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Here Are 59 Actors Who Landed Oscar Nominations For Portraying Characters With Disabilities

10 hours ago | Thompson on Hollywood | See recent Thompson on Hollywood news »

Triumph over adversity is drama defined, and Oscar nominations often go to actors whose characters find victory over physical or mental afflictions. The earliest example goes back to 1947; that was the year that non-pro Harold Russell won Best Supporting Actor and a special award for “The Best Years of Our Lives.” Russell was a WWII veteran who lost both of his hands while making a training film. Of note: Of the 59, 27 of these nominations went on to a win. This year’s roster of stars playing afflicted characters includes Jake Gyllenhaal as bombing victim Jeff Baumer in “Stronger,” Andrew Garfield as polio survivor Robin Cavendish in “Breathe,” Bryan Cranston as a millionaire quadriplegic in “The Upside,” and Sally Hawkins in two roles, as an arthritic painter in “Maudie” and a mute lab worker in “The Shape of Water.” 

Check out Oscar’s rather astonishing legacy of afflicted contenders below.

Blind »

- Anne Thompson

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Here Are 59 Actors Who Landed Oscar Nominations For Portraying Characters With Disabilities

10 hours ago | Indiewire | See recent Indiewire news »

Triumph over adversity is drama defined, and Oscar nominations often go to actors whose characters find victory over physical or mental afflictions. The earliest example goes back to 1947; that was the year that non-pro Harold Russell won Best Supporting Actor and a special award for “The Best Years of Our Lives.” Russell was a WWII veteran who lost both of his hands while making a training film. Of note: Of the 59, 27 of these nominations went on to a win. This year’s roster of stars playing afflicted characters includes Jake Gyllenhaal as bombing victim Jeff Baumer in “Stronger,” Andrew Garfield as polio survivor Robin Cavendish in “Breathe,” Bryan Cranston as a millionaire quadriplegic in “The Upside,” and Sally Hawkins in two roles, as an arthritic painter in “Maudie” and a mute lab worker in “The Shape of Water.” 

Check out Oscar’s rather astonishing legacy of afflicted contenders below.

Blind »

- Anne Thompson

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Otd: The Whisperers, Marlee Matlin, and "The Power of Love"

24 August 2017 6:00 AM, PDT | FilmExperience | See recent FilmExperience news »

On this day (August 24th) in showbiz-related history...

1890 "Father of modern surfing" and part time movie actor Duke Kahanamoku born in Hawaii. We've written about him before. Where's his biopic?

1967 The Whisperers premieres in London. It's about an old poor woman living in solitude who is beginning to lose her grip on reality. Dame Edith Evans sterling work was instantly lauded - she won Best Actress at Berlinale and from such disparate groups as the Nyfcc, Nbr and the Golden Globes. She landed her third and final Oscar nomination in the Best Actress lineup (sadly only the winner, Guess Who's Coming to Dinner's Hepburn, was less than superb in that shortlist!). At the time Evans was the oldest Oscar nominee of all time in any acting category having just turned 80 years old. That record has since been undone but she's still the third oldest lead actress nominee after Jessica Tandy »


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Melville at 100: Playing through August 13 at Grauman’s Egyptian in L.A.

6 August 2017 5:21 PM, PDT | Sydney's Buzz | See recent Sydney's Buzz news »

Born 1917, as Jean-Pierre Grumbach, son of Alsatian Jews, Jean-Pierre adopted the name Melville as his nom de guerre in 1940 when France fell to the German Nazis and he joined the French Resistance. He kept it as his stage name when he returned to France and began making films.

Melville at 100 at the American Cinematheque in Hollywood is showcasing eight of his films made from 1949 to to 1972 to honor the 100th year since his birth.

Americn Cinemtheque’s historic Egyptian Theater in Hollywood

The American Cinematheque has grown tremendously sophisticated since its early days creating the 1960 dream of “The Two Garys” (for those who remember). Still staffed by stalwarts Barbara Smith, Gwen Deglise, Margot Gerber and Tom Harris, and with a Board of Directors of Hollywood heavy hitters, it has also been renovated by the Hollywood Foreign Press Association which has spent more than $500,000 restoring its infrastructure and repainting its famous murals. »

- Sydney Levine

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Karlovy Vary International Film Festival Celebrates Critics Choice Movies

23 June 2017 10:15 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Variety Critics Choice celebrates its 20th anniversary as a key Karlovy Vary International Film Festival section.



If you can’t trust the talking cat, whom do you trust? Such are brain-frying quandaries viewers may face deep into the darkness of this deliciously unhinged, blood-laced adult fairy tale from Swiss-Polish writer-director Greg Zglinski. Setting out with real-world levels of macabre nastiness as it wittily probes the marital faultlines between a bourgeois Viennese couple attempting a restorative Alpine getaway, the film takes a smooth, almost imperceptible left turn into David Lynch-worthy realms of illogic that will leave adventurous audiences both rapt and dazed, dreamily uncertain of where exactly they lost the plot. Unraveling this cat’s-cradle isn’t half as important or pleasurable as getting entangled in it to begin with. Zglinski’s espresso-dark humor and icy formal precision may nod to a host of expert cinematic mind-gamers, from Roman Polanski to Lars von Trier, but “Animals” gleefully cultivates its very own kind of crazy.

Guy Lodge



There’s an old saying, often attributed to Martin Mull: “Writing about music is like dancing about architecture.” In many ways first-time writer-director Kogonada’s “Columbus” treats architecture like music, as its protagonists write, talk, bicker and dance about an extraordinary collection of modernist structures in the unassuming Midwest town of Columbus, Ind. The hypnotically paced drama carried by the serendipitous odd-couple pairing of John Cho and Haley Lu Richardson is lovely and tender, marking the mono-monikered Kogonada as an auteur to watch. The relationships between each of the characters are imbued with warmth and humanity, and the filmmaking — like the city’s structures designed by the likes of Eero Saarinen and I.M. Pei — are gorgeous. In this unconventional American film, Kogonada is less interested in romance than in the characters’ overlapping and divergent worldviews and dreams, based on culture, environment, and upbringing.

— Geoff Berkshire

The Distinguished Citizen


Taciturn novelist Daniel Mantovani (Argentine star Oscar Martínez, who won the best actor prize at the Venice film festival for his performance) has an ambivalent relationship to fame: It has brought him the kind of wealth few authors can ever imagine, yet he’s concerned such success means he’s not the challenging writer he was at one time — an idea that’s amusingly conveyed in the opening scene, when he voices his fears while receiving the Nobel prize. Five years later, the Barcelona-based author remains too much in demand, politely declining most offers, until he gets a letter from his hometown of Salas, Argentina. It’s been four decades since he’s been back, despite using Salas as the setting for all his stories, and his return provides not only humor, but poignant insights into such themes as the burden of success, lost ideals, and whether artists truly give back to the communities they’ve creatively mined for decades.

— Jay Weissberg

God’s Own Country


In case it didn’t court “Brokeback Mountain” comparisons directly enough with its tale of two young sheep farmers finding love in a hopeless place, “God’s Own Country” seals the deal with one winkingly quoted shot: a work shirt draped on a wire hanger, poignantly removed from its wearer. Twelve years on, Ang Lee’s film has proven enough of a cultural milestone to merit such affectionate homage; luckily, Francis Lee’s tender, muscular Yorkshire romance has enough of an individual voice to get away with it, depicting a tentative romance between coarse English farmboy Johnny (Josh O’Connor) and the Romanian migrant worker Gheorghe (Alec Secareanu) who comes to work for the season. Intimacy doesn’t come naturally to a man who has been raised in a household where caring is expressed through work, but rather than over-exerting well-worn clichés about rural homophobia, the film reveals pockets of tolerance in unexpected places.

Guy Lodge

Heal the Living


A 17-year-old car crash victim lies brain-dead in a hospital, as doctors urgently pitch the virtues of organ donation to his distraught parents; over in another town, a middle-aged mother of two with a severely degenerative heart condition goes on the waiting list for a transplant. What sounds like fodder for a routinely gripping episode of “ER” is complicated with rare depths of personal and sensual detail in French director Katell Quillévéré’s sublimely compassionate, heart-crushing third feature. More polished but no less authentically humane than her previous works “Suzanne” and “Love Like Poison,” this spidering ensemble piece — adapted from Maylis de Kerangal’s internationally acclaimed 2014 novel — boasts beautifully pitched performances from the likes of Tahar Rahim and Emmanuelle Seigner. But it’s Quillévéré’s soaring visual and sonic acumen that suffuses this sad, potentially familiar hospital drama with true grace.

Guy Lodge

Hounds of Love


An outwardly normal suburban Perth couple who abduct, torture, and murder schoolgirls must face their funny games in this genre-bending powerhouse thriller from first-time director Ben Young. Brave audiences will be rewarded, if that’s the word, with a harrowing ride that morphs from discrete horror to probing character study and back again in a vivid yet admirably restrained 108 minutes. Far from Michael Haneke-level lurid, the film generates a coiled depravity and almost unbearable tension from the determined tracking shots of cinematographer Michael McDermott and Dan Luscombe’s trance-like, Tangerine Dream-inspired score. Clayton Jauncey’s production design is detailed and evocative, keyed around kitchen knives. For such a bold film to work, the performances must be all-in, and the three leads are committed to Young’s vision: Ashleigh Cummings is fearless as the would-be victim, while Emma Booth is terrifyingly skittish and Stephen Curry (who is, believe it or not, a popular Australian comedian) redolent of pure evil.

— Eddie Cockrell

Lost in Paris


As anyone who has seen “L’Iceberg” and “The Fairy” knows, Abel and Gordon are quite possibly the two funniest clowns working in cinema today. No, really: Dominique Abel is a Belgian-born, burlesque-trained human pretzel and gifted physical comic on par with Chaplin or Keaton, while real-life Australian wife Fiona Gordon is a Tilda Swinton-tall redhead with Olive Oyl elbows and an Easter Island profile. With their latest film, they take audiences to Paris, where she plays a shy librarian desperate to find her missing Aunt Martha (the final role of “Amour” star Emmanuelle Riva), while he plays a harmless hobo who pops up practically everywhere she goes. Let the comic situations begin as this duo travels from one corner of the city to another (nearly getting incinerated at Père Lachaise cemetery one moment, dangling from the rafters of the Eiffel Tower the next), creating some of the funniest moments you’ll see on screen all year.

— Peter Debruge

Merry Christmas Mr. Mo

South Korea

A droll comic drama filmed in glorious widescreen black-and-white, “Merry Christmas Mr. Mo” follows a terminally ill barber (played by distinguished character actor Ki Joo-bong) whose dying wish is to make a short film directed by his distant son. What might have been a mawkish exercise in implausibility is instead fashioned into a consistently amusing and frequently touching tale of love, family and reconciliation with the past. Played to deadpan perfection by an appealing cast and directed with impressive assurance by first-time feature helmer Lim Dae-hyung, this lovely tale channels the spirit of early Jim Jarmusch films such as “Stranger Than Paradise” into its ultra low-key humor, dialogue non-sequiturs and loving monochrome photography of notionally unremarkable locations. Without ever succumbing to sentimentality, this offbeat crowd-pleaser will also move many viewers to tears by the time Mr. Mo’s task is completed.

Richard Kuipers

Strawberry Days


Every summer, the Polish workers come to the Swedish countryside and pick strawberries. They tend the fields all day and keep to themselves at night, while the landowners hardly bother to learn their names. It’s a cycle as sure as the seasons themselves, though this year is different as one of the foreign fruit-pickers’ kids is old enough to take an interest in the host family’s daughter, and there among the strawberries a case of young love blossoms for the first time, complicating the entire arrangement, for the migrant workers are expected to make themselves invisible. In this sensitive, sun-kissed teenage romance, Swedish director Wiktor Ericsson invites us to recognize and identify with these faceless outsiders, asking for equality on the simplest terms. Though the setting may be specific, its appeal is universal, boasting a texture so rich, you can practically smell the ripe strawberries in the air.

— Peter Debruge

Those Who Make Revolution Halfway Only Dig Their Own Graves


With its multiple aspect ratios, on-screen quotes, and cutaways to news broadcasts and documentary footage — not to mention a musical overture and interlude — this three-hour Quebecois political epic unfurls with a bravado as outsized as its title. Inspired by the student demonstrations that sparked the Maple Spring in 2012, co-directors Mathieu Denis and Simon Lavoie apply the language of radical cinema to a tense, mournful and profoundly ambivalent portrait of radicalism. Following four far-left activists as they commit acts of vandalism and terror to foment an uprising against the capitalist system, the film channels their passion while insistently questioning their methods and perspective. Politics aside, the dynamics at the film’s heart are practically universal among youth movements, resulting in a bold portrait that pulses with the vitality of four young people who, however flawed or foolhardy, sincerely want to change the world.

Scott Tobias

Related storiesKarlovy Vary Film Festival Honors Talent Working in Front of and Behind the CameraFuture Frames Showcase at Karlovy Vary Casts the Spotlight on Promising Creative TalentKarlovy Vary International Film Festival Showcases Stories of Social Turmoil »

- Variety Staff

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The Best Films of 2017 (So Far)

21 June 2017 3:24 PM, PDT | Variety - Film News | See recent Variety - Film News news »

With new movies from Christopher Nolan, Kathryn Bigelow, and Steven Spielberg on the horizon for the second half of 2017, it’s tempting to conclude that the year is off to a slow start. Truth be told, there have been no shortage of quality releases so far — you just have to look a little harder than the likes of “Beauty and the Beast” and “Wonder Woman,” although both those hits are encouraging in their own way. Because studios tend to hold their serious Oscar contenders till Q4, any mid-year list of favorites naturally skews toward fun, so don’t be surprised to see comedy and horror films among the films that have electrified us so far. Except for “Get Out” — the biggest and most welcome surprise so far this year — the list is alphabetical.

Get Out

Jordan Peele’s racial-nightmare horror movie (pictured, above) is ticklish and disturbing enough to feel like “Guess Who’s Coming to Dinner” directed by Roman Polanski. The powerful connection it has made with audiences demonstrates one of the eternal — but perpetually forgotten — lessons of the movie business: If you dare to make the forbidden film that everyone says you’re not “supposed” to make…they will come! – Og

Beatriz at Dinner

The first comedy of the Age of Trump. In this darkly witty collaboration between director Miguel Arteta and screenwriter Mike White (their first dual outing since “Chuck & Buck” and “The Good Girl”), Salma Hayek is all luminous angelic flakiness as Beatriz, a downtrodden New Age massage therapist who gets invited to a client’s high-powered dinner party. There, a proudly piggish real-estate baron (John Lithgow) brings out her vengeful inner tiger. Is he a Trump figure? Yes, but less for his tycoon bluster than for the way he stands in for the death of empathy.  – Og

The Big Sick

Did you notice that romantic comedies have disappeared? That makes Michael Showalter’s indie gem not just a Sundance breakout film but a witty, heart-rending new model for the romcom genre. Set in Chicago, it’s about Kumail (Kumail Nanjiani), a stand-up comedian from a traditional Pakistani Muslim family, and Emily (Zoe Kazan), whom he falls in love with but secretly thinks he’s forbidden to marry. Romance and comedy are but two dimensions in a tale of illness, identity, and the way the peskiest of parents can be your best friends.  – Og

Baby Driver

Buckle up for attitude and adrenaline as Edgar Wright revisits the idea behind his music video for Mint Royale’s “Blue Song,” focusing on a getaway driver with a penchant for pop tunes. This unapologetic exercise in style might not be deep, but it makes for some swell summer entertainment. — Pd

Contemporary Color

Although the world lost “Stop Making Sense” director Jonathan Demme earlier this year, we’re fortunate that singer David Byrne is still breaking the sound barrier — and that brothers Bill and Turner Ross were there to witness this ecstatic brainchild, in which top pop acts with 10 high school color guard squads. — Pd

Heal the Living

Gifted French helmer Katell Quillévéré shows compassion for even the most minor characters touched by a tragedy that enables a life-saving heart transplant in this stirring French melodrama. Though it barely made a blip in theatrical release, watch for this deeply felt festival gem when it hits home video in August. — Pd

Land of Mine

How long can you hold your breath? If the answer is anything less than 101 minutes, you might want to rethink watching this white-knuckle Danish war movie, a runner-up for the foreign-language Oscar, in which a team of German soldiers (kids, really) are tasked with removing landmines buried by their comrades. — Pd

The Lego Batman Movie

It lacks the sheer everything-in-this-film-is-awesome novelty of “The Lego Movie,” but it brings off something else. In portraying Batman (played to manly-voiced comic perfection by Will Arnett) as a ruthlessly monomaniacal, paralyzingly insecure compulsive loner, disconnected from everything but his heroic self-branding, Chris McKay’s animated dazzler comes closer to portraying a superhero as a complex being than any comic-book movie has in years.  — Og

Lost in Paris

The year will be hard-pressed to deliver a funnier movie than the latest from physical-comedy partners in crime Abel and Gordon (check your local arthouse listings!). Whether dancing along the Seine or dangling from the Eiffel Tower, the duo make Paris their playground. And don’t miss the last performance by Emmanuelle Riva, who died in January. — Pd


While nothing can top Blumhouse’s brilliant “Get Out” in the horror-as-social-critique category, director Julia Ducournau creeps the bejesus out of audiences with her own unnerving outsider story. Intense hazing scenes prove every bit as scary as the infamous finger-eating moment in a fever-dream that dares us to identify with the monster, a shy French med student who develops a taste for human flesh.  – Og

The Settlers

Attempting to deconstruct the 70-year morass of the Israeli-Palestinian crisis may be a fool’s errand, but no documentary in years — or perhaps decades — has captured the story behind the story the way that Shimon Dotan’s eye-opening chronicle of the Israeli settlement movement does. It allows you to glimpse the grand design of events in a way that even the Israeli leaders who presided over them often didn’t. – Og


After a long stretch of bloated, borderline-embarrassing movies, M. Night Shyamalan pulled off his best surprise yet, delivering ingenuity on a shoestring with this tricksy multiple-personality thriller, which embraces its limitations while making the most of its central asset: a tour-de-force lead performance from cracked-out chameleon James McAvoy. — Pd

Their Finest

While the modern film industry reevaluates the under-representation of women in key roles, Danish director Lone Scherfig reminds that the problem is nothing new, focusing on a female screenwriter’s contributions to England’s wartime propaganda effort. The movie has it all: comedy, romance, intrigue, and a scene-stealing turn from Bill Nighy. — Pd

Related storiesOscars at the Halfway Mark: 'Logan,' 'Get Out' and Women DirectorsPlayback: Kumail Nanjiani on 'The Big Sick' and the Need for RepresentationAnsel Elgort Is Excited for 'Baby Driver' to Make Him 'Look Like a Bada--' »

- Peter Debruge and Owen Gleiberman

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Bypassed Palme d'Or Contenders Academy Award Chances? From Haneke's Latest to Pattinson Thriller

20 June 2017 8:14 PM, PDT | Alt Film Guide | See recent Alt Film Guide news »

'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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Critics Slam ‘The Book of Henry’ as ‘Beatriz at Dinner’ and ‘Paris Can Wait’ Expand Well

18 June 2017 10:00 AM, PDT | Indiewire | See recent Indiewire news »

At the specialty box office, reviews can have a huge impact. This weekend, “The Book of Henry” (Focus Features), Colin Trevorrow’s return to indie films, was scorched by critics and summoned only a mediocre start in 579 theaters ($1.4 million). On the other hand, the best per-theater-average came from “Hare Krishna” (Abramorama), a documentary the New York Times, normally critical in launching any specialized release, chose not to include among its reviews. It managed over $21,000 in one Manhattan theater.

While IFC’s Northern Ireland political story “The Journey” also delivered a surprisingly strong New York opening, the most encouraging news of the weekend was the impressive expansion for “Beatriz at Dinner” (Roadside Attractions).


The Book of Henry (Focus) – Metacritic: 28

$1,407,000 in 579 theaters; PTA (per theater average): $2,431

Trevorrow broke out with Sundance indie “Safety Not Guaranteed,” which grossed a healthy $4 million, followed by blockbuster “Jurassic World.” This anemic personal project will »

- Tom Brueggemann

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Review: ‘Lost in Paris’ is a Surreal, Whimsical Treat

15 June 2017 5:14 AM, PDT | The Film Stage | See recent The Film Stage news »

With a tip of the hat to Jacques Tati, Charlie Chaplin, and Jacques Demy, husband/wife team Fiona Gordon and Dominique Abel’s Lost in Paris is a whimsical, almost silent comedy set on the streets and in the parks of Paris.

Several years ago Aunt Martha (one of the final roles from the late, great Emmanuelle Riva) departs from a snowy arctic Canadian outpost for sunnier Paris. Several years later she’s lived quite a life with a reputation around the neighborhood, and now the stubborn elderly Martha refuses to leave her apartment and move into a nursing home. She writes to the older Fiona (Gordon), now a librarian in a remote village that looks like it might house Santa’s workshop, and summons her on the adventure of a lifetime to Paris. The only problem is Fiona’s French is rusty, leading to many a misadventure when she »

- John Fink

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Newswire: Get swept away in the magic of Lost In Paris in this exclusive clip

13 June 2017 1:00 PM, PDT | avclub.com | See recent The AV Club news »

With the state of the world being what it is, we all need as many opportunities to escape into magic and wonder as we can get. Lost In Paris, the new film from filmmaking duo Fiona Gordon and Dominique Abel, is just one such escape, with a sense of whimsy that is being compared to Jacques Tati in early reviews. Gordon and Abel—who previously collaborated on 2007’s L’Iceberg and 2011’s The Fairy—come from circus backgrounds, and bring that same love of physical performance to the tale of Fiona (Gordon), a small-town Canadian librarian who rushes off to Paris after receiving a distressing letter from her elderly aunt, played by French screen legend Emmanuelle Riva. Once she arrives, she discovers her aunt has gone missing, leading to a madcap series of adventures in the company of Dom (Abel), a Chaplinesque tramp who takes a shine to »

- Katie Rife

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‘Lost in Paris’: Enjoy The Fancy Footwork Of This Charming Retro Rom-Com — Watch

12 June 2017 11:02 AM, PDT | Indiewire | See recent Indiewire news »

Oscilloscope has released an exclusive clip from their upcoming film “Lost in Paris” featuring some musical-style footwork to a jaunty ragtime melody. The romantic comedy follows the journey of a Canadian librarian named Fiona (Fiona Gordon) who travels to Paris, France after receiving a troubling letter from her 88-year-old Aunt Martha (Emmanuelle Riva).

Upon her arrival to France, Fiona is met with an astronomical amount of disasters, including a genial but annoying tramp named Dom (Dominique Abel).

Read More: Telluride Review: ‘Lost in Paris’ Does For Slapstick What ‘La La Land’ Does For Musicals

Directed by Fiona Gordon and Dominique Abel, “Lost in Paris” brings back the silly antics and choreographed slapstick comedy that is a staple in the directing duo’s work. Abel and Gordon previously collaborated on “L’Iceberg,” “Rumba,” and “The Fairy.”

While the concern for Fiona’s aunt is what jetsets her off to Paris, it »

- Gabrielle Kiss

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Trailer Watch: Emmanuelle Riva Goes Missing in Dominique Abel and Fiona Gordon’s “Lost in Paris”

17 May 2017 2:01 PM, PDT | Women and Hollywood | See recent Women and Hollywood news »

“Lost in Paris”

A woman travels to Paris with an unusual mission in Fiona Gordon and Dominique Abel’s latest offering, “Lost in Paris.” A U.S. trailer has dropped for the whimsical comedy, which centers on Fiona (Gordon), who decides to hop on a plane and visit Paris for the first time after receiving a letter from her Aunt Martha (Emmanuelle Riva). The spot shows Martha penning the note under duress. She explains, “After 48 years living in Paris they want me to move to an old people’s home. Ridiculous. I’m only 88!” So Fiona goes to Paris to see what she can do to help, only to encounter an unexpected problem: Martha has disappeared.

The trailer features lots of physical comedy, including a memorable bit where Fiona, posing for a picture, ends up falling off a bridge. We also catch glimpses of what Martha is up to.

Gordon and Abel’s previous credits include “The Fairy” and “Rumba.”

Riva passed away earlier this year. She received an Oscar nod in 2013 for “Amour” at the age of 85. She remains the oldest-ever nominee for Best Actress.

“Lost in Paris” opens in select theaters June 16.


Trailer Watch: Emmanuelle Riva Goes Missing in Dominique Abel and Fiona Gordon’s “Lost in Paris” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »

- Laura Berger

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Emmanuelle Riva in Trailer for Abel & Gordon's Comedy 'Lost in Paris'

17 May 2017 7:10 AM, PDT | firstshowing.net | See recent FirstShowing.net news »

"Will you dance with me?" Oscilloscope Labs has released an official Us trailer for the whimsical, quirky comedy Lost in Paris, made by (and starring) the filmmakers Dominique Abel and Fiona Gordon, known as "Abel & Gordon". This actually has the feel of a comedy made by Wes Anderson if he was French, with a overtly charming and amusing visual style along with absurd but entertaining humor. Emmanuelle Riva, who passed away earlier this year, plays Aunt Martha, who sends a letter to her niece which prompts her to travel to Paris to find out what's going on. There, she gets in all kinds of trouble and meets a lovable goofball named Dom, as played by Abel & Gordon. This looks surprisingly unique and totally fun to watch. Here's the official Us trailer (+ poster) for Abel & Gordon's Lost in Paris, direct from YouTube: When Fiona's (Gordon) orderly life is disrupted by a »

- Alex Billington

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Film Review: ‘Lost in Paris’

16 May 2017 12:49 PM, PDT | Variety - Film News | See recent Variety - Film News news »

Quick, name the three funniest comedy duos working today. Amy Poehler and Tina Fey? Dave and James Franco? Zac Efron and his abs? Hollywood is constantly putting pairs of funny people together, often with perfectly hilarious results, but outside the realm of animation (where the dynamic still thrives), the centuries-old tradition of comedy couples — two funny performers with a familiar chemistry and a seemingly inexhaustible capacity to amuse loyal fans — has all but vanished from American movies.

Thank goodness for Belgian duo Abel and Gordon. They are, simply put, the two funniest clowns working in cinema today. No, really: Dominique Abel is a Belgian-born, burlesque-trained human pretzel and gifted physical comic on par with Chaplin or Keaton, while real-life Australian wife Fiona Gordon is a Tilda Swinton-tall redhead with Olive Oyl elbows and an Easter Island profile. And with their latest film, “Lost in Paris,” they are bound to »

- Peter Debruge

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Emmanuelle Riva Gets Whimsical in U.S. Trailer for ‘Lost in Paris’

15 May 2017 5:52 AM, PDT | The Film Stage | See recent The Film Stage news »

With the genre of physical comedy sorely lacking in today’s cinematic landscape, Dominique Abel and Fiona Gordon are helping to revive it with some style with Lost in Paris. Starring, written, directed, and produced by the pair, the first U.S. trailer has now arrived for the whimsical comedy courtesy of Oscilloscope Laboratories.

The story follows a small-time Canadian librarian who ventures to Paris after receiving a letter from her aunt (the late, great Emmanuelle Riva). When she gets there though, her aunt has disappeared, and so begins a journey of mishaps. Judging from this preview, the Jacques Tati comparisons are spot-on for the film that will arrive this summer. Check out the trailer and poster below.

Filmed in Dominique Abel and Fiona Gordon’s signature whimsical style, Lost In Paris stars the filmmakers as a small-town Canadian librarian and a strangely seductive, oddly egotistical vagabond. When Fiona’s »

- Jordan Raup

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Jean-Pierre Melville: The Moral Dimension of Crime

1 May 2017 2:39 PM, PDT | MUBI | See recent MUBI news »

Jean-Pierre Melville in his own film, Two Men in Manhattan“A man isn't tiny or giant enough to defeat anything”—Yukio MishimaA voracious cinephile in his early youth, Jean-Pierre Grumbach's daily intake of films was interrupted by the Second World War when he enlisted in the Ffl (Forces Français Libres) and adopted the nom de guerre by which he's still known to these days: Jean-Pierre Melville. A tribute to his literary hero, Hermann Melville, and his novel Pierre: or the Ambiguities, the director would have his name officially changed after the war. The latter was to shape and inform many of his films and arguably all of his world-view, characterized by a sort of ethical cynicism where anti-fascism is understood as a moral duty rather than an act of heroic courage. Profoundly anti-rhetoric and filled with a terse dignity, his films about the Resistance, Army of Shadows (1969) above all, »

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Lois Smith-Starrer “Marjorie Prime” Acquired by FilmRise

30 March 2017 9:02 AM, PDT | Women and Hollywood | See recent Women and Hollywood news »

“Majorie Prime”: Sundance Institute

FilmRise has acquired U.S. distributions rights to Lois Smith and Jon Hamm’s holographic love story “Marjorie Prime,” Deadline reports. Directed by Michael Almereyda (“Hamlet”), the sci-fi film co-stars Geena Davis and Tim Robbins. “Marjorie Prime” took home the Alfred P. Sloan Foundation Feature Film Prize at Sundance this year, where it made its world premiere.

Based on Jordan Harrison’s Pulitzer-nominated play, the film is set in the near future and centers on Marjorie (Smith), who “spends time with the young likeness of her deceased husband, Walter (Hamm). This revitalized Walter is a sophisticated holographic projection that provides companionship while stimulating Marjorie’s memory — allowing her to explore their shared past as she lives with dementia,” Deadline summarizes. “Marjorie’s daughter Tess (Davis) and her husband, Jon (Robbins), develop their own complex feelings about the new Walter, uneasily coming to terms with the nature of identity, memory, and our ever-shifting relationship to technology.” Smith originated the role of Marjorie in the stage version of the story. She first played the character in 2014.

According to the source, FilmRise is planning to launch a theatrical release mid-2017 and will “push all the main actors with a targeted award-season campaign.” Smith is currently 86 years old, so she’ll be 87 by the time Oscar nominations are announced. The oldest actress to receive a Best Actress nomination thus far is Emmanuelle Riva, who was 85 years old when she scored a nod in 2013 for “Amour.”

Smith’s career spans nearly seven decades, with film credits including “East of Eden,” “Five Easy Pieces,” “Fried Green Tomatoes,” “Dead Man Walking,” and “Please Give.” “Desperate Housewives,” “True Blood,” and “Grace and Frankie” are among her TV credits.

“We are thrilled to announce our acquisition of this superb Sundance award-winner,” said FilmRise CEO Danny Fisher. “Michael Almereyda has created a subtle and masterly adaptation, and the performances by Jon Hamm, Lois Smith, Geena Davis, and Tim Robbins are extraordinary.”

Marjorie Prime” will also be available on Amazon Prime Video this year.

Lois Smith-Starrer “Marjorie Prime” Acquired by FilmRise was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »

- Laura Berger

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'The Confession' ('La Confession'): Film Review

7 March 2017 3:00 PM, PST | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »

A classically made two-hander that revisits the source material of another classic, Nicolas Boukhrief’s The Confession (La Confession) offers up a fresh take on the Beatrix Beck novel Leon Morin, Pretre, which was adapted by film noir master Jean-Pierre Melville in a 1961 version starring Jean-Paul Belmondo and the late Emmanuelle Riva. Not unlike Melville, Boukhrief is also known as a director of gritty urban thrillers (Cash Truck, Made in France), and here he shifts to a moody period drama about a priest and atheist butting heads, then coming together, toward the end of World War II.

Featuring impressive performances »

- Jordan Mintzer

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Film Festival Roundup: Hot Docs Announces Special Presentations, AFI Fest Dates 2017 Festival and More

2 March 2017 1:05 PM, PST | Indiewire | See recent Indiewire news »

Keep up with the always-hopping film festival world with our weekly Film Festival Roundup column. Check out last week’s Roundup right here.

Lineup Announcements

– Hot Docs has announced the ten documentary features that will screen in this year’s Special Presentations program. Special Presentations features a high-profile collection of world and international premieres, award winners from the recent international festival circuit and works by master filmmakers or featuring some star subjects.

Special Presentations will screen as part of the 2017 Hot Docs Canadian International Documentary Festival, running April 27 – May 7. The complete Special Presentations program and the full selection of films to screen at Hot Docs 2017 will be announced on March 21, including the 2017 opening night film.

The new titles include: “Bill Nye: Science Guy,” “Chasing Coral,” “Dolores,” “Elian,” “Joshua: Teenager vs. Superpower,” “In Loco Parentis,” “Nobody Speak: Trials of the Free Press,” “Rumble: The Indians Who Rocked the World,” “Strong Island” and “The Workers Cup. »

- Kate Erbland

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Who Should Win the 2017 Oscars? How Variety’s Critics Would Vote

24 February 2017 11:10 AM, PST | Variety - Film News | See recent Variety - Film News news »

The ballots are in, and the Oscars are but days away. Variety critics Peter Debruge, Owen Gleiberman, and Guy Lodge may not be Academy members, but if they were, here’s how they would have voted in the top eight categories.

Peter Debruge

Best Picture: “Moonlight.” Nothing against “La La Land,” whose realist take on contemporary romance brings a welcome edge to the fizzy old-fashioned song-and-dance format, but “Moonlight” marks the artistic breakthrough here — and not just because the Oscars (and the industry at large) have been #sowhite for #solong. Barry Jenkins’ superb portrait of a lonely young man seeking connection in Miami focuses audiences’ attention on the sort of character the movies so often marginalize — or overlook entirely — and makes the specificity of his experience feel universal. I ranked “Hell or High Water” one notch higher on my year-end top 10, but that movie is too similar to 2008 winner “No Country for Old Men »

- Peter Debruge, Owen Gleiberman and Guy Lodge

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