1-20 of 116 items from 2017 « Prev | Next »
Wild Bunch boss and co-founder Vincent Maraval has sparked a backlash after firing off tweets perceived as homophobic upon learning that Robin Campillo’s AIDS drama “BPM ( Beats per Minute)” was chosen to represent France in the foreign-language Oscar category. Maraval had backed Michel Hazanavicius’s “Redoutable,” which had been shortlisted by France’s Oscar committee and is being sold by Wild Bunch.
A prominent but divisive figure in the French industry, Maraval has cultivated a reputation for brashness for more than a decade through splashy declarations in the press and personal clashes with French officials and institutions such as UniFrance. Reacting to an article published in “So Film” – a magazine co-owned by Wild Bunch – on the selection of “Bpm” on Tuesday, Maraval tweeted (with several spelling mistakes) that he had “the uncomfortable sensation of being f—–.”
He followed that up with another tweet saying that Campillo’s gay-themed film “turned me over,” an »
- Elsa Keslassy
Paris – Warner Bros. has signed a first-look deal with Marvelous Productions, the Paris-based outfit launched at Cannes by former top-level execs at Pathé, Romain Le Grand and Vivien Aslanian and producer Marco Pacchioni.
Under the pact, Warner Bros. will have the opportunity to board any French-language project produced or co-produced by Marvelous Productions. The agreement underscores the Hollywood studio’s aim to increase its footprint in local production with strong partners.
“We have a deep respect for the talent and professionalism of the founders of Marvelous Productions, and we are convinced of their ability to deliver quality films that have a wide appeal,” said Iris Knobloch, president of Warner Bros. France.
Le Grand and Aslanian were at the helm of Pathé for 19 years before exiting in 2016. Together, they produced and distributed many franchise-based French comedies »
- Elsa Keslassy
Brady Jandreau plays himself in Chloe Zhao’s The Rider - winner of the Grand Prix Award at the 43rd Festival of American Cinema in Deauville The Rider took the top prize, the Grand Prix Award, at the Deauville Festival of American Cinema. The second feature by Chinese-American director Chloe Zhao, this cowboy drama has received many approving reviews and previously scooped the Art Cinema Award in the Directors’ Fortnight at the Cannes Film Festival earlier in the year.
The Rider deals with a young cowboy Brady whose promising future as a top rodeo rider is suddenly jeopardised by a dreadful head injury. The clan are played by real-life family members Brady, Tim and Lilly Jandreau. Zhao met Brady before his real-life accident and developed the story out of the aftermath.
- Richard Mowe
9 September 2017 6:19 PM, PDT | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »
Zhao’s cowboy film, which took the Directors’ Fortnight prize in Cannes, won the best film prize, despite jury president and The Artist Oscar winner Michel Hazanavicius jokingly calling out La La Land.
“I fell in love with the heartland of America, which is a place that isn’t shown in the best light right now, which is unfair because these are some of the most amazing, kind and generous people I’ve ever met and I »
- Rhonda Richford
David Lowery’s “A Ghost Story” was the big winner of the 43rd Deauville American Film Festival, scooping three awards, including the Revelation prize, the Critics prize and the Special Jury Special (shared with Joshua Z. Weinstein’s “Menashe”).
Chloé Zhao’s “The Rider,” which world premiered at Cannes’s Directors Fortnight and was acquired by Sony Pictures Classics, won the Grand Prize from a jury presided by Michel Hazanavicius (“The Artist,””Redoutable”).
Hazanavicius praised “The Rider” for his “humanity and poetry” as well as its “soft political reflection.”
When picking up his award from the Revelation jury president Emmanuelle Bercot, the French actress-turned-director, Lowery paid tribute to his wife and said their relationship served as inspiration for the film.
“A Ghost Story” is supernatural drama reuniting Casey Affleck and Rooney Mara. The pair starred in Lowery’s last film, “Ain’t Them Bodies Saints,” which had also competed at Deauville. “A Ghost Story »
- Elsa Keslassy
Lineup and Pre-Festival Announcements and News
Tiff Announces Platform Lineup, Including ‘The Death of Stalin,’ ‘Euphoria,’ and ‘Brad’s Status’
Tiff Reveals Full Canadian Lineup, Including ‘Alias Grace’ Series Premiere and Restored Classics
Tiff Adds Lady Gaga Documentary & Performance to Special Events Slate
10 Toronto Film Festival Documentaries That Could Shake Up the Oscars
Tiff’s Platform Selection: How the Festival’s Buzziest Slate is Pivoting After Launching ‘Moonlight’
Tiff 2017: 12 Lgbtq Films We Can’t Wait to See »
- Indiewire Staff
Emmanuelle Devos has had a special relationship with Arnaud Desplechin from her first film, La Vie Des Morts, with him as writer/director, on to La Sentinelle (a CinéSalon tribute to Caroline Champetier), My Sex Life... Or How I Got Into An Argument, Esther Kahn, Kings & Queen (Rois & Reine), and A Christmas Tale (Un Conte De Noël).
I met with Emmanuelle Devos at the French Institute Alliance Française (CinéSalon's Enigmatic Emmanuelle Devos) in New York for a conversation on Frédéric Mermoud's Moka, based on the novel by Tatiana de Rosnay in which she stars opposite Nathalie Baye with David Clavel, Olivier Chantreau, Diane Rouxel, and Samuel Labarthe.
- Anne-Katrin Titze
Deauville jury president Michel Hazanavicius: 'I’m a big fan of the ‘rebel’ cinema from the 1950s' Photo: Richard Mowe
He said: “The period between 1921 and 1927 provided many masterpieces but the thrillers from the Thirties are amazing, the Westerns from the Forties gave the movies a whole new strand while I’m a big fan of the ‘rebel’ cinema from the 1950s.
“The big strength of American cinema is the fact that over the decades the blockbusters have always been accompanied by a strong independent sector - B movies or even Z movies.”
Who better then than Hazanavicius to head up as president the jury at the 43rd edition of Deauville’s Festival of American Cinema which opened last night with »
- Richard Mowe
The official line-up for the 2017 BFI London Film Festival has been revealed. The programme was announced at the Odeon Leicester Square in London this morning. Alexander Payne’s Downsizing has been named as one of the headline galas at the festival following a bow at Venice and Toronto.
Also amongst the line-up are Film Stars Don’t Die in Liverpool, with Annette Bening and Jamie Bell; Saul Dibb’s Journey’s End, Yorgis Lanthimos’ Cannes-fave The Killing of a Sacred Deer and also Last Flag Flying from Richard Linklater.
- Paul Heath
Social division and immigration are set to be “hot topics” at the 61st BFI London Film Festival, according to festival director Clare Stewart. Announcing the lineup for the festival’s 2017 edition Thursday, Stewart said: “In these globally tumultuous times, filmmakers around the world have increasingly urgent stories to tell and more reasons than ever to reimagine our reality.”
Revealing the 242-film lineup, Stewart highlighted examples of films throughout the program that deal variously with issues of social division and immigration in modern society. These include Alexander Payne’s “Downsizing” (pictured), which just opened the Venice Film Festival and which receives its U.K. premiere with a Headline Gala in London; Palestinian official competition title “Wajib”; documentary competition title “Chauka, Please Tell Us the Time,” about life in an offshore detention center; first feature “Most Beautiful Island,” about a Spanish refugee in New York; and Martin McDonagh’s closing-night film, “Three Billboards Outside Ebbing, Missouri, »
- Robert Mitchell
“The Rider,” which world premiered at Cannes’ Directors Fortnight and nabbed the Art Cinema Award, centers on a young cowboy who embarks on a road trip across America after suffering a near fatal head injury.
“Mary” stars a Chris Evans as a single man raising his child prodigy niece who is drawn into a custody battle with his mother.
Several competition films deal with race relations in America. Daryl Wein’s “Blueprint,” for instance, centers around a young Black man in South »
- Elsa Keslassy
Cécile Decugis, one of the key early figures of the French New Wave, passed away June 11, according to El Watan, the French-language newspaper in Algeria. The news only started to spread throughout the film world when fellow editor and protege Mary Stephens paid tribute to the Decugis in a Facebook post.
At the dawn of the New Wave in 1957, Decugis edited a young Francois Truffaut’s short film “Les Mistons,” which is largely credited as being the first film in which Truffaut found his cinematic voice and being a key early short of the film movement that would dominate international cinema in the ’60s.
- Chris O'Falt
It takes a certain amount of brass ones to make a movie about a still living, and active, cinema legend. However, “The Artist” director Michel Hazanavicius had no fears taking on Jean-Luc Godard in “Le Redoubtable.” The film premiered earlier this year to mixed notices at Cannes (we thought it was a harmless bit of fun), and now it’s making way to theaters where cinephiles will certainly be intrigued.
Continue reading New ‘Le Redoubtable’ Trailer Provides Another Colorful Look At The Life Of Jean-Luc Godard at The Playlist. »
- Kevin Jagernauth
The 34th edition of the Jerusalem Film Festival kicked-off on Thursday night with an open-air screening of Michel Hazanavicius’s Jean-Luc Godard comedy Redoubtable and a stripped down opening ceremony aimed at keeping the spotlight on cinema.
Jff’s opening nights in the Sultan’s Pool amphitheatre in the shadow of the Old City walls have been politically-charged in recent years, thanks mainly to the presence of Israel’s controversial Culture Minister Miri Regev.
The former Israeli Defence Force spokeswoman’s views on how cultural funding should be redistributed away from the traditional cultural hubs of cities like Tel Aviv and not be meted out to works criticising the country have made her deeply unpopular within the country’s left-leaning cinema world.
Jeers for Regev
There were no politicians on stage on Thursday evening apart from the city’s mayor Nir Barkat, who handed »
“It’s the Little Red Book / That makes it all move”
On the tail end of his lauded New Wave period, seminal filmmaker Jean-Luc Godard began to move towards a new realm of cinema, best exemplified by his 1967 political feature, “La Chinioise,” a woozy and modern take on Fyodor Dostoyevsky’s 1872 novel “The Possessed” that married some of the auteur’s signature obsessions — from tracking shots to a star turn from Jean-Pierre Léaud — with a new bent towards political motivations.
Godard continued to traffic in such films for the next decade, spurned by his infamous desire to spend his time “making political films politically,” and “La Chinoise” was followed by offerings like “Le Gai Savoir” and “Tout Va Bien,” which continued to share Godard’s constantly evolving vision of both the world and his films with an enthralled audience.
- Kate Erbland
Two topless female protesters from the feminist group Femen interrupted a concert by Woody Allen and his New Orleans Jazz Band, who were playing their first concert in Germany in six years Tuesday evening.
Targeting Allen for his alleged abuse of adopted daughter Dylan Farrow, the women stormed the stage about 20 minutes into the show at the Elbphilharmonie, the glittering new concert hall in Hamburg. The woman ran about on stage wearing flowers in their hair and with messages scrawled on their bodies – quotes from Farrow’s 2014 open letter detailing Allen’s alleged abuse, according to Femen’s Facebook page. The protesters were met with loud boos from the audience before they were finally escorted out by the hall’s personnel.
Following the show, activists outside the Elbphilharmonie handed out leaflets explaining that they had not sought “to spoil the evening” but rather “to give the victims of sexual violence a voice,” according »
- Ed Meza
Jerusalem Film Festival is set to expand its industry program with Think Fest, a three-day initiative bringing together dozens of international film festival directors, programmers, organizers and staffers.
The inaugural edition of Think Fest will run July 13-15 and will host several panels discussing issues affecting the film festival world.
“The program was designed based upon topics raised by the participants and organizers; the strong attendance of so many film festival professionals will undoubtedly result in a passionate and stimulating debate,” stated Jerusalem Film Festival.
The first panel will discuss the impact of digital services on film festivals with Frederic Boyer, the artistic director of Tribeca, Anna Hoffmann, the forum program manager of Berlin Film Festival, and Mirsad Purivatra, the director and co-founder of Sarajevo Film Festival.
The role of film festival within the changing landscape of arthouse film distribution will be debated during the second roundtable with Bero Beyer, the »
- Elsa Keslassy
Cannes competition title Loveless wins best international film.
Films by Andrey Zvyagintsev, Pedro Pinho and Tom Lass were among the winners at the 35th Filmfest München which came to a close on Saturday evening with a gala awards ceremony before the German premiere of Lone Scherfig’s Their Finest with actor Bill Nighy and producer Stephen Woolley in attendance.
The €50,000 Arri/Osram award for the best international film in the CineMasters sidebar went to Zvyagintsev’s Cannes competition film Loveless which opened in Russian cinemas through Wdssr on June 1 and will be released in Germany by Wild Bunch.
Producers Alexander Rodnyansky and Serguey Melkumov accepted the award in Munich from the hands of the international jury comprising German director Valeska Grisebach (whose latest feature Western premiered in Cannes’ Un Certain Regard in May), producer Markus Zimmer, and actress Nastassja Kinski.
This is the second time Zvyagintsev received the Munich award after his previous feature Leviathan had won »
- email@example.com (Martin Blaney)
After world premiering at Cannes, Sofia Coppola’s “The Beguiled,” François Ozon’s “The Double Lover” and the Safdie brothers’ “Good Time” will compete at the 34th Jerusalem Film Festival, which is set to take place July 13-23.
The fest’s international competition lineup also includes Lav Diaz’s “The Woman Who Left,” Stéphane Brizé’s “A Woman’s Life,” Valeska Grisebach’s “Western,” Hong Sang-soo’s “On the Beach at Night Alone,” Nana Ekvtimishvili and Simon Gross’s “My Happy Family,” Mohammad Rasoulof’s “A Man of Integrity,” Fellipe Gamarano Barbosa’s Cannes Critics’ Week title “Gabriel and The Mountain,” Călin Peter Netzer’s “Ana, Mon Amour” and Ferenc Török’s “1945.”
The Israeli film competition section is made up of seven movies which will vie for 11 prizes, including the Haggiag Award for Best Feature. The pics set to compete are Ofir Raul Graizer’s “The Cakemaker,” a daring drama about a young German baker who infiltrates »
- Elsa Keslassy
'Good Time' with Robert Pattinson: All but completely bypassed at the Cannes Film Festival, Ben and Joshua Safdie's crime thriller – co-written by Joshua Safdie and Ronald Bronstein – may turn out to be a key contender in various categories next awards season. Bypassed Palme d'Or contenders (See previous post re: Cannes winners Diane Kruger & Sofia Coppola's Oscar chances.) The Cannes Film Festival has historically been both U.S.- and eurocentric. In other words, filmmaking from other countries in the Americas, Africa, Asia, and the Pacific tend to be ignored either at the awards ceremony or at the very outset – in other words, they don't even get the chance to compete for the Palme d'Or. This year was no different, with a mere two non-u.S., non-European productions (or co-productions) among the 19 films in the Official Competition: Naomi Kawase's Japanese romantic drama Radiance and Hong Sang-soo's South Korean romantic drama The Day After. Both came out empty-handed. Among the other movies that failed to win any of the Official Competition awards, several may have a shot in some category or other come Oscar time. Notably: The socially conscious family drama Happy End, produced by veteran Margaret Ménégoz (Pauline at the Beach, Europa Europa) and a Sony Pictures Classics release in North America. Dir.: Michael Haneke. Cast: Isabelle Huppert. Jean-Louis Trintignant. Mathieu Kassovitz. The mix of time-bending mystery and family drama Wonderstruck, a Roadside Attractions / Amazon Studios release (on Oct. 20) in the U.S. Dir.: Todd Haynes. Cast: Julianne Moore. Millicent Simmonds. Cory Michael Smith. The crime drama Good Time, an A24 release (on Aug. 11) in the U.S. Dir.: Ben and Joshua Safdie. Cast: Robert Pattinson. Jennifer Jason Leigh. Barkhad Abdi. Cannes non-win doesn't mean weaker Oscar chances It's good to remember that the lack of a Cannes Film Festival win doesn't necessarily reduce a film's, a director's, a screenwriter's, or a performer's Oscar chances. Case in point: last year's Cannes Best Actress “loser” Isabelle Huppert for Elle. Here are a few other recent examples of Cannes non-winners in specific categories that went on to receive Oscar nods: Carol (2015), Best Actress (Cate Blanchett) nominee. Two Days, One Night / Deux jours, une nuit (2014), Best Actress (Marion Cotillard) nominee. The Great Beauty / La grande bellezza (2013), Best Foreign Language Film winner. The Hunt / Jagten (2012), Best Foreign Language Film nominee (at the 2013 Academy Awards). The Artist (2011), Best Picture and Best Director (Michel Hazanavicius) Oscar winner. And here's a special case: Amour leading lady and 2012 Best Actress Oscar nominee Emmanuelle Riva could not have won the Best Actress Award at Cannes, as current festival rules prevent Palme d'Or winners from taking home any other Official Competition awards. In other words, Isabelle Huppert (again), Julianne Moore, and Robert Pattinson – and their respective films – could theoretically remain strong Oscar contenders despite the absence of Cannes Film Festival Official Competition victories. Mohammad Rasoulof and Leslie Caron among other notable Cannes winners Besides those already mentioned in this article, notable winners at the 2017 Cannes Film Festival include: Mohammad Rasoulof's A Man of Integrity. Having infuriated Iran's theocracy, in 2010 Rasoulof was sentenced to a year in prison following accusations of “filming without a permit.” He has been out on bail. In 2011, Rasoulof won the Un Certain Regard sidebar's Best Director Award for Goodbye. Two years later, his Un Certain Regard entry Manuscripts Don't Burn won the International Film Critics' Fipresci Prize. Veteran Leslie Caron and her 17-year-old pet rescue dog Tchi Tchi shared the Palm DogManitarian Award for their work in the British television series The Durrells in Corfu / The Durrells. Caron, who will be turning 86 on July 1, made her film debut in Vincente Minnelli's 1951 musical An American in Paris – that year's Best Picture Academy Award winner. She would be shortlisted twice for the Best Actress Oscar: Lili (1953) and The L-Shaped Room (1963). Last year, she was the subject of Larry Weinstein's documentary Leslie Caron: The Reluctant Star and will next be seen in Thomas Brunot's short The Perfect Age. Faces Places / Visages, villages, which offers a tour of the French countryside, won Cannes' Golden Eye Award for Best Documentary. The directors are veteran Agnès Varda (Cléo from 5 to 7, Vagabond), who turned 89 on May 30, and photographer/muralist Jr. Faces Places is supposed to be Varda's swan song, following a career spanning more than six decades. Her 2008 César-winning documentary The Beaches of Agnès was one of the 15 semi-finalists for the Best Documentary Feature Oscar. See below a comprehensive list of the 2017 Cannes Film Festival winners. Leslie Caron in 'The Durrells in Corfu.' TV series a.k.a. 'The Durrells' earned the veteran two-time Best Actress Oscar nominee ('Lili,' 1953; 'The L-Shaped Room,' 1963) and her dog companion Tchi Tchi this year's Palm DogManitarian Award at the Cannes Film Festival. 2017 Cannes Film Festival winners Official Competition Palme d'Or: The Square (dir.: Ruben Östlund). Grand Prix: 120 Beats per Minute (dir.: Robin Campillo). Jury Prize: Loveless (dir.: Andrey Zvyagintsev). Best Screenplay (tie): The Killing of a Sacred Deer, Yorgos Lanthimos & Efthymis Filippou. You Were Never Really Here, Lynne Ramsay. Best Actress: Diane Kruger, In the Fade. Best Actor: Joaquin Phoenix, You Were Never Really Here. Best Director: Sofia Coppola, The Beguiled. Best Short Film: A Gentle Night (dir.: Qiu Yang). Short Film Special Mention: Katto (dir.: Teppo Airaksinen). Un Certain Regard Un Certain Regard Award: A Man of Integrity (dir.: Mohammad Rasoulof). Jury Prize: April's Daughter / Las hijas de abril (dir.: Michel Franco). Best Director: Taylor Sheridan, Wind River. Best Actress / Best Performance: Jasmine Trinca, Fortunata. Prize for Best Poetic Narrative: Barbara (dir.: Mathieu Amalric). International Film Critics' Fipresci Prize Official Competition: 120 Beats per Minute. Un Certain Regard: Closeness (dir.: Kantemir Balagov). Directors' Fortnight: The Nothing Factory / A Fábrica de Nada (dir.: Pedro Pinho). Directors' Fortnight / Quinzaine des Réalisateurs Prix Sacd (Société des Auteurs Compositeurs Dramatiques) (tie): Lover for a Day / L'amant d'un jour (dir.: Philippe Garrel). Let the Sunshine In / Un beau soleil intérieur (dir.: Claire Denis). C.I.C.A.E. Art Cinema Award: The Rider (dir.: Chloe Zhao). Europa Cinemas Label: A Ciambra (dir.: Jonas Carpignano). Prix Illy for Best Short Film: Back to Genoa City / Retour à Genoa City (dir.: Benoît Grimalt). Critics' Week Grand Prize: Makala (dir.: Emmanuel Gras). Visionary Award: Gabriel and the Mountain / Gabriel e a Montanha (dir.: Fellipe Barbosa). Gan Foundation Award for Distribution: Version Originale Condor, French distributor of Gabriel and the Mountain. Sacd Award: Léa Mysius, Ava. Discovery Award for Best Short Film: Los desheredados (dir.: Laura Ferrés). Canal+ Award for Best Short Film: The Best Fireworks Ever / Najpienkniejsze Fajerwerki Ever (dir.: Aleksandra Terpinska). Other Cannes Film Festival 2017 Awards 70th Anniversary prize: Nicole Kidman. Caméra d'Or for Best First Film: Montparnasse Bienvenue / Jeune femme (dir.: Léonor Serraille). Golden Eye Award for Best Documentary: Faces Places / Visages, Villages (dir.: Agnès Varda, Jr). Prize of the Ecumenical Jury: Radiance (dir.: Naomi Kawase). Queer Palm: 120 Beats per Minute. Queer Palm for Best Short Film: Islands / Les îles (dir.: Yann Gonzalez). Cannes Soundtrack Award for Best Composer: Daniel Lopatin, Good Time. Vulcan Prize for Artist Technicians: Josefin Åsberg, The Square. Kering Women in Motion Award: Isabelle Huppert. Palm Dog: Einstein the Dog for The Meyerowitz Stories (New and Selected). Palm DogManitarian Award: Leslie Caron and the dog Tchi Tchi for The Durrells in Corfu. Chopard Trophy for Male/Female Revelation: George MacKay and Anya Taylor-Joy. This article was originally published at Alt Film Guide (http://www.altfg.com/). »
- Steph Mont.
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