed and bloated Bavarian forebear, the svelte Seidl favours agonising deadpan gazes at ugliness and exploitative behaviour, favours "faces that startle rather than soothe" (Waters again), and concurs with Fassbinder's claim that "love is … the most insidious, most effective instrument of social repression".
Love is certainly strange in Paradise: Love, the tale of Teresa, an overweight Austrian woman who takes an African sex vacation and finds herself chasing one Kenyan beach stud after another in a steady downward spiral of delusion and self-hatred. Relations operate on mutually parasitic terms – exploitation runs both ways – and Teresa finds neither the sex she thought she was after, »
- John Patterson
Directed by: James DeMonaco
Running Time: 1 hr 25 mins
Release Date: June 7, 2013
Plot: A security system salesman in 2022 America (Hawke) must protect his family when a group of people come knocking on his door during a government-sanctioned 12-hour killing spree.
Who’S It For? If you come to The Purge thinking you’d consider pocketing a bag of chips from Cvs during the movie’s title event, don’t bother. However, as much as it irks me to say this, if the idea of violence during a purge sounds like correct catharsis, this movie is for you.
Expectations: Only having heard the concept, I was definitely intrigued. What could be made of this simple pitch with endless possibilities?
- Nick Allen
Director: Yves Montmayeur
Running Time: 92 Minutes
Michael Haneke, you either love him or hate him. In fact, some people downright despise him, well his films at least, as Haneke is a directors that constantly challenges the audience and forces them to confront their greatest fears. Michael H. – Profession Director is an in-depth portrait of the German director responsible for such cinematic classics as Funny Games, The White Ribbon, Cache, and Amour.
The film is playfully structured, running from Haneke’s most recent project (Amour) and working its way backwards through his filmography. In many ways it shows Haneke’s evolution in reverse, but it’s an incredible watch as the film starts with Haneke stating that he doesn’t like to discuss his films too much, but then shows him being a lot more receptive to the idea. »
- Luke Ryan Baldock
High-profile delegation heads to Strasbourg to defend ‘cultural exception’.
A high-profile industry delegation, including actress Berenice Bejo (The Artist, The Past) and Oscar and Palme d’Or-winning director Costa-Gavras, will travel to the European Parliament in Strasbourg next Tuesday [June 11] to defend the exclusion of cultural and audiovisual services, including online services, from upcoming EU-us trade talks.
The European Parliament recently voted in favour of the exclusion but the European Commission will make its final decision on June 14.
The group will host a press conference to update on the state of negotiations three days before the Foreign Affairs Council meets in Dublin, at which EU trade ministers will agree the negotiation mandate for the EU-us free-trade talks, which are due to take place later this year.
Among the 6,200 industry to sign a petition calling on cultural and audiovisual services to be excepted »
- firstname.lastname@example.org (Andreas Wiseman)
Some films you watch. Others you live. In Ulrich Seidl's films you suffer. You suffer and laugh, and laugh and suffer, until tears pour from your eyes, until out from laughter arises guilt. Guilt for having suffered. Guilt for having laughed. And only then, when you emerge from the guilt, wipe the film from your eyes, do you realize that the naïve 200-pound quinquagenarian Austrian sex-tourist on holiday in Kenya is none other then yourself, if not your sister or perhaps mother. Only then does the comfort of guilt morph into the vexation of shame as you understand that the buffoon you saw on the screen was wearing what turned out to be your face for a mask.
But don’t say you weren’t forewarned. The ballsy and shameless opening scene of Paradise: Love, »
Madrid — Proving there is still an arthouse market in Spain, however contracted in size, Golem has tied down Spanish rights to Ari Folman’s Cannes Directors’ Fortnight opener “The Congress,” Bertrand Tavernier’s upcoming “Quai d’Orsay” and Michael Haneke docu-feature “Michael H. Profession: Director.”
Deals add to already announced pacts struck at Cannes on two competition titles: Ashgar Farhardi’s Memento Films Intl.-sold “The Past,” for which Berenice Bejo took best actress, and Jia Zhangke’s best screenplay winner “A Touch of Sin,” sold by MK2 Intl.
Before the festival, Golem acquired a trio of Cannes titles from Wild Bunch: Hirokazu Kore-eda’s family drama “Like Father, Like Son,” which nabbed Cannes’ jury prize; another competition player, Francois Ozon’s “Young & Beautiful,” which has sold out for Wild Bunch worldwide; and Claire Denis’ Un Certain Regard player “The Bastards.”
Repped by The Match Factory, and five years in the making, »
- John Hopewell
James DeMonaco's violent thriller is set in a future America, where the New Pilgrim Fathers have brought a drastic reduction in crime rates by introducing an annual "purge" from 7pm to 7am one day each year. During those 12 hours, you can commit any crime, including rape and murder, with impunity, but is it good, old-fashioned catharsis or an excuse to practise genocide on minorities or euthanasia on the poor who are unprotected?
The film begins with smug Ethan Hawke returning to his family mansion, on the eve of lockdown for the Purge Night of 21 March 2020. We know he, his wife and two children are going to be in mortal danger because he's paid for his extension with money made from selling security systems that cater for everything except "the worst-case scenario".
The tension is well sustained and the film is an effective, predictable cross between Assault on Precinct 13 »
- Philip French
Alex van Warmerdam's Borgman slipped in and out of Cannes 2013 under our radar, but Drafthouse Films honed in on the disturbing and apparently utterly unique flick, snapping it for North America and including it in the "Drafthouse Alliance." Read on for more details along with a new still.
From the Press Release:
Drafthouse Films, the film distribution arm of the Alamo Drafthouse Cinema, announced the acquisition of North American rights to the bizarro domestic thriller Borgman from this year's Cannes Film Festival. Directed by award-winning auteur Alex van Warmerdam (Grimm, Abel), Borgman is the first Dutch film in Cannes competition in almost 40 years. A Us theatrical and VOD/digital release is planned for 2014, and Films We Like in Toronto will handle Canadian distribution. Us fans who enroll in the "Drafthouse Alliance" subscription program can guarantee their pre-order of the film.
- The Woman In Black
I don.t know how it directly ties into my film obsessions exactly, but I love movies based in any way on cameras being used to film things. It.s why I.m a found footage apologist and what keeps films like David Lynch.s Lost Highway and Michael Haneke.s Caché and Benny.s Video stuck in my head so many years after I.ve seen them. While those films. thrills are in no way related to what I assume John Crowley.s Closed Circuit will offer, they set the precedent that gets me in the front door for a terrorism-fueled thriller, a genre of film that hits me in a different way than it used to. But even without the titular closed circuit cameras. involvement, this looks like multi-layered piece that won.t rely on any one element to excite audiences. Eric Bana and Rebecca Hall play ex-lovers »
Gotta go Borgman! Late acquisition news from Cannes that's still worth hearing about. Drafthouse Films, the film distribution arm of the Alamo Drafthouse Cinema, announced today the acquisition of North American rights to the bizarro domestic thriller Borgman, directed by Alex van Warmerdam. Drafthouse's Tim League commented on the film: "It's strange, disturbing, hysterical and utterly unique. Borgman is The quintessential Drafthouse film of Cannes. We can't wait to share it with audiences in North America." The film kept bloggers buzzing with memes like "gotta go Borgman" but didn't pick up an award at the fest. Alex van Warmerdam's Borgman, starring Jan Bijvoet, premiered early on at the 2013 Cannes Film Festival. Like Yorgos Lanthimos' Dogtooth and Michael Haneke's Funny Games, Borgman is an allegorical tale exploring the nature of evil in unexpected places. A vagrant enters the lives of an upper-class family, igniting a descent from darkly »
- Alex Billington
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