1-20 of 224 items from 2014 « Prev | Next »
During the Tribeca Film Festival, I spoke with Human Capital (Il Capitale Umano) director Paolo Virzì and two of his stars, Valeria Bruni Tedeschi and Valeria Golino. Since then his film, which also stars Fabrizio Bentivoglio and Fabrizio Gifuni, has been selected as Italy's Oscar submission for Best Foreign Language Film, following in the footsteps of Paolo Sorrentino's Oscar win for The Great Beauty (La Grande Bellezza).
This time we discussed what it feels like for him to represent his country and go up against filmmakers such as Dominik Graf, Pawel Pawlikowski, Bertrand Bonello, Ruben Östlund, Damián Szifron, Andrey Zvyagintsev, Jean-Pierre Dardenne and Luc Dardenne. The Como connection to George Clooney, Giorgio Armani and »
- Anne-Katrin Titze
Just as Telluride, Toronto and, increasingly, New York are now viewed as the go-to launchpads for best picture contenders, the foreign-language race has its own key festivals — and they lie a bit further afield. About 70% of foreign-language film nominees in the past decade made either their world or international premieres at one of the so-called Big Three European fests: Cannes, Berlin and Venice.
Foreign-lingo films seem to appreciate the long-lead of sustained festival buzz. Almost every nominee in the category comes to the Academy’s attention via some variety of fest appointments — whether voters are aware of its provenance or not.
Among the record-breaking 83 titles submitted by individual nations for Oscar consideration this year are multiple established sprocket opera successes, from Cannes Palme d’Or winner “Winter Sleep” (Turkey’s submission) to Sundance Grand Jury Prize champ “To Kill a Man” (Chile’s pick).
“With any foreign-language movie, festivals are more than critical, »
- Guy Lodge
When it comes to its choices for cinematic achievements each year, the Hollywood Foreign Press Assn. takes its fair share of knocks. But in the foreign-language film category, the HFPA’s roughly 90 voting members seem to get a little more credit for picking the best of what the world has to offer.
Through a looser set of rules and a different nomination process, the HFPA often recognizes films that aren’t even eligible for the Academy Award.
“We approach it very liberally,” says Serge Rakhlin, chairman of the HFPA’s foreign-language film committee. “Producers can submit films; directors can submit films — there’s no limit on films from a particular country.”
Rakhlin highlights one of the biggest differences between how the HFPA and the Academy of Motion Picture Arts and Sciences go about selecting films: the HFPA doesn’t limit each country to one film per year in the category. »
- Christy Grosz
Rome – The Black List has forged a link with Italy’s Writers Guild Italia (Wgi), marking the first
non English-language writers’ org whose members’ scripts will have the opportunity to appear on
the prestigious Hollywood-based online scripts database.
The agreement follows similar partnerships The Black List has with the Writers Guild of America, West (Wgaw), the Writers Guild of America, East (Wgae), the Writers Guild of Great Britain (Wggb), the Writers Guild of Canada (Wgc), and The Writers Guild of Ireland (Wgir).
It marks major opportunity for Italian screenwriters, who are seeking to break out of national confines at a time when they can try to capitalise on the recent international success of films including Paolo Sorrentino’s “The Great Beauty” and gritty mob TV series “Gomorrah,” which has sold worldwide.
Though most Wgi members write mainly in Italian they will be able to have translations of their scripts posted on The Black List database. »
- Nick Vivarelli
The Writers Guild Italia and the Black List have formed a new alliance, paving the way for Wgi members to list their scripts in the Black List database. The Black List has similar partnerships with the WGA West and East, the Writers Guild of Great Britain and the Writers Guild of Canada. However, this is the first time it has partnered with a non-English-speaking guild – a sign that good unproduced ideas come in many forms. An Italian film, The Great Beauty, of course won the Foreign Language Film Oscar last year — returning the statue to the country for the first time in 15 years — and local comedies are consistently hot at the box office. The Black List notes that although most Wgi members write primarily in Italian, many have great facility with the English language. Given the fluid language barriers, plus translation, and the unique point of view, culture, and style »
- Nancy Tartaglione
For What It’s Worth: Virzi’s Leftist Neo-Noir a Capitalistic Parable
Receiving its North American premiere last spring at the 2014 Tribeca Film Festival, where it snagged a Best Actress award for Valeria Bruni-Tedeschi, Paolo Virzi’s Human Capital is Italy’s submission for this year’s Best Foreign Language contender. They’ve chosen wisely once again (last year Paolo Sorrentino’s sublime The Great Beauty took home the award, but Virzi beat out Sorrentino for Best Film on home turf), as Virzi’s familial drama is an expertly paced dramatic thriller crafted around what could easily been a generic narrative. A triptych of perspective based characterizations coalesce into an arresting finale engendering Verzi’s foreboding title.
Cleaning up after what appears to have been a large banquet, a member of the serving staff takes off into the cold Italian evening on his bicycle, shortly run off the road and into a ditch. »
- Nicholas Bell
Irish producer behind The Guard and Frank to receive European Co-production Award.
The award, which will Guiney will receive at the European Film Awards in Riga on Dec 13, acknowledges the role of co-productions in the European film industry.
Guiney co-founded Element Pictures with Andrew Lowe in 2001 and has offices in Dublin and London, working across production, distribution, and exhibition. Element has been involved in the production and distribution of more than 30 feature films.
Current and upcoming Element productions include Room, an adaptation of Emma Donoghue’s award-winning best-selling novel, directed by Abrahamson and starring Brie Larson, Joan Allen and William H.Macy; Yorgos Lanthimos’ first English language film, The Lobster starting Colin Farrell, Rachel Weisz, John C. Reilly, Lea Seydoux and Ben Wishaw; Gerard Barrett’s Glassland, starring [link=nm »
- email@example.com (Michael Rosser)
Bydgoszcz, Poland — The European Co-Production Award — Prix Eurimages, which honors an individual working in the vanguard of European movie co-productions, will go to Irish producer Ed Guiney.
The award will be presented during the European Film Awards ceremony in Riga, Latvia on Dec. 13.
Element has been involved in the production and distribution of more than 30 feature films. Current and upcoming Element productions include Yorgos Lanthimos’ first English-language film, “The Lobster,” starting Colin Farrell, Rachel Weisz, John C. Reilly, Lea Seydoux and Ben Whishaw, “Room,” an adaptation of Emma Donoghue’s novel, directed by Lenny Abrahamson and starring Brie Larson, Joan Allen and William H. Macy, Gerard Barrett’s “Glassland,” starring Jack Reynor, Toni Colette and Will Poulter, and Jerzy Skolimowski’s “11 Minutes.”
Recently completed Element productions include Abrahamson’s “Frank, »
- Leo Barraclough
Pawel Pawlikowski’s Ida leads the field for the 27th European Film Awards with five major nominations including Best European Film, Director, two Best Actress nods for co-leads Agata Trzebuchowska and Agata Kulesza, and Best Screenplay.
Close behind are Russian director Andrey Zvyagintsev‘s Leviathan and Turkey’s Palme d’Or winner Nuri Bilge Ceylan’s Winter Sleep, a pair of Cannes winners. Both films have been chosen to represent their country in the Academy Awards foreign language category.
The European Film Awards has increasingly become a bellwether for awards season, with previous Efa Best European Film winners Paolo Sorrentino’s The Great Beauty and Michael Haneke’s Amour going on to win the Best Foreign Language film at the Oscars.
The European Film Awards ceremony will be handed out in Riga, Latvia on »
- Ali Jaafar
Exclusive: Parts & Labor-produced English-language drama sold by Protagonist.
Rachel Weisz and Michael Shannon are to star in Maria Full of Grace director Joshua Marston’s first English-language feature, which has come together ahead of the Afm where it is likely to be among the hottest indie packages.
Weisz will play Alice, the intriguing guest introduced at a dinner party hosted by Tom (Shannon) and his wife, celebrating his birthday.
Tom increasingly believes he knows Alice but by a different name and a different biography, and suspects that she’s not there entirely by coincidence.
The evening spins into a highly-charged reunion between a man in need of making a change in his life and a woman who desperately wants to stop changing.
- firstname.lastname@example.org (Andreas Wiseman)
If you've never been to a press conference for a movie, think of it as being a bit like a school assembly. You're all seated in neat little rows, facing the front of a stage and paying attention. Except this time you're in the ballroom of an expensive hotel, there's a chandelier above your head and Christopher Nolan's in front of you, talking about his latest film, Interstellar.
As you can imagine, press have gathered from all over the place to be present for this special occasion. Christopher Nolan films are always an event, and given that Interstellar is all about a future Earth facing ecological ruin and a space mission to find a new home for its inhabitants, there were lots of questions about astronauts, wormholes and other such weighty matters. »
To kick off the week we have a batch of first stills from some anticipated features. First up, above, the first image of Juliette Binoche in the Italian drama The Wait has arrived. Coming from Piero Messina, collaborator of Paolo Sorrentino, the Sicily-set drama follows a mother and her son’s fiancee as they spend a holiday in a villa together. […] »
- Jordan Raup
“The most miserable life is better, believe me, than an existence protected by a society where everything’s organized and planned for and perfect,” says Steiner (Alain Cuny), Marcello’s (Marcello Mastroianni) only friend with seemingly any moral fiber or family values in the Rome of upper-class debauchery in which they surf throughout Federico Fellini’s groundbreaking critical masterpiece on the vacuous Roman high-life of the late 50s, La Dolce Vita. Steiner’s fleeting suggestion stands as an epiphanic thesis of Marcello’s own internal struggle to find love and stability while carrying out a career in journalism that takes him gallivanting with royalty and movie stars throughout all the ancient and newly minted quarters of Rome. The final frames of the film featuring Paola’s (Valeria Ciangottini) subtle glance to the audience suggest that in this new hodge-podge of old and evolving culture, only the innocence of youth has »
- Jordan M. Smith
Lyon – Accepting the sixth Lumière Award at Lyon’s Lumiére Festival in France, Pedro Almodóvar spoke with his heart, as Quentin Tarantino had a year before, about what really drives his filmmaking career.
Reading his acceptance speech, translated by Juliette Binoche, he was accompanied on stage brother Agustín, his producer of nearly 30 years standing, and emblematic actresses from his films: Marisa Paredes (“High Heels,” “The Flower of My Secret”), Elena Anaya (“The Skin I Live In”) and Rossy de Palma (“Women on the Verge of a Nervous Breakdown”).
In the audience were, Keanu Reeves and director John McTiernan, Michael Cimino, Paolo Sorrentino (“The Great Beauty”), Berenice Bejo (“The Artist”), Isabella Rossellini, Vanessa Paradis, Gaspard Ulliel (“Saint Laurent”), Italy’s Valeria Golino, Jaime Rosales, and, among industry figures Pathé’s Jerome Seydoux, Wild Bunch’s Vincent Maraval, Pierre Ange Le Pogam, Samuel Haddida plus Sony Pictures Classics’ Michael Barker.
“I was born in the ’50s, »
- John Hopewell
The Lumière Festival was created by Cannes chief Thierry Frémaux and Lumière Institute President Bertrand Tavernier six years ago here in Lyon, the birthplace of cinema. As the week-long event that wraps tomorrow has grown, it has become a favorite stop on the calendar for filmmakers, film buffs and friends of Frémaux to attend. It includes restorations, masterclasses and retrospectives, but no competition. And it’s not just art-house either — tonight’s program includes an Alien marathon presented by Jean-Pierre Jeunet and a screening of Die Hard with John McTiernan hosting. Last year’s Prix Lumière winner, Quentin Tarantino, spent several days soaking up the scene here in 2013. This year’s recipient of the Lumière Prize, which has previously also gone to Milos Forman, Gérard Depardieu, Ken Loach and Clint Eastwood, was Oscar-winning Spanish filmmaker Pedro Almodovar.
On Friday night, a two-and-a-half hour tribute to Almodovar concluded with a rousing »
- Nancy Tartaglione
I've made no secret when it comes to my love for the work of Federico Fellini's films, especially his classic La Dolce Vita, which was the first entry in my Best Movies section earlier this year. For the longest time I've owned the Koch Lorber, 2-Disc DVD edition of La Dolce Vita, continuously awaiting the day Criterion would be given the chance to add it to their esteemed collection with a transfer the film most definitely deserved. I speculated as to whether it would finally happen once Paramount had been granted exclusive rights last June and lo and behold, it is finally here and the result is exactly what fans of this film have been waiting for with visuals and sound so rich it will be almost as if you are seeing it for the first time. When it comes to the film itself, I'll point you to my »
- Brad Brevet
He who dares, wins. Now entering its sixth edition, Gran Lyon’s Lumière Festival, launched by Thierry Fremaux and Bertrand Tavernier from the Institut Lumière, is firmly established on the festival calendar as one of the two major meets in Europe for classic film specialists, with the Bologna Cineteca’s Il Cinema Ritrovato, and also, remarkably, a major hit with the people of Gran Lyon who flock to its screenings. There seems nothing like it in the rest of the world. Having added a Classic Films Market (Mfc) in 2013, its rise is now not only a reflection of, but also a driver of the heritage movie business. Variety talked to Fremaux, the Lumière Festival director – as well as head of the Cannes Festival – days before its the 6th edition.
After five editions, to what extent do you think that the Lumière Festival is now a global event?
The Lumière Festival »
- John Hopewell
A record 83 countries have submitted films for consideration in the Foreign Language Film category for the 87th Academy Awards. Kosovo, Malta, Mauritania and Panama are first-time entrants.
The 2014 submissions are:
Argentina, “Wild Tales,” Damián Szifrón, director;
Australia, “Charlie’s Country,” Rolf de Heer, director;
Austria, “The Dark Valley,” Andreas Prochaska, director;
Azerbaijan, “Nabat,” Elchin Musaoglu, director;
Bangladesh, “Glow of the Firefly,” Khalid Mahmood Mithu, director;
Bolivia, “Forgotten,” Carlos Bolado, director;
Bosnia and Herzegovina, “With Mom,” Faruk Lončarevič, director;
Brazil, “The Way He Looks,” Daniel Ribeiro, director;
Chile, “To Kill a Man,” Alejandro Fernández Almendras, director;
China, “The Nightingale,” Philippe Muyl, director;
Colombia, “Mateo,” María Gamboa, director;
Costa Rica, “Red Princesses,” Laura Astorga Carrera, director;
Croatia, “Cowboys,” Tomislav Mršić, »
- Michelle McCue
Nominated for the Best Foreign Language Film Oscar at last year's Academy Awards (where it narrowly missed out to Paolo Sorrentino's The Great Beauty), Palestinian director Hany Abu-Assad's Omar (2013) follows the story of an honest baker who becomes a freedom fighter against occupying Israeli forces. To celebrate the long-awaited home entertainment release of Omar this coming Monday (6 October), we have Three DVD copies of Abu-Assad's deeply topical drama to give away to our loyal and returning readers, kindly provided by the team at UK distributor Soda Pictures. This is an exclusive competition for our Facebook and Twitter fans, so if you haven't already, 'Like' us at facebook.com/CineVueUK or follow us @CineVue before answering the question below.
- CineVue UK
The Academy has received a record 83 submissions for the Best Foreign-Language Film Oscar.
Last year, a record 76 countries submitted features and the eventual winner was Italian entry The Great Beauty, directed by Paolo Sorrentino.
Nine finalists will be shortlisted, which will be whittled down to five nominees that will be announced on Jan 15, 2015.
The awards ceremony will be held on Feb 22, 2015 in the Dolby Theatre, Hollywood.
The 2014 submissions are (in alphabetical order of country):
Afghanistan, A Few Cubic Meters Of Love, Jamshid Mahmoudi
Argentina, Wild Tales, Damián Szifrón
Australia, Charlie’s Country, Rolf de Heer
Austria, The Dark Valley, Andreas Prochaska
Azerbaijan, Nabat, Elchin Musaoglu
Bangladesh, Glow Of The Firefly, Khalid Mahmood Mithu
Bolivia, Forgotten, Carlos Bolado
Bosnia and Herzegovina, With Mom, Faruk Lončarevič
Brazil, The Way He Looks, Daniel Ribeiro
Chile, To Kill A »
1-20 of 224 items from 2014 « Prev | Next »
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners