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Paris — Critics Week is getting ready to launch Next Step, a mentoring program for 10 directors whose short films were selected at last year’s Cannes sidebar.
Organized in partnership with TorinoFilmLab and backed by the national film board Cnc, the five-day program will welcome Jonas Carpignano (“A Cambria”) from Italy, Carlos Conceicao (“Goodnight Cinderella”) from Portugal, Gaëlle Denis from the U.K. (“Crocodile”), Una Gunjak (“The Chicken”) from Bosnia, Gerardo Herrero (“Safari”) from Spain, Laurie Lassalle (“I Made My Own Course Down the Passive Rivers”) from France, Rémi Saint-Michel (“Little Brother”) from Canada, Gitanjali Rao (“TrueLoveStory”) from India and Tomasz Siwinski (“A Blue Room”) from Poland.
The directors will be coached by a broad range of industryites, including screenwriters, directors, producers and acquisition/sales execs, to get a sense of market trends and develop their projects on the right track.
The eight consultants who will participate in the workshop are Marie Amachoukeli, »
- Elsa Keslassy
Um, did Terrence Malick go off and channel David Cronenberg or Gaspar Noé or is the "Knight of Cups" trailer just an amazing bit of marking? We've been waiting a while for this one and, well, it sure as hell looks like it was worth the wait. The film was announced this morning as a 2015 Berlinale premiere, and a new synopsis has come along as well. To wit: "Once there was a young prince whose father, the king of the East, sent him down into Egypt to find a pearl. But when the prince arrived, the people poured him a cup. Drinking it, he forgot he was the son of a king, forgot about the pearl and fell into a deep sleep. Rick’s father used to read this story to him as a boy. The road to the East stretches out before him. Will he set forth?" Er, Ok. »
- Kristopher Tapley
Chicago – December has seen the release of two different Comedy Central shows finally arriving to DVD, “Broad City” and “Kroll Show.” Expressing their comedy in different formats, these shows from rising comedians Abbi Jacobson & Ilana Glazer (“Broad City”) and Nick Kroll (“Kroll Show”) introduce a cable channel’s audience to new talent, while nonetheless presenting a distinct contrast in creativity.
“Broad City: Season 1”
Executive produced by Amy Poehler, “Broad City” is a buddy comedy that settles for trying to own stale jokes, instead of tackling pot, potty, and penis humor with an ambition of reinvention. The series has a distinct inspiration from the urban Millenial hustle, but uses devices like crummy jobs and rare fancy dinners for flat followthrough; when Ilana and Abbi treat themselves to ritzy seafood for Abbi’s birthday, of course the shenanigans involve a secret shellfish allergy (as in season finale “The Last Supper”). Side »
- email@example.com (Adam Fendelman)
On Thursday, the official title and cast of Bond 24 will be revealed during an event on the 007 stage at Pinewood Studios, but us journalists are an impatient bunch, so it’s hardly surprising that the rumor mill continues to churn with regard to actors who may or may not have roles in the upcoming spy thriller. Recently, two intriguing rumors began making the rounds online, from Deadline and The Mirror.
Nancy Tartaglione of Deadline reports, “I’ve also heard that Monica Bellucci may be in the mix.” The acclaimed Italian actress appeared in The Matrix Reloaded, The Passion of the Christ and Don’t Look Back, but her most famous role may be in the brutal Gaspar Noé mystery thriller Irréversible. No details on her role, but it doesn’t take much to guess that Bellucci would be playing a Bond Girl – and honestly, given her long-held status as »
- Isaac Feldberg
In a rare masterclass, delivered Tuesday at Buenos Aires’ Ventana Sur, Thierry Fremaux talked of opening up Cannes, his love of Argentina, taking Cannes – and its films – to the world, “Welcome to New York’s” Cannes launch, and his banning red carpet selfies.
Talking in fluent Spanish – Fremaux has lived in Argentina – to a Sro audience in Buenos Aires, Fremaux said he’d didn’t want to give away too many ideas about where he’d like to take Cannes in the future. But in a far-ranging masterclass, laced with his hallmark humor and audience engagement, the head of the Cannes Festival hinted at least at ways forward for the world’s most important festival.
“When Gilles called me he said: ‘I’m also interested in having new tastes at Cannes.’” The largest narrative of Fremaux’s tenure – co-selecting with Gilles Jacob over 2001-03 as artistic director, selecting from 2004 and »
- John Hopewell
Nb: this article contains language and violent video footage which may be considered Nsfw.
Gun battles. Car chases. Explosions. All stuff we've seen in action films before, so what can be done to freshen it up and make it seem new? Enter Hardcore, a sci-fi action film with the first-person viewpoint and demented pace of a videogame.
It's the work-in-progress from Russian filmmaker Ilya Naishuller. You might remember a superbly-shot video that appeared on YouTube last year, which saw an anonymous hero involved in car chases, fights and gun battles - all viewed from his point-of-view. Although intended as a music video for his band Biting Elbows, the film itself got the lion's share of the attention, with over 40m views and praise from director Timur Bekmambetov. If you've never seen it before, you can watch it here. »
The latest issue of video magazine The Seventh Art talks to Atom Egoyan, Joe Berlinger, Evan Calder Williams, and Force Majeure director Ruben Östlund (see above for a 10 minute teaser for that interview). For his blog, David Bordwell shares further observations on Jean-Luc Godard's Adieu au langage:
"As far as I can tell, Godard hasn’t used the converging-lens method to create 3D during shooting. Instead of “toeing-in” his cameras, he set them so that the lenses are strictly parallel. He and his Dp Fabrice Aragno apparently relied on software to generate the startling 3D we see onscreen.
This reminds me that postproduction has long been a central aspect of Godard’s creative process. Of course he creates marvelous shots while filming, but ever since Breathless (À bout de souffle, 1960), when he yanked out frames from the middle of his shots, he has always made post-shooting work more than simply trimming and polishing. »
Oh boy, what will Lars von Trier say about this? A promotional poster has debuted online for a project in the works by controversial Argentinian director Gaspar Noé, who last challenged audiences with the ambitious film Enter the Void. This time he's going all out sex, in a film called Love that seems to be inspired by Lars von Trier's Nymphomaniac meets Abdellatif Kechiche's Blue is the Warmest Color. Described as a "sexual melodrama" about a boy, and two girls, the film "celebrates sex in a joyous way." But of course, it shouldn't be celebrated any other way! It's a very enticing, raunchy design, I wouldn't expect anything less from Noé. Here's the almost Nsfw poster for Gaspar Noé's Love, which almost sort of debuted out of nowhere today: The one-line synopsis for the project is: "A sexual melodrama about a boy and a girl and another girl. »
- Alex Billington
There's still surprisingly little information available for Irreversible and Enter The Void director Gaspar Noe's upcoming Love - a film the director says will "give guys a hard-on and make girls cry" - but with production reportedly under way since June the first artwork has arrived in advance of the American Film Market. And, yeah, it's about what you'd expect from Noe ... Take a look below....
[Read the whole post on twitchfilm.com...]
★★☆☆☆ Agnès B is a created idea from the imagination of Agnès Andrée Marguerite Troublé. Known to the world as a fashion designer she has always held a candle for what the French call the Seventh Art. After embracing cinema and its more errant enfant terrible auteurs, she has made the final leap and created her own feature film: My Name Is Hmmm (2013). She has long been associated with cinema, from an early tee-shirt that read: "J'aime le cinema" to the use of her clothing in films such as Tarantino's Pulp Fiction (1994), where Uma Thurman's character Mia Wallace is seen wearing an iconic Agnès B white shirt. Co-founder of Harmony Korine's production company O'Salvation, the cinematic world has known and loved her for her support of visionary filmmakers like Claire Denis and Gaspar Noé.
- CineVue UK
For some, movies are occasionally too violent, vulgar or plain boring to sit through. Ryan recalls some memorable cinema walk-outs...
For better or worse, there’s nothing quite like watching a movie in the cinema. There’s the sense that you’re all sharing a new experience. The feeling of expectancy when a movie the whole audience has been looking forward to seeing unfolds on the screen. The enjoyment of laughing in unison at a golden comic moment.
On the flip side, there’s the uniquely unpleasant sensation of a person behind you kicking the back of your seat. Or the horrendous human being who can’t resist checking his phone for the duration of a movie, meaning you end up having to ignore an eerie blue glow emanating from the corner of your eye for about 120 minutes.
Memories like these, whether good or bad, are all part of the cinema-going experience, »
Back in 2011, The Playlist ran a Halloween-inspired feature on must-see foreign language horror films. This writer fought hard for the inclusion of “Calvaire (The Ordeal)” from burgeoning Belgian genre filmmaker Fabrice Du Welz. The film achieved a very specific kind of notoriety in being lumped in with the New French Extremity, a term coined by Artforum critic James Quandt. He used the name as a pejorative to describe what appeared to be a new wave of highly transgressive works by French directors—Gaspar Noé, Alexandre Aja, and Catherine Breillat, to name only a few—starting in the late 90s and bleeding profusely into the aughts. Despite not being French, Du Welz made the team, so to speak, and “Calvaire” officially put the then 31-year-old stalwart genre aficionado on the map for fans of a certain kind of upsetting and, well, extreme cinematic experience. Yet time passed, as it does, and after his eventual 2008 follow-up, »
- Erik McClanahan
Top brass at the festival, set to run from September 24-October 8, have announced the selections in Focus Mexico.
The films are as follows:
The Obscure Spring (Las Oscuras Primaveras)
Manuela Jankovic’s War (La Guerra De Manuela Jankovic)
The Absent (Los Ausentes)
The Well (Manto Acuífero)
The Amazing Catfish (Los Insólitos Peces Gato)
The Empty Hours (Las Horas Muertas)
Words With Gods (Palabras Con Dioses)
- firstname.lastname@example.org (Jeremy Kay)
Each week HeyUGuys will take a primary focus on the site. This could be a genre of movie, an aspect of the industry, a specific person or part of the movie making process we want to explore further. This week our focus is the divisive issue of film censorship. We began yesterday with a debate of the necessity of the BBFC, and today Beth Webb explains the censorial milestones we have passed. Tomorrow Cai Ross lists the scenes which caused the censors a headache and on Friday we’ll be looking forward to the future of film censorship.
Since 1912 the British Board of Film Censors has been standardising films for its audiences, sifting through the obscene, the violent and the suggestive to ensure that movies receive the classification seen fit. Today, as part of our Film Censorship week, take a look at some of the landmarks in both the British »
- Beth Webb
The Universal Soldier films are a strange case of life imitating art. Much like how series protagonist Luc Deveraux is killed in action then resurrected into something post-human, Universal was a pretty standard 90s action film which crashed and burned when it came to sequels, but became something unique and beautiful when it was reanimated for the straight to DVD market.
It’s a hushed secret among genre fans, but Universal Solder 3 and 4 (or possibly 5 and 6, it’s complicated) are some of the most remarkable action sci-fi films of the 21st century so far. Yes, really. I actually watched the series backwards when I first saw them, after being blown away by Universal Solder Day Of Reckoning and deciding to work my way back, and Roland Emmerich’s perfectly acceptable 1992 blockbuster »
Like artful movie posters, opening title sequences have been largely cast aside by an increasingly stats-obsessed studio system that cares little for the long and storied cinematic tradition. Sure, there are a few that still practice and revere the art —hello David Fincher and Edgar Wright— but if a credit sequence is made at all, it’s bumped to the end, as is the case with most blockbusters. A short documentary, “The Film Before The Film,” has been making the rounds online and it serves as both an introduction to and a welcome reminder of the power of opening credits. At just under twelve minutes, the short by Nora Thös and Damian Pérez takes the viewer from Thomas Edison‘s utilitarian use of a text board in 1897 to show his company’s name and copyright note through to Saul Bass’ iconic work and finally ending with Gaspar Noe’s infamous »
- Cain Rodriguez
As obsessed with bodily fluids as it is with social awkwardness, The Inbetweeners, be it on TV or the big screen, determinedly sets out to make viewers laugh until a bit of lung comes out. And with The Inbetweeners 2 now taking the boys, ahem, down under for more sexual shenanigans in Australia, the gross-out levels are set to soar (or plummet, depending on your viewpoint).
But making audiences squint, wince and fight their gag reflexes has always been a part of cinema. Sometimes it's done for belly laughs (Cameron Diaz styling her hair with Ben Stiller's homemade gel in There's Something About Mary), sometimes to elicit feelings of shock or revulsion (Ray Liotta forced to dine on his own brain in Hannibal). And sometimes it does all of the above at once (an army of zombies being cut to dripping ribbons with a lawnmower in Peter Jackson's splatstick horror »
The Chilean film Hidden in the Woods gained a bit of noteriaty upon its release a couple years back. It was described as "The bastard child of a Ruggero Deodato/Sam Peckinpah/Gaspar Noé pile-up gestated in the loins of Roberta Findlay" and "a deranged frenzy". An English language remake was quickly put into the works, actually being announced a few weeks prior to the original’s North American premiere at Fantasia Fest 2012. That film was produced by Michael Biehn and Jennifer Blanc, with Biehn also taking a lead role. Following in the footsteps of such directors as Michael Haneke and Takashi Shimizu, Patricio Valladares once again took the director’s chair.
The plot has remained unchanged. Hidden in the Woods tells the story of Two sisters, who have been raised in isolation, subjected to the torment of their abusive, drug dealing father. When they finally decide to report him to the police, »
- Chris Connors
Distributors in the Us, UK and Germany have bought Drown, an Australian drama which its director Dean Francis describes as confronting and controversial. Adapted from Stephen Davis. play which prompted walk outs when it was staged by the Queensland Theatre Company, the film centres on three surf lifesavers whose big night out is marred by jealousy, homophobic fears, unrequited lust and violence.
The night culminates in a tragic, booze-fuelled episode of bullying. There is a graphic gay sex scene, says Francis, who does not want to speculate on the likely film classification.
The international sales agent, London-based High Point Films & TV, showed a work-in-progress to potential buyers at the Cannes Film Market.
German distributor Salzgeber quickly signed a deal and is planning a national cinema release. Subsequently Strand Releasing bought the rights for the Us, where it will have a niche theatrical release, and Peccadillo Pictures, which specialises in art house, »
- Don Groves
As an Oscar-nominated A-lister, Ryan Gosling pretty much had carte blanche to make anything he wanted for his first feature, and for all its flaws, Lost River has a go-for-broke swagger about it as the writer/director cobbles together an ode to some of his favorite filmmakers. The works of Nicolas Winding Refn (whose Drive and Only God Forgives he previously starred in), Gaspar Noé and David Lynch all inevitably come to mind over the course of his grimy urban fable, and silly though the story may be, there’s little denying the florid style on display. Set in a never-dingier Detroit, River tracks Bones (Gosling lookalike Iain De Caestecker) as he scours the abandoned homes in his neighborhood for copper to strip and sell, occasionally running afoul of the tyrannical Bully (Matt Smith, mostly loud) in his efforts to help single mom Billy (Christina Hendricks) support him and his brother. It »
- William Goss
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