Like one of those fiendish knots that tighten the more you squirm, director Magnus von Horn’s Cannes competitor The Girl With the Needle builds to a devastating climax, taut as piano wire.
Danish actress Vic Carmen Sonne (Holiday, Godland) offers an understated but multi-layered performance as Karoline, a vulnerable but resilient seamstress living in post-World War I/early-1920s Copenhagen, who is left high and dry when her wealthy lover (Joachim Fjelstrup) gets her knocked up but won’t marry her. That leaves Karoline with only two options: give herself a bathtub abortion with a knitting needle or have the baby and hand it over to Dagmar (Trine Dyrholm), a sinister candy-store owner who runs a backstreet adoption agency.
Shot digitally, in black and white and using a claustrophobic 3:2 ratio by rising cinematographer Michal Dymek (A Real Pain, Eo), the film has the haunted, eerily still poise of antique photographs,...
Danish actress Vic Carmen Sonne (Holiday, Godland) offers an understated but multi-layered performance as Karoline, a vulnerable but resilient seamstress living in post-World War I/early-1920s Copenhagen, who is left high and dry when her wealthy lover (Joachim Fjelstrup) gets her knocked up but won’t marry her. That leaves Karoline with only two options: give herself a bathtub abortion with a knitting needle or have the baby and hand it over to Dagmar (Trine Dyrholm), a sinister candy-store owner who runs a backstreet adoption agency.
Shot digitally, in black and white and using a claustrophobic 3:2 ratio by rising cinematographer Michal Dymek (A Real Pain, Eo), the film has the haunted, eerily still poise of antique photographs,...
- 5/15/2024
- by Leslie Felperin
- The Hollywood Reporter - Movie News
There is a rug-pull moment in Magnus von Horn’s handsome and captivating period yarn that cleaves his drama into “before” and “after.” It is a testament to the rich and assured storytelling on offer in his Cannes competition entry “The Girl with the Needle” that, although the moment seems to come out of nowhere, it instantly makes sense and serves to ratchet up the tension, propelling the story’s evergreen themes into a confrontational new register.
In post-World War I Copenhagen, we drop in with Karoline (Vic Carmen Sonne) as she is being evicted from a pleasant room in a respectable part of town. With her soldier husband Mia, her factory worker wages don’t cover the rent and she has fallen into arrears. The rapacious need of this time is telegraphed as mere minutes after Karoline receives her marching orders, the woman replacing her arrives to look over the room.
In post-World War I Copenhagen, we drop in with Karoline (Vic Carmen Sonne) as she is being evicted from a pleasant room in a respectable part of town. With her soldier husband Mia, her factory worker wages don’t cover the rent and she has fallen into arrears. The rapacious need of this time is telegraphed as mere minutes after Karoline receives her marching orders, the woman replacing her arrives to look over the room.
- 5/15/2024
- by Sophie Monks Kaufman
- Indiewire
Magnus von Horn’s sophomore feature Sweat earned its director a spot in Cannes’ Official Selection in 2020, after his debut, The Here After, played in Directors’ Fortnight in 2015. But the festival of 2020 was canceled in the wake of the Covid pandemic, so von Horn’s place in this year’s Competition, with his third feature The Girl With the Needle, must surely mark the Swedish director’s coming-of-age. The film, starring Vic Carmen Sonne and Trine Dyrholm, riffs on one of Denmark’s most notorious murder cases to weave a poetic and dark fairytale about the people living on the margins in the aftermath of the First World War.
Dyrholm stars as Dagmar Overbye, the Danish serial killer convicted of murdering nine children — but suspected of many more deaths — between 1913 and 1920. One was her own; the others were handed to her by struggling mothers with babies born out of wedlock,...
Dyrholm stars as Dagmar Overbye, the Danish serial killer convicted of murdering nine children — but suspected of many more deaths — between 1913 and 1920. One was her own; the others were handed to her by struggling mothers with babies born out of wedlock,...
- 5/15/2024
- by Joe Utichi
- Deadline Film + TV
Swedish-Polish director Magnus von Horn’s dark period drama “The Girl With the Needle” will compete for the Palme d’Or at the 77th Cannes Film Festival. Variety has been given exclusive access to a first-look clip from the film.
Written by von Horn and Line Langebek (“I’ll Come Running”), “The Girl With the Needle” is loosely based on the true story of Dagmar Overbye, a Danish woman who established an underground adoption agency in post-World War I Copenhagen to help poor women dealing with unwanted pregnancies.
Starring Trine Dyrholm, Vic Carmen Sonne and Besir Zeciri (“Wildland”), the film follows Karoline (Sonne), a young factory worker who is struggling to survive on the fringes of society. When she finds herself unemployed, abandoned and pregnant, she meets Dagmar (Dyrholm), a charismatic shopkeeper who helps poor mothers to find foster homes for their unwanted children.
With nowhere else to turn, Karoline...
Written by von Horn and Line Langebek (“I’ll Come Running”), “The Girl With the Needle” is loosely based on the true story of Dagmar Overbye, a Danish woman who established an underground adoption agency in post-World War I Copenhagen to help poor women dealing with unwanted pregnancies.
Starring Trine Dyrholm, Vic Carmen Sonne and Besir Zeciri (“Wildland”), the film follows Karoline (Sonne), a young factory worker who is struggling to survive on the fringes of society. When she finds herself unemployed, abandoned and pregnant, she meets Dagmar (Dyrholm), a charismatic shopkeeper who helps poor mothers to find foster homes for their unwanted children.
With nowhere else to turn, Karoline...
- 5/10/2024
- by Christopher Vourlias
- Variety Film + TV
Magnify, the International sales arm of Magnolia Pictures, has acquired global and U.S. sales rights to Taiwanese thriller “Pierce” from first-time feature filmmaker Nelicia Low. An official teaser has now been released for the title ahead of its sales launch at the upcoming Marche du Film in Cannes.
“Pierce” follows Jie, a young fencer reconnecting with his estranged older brother Han, who mysteriously returns after seven years in juvenile prison for killing an opponent during a fencing competition. Jie believes Han’s insistence that he is innocent and decides to help him, defying his mother’s efforts to erase Han from their lives. Han grows close to Jie in training him for the national championships, but his hostile past is triggered after an argument, leaving Jie to begin to question whether his beloved brother might be a violent sociopath after all.
The film stars Ding Ning (who won a...
“Pierce” follows Jie, a young fencer reconnecting with his estranged older brother Han, who mysteriously returns after seven years in juvenile prison for killing an opponent during a fencing competition. Jie believes Han’s insistence that he is innocent and decides to help him, defying his mother’s efforts to erase Han from their lives. Han grows close to Jie in training him for the national championships, but his hostile past is triggered after an argument, leaving Jie to begin to question whether his beloved brother might be a violent sociopath after all.
The film stars Ding Ning (who won a...
- 5/1/2024
- by Alex Ritman
- Variety Film + TV
The Alexa 35 is booming! As IndieWire released its camera survey, it seems that the new Super 35 flagship from Arri is among the most popular cameras chosen by Sundance 2024’s filmmakers. The Arri 35 causes the notable Super 35 format to go back to the game. Furthermore, the Arri Alexa Mini is the most popular camera five years in a row. Watch the segmentation.
Sundance 2024’s Narratives: Camera Manufacturers’ chart
As you can see in the chart, Super 35 is the dominant format. As we thought that large sensors would pull down the notable Super 35, it’s not as simple as that, since the Arri 35 kicks the Super 35 to the popularity line again. Additionally, this is the first time that we have seen a solid presence of the Arri 35 in our charts. Head to head with the old (and mighty) Alexa Mini, the Arri 35 is climbing strong and may become the most preferred camera among storytellers.
Sundance 2024’s Narratives: Camera Manufacturers’ chart
As you can see in the chart, Super 35 is the dominant format. As we thought that large sensors would pull down the notable Super 35, it’s not as simple as that, since the Arri 35 kicks the Super 35 to the popularity line again. Additionally, this is the first time that we have seen a solid presence of the Arri 35 in our charts. Head to head with the old (and mighty) Alexa Mini, the Arri 35 is climbing strong and may become the most preferred camera among storytellers.
- 1/29/2024
- by Yossy Mendelovich
- YMCinema
There’s something humble about Jesse Eisenberg writing, directing, and co-starring in a film, only to give its plum role to Kieran Culkin. Eisenberg, still, writes himself arguably the best scene in this picture; maybe the jury’s still out on the humble thing. David (Eisenberg) and Benji (Culkin) meet at the airport ahead of a trip to Poland. Their grandmother has recently passed and set some money aside for the two young men to take a tour of the motherland––captured, courtesy Dp Michal Dymek, in visually and emotionally arresting images.
They’re a bit of an odd couple. Despite being extremely close childhood friends, life got in the way. David’s a digital-ad salesman with a family in New York City. Benji is something of a transient who plants his flag in upstate Binghamton but has no real direction to speak of. When Benji mails himself weed to the hotel in Poland,...
They’re a bit of an odd couple. Despite being extremely close childhood friends, life got in the way. David’s a digital-ad salesman with a family in New York City. Benji is something of a transient who plants his flag in upstate Binghamton but has no real direction to speak of. When Benji mails himself weed to the hotel in Poland,...
- 1/22/2024
- by Dan Mecca
- The Film Stage
Screen shines a light on 30 European titles that look set to grab the attention of festival directors in 2023, including new features by Tom Tykwer, Paz Vega, Paolo Sorrentino, Cecilia Verheyden and Baltasar Kormakur.
For our separate list of French festival hopefuls for 2024, click here.
Ariel (Sp-Por)
Dir. Lois Patiño
Patiño won the Encounters special jury prize at Berlin last year for Samsara and picked up the emerging director prize at Locarno in 2013 with Coast Of Death. His latest is a free adaptation of William Shakespeare’s The Tempest, shot in Galicia and The Azores islands. Ariel stars Goya winner Irene Escolar...
For our separate list of French festival hopefuls for 2024, click here.
Ariel (Sp-Por)
Dir. Lois Patiño
Patiño won the Encounters special jury prize at Berlin last year for Samsara and picked up the emerging director prize at Locarno in 2013 with Coast Of Death. His latest is a free adaptation of William Shakespeare’s The Tempest, shot in Galicia and The Azores islands. Ariel stars Goya winner Irene Escolar...
- 1/22/2024
- ScreenDaily
Jesse Eisenberg returns to Sundance with A Real Pain, the actor’s second directorial effort following his 2021 debut When You Finish Saving the World. Eisenberg acts alongside Succession sensation Kieran Culkin, embodying cousins who travel to Poland in order to honor the legacy of their deceased grandmother. Below, cinematographer Michał Dymek describes how he was brought on board the project, the influences he and Eisenberg referenced and the emotional weight of shooting at the Majdanek Concentration Camp. See all responses to our annual Sundance cinematographer interviews here. Filmmaker: How and why did you wind up being the cinematographer of your […]
The post “My Main Idea Was To Work With Perspective”: Dp Michał Dymek on A Real Pain first appeared on Filmmaker Magazine.
The post “My Main Idea Was To Work With Perspective”: Dp Michał Dymek on A Real Pain first appeared on Filmmaker Magazine.
- 1/21/2024
- by Filmmaker Staff
- Filmmaker Magazine-Director Interviews
Jesse Eisenberg returns to Sundance with A Real Pain, the actor’s second directorial effort following his 2021 debut When You Finish Saving the World. Eisenberg acts alongside Succession sensation Kieran Culkin, embodying cousins who travel to Poland in order to honor the legacy of their deceased grandmother. Below, cinematographer Michał Dymek describes how he was brought on board the project, the influences he and Eisenberg referenced and the emotional weight of shooting at the Majdanek Concentration Camp. See all responses to our annual Sundance cinematographer interviews here. Filmmaker: How and why did you wind up being the cinematographer of your […]
The post “My Main Idea Was To Work With Perspective”: Dp Michał Dymek on A Real Pain first appeared on Filmmaker Magazine.
The post “My Main Idea Was To Work With Perspective”: Dp Michał Dymek on A Real Pain first appeared on Filmmaker Magazine.
- 1/21/2024
- by Filmmaker Staff
- Filmmaker Magazine - Blog
Cologne-based The Match Factory has acquired rights to Swedish-Polish helmer Magnus von Horn’s Danish pic “The Girl With the Needle,” billed as a “fairy-tale about a horrible truth.” In the starring roles are Trine Dyrholm, Vic Carmen Sonne and Besir Zeciri (“Wildland”).
First clips of the stylised black-and-white chiller will be unveiled at the Works in Progress at Göteborg’s Nordic Film Market.
“Magnus von Horn is a talent to follow,” said The Match Factory’s head of sales Thania Dimitrakopoulou. “His story of “The Girl with the Needle” hooked us and his choice of cast and narrative style promises a great outcome. We are certain the audiences will relate to this.”
Von Horn’s dark drama is his first foray into period genre, following his 2015 Cannes Directors’ Fortnight calling card “The Here After”, and his 2020 Cannes-selected and international festival hit “Sweat”, a “poised, impressive drama” according to Variety.
First clips of the stylised black-and-white chiller will be unveiled at the Works in Progress at Göteborg’s Nordic Film Market.
“Magnus von Horn is a talent to follow,” said The Match Factory’s head of sales Thania Dimitrakopoulou. “His story of “The Girl with the Needle” hooked us and his choice of cast and narrative style promises a great outcome. We are certain the audiences will relate to this.”
Von Horn’s dark drama is his first foray into period genre, following his 2015 Cannes Directors’ Fortnight calling card “The Here After”, and his 2020 Cannes-selected and international festival hit “Sweat”, a “poised, impressive drama” according to Variety.
- 1/18/2024
- by Annika Pham
- Variety Film + TV
Singapore-based film production outfit Potocol, whose “Tomorrow is a Long Time,” by Jow Zhi Wei bowed at the Berlin Film Festival’s Generation 14plus competition, has revealed a diverse Asian slate.
Potocol’s recent triumphs include Bangladeshi filmmaker Abdullah Mohammad Saad’s Cannes selection “Rehana Maryam Noor” and Indonesian director Makbul Mubarak’s Venice winner “Autobiography.” The company, led by Jeremy Chua who is currently at the Berlinale, has a growing reputation for championing the rise of young filmmakers from across Asia.
Potocol has four films in post-production and several more in development. Nicole Midori Woodford’s debut feature “Last Shadow at First Light” is a supernatural road trip drama that follows a Singaporean teenager tracing the footsteps of her missing mother in Japan and explores the ripple effects of a traumatic event subconsciously buried within the family unit.
A winner of several project development and market prizes at Seafic,...
Potocol’s recent triumphs include Bangladeshi filmmaker Abdullah Mohammad Saad’s Cannes selection “Rehana Maryam Noor” and Indonesian director Makbul Mubarak’s Venice winner “Autobiography.” The company, led by Jeremy Chua who is currently at the Berlinale, has a growing reputation for championing the rise of young filmmakers from across Asia.
Potocol has four films in post-production and several more in development. Nicole Midori Woodford’s debut feature “Last Shadow at First Light” is a supernatural road trip drama that follows a Singaporean teenager tracing the footsteps of her missing mother in Japan and explores the ripple effects of a traumatic event subconsciously buried within the family unit.
A winner of several project development and market prizes at Seafic,...
- 2/18/2023
- by Naman Ramachandran
- Variety Film + TV
Exclusive: Eo, filmmaker Jerzy Skolimowski’s Oscar-nominated tale about a wandering donkey, has found a streaming home.
The film will debut Tuesday on the Criterion Channel as a title for subscribers, and will be available the same day for purchase or rental on Apple, Amazon and Vudu.
After almost four months in theaters, the film continues to bring in audiences. It is expected to cross 1 million at the North American box office within the next week. The film has been playing exclusively in theaters to this point and has offered hope for the specialty sector, which has not seen the across-the-board rebound in attendance enjoyed by horror films and studio tentpoles.
This is the second release for Sideshow, the distributor behind Drive My Car, a similarly long-simmering theatrical title which earned nominations last year in multiple Oscar categories, including Best Picture. Sideshow and Janus Films boarded Eo last June after...
The film will debut Tuesday on the Criterion Channel as a title for subscribers, and will be available the same day for purchase or rental on Apple, Amazon and Vudu.
After almost four months in theaters, the film continues to bring in audiences. It is expected to cross 1 million at the North American box office within the next week. The film has been playing exclusively in theaters to this point and has offered hope for the specialty sector, which has not seen the across-the-board rebound in attendance enjoyed by horror films and studio tentpoles.
This is the second release for Sideshow, the distributor behind Drive My Car, a similarly long-simmering theatrical title which earned nominations last year in multiple Oscar categories, including Best Picture. Sideshow and Janus Films boarded Eo last June after...
- 2/16/2023
- by Dade Hayes
- Deadline Film + TV
Even for a movie told from the point of view of a donkey, “Eo” has an idiosyncratic look. Poland’s Best International Feature nominee at the Academy Awards — and one of IndieWire’s top 10 picks for the best cinematography of 2022 — follows donkey Eo as he changes owners, each as mystifying, arbitrary, foolish, kind, and beautiful as the European landscape itself. The film kicks off in big, bold, alienating strokes: Red strobe lights and alternating camera setups between the ground and God’s-eye view force the viewer to experience Eo’s world in a distinctly unfamiliar way. The film only builds from there, with director Jerzy Skolimowski and cinematographer Michal Dymek finding a series of ways to represent an animal’s view of our human world.
Creating this view took a significant amount of testing, which Dymek jumped into as soon as he joined the project. The film was supposed to...
Creating this view took a significant amount of testing, which Dymek jumped into as soon as he joined the project. The film was supposed to...
- 2/13/2023
- by Sarah Shachat
- Indiewire
There’s a grand lineage of cinematic donkeys out there – from Eddie Murphy’s Shrek wisecracker, to The Banshees Of Inisherin’s scene-stealing Jenny, to the horrifying donkey-boys of Pinocchio, Winnie The Pooh’s pal Eeyore, and beyond. But now, get ready to fall in love with Eo – a donkey who’s not a mere supporting character, but the central player in his own story. Eo, from Polish director Jerzy Skolimowski, is a beautifully-shot and powerfully emotional drama that recently bagged an Oscar nomination for International Feature Film, telling the story of a donkey who moves away from his life in the circus, and ends up on an epic journey across the forests and landscapes of Europe. Before the film hits UK and Irish cinemas on 3 February, watch an exclusive clip here:
With donkey Pov shots, striking wildlife footage, and a real sense of danger as Eo finds himself out...
With donkey Pov shots, striking wildlife footage, and a real sense of danger as Eo finds himself out...
- 1/25/2023
- by Ben Travis
- Empire - Movies
Speaking to Variety by Zoom from Warsaw, Polish director Jerzy Skolimowski – the director of Oscar contender “Eo” – sits on his sofa with his dog Bufon, a German Shepherd, by his side.
Bufon, or “Buffon” as Skolimowski prefers to spell his name – as a tribute to the Italian soccer player Gianluigi Buffon – is an actor, having appeared in an early scene in “Eo” as a “chained barking beast,” in Skolimowski’s words. It is the only time that Bufon has been secured by a chain. “He was very, very nervous about that,” Skolimowski says.
Skolimowski and Ewa Piaskowska – “Eo’s” co-writer, producer (alongside Skolimowski), and Skolimowski’s wife – lived for many years in California, but then they came back to Poland, and moved to a 19th century hunting lodge deep in a wild forest. “We lived away from civilization, but enjoyed the full spectacle of nature once we left the house,...
Bufon, or “Buffon” as Skolimowski prefers to spell his name – as a tribute to the Italian soccer player Gianluigi Buffon – is an actor, having appeared in an early scene in “Eo” as a “chained barking beast,” in Skolimowski’s words. It is the only time that Bufon has been secured by a chain. “He was very, very nervous about that,” Skolimowski says.
Skolimowski and Ewa Piaskowska – “Eo’s” co-writer, producer (alongside Skolimowski), and Skolimowski’s wife – lived for many years in California, but then they came back to Poland, and moved to a 19th century hunting lodge deep in a wild forest. “We lived away from civilization, but enjoyed the full spectacle of nature once we left the house,...
- 1/13/2023
- by Leo Barraclough
- Variety Film + TV
“Tár” was named Best Picture, its titular lead Cate Blanchett was honored as Best Actress and Colin Farrell was voted Best Actor this weekend by the National Society of Film Critics at its 57th annual awards. The wins for “Tár” and Blanchett gave the film and its star a rare trifecta as both earned wins late last year from the New York Film Critics Circle and Los Angeles Film Critics Association in addition to the Nsfc. Also earning a clean sweep of the three prestigious critics honors was Ke Huy Kwan, who pulled off the hat trick as Best Supporting Actor for his performance in “Everything Everywhere All at Once.” Farrell, meanwhile, won Best Actor for his star turns in both “The Banshees of Inisherin” and “After Yang.” Farrell’s “Banshees” co-star Kerry Condon took home the prize for Best Supporting Actress.
Also winning for “Tár” was Todd Field, who...
Also winning for “Tár” was Todd Field, who...
- 1/9/2023
- by Ray Richmond
- Gold Derby
Todd Field’s “Tár”won another major critics award on Saturday, with the National Society of Film Critics naming the dark drama about an imperious conductor and composer the best film of 2022.
The win gave “Tár” a near-sweep of the major critics awards. The film won the top prize from the New York Film Critics Circle and tied with “Everything Everywhere All at Once” with the Los Angeles Film Critics Association. The only other films to finish first with all three groups were “Schindler’s List,” “L.A. Confidential,” “The Hurt Locker,” “The Social Network” and “Drive My Car.”
Runner-up in the Nsfc best-picture voting was Charlotte Wells’ “Aftersun,” followed by Jafar Panahi’s “No Bears.”
Also Read:
New York Film Critics 2022: ‘Tar’ Named Best Film
“Tár” also won awards for Field’s screenplay and for lead actress Cate Blanchett, who won over Michelle Yeoh for “Everything Everywhere All at Once,...
The win gave “Tár” a near-sweep of the major critics awards. The film won the top prize from the New York Film Critics Circle and tied with “Everything Everywhere All at Once” with the Los Angeles Film Critics Association. The only other films to finish first with all three groups were “Schindler’s List,” “L.A. Confidential,” “The Hurt Locker,” “The Social Network” and “Drive My Car.”
Runner-up in the Nsfc best-picture voting was Charlotte Wells’ “Aftersun,” followed by Jafar Panahi’s “No Bears.”
Also Read:
New York Film Critics 2022: ‘Tar’ Named Best Film
“Tár” also won awards for Field’s screenplay and for lead actress Cate Blanchett, who won over Michelle Yeoh for “Everything Everywhere All at Once,...
- 1/7/2023
- by Steve Pond
- The Wrap
The National Society of Film Critics has named Tár as Best Picture in the group’s 57th annual vote Saturday. The results were announced on Twitter.
Cate Blanchett was awarded best actress for her Tár role, while writer-director Todd Field won for Best Screenplay. Blanchett’s win follows her New York Film Critics Circle and Los Angeles Film Critics Assn. victories.
Colin Farrell won Best Actor for his star turn in The Banshees of Inisherin and After Yang, Banshees’ Kerry Condon was chosen as Best Supporting Actress.
Charlotte Wells won best director prize for Aftersun. Ke Huy Quan was named Best Supporting Actor for Everything Everywhere All at Once.
The winners:
Best picture: Tár
Runners-up: Aftersun, No Bears
Best director: Charlotte Wells, Aftersun
Runners-up: Park Chan-wook, Decision to Leave, Jafar Panahi, No Bears
Best actor: Colin Farrell, After Yang and The Banshees of Inisherin
Runners-up: Paul Mescal, Aftersun, Bill Nighy,...
Cate Blanchett was awarded best actress for her Tár role, while writer-director Todd Field won for Best Screenplay. Blanchett’s win follows her New York Film Critics Circle and Los Angeles Film Critics Assn. victories.
Colin Farrell won Best Actor for his star turn in The Banshees of Inisherin and After Yang, Banshees’ Kerry Condon was chosen as Best Supporting Actress.
Charlotte Wells won best director prize for Aftersun. Ke Huy Quan was named Best Supporting Actor for Everything Everywhere All at Once.
The winners:
Best picture: Tár
Runners-up: Aftersun, No Bears
Best director: Charlotte Wells, Aftersun
Runners-up: Park Chan-wook, Decision to Leave, Jafar Panahi, No Bears
Best actor: Colin Farrell, After Yang and The Banshees of Inisherin
Runners-up: Paul Mescal, Aftersun, Bill Nighy,...
- 1/7/2023
- by Bruce Haring
- Deadline Film + TV
It was a rare hat trick victory for Todd Field’s “Tár,” as the drama added a best picture win from the National Society of Film Critics on Saturday. Following its prestigious wins from the Los Angeles Film Critics Association and New York Film Critics Circle this season, it’s one of the few movies to win the trifecta of best picture awards from the three majors critics bodies.
The last films to win Nsfc, NYFCC and Lafva were Ryûsuke Hamaguchi’s “Drive My Car” (2021), David Fincher’s “The Social Network” (2010) and Kathryn Bigelow’s “The Hurt Locker” (2009), all of which were nominated for best picture. Bigelow’s film went on to claim victory in the Academy’s top category.
But it’s not only the movie celebrating the three-peat, with “Tár” star Cate Blanchett and “Everything Everywhere All at Once” sensation Ke Huy Quan, winning all three lead actress and supporting actor trophies,...
The last films to win Nsfc, NYFCC and Lafva were Ryûsuke Hamaguchi’s “Drive My Car” (2021), David Fincher’s “The Social Network” (2010) and Kathryn Bigelow’s “The Hurt Locker” (2009), all of which were nominated for best picture. Bigelow’s film went on to claim victory in the Academy’s top category.
But it’s not only the movie celebrating the three-peat, with “Tár” star Cate Blanchett and “Everything Everywhere All at Once” sensation Ke Huy Quan, winning all three lead actress and supporting actor trophies,...
- 1/7/2023
- by Clayton Davis
- Variety Film + TV
Tár was named best picture by the National Society of Film Critics in the group’s 57th annual vote Saturday.
The film was among the key 2023 winners, as Cate Blanchett was named best actress for her titular role, while writer-director Todd Field prevailed for best screenplay. Also faring well was The Banshees of Inisherin, with Colin Farrell winning best actor for his performances in that and After Yang, while Banshees’ Kerry Condon was chosen as best supporting actress.
Ke Huy Quan continued his awards-season momentum with a best supporting actor triumph for Everything Everywhere All at Once. Additionally, Charlotte Wells landed the best director prize for Aftersun.
The group selected winners in the following categories: picture, director, actor, actress, supporting actor, supporting actress, screenplay and cinematography.
Last year, the group’s selection for best picture was director Ryusuke Hamaguchi’s Drive My Car, which went on to win the Oscar for best international feature film.
The film was among the key 2023 winners, as Cate Blanchett was named best actress for her titular role, while writer-director Todd Field prevailed for best screenplay. Also faring well was The Banshees of Inisherin, with Colin Farrell winning best actor for his performances in that and After Yang, while Banshees’ Kerry Condon was chosen as best supporting actress.
Ke Huy Quan continued his awards-season momentum with a best supporting actor triumph for Everything Everywhere All at Once. Additionally, Charlotte Wells landed the best director prize for Aftersun.
The group selected winners in the following categories: picture, director, actor, actress, supporting actor, supporting actress, screenplay and cinematography.
Last year, the group’s selection for best picture was director Ryusuke Hamaguchi’s Drive My Car, which went on to win the Oscar for best international feature film.
- 1/7/2023
- by Ryan Gajewski
- The Hollywood Reporter - Movie News
The National Society of Film Critics convened in New York and Los Angeles on Saturday to vote on their annual film awards, with some of the top prizes going to “TÁR” and “The Banshees of Inisherin.” Todd Field’s classical music saga won Best Picture, Best Actress for Cate Blanchett, and Best Screenplay for Field himself. “Banshees” took home Best Actor for Colin Farrell while Kerry Condon won Best Supporting Actress. Both films were already expected to be Oscar frontrunners, but today’s vote certainly helped their cause.
Another film to notch a major win, albeit a more unexpected one, was “Aftersun,” as Charlotte Wells won Best Director for her debut feature.
Per usual, voting was being conducted via a weighted ballot system. In each category, critics submitted ballots containing their top three picks. Their first choice received three points, their second received two, and their third choice received a single point.
Another film to notch a major win, albeit a more unexpected one, was “Aftersun,” as Charlotte Wells won Best Director for her debut feature.
Per usual, voting was being conducted via a weighted ballot system. In each category, critics submitted ballots containing their top three picks. Their first choice received three points, their second received two, and their third choice received a single point.
- 1/7/2023
- by Christian Zilko
- Indiewire
There’s a lot of talk about how 2022 was a ‘flop’ year for film. The quality of the movies was constantly called into question without considering that many of these films were shot during the height of the pandemic where money, space, and resources were limited. Regardless of what anyone thinks, this year produced some phenomenal cinema, with even better performances. My best of 2022 list is meant to highlight some of the titles that left an impression on me. The choices range across genres from action, drama, documentary, and animation.
What are your top ten films of the year? Did you struggle finding movies to fill slots? Let me know in the comments!
Eo
Give these Donkeys an Academy Award today! I have never seen live-action animals perform with more personality, and emotion than the ones in Eo. With his own take on Au Hasard Balthazar, director Jerzy Skolimowski follows...
What are your top ten films of the year? Did you struggle finding movies to fill slots? Let me know in the comments!
Eo
Give these Donkeys an Academy Award today! I have never seen live-action animals perform with more personality, and emotion than the ones in Eo. With his own take on Au Hasard Balthazar, director Jerzy Skolimowski follows...
- 12/28/2022
- by Valerie Complex
- Deadline Film + TV
It was the west coast critics’ turn to hand out honors for the best films and performances of 2022, with the Los Angeles Film Critics Association (Lafca) landing on a tie for their top honors, between A24’s “Everything Everywhere All at Once” and Focus Features’ “Tár.” It was the fourth time the group tied in its 48-year history after “Dog Day Afternoon” and “One Flew Over the Cuckoo’s Nest” (1975), “Network” and “Rocky” (1976) and “Gravity” and “Her” (2013).
Along with the top prize for “Tár,” Todd Field won both director and screenplay prizes for the film. His leading woman Cate Blanchett walked away with the best lead performance honor, which she shared with British veteran actor Bill Nighy for his work in Oliver Hermanus’ “Living.”
It was the first year the group switched to gender-neutral acting categories, which they announced back in October.
This marked Blanchett’s second Lafca win after “Blue Jasmine...
Along with the top prize for “Tár,” Todd Field won both director and screenplay prizes for the film. His leading woman Cate Blanchett walked away with the best lead performance honor, which she shared with British veteran actor Bill Nighy for his work in Oliver Hermanus’ “Living.”
It was the first year the group switched to gender-neutral acting categories, which they announced back in October.
This marked Blanchett’s second Lafca win after “Blue Jasmine...
- 12/11/2022
- by Clayton Davis
- Variety Film + TV
Click here to read the full article.
The Los Angeles Film Critics Association has named both Everything Everywhere All at Once and Tár as its best picture for 2022.
On Sunday, the critics association announced its winners for the best films of 2022. Living actor Bill Nighly and Tár star Cate Blanchett were both named best lead performance. This was the first year that Lafca introduced gender-neutral acting categories, including two awards for best lead performance and two for best supporting performance.
Tár took home several awards, including Todd Field being named best director and best screenplay.
The best supporting performance went to Dolly De Leon in Triangle of Sadness and Ke Huy Quan in Everything Everywhere All at Once.
Jerzy Skolimowski’s Eo won the best film not in the English language, and Laura Poitras’ All The Beauty And The Bloodshed won the best documentary/nonfiction film.
The best animated movie...
The Los Angeles Film Critics Association has named both Everything Everywhere All at Once and Tár as its best picture for 2022.
On Sunday, the critics association announced its winners for the best films of 2022. Living actor Bill Nighly and Tár star Cate Blanchett were both named best lead performance. This was the first year that Lafca introduced gender-neutral acting categories, including two awards for best lead performance and two for best supporting performance.
Tár took home several awards, including Todd Field being named best director and best screenplay.
The best supporting performance went to Dolly De Leon in Triangle of Sadness and Ke Huy Quan in Everything Everywhere All at Once.
Jerzy Skolimowski’s Eo won the best film not in the English language, and Laura Poitras’ All The Beauty And The Bloodshed won the best documentary/nonfiction film.
The best animated movie...
- 12/11/2022
- by Carly Thomas
- The Hollywood Reporter - Movie News
The Los Angeles Film Critics Association is meeting to select its annual awards. TheWrap will update the list of winners as they are announced.
This year for the first time, the organization opted to make its acting categories gender-neutral, giving out two lead acting and two supporting acting awards without regard to its former actor and actress classifications. In the supporting category, the two winners were Dolly de Leon for “Triangle of Sadness” and Ke Huy Quan for “Everything Everywhere All at Once.” Runners-up were Jessie Buckley from “Women Talking” and Brian Tyree Henry from “Causeway.”
In the below-the-line categories, the critics gave Michal Dymek the cinematography award for his work on the Polish film “Eo” and M.M. Keeravani the music award for the Indian epic “Rrr.”
The Lafca consists of 67 Los Angeles-based film critics working in print and electronic media, including TheWrap’s Alonso Duralde. The group had originally...
This year for the first time, the organization opted to make its acting categories gender-neutral, giving out two lead acting and two supporting acting awards without regard to its former actor and actress classifications. In the supporting category, the two winners were Dolly de Leon for “Triangle of Sadness” and Ke Huy Quan for “Everything Everywhere All at Once.” Runners-up were Jessie Buckley from “Women Talking” and Brian Tyree Henry from “Causeway.”
In the below-the-line categories, the critics gave Michal Dymek the cinematography award for his work on the Polish film “Eo” and M.M. Keeravani the music award for the Indian epic “Rrr.”
The Lafca consists of 67 Los Angeles-based film critics working in print and electronic media, including TheWrap’s Alonso Duralde. The group had originally...
- 12/11/2022
- by Steve Pond
- The Wrap
The words “Bressonian joy” are rarely deployed, but from Cannes onward we’ve heard almost exclusively great things about Jerzy Skolimowski’s Eo, a Balthazar spin that earned the 84-year-old director a Jury Prize and seemingly endless best-of-the-fest listings. Needless to say the wait for its opening has been felt.
Ahead of a November 18 release from Janus and Sideshow—their first since Drive My Car—we have a trailer for Skolimowski’s film, though I’d suggest holding out just a bit longer before seeing much else. As David Katz said in his review, “The barrier of language and gulf of understanding between man and animal is the subject of the quite wondrous Eo, a true surprise from the great Polish filmmaker Jerzy Skolimowski, now enjoying his mid-80s. It is adapted—freely inspired may be a better term—from Robert Bresson’s iconic 1966 film Au Hasard Balthazar; from Eo...
Ahead of a November 18 release from Janus and Sideshow—their first since Drive My Car—we have a trailer for Skolimowski’s film, though I’d suggest holding out just a bit longer before seeing much else. As David Katz said in his review, “The barrier of language and gulf of understanding between man and animal is the subject of the quite wondrous Eo, a true surprise from the great Polish filmmaker Jerzy Skolimowski, now enjoying his mid-80s. It is adapted—freely inspired may be a better term—from Robert Bresson’s iconic 1966 film Au Hasard Balthazar; from Eo...
- 10/6/2022
- by Leonard Pearce
- The Film Stage
Poland has selected Jerzy Skolimowski’s Cannes-winning title Eo as its official submission to the International Oscar race this year.
The movie had its premiere in competition at this year’s Cannes Film Festival where it won the Jury Prize and the Soundtrack award and it’s set to screen in the Contemporary World Cinema section at the Toronto International Film Festival next month and is part of the New York Film Festival’s main lineup.
Eo marks Moonlighting helmer Skolimowski’s first project in seven years and follows the travels of a nomadic gray donkey named Eo. After being removed from the traveling circus, which is the only life he’s ever known, Eo begins a trek across the Polish and Italian countryside, experiencing cruelty and kindness in equal measure, all the while observing the follies and triumphs of humankind.
During his travels, he is both helped and hindered...
The movie had its premiere in competition at this year’s Cannes Film Festival where it won the Jury Prize and the Soundtrack award and it’s set to screen in the Contemporary World Cinema section at the Toronto International Film Festival next month and is part of the New York Film Festival’s main lineup.
Eo marks Moonlighting helmer Skolimowski’s first project in seven years and follows the travels of a nomadic gray donkey named Eo. After being removed from the traveling circus, which is the only life he’s ever known, Eo begins a trek across the Polish and Italian countryside, experiencing cruelty and kindness in equal measure, all the while observing the follies and triumphs of humankind.
During his travels, he is both helped and hindered...
- 8/30/2022
- by Diana Lodderhose
- Deadline Film + TV
Award-winning Taiwan actors Ding Ning and Tsao Yu-Ning have joined the cast of “Pierce” a sports drama film hailing from Jeremy Chua’s Singapore production firm Potocol.
Ding, who won a Golden Horse Award for her supporting role in “Cities of Last Things,” and Tsao, who won at the Taipei Film Festival for his supporting role in another sports drama, 2014 baseball tale “Kano,” respectively play the mother and elder brother of a promising young fencer. The high school fencer is portrayed by rising star Liu Hsiu-Fu.
The story sees the youngster choose to trust and help his dangerous older brother who is released from jail. This means defying their mother’s attempts to bury the brother’s existence and hide the family’s traumatic past.
The film is written and directed by first-time feature director Nelicia Low, who previously represented Singapore on the country’s national fencing team, before retiring to focus on filmmaking.
Ding, who won a Golden Horse Award for her supporting role in “Cities of Last Things,” and Tsao, who won at the Taipei Film Festival for his supporting role in another sports drama, 2014 baseball tale “Kano,” respectively play the mother and elder brother of a promising young fencer. The high school fencer is portrayed by rising star Liu Hsiu-Fu.
The story sees the youngster choose to trust and help his dangerous older brother who is released from jail. This means defying their mother’s attempts to bury the brother’s existence and hide the family’s traumatic past.
The film is written and directed by first-time feature director Nelicia Low, who previously represented Singapore on the country’s national fencing team, before retiring to focus on filmmaking.
- 9/14/2021
- by Patrick Frater
- Variety Film + TV
Sweat
Sweden’s Magnus von Horn is back after a five year hiatus with sophomore film Sweat, reuniting with his The Here After producer Mariusz Wlodarski (who also produced the forthcoming Apples from Christos Nikou and 2018’s The Harvesters). The title is lensed by Dp Michal Dymek (2019’s Dolce Fine Giornata – read review). Von Horn’s debut The Here After premiered in Directors’ Fortnight at Cannes.
Gist: Fitness instructor Sylwia is a social media celebrity with thousands of followers, admirers and loyal employees. But Sylwia begins to search for something real, something intimate.
Release Date/Prediction: The title was shot through November 2019.…...
Sweden’s Magnus von Horn is back after a five year hiatus with sophomore film Sweat, reuniting with his The Here After producer Mariusz Wlodarski (who also produced the forthcoming Apples from Christos Nikou and 2018’s The Harvesters). The title is lensed by Dp Michal Dymek (2019’s Dolce Fine Giornata – read review). Von Horn’s debut The Here After premiered in Directors’ Fortnight at Cannes.
Gist: Fitness instructor Sylwia is a social media celebrity with thousands of followers, admirers and loyal employees. But Sylwia begins to search for something real, something intimate.
Release Date/Prediction: The title was shot through November 2019.…...
- 12/30/2019
- by Nicholas Bell
- IONCINEMA.com
Fears related to immigration, terrorism, and nationalism are a running theme in many Sundance entries this year, although probably none of the films addresses the commingled issues in such a potent yet roundabout way as Jacek Borcuch’s “Dolce Fine Giornata.” This satisfyingly complex drama stars Polish cinema veteran Krystyna Janda (going back to Wadja’s 1977 “Man of Marble”) as a celebrated poet whose enviable semi-retired life under the Tuscan sun rapidly frays when her “artistic license” in a public speech appears to condone suicide bombers.
This very European take on various hot-button topics lacks the kind of easily encapsulated gist that makes for easy marketing. But it’s a fine fifth feature for actor-turned-auteur Borcuch, as good as, yet very different from, 2009’s excellent teenage punk flashback “All That I Love.” Specialty distributors may want to climb on board his train now, as another film or two this strong...
This very European take on various hot-button topics lacks the kind of easily encapsulated gist that makes for easy marketing. But it’s a fine fifth feature for actor-turned-auteur Borcuch, as good as, yet very different from, 2009’s excellent teenage punk flashback “All That I Love.” Specialty distributors may want to climb on board his train now, as another film or two this strong...
- 2/3/2019
- by Dennis Harvey
- Variety Film + TV
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