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A film that was highly anticipated and did not go unnoticed, shared with Lynne Ramsay’s You Were Never Really Here, this was the press conference arrival for Best Screenplay winning The Killing of a Sacred Deer by Greek helmer Yorgos Lanthimos.
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- Eric Lavallée
Producers are usually eager to get their films into prestigious film festivals as quickly as possible, so they can start getting distribution locked down, or push awards season campaigns. This spring at Cannes, both Lynne Ramsay’s “You Were Never Really Here” and Ruben Ostlund’s “The Square” screened in unfinished versions. In fact, Ramsay’s film was so fresh, it didn’t even have end credits ready for the festival.
- Kevin Jagernauth
“The Dark Tower” is finally arriving in theaters after decades in development. Reports surfaced earlier this week that test screenings for the Stephen King adaptation were so awful that Sony Pictures considered replacing director Nikolaj Arcel and bringing in someone new to oversee post-production and turn the film around.
Read More‘The Dark Tower’ Tested So Poorly That Sony Considered Replacing Director
Unfortunately, news like this is becoming all too familiar in the age of studio-driven tentpoles. More and more, executives have the final call, not directors, and it’s leading to one production nightmare after another. As the studios become the driving forces behind blockbusters, directors’ voices continue to be stifled. No wonder the likes of Darren Aronofsky, Terry Gilliam, and Lynne Ramsay have all struggled in the studio system. Below is a rundown of the 9 most troubled film productions of the 21st century (so far).
“The Bourne Identity” (2002)
Nobody expected “The Bourne Identity” to become a worldwide hit and a franchise-starting success story, especially not director Doug Liman and screenwriter Tony Gilroy. The production was living hell from day one as Universal and Liman became mortal enemies. The studio hated Liman’s slow pacing for the film and his execution of small-scale, intimate action scenes (which led to certain set pieces being entirely re-shot so they could be more fast-paced). Liman was forced into filming re-shoots, which raised the budget by $8 million to the $60 million mark. Gilroy was delivering script re-writes throughout the entirety of filming as Universal kept scrapping scenes. Other points of contention included the studio forcing Liman to set some of the film in Paris in order to keep the budget down and Liman’s demand for using a French-speaking crew.
“The Brothers Grimm” (2005)
Terry Gilliam needed a hit after the box office failure of his passion project “Fear and Loathing in Las Vegas,” and that pressure kept him away from the big screen for seven years. He finally decided to return with “The Brothers Grimm,” a fairy tale blockbuster from MGM and Dimension. Problems started when MGM dropped out after struggling to raise the necessary budget. The movie went into production with an $80 million price tag, but Gilliam always knew a movie of this scale required a budget upwards of $120 million. He ended up in a tense relationship with the Weinstein brothers, who took control of the film away from Gilliam and fired his cinematographer and regular collaborator Nicola Pecorini after six weeks. Things got so bad that filming was shut down for two weeks. Gilliam ended up finishing the project and has admitted the final version is the result of two competing visions and neither winning.
“Fantastic Four” (2015)
“Fantastic Four” was released in theaters on August 7, but it was not the version director Josh Trank had cut, nor was it the one actors Miles Teller, Michael B. Jordan, Toby Kebbell, Kate Mara, and Jamie Bell signed up to make. Trank had originally pitched his movie as a superhero spin on a David Cronenberg body horror film, but this darker version was not what 20th Century Fox ended up wanting. The studio believed the movie hewed too close to Trank’s own “Chronicle” than a superhero tentpole.
Producers Hutch Parker and Simon Kinberg rewrote Trank’s original script and gave the film a different ending during filming. Fox still didn’t like Trank’s theatrical cut, so they began making changes to certain scenes and omitting entire set pieces without Trank’s knowledge. The director bashed the film on Twitter when it was released, claiming it was entirely different than the version he originally cut. Only later was it revealed that the poor relationship between the studio and the director led the latter to completely shut down on set. Trank reportedly trashed some of the sets and appeared intoxicated during filming. The film never recovered and was a box office flop.
“The Fountain” (2006)
It was only inevitable that a movie as ambitiously conceived as Darren Aronofsky’s “The Fountain” was going to have production troubles. The director originally planned to kick off filming in summer 2002 with Brad Pitt and Cate Blanchett, but Warner Bros. got nervous over the budget and threatened to drop out if a co-financier wasn’t found. Aronofsky brought in Regency Enterprises and a start date was set for October 2002 with a $70 million budget. It would have been smooth sailing, but Pitt wanted script revisions and left the movie just seven weeks before production was set to begin. Warner Bros. dropped the film and expensive sets and props had to be auctioned off. Aronofsky remained committed to the film and rewrote it from the ground up in order for it to be made on the cheap. His revision did the trick. Warner Bros. returned and signed on to make the movie for $35 million.
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- Zack Sharf
Cassandra Carias also joins business affairs team.
Madden previously worked at Warner Bros, Intermedia and Miramax before he joined Kudos as head of film in 2011. His credits include Spooks: The Greater Good, the Sherlock Holmes franchise, Magicians and upcoming BBC1 mini-series Gunpowder. The search for candidates was carried out by recruitment firm Mission Bay.
Cassandra Carias has been appointed head of finance, where she replaces Harry Dixon, who left in March to join House Productions. Starting in August, she is currently head of legal and business affairs at eOne Features.
She previously worked at Harbottle and Lewis for 14 years, rising from trainee to senior associate. She also had an 18-month secondment to Working Title Films. She has worked on Eye in the Sky, Les Miserables »
- email@example.com (Orlando Parfitt)
Madden has worked in film and television in both the indie sector and studio system. His past stints have been at Warner Bros., Intermedia, Miramax, and Kudos, where he was head of film. His movie credits include “Spooks: The Greater Good,” based on the British TV show, and Warner Bros.’ Sherlock Holmes franchise, starring Robert Downey, Jr.
Madden said in a statement that joining Film4 “was too good an opportunity to pass up. I’ve had a creative crush on Film4’s output from my earliest days in the business, and it will be a real privilege to be involved »
- Henry Chu
Sundance broke out Dee Rees’ post-World War II epic “Mudbound,” a script of sweeping ambition and detail adapted by Rees and Virgil Williams from the Hilary Jordan novel. Netflix picked up the movie for the Sundance 2017 record of $12.5 million, and plans a full-on Oscar campaign, despite a limited theatrical day-and-date release.
Also rising to instant Oscar contention was Luca Guadagnino’s “Call Me By Your Name,” an elegiac summer love story set in Italy, between a vacationing teenager (Timothee Chalumet) and his father’s researcher (Armie Hammer). Sony Pictures Classics will hit the fall festivals with the critics’ darling.
Cannes introduced Todd Haynes’ cinematic tour-de-force “Wonderstruck,” adapted by Brian Selznick from his own graphic novel, which intercuts two periods, the 20s and the 70s, in silent black-and-white and color with sound. The film is the Centerpiece gala at the New York Film Festival.
- Anne Thompson
Foreplays is a column that explores under-known short films by renowned directors. Lynn Ramsay's Gasman (1998) is free to watch below.Lynne Ramsay’s Gasman is a film about family, and a film made with family—the director’s own brother and niece play, respectively, the central father and daughter in the story. Two siblings, Lynne (Lynne Ramsay Jr.) and Steve (Martin Anderson), go to a Christmas party with their father (James Ramsay), while the mother (Denise Flannagan) remains at home. They briefly meet with a woman (Jackie Quinn) and her two kids (Lisa Taylor, Robert McEwan). The woman leaves, but her children join the party. Gasman is the story both of a perfectly banal evening, and of an exceptional event that serves to fracture the family unit, messing up all its usual roles, and dissolving the very idea of what is familiar. Ramsay achieves this by never losing sight either of the everyday, »
It was barely four months ago that director Barry Jenkins stood alongside the baffled cast and crew of “Moonlight” at the Dolby Theatre after defying virtually every known Oscar convention in spectacular, immortal fashion. But just eight short weeks from now, the season will purr right back to life at the Venice and Telluride film festivals. Hollywood will set its sights on that coveted gold statuette for the 90th time, and a new flock of prestige productions will vie for the industry’s top honor.
New York-based distributor A24’s victory brought the best picture tally for independents (and studio dependents) up to nine over the past decade. The only major studio to score in that stretch was Warner Bros. with “Argo,” as the game of Oscar continues to be one of bolstering the financial outlook of artistic risks that conglomerate-tethered companies feel they can’t afford. A glance at the horizon this year reveals a healthy »
- Kristopher Tapley
London-born director Asif Kapadia is known for his “true fiction” documentaries: 2010’s groundbreaking Senna, about the Formula One icon Ayrton Senna; and Amy, on the short life of Amy Winehouse, which won the Oscar for best documentary feature in 2016. He is currently working on a film about another troubled genius, Diego Maradona. Before factual films, Kapadia made narrative dramas. His first feature, The Warrior, will be screened this summer as part of a Bafta Debuts tour, which showcases a handful of Bafta-winning debut films from leading British directors, such as Lynne Ramsay, Andrea Arnold and Steve McQueen.
The Warrior won two Baftas – for best debut and for outstanding British film in 2003 – but it’s been seen less than some of your other films. Do you think it stands the test of time? »
- Tim Lewis
The year is half over and Oscar voters need to catch up on their homework. There have been many worthwhile films in the first six months of 2017, including “Get Out” from writer-director Jordan Peele (Universal, Blumhouse); “Logan,” the dark, tender neo-Western from director James Mangold (Fox); and the sumptuous mega-hit “Beauty and the Beast” (director Bill Condon, Disney).
A few years ago, these would have been extreme longshots, at best. But there have been changes in Academy voters and their tastes. Recent winners including “Moonlight,” “Mad Max: Fury Road” and “Ex Machina” prove that voters are redefining what is considered “Oscar bait.” The blurred definition is a challenge to awards strategists, but good news for hopefuls.
Oscars: 13 Deserving Contenders From 2017 So Far
The January-June period has seen many other films with Oscar potential in various categories; see the accompanying reminders by Variety colleagues Kris Tapley and Jenelle Riley. And, needless to say, other contenders will be covered a lot before the March 4, 2018, Oscar ceremony.
Diversity has been a key theme. This year, several films directed by women could be in the mix, including Sofia Coppola’s “The Beguiled” (Focus Features), Patty Jenkins’ “Wonder Woman” (Warner Bros.), and Aisling Walsh’s “Maudie” (Sony Pictures Classics). Still to come are works from Kathryn Bigelow (Annapurna’s much-buzzed “Detroit”), Dee Rees (Netflix’s “Mudbound”); Margaret Betts (Sony Classics’ “Novitiate”) and Angelina Jolie (Netflix’s “First They Killed My Father: A Daughter of Cambodia Remembers”).
There are also upcoming works from international filmmakers like Sebastian Lelio, Alfonso Gomez-Rijon, Michael Gracey, Yorgos Lanthimos and Taika Waititi. They will join veterans including Guillermo del Toro, Alexander Payne, Stephen Frears, Richard Linklater, Steven Spielberg, George Clooney, Darren Aronofsky and Paul Thomas Anderson.
Here are month-by-month opening dates, followed by a list of films that made a splash at the year’s film festivals so far. And the upcoming festivals will also add a few twists to the Oscar race.
The director and stars are listed for purpose of jogging readers’ memories; it’s not a matter of handicapping, since it’s pointless to make predictions about films that have not been widely seen.
August: “Detroit” (Kathryn Bigelow; John Boyega; Annapurna); “Logan Lucky” (Steven Soderbergh; Channing Tatum, Daniel Craig; Bleecker Street); “Patty Cake$” (Geremy Jasper; Danielle Macdonald; Searchlight); “Wind River” (Taylor Sheridan; Elizabeth Olsen; The Weinstein Co.).
September: “American Made” (Doug Liman; Tom Cruise; Universal); “Battle of the Sexes” (Jonathan Dayton & Valerie Faris; Emma Stone, Steve Carell; Fox Searchlight); “First They Killed My Father” (Angelina Jolie; Netflix); “Victoria and Abdul” (Stephen Frears; Judi Dench; Focus).
The Best Films of 2017 (So Far)
October: “Blade Runner 2049” (Denis Villeneuve; Ryan Gosling, Harrison Ford; WB); “Breathe” (Andy Serkis; Andrew Garfield; Bleecker Street, Participant); “Goodbye Christopher Robin” (Simon Curtis; Domhnall Gleeson, Margot Robbie; Searchlight); “Marshall” (Reginald Hudlin; with Chadwick Boseman as Thurgood Marshall; Open Road); “Mother!” (Darren Aronofsky; Jennifer Lawrence; Paramount); “The Mountain Between Us” (Hany Abu-Assad; Idris Elba, Kate Winslet; Fox); “Thank You for Your Service” (Jason Hall; Miles Teller; Universal)
November: “Darkest Hour” (Joe Wright; Gary Oldman; Focus); “Last Flag Flying” (Richard Linklater; Bryan Cranston; Amazon); “The Man Who Invented Christmas” (Bharat Nalluri; Dan Stevens; Bleecker Street); “Mary Magdalene” (Garth Davis; Rooney Mara, Joaquin Phoenix; TWC); “Murder on the Orient Express” (Kenneth Branagh; Johnny Depp; Fox); “Suburbicon” (George Clooney; Matt Damon; Paramount); “Thor: Ragnarok” (Taika Waititi; Chris Hemsworth; Disney, Marvel Studios); “Three Billboards Outside Ebbing, Missouri” (Martin McDonagh; Frances McDormand; Searchlight).
December: “The Greatest Showman” (Michael Gracey; Hugh Jackman; Fox); “The Current War” (Alfonso Gomez-Rijon; Benedict Cumberbatch, Michael Shannon; TWC); “Downsizing” (Alexander Payne; Matt Damon, Laura Dern; Paramount); “The Papers” (Steven Spielberg; Tom Hanks, Meryl Streep; Fox, Amblin); “The Shape of Water” (Guillermo del Toro; Sally Hawkins, Octavia Spencer; Searchlight); “Star Wars: The Last Jedi” (Rian Johnson; Disney, Lucasfilm); “Phantom Thread” (Paul Thomas Anderson; Daniel Day-Lewis; Focus); “Wonder Wheel” (Woody Allen; James Belushi, Kate Winslet; Amazon).
And some of the festival hits so far this year:
Sundance: “The Big Sick,” (Michael Showalter; Kumail Nanjiani, Ray Romano, Holly Hunter; Amazon, Lionsgate); “Call Me By Your Name” (Luca Guadagnino; Armie Hammer (Sony Pictures Classics); “The Hero” (Brett Haley; Sam Elliott; The Orchard); Also: “Mudbound” and “Wind River.”
Berlin: “The Lost City of Z” (James Gray; Charlie Hunnam; Amazon, Bleecker Street); “Final Portrait” (Stanley Tucci; Geoffrey Rush; Sony Classics); “Maudie” (Aisling Walsh; Sally Hawkins; Sony Classics).
Cannes: “Good Time” (Safdie brothers; Robert Pattinson; A24); “You Were Never Really Here” (Lynne Ramsay; Joaquin Phoenix; Amazon); “Okja” (Bong Joon Ho; Tilda Swinton, Jake Gyllenhaal; Netflix); “The Meyerowitz Stories (New and Selected),” (Noah Baumbach; Adam Sandler, Dustin Hoffman, Ben Stiller; Netflix); “The Killing of a Sacred Deer” (Yorgos Lanthimos; Nicole Kidman, Colin Farrell; A24); “The Florida Project” (Sean Baker; Willem Dafoe; A24); “Happy End” (Michael Haneke; Isabelle Huppert; Sony Classics); “Wonderstruck” (Todd Haynes; Julianne Moore; Amazon, Roadside Attractions).
There are also plenty of great documentaries, animated movies and foreign-language films, but those are for later columns.
- Tim Gray
'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.
'120 Beats per Minute' trailer: Robin Campillo's AIDS movie features plenty of drama and a clear sociopolitical message. AIDS drama makes Pedro Almodóvar cry – but will Academy members tear up? (See previous post re: Cannes-Oscar connection.) In case France submits it to the 2018 Best Foreign Language Film Oscar, screenwriter-director Robin Campillo's AIDS drama 120 Beats per Minute / 120 battements par minute, about the Paris Act Up chapter in the early 1990s, could quite possibly land a nomination. The Grand Prix (Cannes' second prize), international film critics' Fipresci prize, and Queer Palm winner offers a couple of key ingredients that, despite its gay sex scenes, should please a not insignificant segment of the Academy membership: emotionalism and a clear sociopolitical message. When discussing the film after the presentation of the Palme d'Or, Pedro Almodóvar (and, reportedly, jury member Jessica Chastain) broke into tears. Some believed, in fact, that 120 Beats per Minute »
- Steph Mont.
Let the Sunshine InBelow you will find our favorite films of Cannes 2017, as well as a complete index of our coverage. Awardstop Picksdaniel Kasman(1) Western (2) Jeanette: The Childhood of Joan of Arc (3) Closeness (4) The Day After (5) Lover for a Day (6) The Nothing Factory (7) Before We Vanish (8) The Florida Project (9) Claire's Camera (10) Blade of the Immortal (11) Good Time (12) Farpões, baldios (13) I Am Not a Witch (14) You Were Never Really Here (15) Napalm (?) Let the Sunshine InLAWRENCE Garcia(1) The Square (2) 120 Beats Per Minute (3) Closeness (4) Good Time (5) 24 Frames (6) You Were Never Really Here (7) Let the Sunshine In (8) The Summit (9)Western (10) I Am Not a WitchKURT Walker(1) Let the Sunshine In (2) Twin Peaks, S03E01 & S03E02 (3) Radiance (5) I Am Not a Witch (5) The Beguiled and Closeness***Coveragedaniel KASMANLoveless (Andrey Zvyagintsev)Wonderstruck (Todd Haynes)Western (Valeska Grisebach)Blade of the Immortal (Takashi Miike)Lover for a Day (Philippe Garrel)Claire's Camera (Hong Sang-soo)The Day »
Returning to the A.V. Club office after almost two weeks in the trenches of Cannes, film editor A.A. Dowd sits down with staff writer Ignatiy Vishnevetsky to talk about the best (and, as luck would have it, last) film he saw at the world’s most important film festival: You Were Never Really Here, a nightmarish noir thriller directed by Lynne Ramsay (Morvern Callar, We Need To Talk About Kevin) that casts a bulked-up Joaquin Phoenix in the unlikely role of a brutal hired gun.
Watch the full episode of Film Club below:
- A.A. Dowd, Ignatiy Vishnevetsky
Writer/Director Amanda Kernell sits down to chat with us here at Cinelinx about her directorial debut, Sami Blood, which has been making waves on the festival circuit.
Sami Blood plaits a rarely evoked time (1930’s), place (Sweden), and story into the screen. Elle-Marja, a young Sámi girl, with a toughness seemingly axiom to her people, desires something new for herself after she’s exposed to the racism (including a racial biology exam) pressed upon her at boarding school. She flees her reindeer herding responsibilities in hopes of assimilating into the Urban Swedish way found in Uppsala. Is there a price to be paid? A betrayal to pay for? Is she liberated, or is she still anchored by her past?
Writer/Director Amanda Kernell was kind enough to lend me her time on these and other questions in regards to her directorial debut Sami Blood, which won her her the »
- firstname.lastname@example.org (Aaron Hunt)
Editor’s Note: This article is presented in partnership with FilmStruck. The exclusive streaming home for The Criterion Collection, FilmStruck features the largest streaming library of contemporary and classic arthouse, indie, foreign and cult films as well as extensive bonus content, filmmaker interviews and rare footage. Learn more here.
There are so many remarkable things about the success of Barry Jenkins’ “Moonlight,” a Best Picture winner that was a low-budget indie, featured gay protagonists, and was directed by an African American. Yet for all of its boundary breaking, the most radical thing about “Moonlight” often goes unnoticed: Jenkins is the first major, American Academy Award-winning director whose film lineage is distinctly non-American.
Auteurs like Martin Scorsese and Francis Ford Coppola – and the generation of filmmakers who walked in their footsteps – were heavily influenced by European art cinema, but defined their careers by striking a balance between Hollywood traditions and arthouse freedoms. »
- Chris O'Falt
By Matt Hoffman
Director/writer Lynne Ramsay takes home Best Screenplay while Phoenix wins Best Actor for their stunning work. In her few feature films, Scottish director Lynne Ramsay has taken various approaches to explore grieving. Her 2002 film Morvern Callar examined a woman’s life dramatically altered by the suicide of her boyfriend. Her 2011 follow-up, We Need to […]
- Matt Hoffman
Jessica Chastain criticized the inadequate representation of women in film as a jurist for the 2017 Cannes Film Festival. Chastain gave her remarks during a press conference following the festival's final ceremony.
"This is the first time I've watched 20 films in 10 days, and I love movies, and the one thing I really took away from this experience is how the world views women from the female characters that I saw represented," Chastain said. "It was quite disturbing to me, to be honest. There are some exceptions, I will say. But for »
Cannes 2017 has come to a close and, happily, honored several female directors, writers, and performers. While the 70th edition of the fest has been consistently marked with sexism onscreen and off, it’s heartening to see women like Nicole Kidman, Sofia Coppola, Lynne Ramsay, and Agnès Varda be celebrated for their work. They were among the honorees selected by the festival jury, which included Jessica Chastain, Maren Ade, Fan Bingbing, and Agnès Jaoui.
Kidman took home a specially created 70th Anniversary prize. The Oscar winner had four projects at Cannes this year: Coppola’s Civil War-era gothic “The Beguiled,” Jane Campion’s series “Top of the Lake: China Girl,” the alien comedy-romance “How to Talk to Girls at Parties,” and the mystery “The Killing of a Sacred Deer.” This definitely seems to be the actress’ year and her victory at Cannes could mean good things to come at the Emmys and Oscars.
Coppola was named Best Director for her work on “The Beguiled,” the first woman to win the award in 50 years. The feminist reimagining of 1971 Clint Eastwood drama sees Coppola reuniting with her “Marie Antoinette” and “Virgin Suicides” star Kirsten Dunst as well as Elle Fanning, who toplined Coppola’s “Somewhere.” “Toni Erdmann” helmer Maren Ade accepted the award on Coppola’s behalf and read her thank-you speech. Coppola paid tribute to her family and Campion, the first and only woman to ever win the Palme d’Or, for being such a great role model for other female directors.
Ramsay is the first solo woman to win the screenwriting prize. The writer-director won for her “You Were Never Really Here” screenplay. The film centers on a veteran and former FBI agent turned hired vigilante (Joaquin Phoenix) trying to save a young woman (Ekaterina Samsonov) from a sex trafficking ring. Ramsay tied with “The Killing of a Sacred Deer’s” Yorgos Lanthimos and Efthymis Filippou for the honor.
Varda and graffiti artist and photographer Jr were honored with the Golden Eye (L’Oeil d’Or) prize for their documentary “Faces, Places” (“Visages, Villages”), per The Hollywood Reporter. The doc follows Varda and Jr as they make their way through rural France, photographing and interviewing the people they encounter. As they awarded the duo, the jury said they were “deeply moved” by the film, describing it as “delicate and generous.” The directors received €5,000 ($5,590 Usd) as part of the prize.
Among the other female Cannes honorees are Diane Kruger, who was named Best Actress for her “In the Fade” performance, and Chloe Zhao, who took home the Directors’ Fortnight Art Cinema Award for “The Rider,” a portrait of a Lakota cowboy.
The full list of Cannes 2017’s female award winners is below. Adapted from ScreenDaily and two THR reports.
Diane Kruger (“In the Fade”)
Best Screenplay (Tie)
“Jeune Femme” (Léonor Sérraille)
70th Anniversary Prize
“Faces, Places” (Agnès Varda and Jr)
Art Cinema Award (Directors’ Fortnight)
Sacd Award (Tie)
“Lover for a Day” (Philippe Garrel)
Cannes 2017: Nicole Kidman, Sofia Coppola, & More Take Home Awards was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »
- Rachel Montpelier
With all the scores now collected, it’s a dead heat on this year’s grid.
The final results have now been counted for the 2017 edition of Screen’s Cannes jury grid, which aggregates ratings for all of the films in the festival’s competition…and there’s a tie for first place.
The films matched each other’s total of five maximum four-star scores, though they were both hampered by one-star ratings from Julien Gester and Didier Peron.
When compared with last year’s Cannes jury grid, the two films would have placed third, behind Paterson »
- email@example.com (Tom Grater)
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