1-20 of 28 items from 2017 « Prev | Next »
East meets West, and the two gingerly fall in love through art in Charles de Meaux’s “The Lady in the Portrait,” a period yarn evoking the unique rapport between a French missionary and the Manchurian Empress whose portrait he’s ordered to paint. Exquisitely-costumed and voluptuously shot, the film evokes life in the Qing Dynasty court with studied elegance and rare intimacy that make it more than just another Bertolucci or Zhang Yimou wannabe. Added last minute to the Cannes official selection as a tribute to Chinese diva Fan Bingbing, who’s serving on the jury, the film will definitely pique art-house interest in Europe, but isn’t likely to make a dent in China’s commercially driven market.
If anything, the story itself serves as an allegory of Chinese-Western co-productions, in which both sides are simultaneously turned on and put off by each other’s values and working methods. »
- Maggie Lee
After four years Martin Scorsese is back with another six filmic gems from all corners of the Earth. Love struggles in the slums of Thailand and the economic boom town of Taipei; underdog heroes undertake troubled missions in Turkey and Kazakhstan, a Malay storyteller plays cinematic games with basic narrative, and a vintage Brazilian art film is pure visual poetry. They’ve all been rescued by the World Cinema Project.
Martin Scorsese’s World Cinema Project No. 2
Blu-ray + DVD
The Criterion Collection 873-879
1931 – 2000 / Color + B&W / available through The Criterion Collection / Street Date May 30, 2017 / 124.95
I readily confess that in my patchy history of film festival attendance, I gravitated not toward the really obscure foreign films, unless they promise to be as entertaining as things I’m more familiar with. Based on the results, one of »
- Glenn Erickson
Every week, IndieWire asks a select handful of film and TV critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)
This week’s question: In honor of the Cannes Film Festival, the 70th edition of which starts this week, what is the best film to ever win the coveted Palme d’Or?
For a complete list of Palme d’Or winners, click here.
Erin Whitney (@Cinemabite), ScreenCrush
This question is impossible because I clearly haven’t seen all 40 Palme d’Or winners (it’s on my to do list, I swear). But I could easily say “Apocalypse Now,” “Paris, Texas,” “Taxi Driver,” “Amour,” or even “Pulp Fiction.” But since this is a personal question, I have to say “The Tree of Life.” No film has moved me »
- David Ehrlich
Filmmakers from all over the world are showing their support for a new initiative from the Film Society of Lincoln Center designed to create a more unified global film community in this uncertain new political time. The initiative is entitled “Film Lives Everywhere” and launches Monday with the Film Society’s 44th Chaplin Award Gala in honor of Robert De Niro.
The project has already received early support from filmmakers from Thailand (Apichatpong Weerasethakul), France (Agnès Varda, Olivier Assayas, Bertrand Bonello, Arnaud Desplechin), Canada (Guy Maddin), Argentina (Lisandro Alonso) the U.S. (Ava DuVernay) and more.
“I don’t want to be a filmmaker making movies in a scary and dangerous world,” Assayas said in a statement. “I want to be a filmmaker who makes movies about human beings in an environment »
- Graham Winfrey
It’s over but it opened L.A.’s newest spring season of unlimited international film screenings all over the city throughout the month of April and into Cannes.
The 15th annual Indian Film Festival of Los Angeles (Iffla) opened with “Lipstick Under My Burkha” and its impressive ensemble cast of Konkona Sen Sharma, Ratna Pathak, Aahana Kumra and Plabita Borthakur in a dramatic, but irreverent and vibrant film about women and faith. The film premiered at the Tokyo Film Festival 2016 and has been lighting up the festival circuit, including just winning the Audience Award at the Glasgow Film Festival. Director Alankrita Shrivastava is confirmed to attend and additional talent to be confirmed.
- Sydney Levine
The woods hold an unmistakable allure, familiar yet unknown, idyllic, yet fraught with peril. They are the heart of Happy Times Will Come, shot in natural light, which often means that viewers are abandoned in darkness to develop our senses. Indeed, the film thrusts us into the stark indigo night where a pair of fugitives scurrying up a steep hill are long heard before they are seen. Once the sun peeks out, dappling everything in its midst to beguiling effect, it’s not difficult to acclimate to the sights–the crooked crags aside a crisp brook or a verdant curtain of trees. Meanwhile, the young men, peculiarly unplaceable in time, forage for mushrooms or tussle in the high grass. Combining personal history and fabricated folklore, Italian director Alessandro Comodin imbues the alpine setting, already easy on the eyes, with a spectral glow and timelessness. The effect extends to a brief interlude of talking head interviews, »
It wasn’t his directorial debut, but Ain’t Them Bodies Saints proved to be a major break-out for director David Lowery and he returned with Pete’s Dragon, one of the best studio films of last year. Now he’s back less than a year later, re-teaming with Rooney Mara and Casey Affleck with A Ghost Story, an small-budget, but immensely ambitious film that begins as a portrait of grief and transitions to something else entirely. Picked up by A24 before it even premiered at Sundance, they’ve now debuted the first fittingly ethereal trailer ahead of a summer release.
I said in my review, “The premise is a simple one. A man only credited as C (Casey Affleck) dies after a head-on car accident in front of his house, leaving behind his wife, M (Rooney Mara). After examining his corpse at the hospital, she leaves the room, and, »
- Jordan Raup
Like her fellow Thai director Apichatpong Weerasethakul, Anocha Suwichakornpong is never going to be accused of sacrificing everything, or really anything, to plot. Her newest film, “By the Time It Gets Dark,” jumps at first into an examination of Thailand’s repressed history of political violence and dictatorial control. But that initial pencil sketch of a thesis is soon shuffled away in favor of several other less-interesting story threads which add up to much less than the sum of their parts.
Continue reading Loopy & Lightly Political Thai Film Within A Film ‘By The Time It Gets Dark’ Is Russian Nesting Dolls All The Way Down [Nd/Nf Review] at The Playlist. »
- Chris Barsanti
Now in its 46th iteration, Film Society Of Lincoln Center and The Museum Of Modern Art’s annual New Directors/New Films series has routinely introduced the film world to some of the most interesting and singular young voices within cinema. Be it their first lineup in 1972 which included Wim Wenders’ The Goalie’s Anxiety At The Penalty Kick or last year’s selection that included this writer’s favorite film of 2016, Neon Bull, Nd/Nf has become one of the great film series on any year’s calendar.
And 2017 is no different.
Three films lead the way for this year’s slate, all of which are Sundance-approved entries into the greater American Independent Cinema canon. Opening the festival is Geremy Jasper’s Patti Cake$, with Eliza Hittman’s latest Beach Rats and Dustin Guy Defa’s New York-set Person to Person, all of which garnered solid notices out of Park City this January, »
- Joshua Brunsting
After exploring sleep-induced hallucinations in one of last year’s best films, Cemetery of Splendor, director Apichatpong Weerasethakul is planning his next film and it will mark a distinct shift in location for the Palme d’Or winner. Although his previous features have been set in his homeland of Thailand, he’s heading to South America to shoot the latest.
No plot details have been revealed yet, but THR reports, from a talk with the director at the Cartagena Film Festival, that he has been “frustrated by censorship and a suppressive political climate in his native Thailand, which remains under military rule.” As a result, he recently kicked off a two-month trip throughout Colombia — specifically Bogota, Medellin, Cali, and Chocó — as he researches this next project.
“I’ve been really obsessed with Latin America for quite a while,” he says. “I’ve been wanting to know about all the violence that happened here, »
- Jordan Raup
12 March 2017 3:43 PM, PDT | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »
Thai director and Palme d’Or winner Apichatpong Weerasethakul has embarked on a two-month trip trough Colombia to research his next film, which he intends to shoot in the South American country.
Frustrated by censorship and a suppressive political climate in his native Thailand, which remains under military rule, Apichatpong set off on March 7 on a research trip through Bogota, Medellin, Cali and Chocó for inspiration.
“I’ve been really obsessed with Latin America for quite a while,” the filmmaker told The Hollywood Reporter at the recent Cartagena Film Festival, where he presented a retrospective of his work.
“When I was »
- Agustin Mango
For my money, the Martin Scorsese-backed World Cinema Project boxsets are the best work Criterion’s done in recent years, making it all the more exciting that they’re finally following up 2013’s sole entry with a set that includes the likes of Edward Yang and Apichatpong Weerasethakul, and still offering more than the (considerable) promise tied to those two names. It’s thanks to the careful eye of his Film Foundation, whose restorations, preservations, and releases do more to expand the scope on contemporary cinephilia than any existing organization.
And they’re only going further: a partnership’s been struck with the Pan African Federation of Filmmakers (Fepaci) and Unesco to create the African Film Heritage Project, which will combine the expertise of filmmakers, scholars, and archivists to restore, preserve, and release 50 African pictures “with historic, artistic and cultural significance.” [Deadline]
“There are so many films in »
- Nick Newman
It’s only fitting that the kick-off to the summer movie season also means a major month for The Criterion Collection. They’ve unveiled their May line-up and it’s a stacked one, and we can partially thank Martin Scorsese. While none of his films will be coming to the collection, the second edition of his World Cinema Project will arrive, which includes works from the Philippines (Insiang), Thailand (Mysterious Object at Noon), Soviet Kazakhstan (Revenge), Brazil (Limite), Turkey (Law of the Border), and Taiwan (Taipei Story).
Along with those films from Apichatpong Weerasethakul, Edward Yang, and more, we’ll be getting Terry Zwigoff‘s Ghost World, Jacques Audiard‘s Palme d’Or-winning Dheepan, Yasujiro Ozu‘s Good Morning (which also includes I Was Born, But… and surviving excerpt from A Straightforward Boy), Orson Welles‘ Othello, and a Blu-ray upgrade for Chantal Akerman‘s masterpiece Jeanne Dielman, 23, quai du Commerce, »
- Jordan Raup
The Museum of Modern Art and the Film Society of Lincoln Center has today announces their complete lineup for the 46th annual New Directors/New Films (Nd/Nf), running March 15 – 26. Dedicated to the discovery of new works by emerging and dynamic filmmaking talent, this year’s festival will screen 29 features and nine short films. This year’s lineup boasts nine North American premieres, seven U.S. premieres, and two world premieres, with features and shorts from 32 countries across five continents.
The opening, centerpiece, and closing night selections showcase three exciting new voices in American independent cinema that all recently debuted at Sundance: Geremy Jasper’s “Patti Cake$” is the opening night pick, while Eliza Hittman’s “Beach Rats” is the centerpiece selection and Dustin Guy Defa will close the festival with “Person to Person.” Other standouts include “Menashe,” “My Happy Family,” “Quest” and “The Wound.”
Read More: The Sundance Rebel: »
- Kate Erbland
As a critic, especially if you cover the festival circuit, befriending filmmakers is both a pleasant matter of course and a recurring cause for minor ethical quandaries. When they release a new film, do you avoid writing about it? And if not, will you be able to remain critical even if you dislike it, potentially severing a friendship?It’s therefore with some trepidation that I approached Railway Sleepers by Sompot Chidgasornpongse, whom I’d met in 2014 on the set of Apichatpong Weerasethakul’s Cemetery of Splendour, where he was the 1st Assistant Director (since starting out as an intern on The Adventure of Iron Pussy, Sompot has worked on the majority of Apichatpong’s films). He first told me about his film on the ride back from the shoot one day, during a discussion about the Dardennes’ Two Days, One Night. He wanted to see the Dardennes’ film to »
After becoming a standout title at Sundance, Luca Guadagnino’s “Call Me by Your Name” had its European premiere at the Berlin Film Festival on Monday, where it was also very warmly received. The film features Armie Hammer and Timothée Chalamet, and was shot and edited in a matter of months. Guadagnino spoke to Variety about how the stars aligned for this powerful summer love story to become a potential career game-changer for him.
You really hit your stride with this movie, which seems like your most personal work. Is it?
I’m not so sure about that. I would say the reason this film is striking deep chords is probably due to the way I approached it. It was a way of absolute simplicity. I asked myself if I wanted to create a piece that was a sort of conversation between the storyline, the characters, and the medium, or »
- Nick Vivarelli
Close-Up is a column that spotlights films now playing on Mubi. Damien Manivel's Le parc (2016), which is receiving an exclusive global online premiere on Mubi, is showing from February 10 - March 12, 2017 as a Special Discovery.Modest in scope, yet not without its own peculiar ambition, Damien Manivel’s Le parc is the kind of film that feels not just out of place in the current cinematic landscape, but out of time as well. A park bench is the starting point of a hesitant date (between Maxime Bachellerie and Naomie Vogt-Roby), which proceeds, languorous, across static compositions of trees and shrubbery, past a couple shaded in a grassy corner, through a casual game of soccer on a gentle slope. Conversation is halting and banal, as it is in most such encounters; psychoanalysis and Freud are mentioned. “Your everyday gestures, thoughts and actions are analyzed. They all mean something,” says the boy, »
Two teenagers meet and make out before everything gets seriously freaky in this ethereal low-budget French affair
This slender, ethereal, ultra-low-budget French film, getting a limited theatrical release before it goes to Mubi, starts off sort of dull and becomes increasingly entrancing. There’s something unresolved and formless about the ending, even within the film’s own avant garde terms of reference, but this second feature for director Damien Manivel may herald better things to come from the film-maker and his director of photography/co-writer/collaborator Isabel Pagliai. In a park in an unnamed city, two teenagers meet for a first date. The tall, gregarious boy (Maxime Bachellerie) has just discovered Sigmund Freud and lives with his single-parent mother, a hypnotherapist. The girl (Naomie Vogt-Roby), quieter and more thoughtful, was once a gymnast until she broke both wrists. They exchange relatively banal chit-chat and make out a bit until he leaves, »
- Leslie Felperin
Goteborg, Sweden — Norway’s Films from the South – Oslo’s largest film festival, which has since 1991 presented an annual showcase of 100 features from Asia, Africa and Latin America – is extending its funding scheme beyond Norway to the whole of Europe.
The new initiative called Sørfond Plus, offers an incentive to European producers outside Norway teaming on productions from developing countries.
Between 2012 and 2016, the Films from the South Foundation, through its Sørfond, has fuelled $18 million into 33 co-productions between Norwegian producers and filmmakers in so-called Development Assistance Committee regions, or developing markets.
The grants from the Norwegian Foreign and Cultural Ministries have gone to 33 projects, including Spanish director Amat Escalante’s “The Untamed,” which won the Silver Lion for best director at the Venice International Film Festival, and Thai director Apichatpong Weerasethakul’s “Cemetary of Splendor,” which opened in Un Certain Regard at Cannes, and was named best picture at the Asia Pacific Screen Awards. »
- Jorn Rossing Jensen
With over 50 films reviewed, a number of interviews conducted, and more coverage coming from the Sundance Film Festival, it’s time to wrap up the first major cinema event in 2017. We already got the official jury and audience winners (here), and now it’s time to highlight our favorites, as well as complete coverage from the festival.
One will find our favorites (in alphabetical order), followed by the rest of our reviews (from best to worst, including previously premiered features), then interviews as they are published. Check out everything below and stay tuned to our site, and specifically Twitter, for acquisition and release-date news on the below films in the coming months.
Playwright, author, screenwriter, and director Helene Hegemann has said (through her publisher) that, “There’s no such thing as originality anyway, just authenticity.” The words were spoken after her debut novel Axolotl Roadkill earned critical praise, »
- The Film Stage
1-20 of 28 items from 2017 « 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