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Guillermo del Toro’s ‘The Shape of Water’ Trailer Breakdown: Sally Hawkins Befriends Doug Jones’ Man-Fish in Gorgeous Fairy Tale

14 July 2017 12:39 PM, PDT | Indiewire | See recent Indiewire news »

Fox Searchlight Pictures hasn’t released the trailer for Guillermo del Toro’s “The Shape of Water” online just yet, but IndieWire caught the two-and-a-half minute teaser on the big screen on Friday, and can confirm that the “fairy tale” starring Doug Jones as a man-fish looks as magical and otherworldly as anything del Toro has ever made.

Read MoreGuillermo del Toro Reveals the One Movie He Wishes He Hadn’t Turned Down — Watch

Set in Cold War–era America circa 1963, the film stars Sally Hawkins as “Elisa,” a mute cleaning lady in a government lab who develops a kinship with Jones’ amphibious-looking creature (who bears a striking resemblance to Abe Sapien from the “Hellboy” series). The entire film seems to be cast in the gorgeous blue-green hue that can be seen on the movie’s teaser poster.

“If I told you about her — the princess without a voice — what would I say? »

- Graham Winfrey

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U.K. Now Casting: Play a Combat Pilot or Nurse in ‘Cover’ + More

14 July 2017 10:30 AM, PDT | backstage.com | See recent Backstage news »

Set your sights high with the opportunities in today’s casting notices! There are roles available in “Cover,” a proof concept for a WWII TV drama, including the male lead. There are also several roles available on stage this season in Lapa’s “Sword and the Dope,” Beyond the Horizon’s “Oedipus” or “Antigone,” or a London production of the Gershwin musical “An American in Paris!” “Cover” W/T “Cover,” a proof of concept for a new WWII drama television series, is currently looking for actors to fill three lead and supporting roles. A male actor ages 30–40 is needed to play the lead role of James, a British Raf combat pilot who crashes his plane on German soil during an attack and switches uniforms with a dead German soldier in an attempt to survive the battlefield. A female actor ages 30–40 is needed for the role of Lisa, a German nurse. »

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Baby Driver review – boy racer hits all the right notes

2 July 2017 12:00 AM, PDT | The Guardian - Film News | See recent The Guardian - Film News news »

A young getaway driver’s playlist helps him stay in the fast lane in Edgar Wright’s exhilarating car-chase thriller musical

After wisely walking away from the car crash of Marvel’s 2015 film Ant-Man, Shaun of the Dead director Edgar Wright is back in the fast lane with his most thrillingly cinematic romp. A romantic musical disguised as a car-chase thriller, Baby Driver combines the over-cranked action fantasies of Hot Fuzz with the poptastic sensibilities of Scott Pilgrim vs the World. At its centre is Ansel Elgort’s eponymous getaway driver, who uses earphones to drown out the “hum-in-the-drum” of tinnitus (the result of a childhood accident) and orchestrates his life to carefully chosen iPod playlists. Whether he’s burning rubber or fixing a peanut butter sandwich (“right up to the edges”), this former joyrider spins his wheels and records with the same infectious exuberance. Think An American in Paris meets The French Connection, »

- Mark Kermode, Observer film critic

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‘Baby Driver’: How Edgar Wright Is Saving the Action Film

29 June 2017 8:51 AM, PDT | Indiewire | See recent Indiewire news »

The first day of shooting car chase scenes on the “Baby Driver” set, stunt coordinator and second unit director Darrin Prescott asked Edgar Wright if he wanted to sit in while they filmed their first high speed chase.

Read More: The 25 Best Action Movies of the 21st Century, From ‘The Dark Knight’ to ‘Baby Driver

“Oh my god, you’re never prepared for what it feels like to go that fast around the corner and it was incredible,” said Wright in an interview with IndieWire. “That’s the thing — in terms of sitting there as a director, this is what I want the viewers to feel like when they are watching it.” That commitment has yielded one of the best-directed pieces of action filmmaking in years, but pulling it off was no easy feat.

Visceral Pleasures

For Wright, the idea of shooting his heist film about a young getaway driver »

- Chris O'Falt

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Exploring the music of Edgar Wright's Cornetto trilogy

29 June 2017 12:43 AM, PDT | Den of Geek | See recent Den of Geek news »

Mark Harrison Jul 3, 2017

Music is a vital part of Shaun Of The Dead, Hot Fuzz and The World's End. We take a look in more detail right here...

This feature contains major spoilers for Shaun Of The Dead, Hot Fuzz and The World's End.

Edgar Wright's films are often likened to musicals, with his precise use of editing and shot choices giving us some of the most stylish comedy films of the century. His latest, Baby Driver, isn't a comedy per se, but “a musical with car chases”, or “An American In Paris on wheels and crack smoke”, as an elated Guillermo del Toro described it on Twitter.

Centring around Ansel Elgort's Baby, a getaway driver who does his best work while listening to a personal soundtrack, it seems like the film Wright was born to make. He had the idea for the film after making his first feature, »

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Guillermo Del Toro Gushes Over Edgar Wright’s ‘Baby Driver’ in Series of Tweets

28 June 2017 8:11 AM, PDT | The Wrap | See recent The Wrap news »

Cult movie maven Edgar Wright‘s latest popcorn flick, “Baby Driver,” is out in theaters today, and already one major director has stepped forward to champion it: “Pacific Rim” and “Pan’s Labyrinth” auteur Guillermo Del Toro. On Tuesday afternoon, Del Toro heaped praise upon “Baby Driver” in a series of swooning tweets, comparing the movie’s use of music during its elaborate car chase scenes to Gene Kelly’s dancing in “An American In Paris.” He also compared Wright to famed action and western movie director Walter Hill, whom Wright has mentioned was a major influence when making “Baby Driver. »

- Jeremy Fuster

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Guillermo Del Toro Really Wants You to See ‘Baby Driver,’ Hails it As ‘An American in Paris’ on ‘Crack Smoke’

28 June 2017 7:18 AM, PDT | Indiewire | See recent Indiewire news »

Baby Driver,” Edgar Wright’s hotly anticipated summer car heist, hits theaters today, and the buzz surrounding the movie has been growing steadily since its SXSW premiere. But there’s at least one person even more excited than we are for the action flick: Guillermo del Toro. The director took to Twitter to unleash a string of praise on Wright’s latest (in what has now become something of a tradition), calling it “breathtaking,” “flawlessly executed,” and “earnest and unprotected.”

Read More: Guillermo del Toro’s Guide to Creating the Perfect Movie Monster: ‘No Element Must be Accidental’

Comparing Wright to the great Walter Hill, del Toro argued that “Baby Driver” combined the action chops of “The Driver” with the fable-like qualities of “Mean Streets.” Not bad praise from the guy who made “Pan’s Labyrinth.”

“The key to understanding it fully — at least for me — is in the fact that it is a fable, »

- Jude Dry

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‘Baby Driver’ Director Edgar Wright: See Behind the Scenes of His Best Films

28 June 2017 6:00 AM, PDT | Indiewire | See recent Indiewire news »

From “Shaun of the Dead” to his high-octane new film, take a peek inside the productions of the British auteur.

Related storiesGuillermo Del Toro Really Wants You to See 'Baby Driver,' Hails it As 'An American in Paris' on 'Crack Smoke'Edgar Wright Has Never Seen 'Ant-Man' and Probably Never WillThe Ultimate Edgar Wright Playlist, From 'Baby Driver' to 'Shaun of the Dead' »

- William Earl

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Edgar Wright Has Never Seen ‘Ant-Man’ and Probably Never Will

27 June 2017 12:17 PM, PDT | Indiewire | See recent Indiewire news »

Filmmaker Edgar Wright notoriously spent nearly a decade working on “Ant-Man” — his Marvel passion project about the world’s smallest superhero — before leaving the project back in May of 2014, mere months before production started on the Paul Rudd-starring feature. While the film snagged a new director in Peyton Reed (and a slew of rewrites along the way), Wright retains some connection to the project: a screenwriting credit for the film he so desperately wanted to make.

Now that Wright is back on the publicity trail for his latest film, “Baby Driver,” talk has inevitably turned to the infamous “Ant-Man” fallout and its impact on Wright, both personally and professionally. Earlier this week, Wright appeared on Variety’s Playback Podcast, where he quite smartly explained, “I think the most diplomatic answer is I wanted to make a Marvel movie but I don’t think they really wanted to make an Edgar Wright movie. »

- Kate Erbland

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June 1977: When New Hollywood Got Weird

21 June 2017 9:52 AM, PDT | The Film Stage | See recent The Film Stage news »

Last month, coverage of the 40th anniversary of Star Wars was understandably extensive, with pop-culture publications, daily newspapers, and TV media commemorating a film that by all rights changed the landscape of Hollywood, for better or worse. Conversely, there will likely be relatively little retrospective celebration for William Friedkin’s Sorcerer or Martin Scorsese’s New York, New York, two terrific films released roughly one month later in the week of June 19-25. Though they weren’t the first examples of New Hollywood directors following huge successes with more difficult works that flopped (Peter Bogdanovich’s secretly lovely At Long Last Love comes to mind), they stood in 1977 as back-to-back examples of talented filmmakers – one Oscar-winning, the other well on his way to becoming the most-acclaimed director of his generation – overreaching and failing after becoming a bit too full of themselves.

That is, of course, an oversimplification, just as the other charge popularized by the likes of Peter Biskind – i.e. George Lucas’ grand space opera and Steven Spielberg’s personal blockbusters killed Hollywood’s interest in movies for adults – is an oversimplification. In all truth, it isn’t surprising that audiences didn’t go for Sorcerer or New York, New York, two especially challenging-for-the-mainstream features that pushed their creators’ aesthetics to greater extremes than before while tracking in subject matter that was pessimistic even for the time. But while both films and their troubled productions saw directors burned by their ambition, they are also exceptional works showcasing how exhilarating it can be when all commercial sense goes out the window.

Friedkin’s Sorcerer can lay more claim to having been actively harmed by the arrival of Lucas’ megahit, arriving exactly one month later, on June 25, and competing for a thrill-seeking crowd. (One theater reportedly pulled Star Wars for Sorcerer for a week, only to replace it when Friedkin’s film failed to lure an audience.) The film, a remake of Henri-Georges Clouzot’s 1953 masterpiece The Wages of Fear, was also hurt by its confusing title — named after one of the trucks transporting dynamite through a dangerous jungle to put out an oil fire — and a budget that ballooned from an initially planned $15 million to $22 million following a difficult production.

Friedkin, hot off the Oscar-winning The French Connection and hugely successful The Exorcist, already had a reputation for his temperament and arrogance. They were in full force on Sorcerer: he clashed with cinematographer Dick Bush, who left halfway through filming, as well as producer David Salven, whom Friedkin fired after fights over the expensive location shoots. Friedkin extensively clashed with Paramount brass, sometimes reasonably (kicking executives off set after perceived interference), sometimes amusingly but questionably (the evil oil execs pictured in the film are actually Gulf & Western’s executive board, and they repaid him by not promoting the film). The jungle shoot itself was hell, with about 50 people quitting following injury or illness while Friedkin himself contracted malaria and lost 50 pounds.

But it’s only appropriate that the making of Sorcerer was so desperate, given the story it tells. Friedkin’s worldview has always been bleak and cynical, and Sorcerer may be the purest expression of that. Its heroes are a hard-bitten New Jersey hood (a spectacularly testy Roy Scheider) hiding out after shooting a mobster’s brother, a crooked French banker (Bruno Cremer) on the run following fraud accusations, a Palestinian terrorist (Amidou) behind a Jerusalem bombing, and a Mexican hitman (Francisco Rabal) who gets in on the job after murdering the fourth driver (Karl John), apparently a fugitive Nazi. The film presents their crimes as facts and without real judgment, their rottenness just another bad part of a burned-out, brutal world.

Where The French Connection and The Exorcist gave viewers visceral thrills early on and some sense of right and wrong (even if it’s fatally compromised), the early action in Sorcerer is more painful, with suicide, terrorism, and the loss of friends and partners forming the four prologues introducing the men at this film’s center. Friedkin then drops us into squalor and despair in a small South American town where the heat and rain are nearly as oppressive as the police state, the work is dangerous and pays little, and the mud seems to soak up any sense of hope. It’s little wonder that they might take up the dangerous assignment of driving through an arduous jungle landscape with unstable explosives that could set off at any moment. When you’ve been driven into no man’s land by your sins, any way out is worth it — no matter how unlikely it is that you’ll survive.

The actual drive up to the oil well doesn’t begin until about halfway through and takes on the tone of an unusually fraught funeral march for the protagonists. Friedkin’s immediate, docurealistic style helps ground the proceedings as set-pieces grow more heightened, most memorably when the drivers guide their trucks over a deteriorating bridge as the river beneath it overflows — the most expensive sequence in the film, as well as the most difficult-to-shoot of Friedkin’s career. As Popeye Doyle’s car chase in The French Connection and Regan & Chris MacNeil getting jerked around in The Exorcist evince, Friedkin always had a gift for making scenes that were already dangerous in conception even more tactile and nerve-wracking. Here, his emphasis on the mechanics of the crossing – the snapping rope and wood – as well as the fragility of the bodies attempting to cross (particularly as one rider steps outside to guide the truck and risks getting thrown off or crushed in the process) make the danger of their situation all the more palpable.

Yet there’s a more existential doom permeating the film compared with the nihilism of his earlier efforts, a more complete melding of his hard-bitten style with expressionistic touches that peppered The Exorcist. Part of that comes from Tangerine Dream’s ethereal score, which accentuates a sense that the elements are set against the drivers. But Friedkin also lends the film’s grungy look a sort of otherworldly menace, whether the camera soars through gorgeous greenery while a fire burns in the background or Scheider envisions a stream of blood soaking the dirt.  Even the small moments of beauty (e.g. a butterfly hiding from the rain or a woman briefly dancing with Scheider) seem to tease the protagonists and underline their utter hopelessness. By the time we reach a grim conclusion, Friedkin has taken us through a world without mercy or decency, in which fate mocks even the most resilient of us.

Martin Scorsese’s New York, New York, released just a few days earlier on June 21, was less plausibly affected by the release of Star Wars, and more likely the victim of critics and audiences being put off by its mix of glossy, Vincente Minnelli-esque musicality and aggressive, John Cassavetes-influenced verisimilitude. Scorsese, with the story of a creative and personal relationship collapsing under the weight of jealousy in a postwar environment, sought to bring to the forefront the unhappiness lurking under the surface of films such as Meet Me in St. Louis and My Dream is Yours.

It, like Sorcerer, had a difficult production, with the director battling a severe cocaine addiction while breaking up with then-wife Julia Cameron and carrying out an affair with lead actress Liza Minnelli. The film’s herky-jerky rhythms and circular intensity seem to take cues from that tension, the big-band musical numbers clashing with deliberately repetitive improvisations and screaming matches. Scorsese had mixed realism with melodrama (Alice Doesn’t Live Here Anymore) and grit with florid formalism (Taxi Driver) previously, and would go on to marry his classic and New Hollywood interests more palatably in Raging Bull. But New York, New York isn’t a marriage so much as it’s a push-pull war, one that’s sometimes exhausting.

Acknowledging the unattainability of Hollywood fantasies makes it no less vital a love letter. Scorsese opens with an astonishing crane shot on V-j Day as Robert De Niro’s Jimmy gets lost in the excitement of a crowd, only to appear under an arrow that both pinpoints and isolates him. De Niro’s first interactions with Minnelli’s Francine, meanwhile, are less a meet-cute, more an ongoing, insistent harassment that eventually wears down her defenses. The entire opening sequence communicates a sense of spiritual and personal emptiness amid celebration, an early warning that not all is well in the postwar era.

De Niro continues playing Jimmy as a halfway point between his insecure, jealous bruiser in Raging Bull and his relentless, obnoxious pest in The King of Comedy, but Scorsese finds some truth in his and Francine’s romance (even as it’s rotting from the inside out) in their musical performances, with the two finding a better balance and greater chemistry as they perform “You Brought a New Kind of Love to Me.” Their partnership flourishes out of a mutual recognition of talent — or, in his case, recognition of greater possible success together. Still, that balance begins to tip whenever Francine asserts herself, as in a scene where she tries to pep up the band following one of Jimmy’s criticisms, only for him to tear her down. And the film’s most gorgeous images undermine any possibility of happiness between the two, with De Niro proposing (badly: “I love you… I mean, I don’t love you. I dig you; I like you a lot”) in front of a fake forest.

Purposefully, the film’s first two hours give more emphasis to Scorsese’s more discursive side, major arguments between Jimmy and Francine getting interrupted by Jimmy’s ability to get into a minor argument with anyone he encounters. It’s in the final third that focus shifts to the director’s inner formalist and New York, New York turns into a proper musical with the remarkably bittersweet “Happy Endings” sequence. Francine’s finally given a chance to flourish as a performer, unhindered by Jimmy’s jealousy, and Scorsese jumps into an unabashedly stagey finale not unlike that of The Band Wagon or An American in Paris.

Yet the climax still reflects the inherent unhappiness in Francine’s life, telling a story of a relationship ended by success, only to double back and conclude with a wish-fulfillment coda that only makes it more painful. We’ve already seen the truth in the lives of Francine and Jimmy, and no rousing performance of “Theme from ‘New York, New York’” is going to change that. Their final encounter twists the knife further, giving one last tease of possible reconciliation before recognizing that it’s impossible, leaving Jimmy with a final, lonely shot echoing that V-j Day opening.

Audiences and critics largely rejected New York, New York and Sorcerer, with neither film making its budget back or earning the raves their makers had come to expect, but time has been kind to both. They haven’t exactly seen widespread reevaluation as their makers’ best works — Sorcerer wouldn’t be too far off for this writer, and Scorsese’s film has its passionate advocates — but they’ve developed cult followings and at least partly shaken off their previous distinctions as merely ambitious follies. Perhaps it’s appropriate that they’re not as widely cited as Taxi Driver and The Exorcist – they’re pricklier than their more popular predecessors, better suited as advanced viewing than introductory works. They may not generate thousands upon thousands of appreciations 40 years later, but they’re there, waiting for curious viewers to make a discovery. »

- The Film Stage

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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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TCM's Pride Month Series Continues with Movies Somehow Connected to Lgbt Talent

8 June 2017 6:21 PM, PDT | Alt Film Guide | See recent Alt Film Guide news »

Turner Classic Movies continues with its Gay Hollywood presentations tonight and tomorrow morning, June 8–9. Seven movies will be shown about, featuring, directed, or produced by the following: Cole Porter, Lorenz Hart, Farley Granger, John Dall, Edmund Goulding, W. Somerset Maughan, Clifton Webb, Montgomery Clift, Raymond Burr, Charles Walters, DeWitt Bodeen, and Harriet Parsons. (One assumes that it's a mere coincidence that gay rumor subjects Cary Grant and Tyrone Power are also featured.) Night and Day (1946), which could also be considered part of TCM's homage to birthday girl Alexis Smith, who would have turned 96 today, is a Cole Porter biopic starring Cary Grant as a posh, heterosexualized version of Porter. As the warning goes, any similaries to real-life people and/or events found in Night and Day are a mere coincidence. The same goes for Words and Music (1948), a highly fictionalized version of the Richard Rodgers-Lorenz Hart musical partnership. »

- Andre Soares

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How Tony Nominee Brandon Uranowitz Chooses an Audition Song

31 May 2017 7:30 AM, PDT | backstage.com | See recent Backstage news »

First appearing on Tony ballots for “An American in Paris,” Brandon Uranowitz has scored his second nomination for featured actor in a musical thanks to his charming and comedic take on Mendel in James Lapine and William Finn’s “Falsettos” revival. He sat with Backstage for a Facebook Live interview May 23 to discuss how musical theater actors should choose an audition song and why working with Christian Borle, Stephanie J. Block, and Andrew Rannells was a master class in stage acting.  On auditioning for ‘Falsettos’ again and again.“I auditioned—and I’m not exaggerating—once a month from February to June. It was a nightmare. It wasn’t just, like, audition and then, ‘We’ll see what happens.’ It was audition and then, ‘It’s not going to go any further.’ The first couple of times, I had to literally mourn the loss of the job. I wanted it so badly. »

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How Tony Nominee Brandon Uranowitz Chooses an Audition Song

31 May 2017 7:30 AM, PDT | backstage.com | See recent Backstage news »

First appearing on Tony ballots for “An American in Paris,” Brandon Uranowitz has scored his second nomination for featured actor in a musical thanks to his charming and comedic take on Mendel in James Lapine and William Finn’s “Falsettos” revival. He sat with Backstage for a Facebook Live interview May 23 to discuss how musical theater actors should choose an audition song and why working with Christian Borle, Stephanie J. Block, and Andrew Rannells was a master class in stage acting.  On auditioning for ‘Falsettos’ again and again.“I auditioned—and I’m not exaggerating—once a month from February to June. It was a nightmare. It wasn’t just, like, audition and then, ‘We’ll see what happens.’ It was audition and then, ‘It’s not going to go any further.’ The first couple of times, I had to literally mourn the loss of the job. I wanted it so badly. »

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Ralph Fiennes joins cast of his Nureyev drama 'The White Crow'

3 May 2017 4:10 AM, PDT | ScreenDaily | See recent ScreenDaily news »

Exclusive: Laurent Lafitte, Raphaël Personnaz, Louis Hofmann also board project.

Ralph Fiennes has joined the cast of The White Crow, his project about Russian ballet dancer Rudolf Nureyev.

Fiennes will play Nureyev’s teacher and mentor, Pushkin, who helped launch Nureyev’s career out of St Petersburg, and will also direct the feature.

As previously reported, professional dancer Oleg Ivenko will play the lead role of Nureyev, while fellow dancer Sergei Polunin, Blue Is The Warmest Colour star Adèle Exarchopoulos and Russian actress Chulpan Khamatova are among the cast.

The production has now also attached Elle star Laurent Lafitte, The French Minister star Raphaël Personnaz, Personal Shopper actor Calypso Valois and Land Of Mine star Louis Hofmann ahead of its summer 2017 shoot in St Petersburg and Paris, with locations including the Mariinsky Theatre and the Palais Garnier.

Two-time Oscar-nominee David Hare (The Hours, The Reader) has adapted the screenplay from Julie Kavanagh’s book Rudolf Nureyev, which »

- tom.grater@screendaily.com (Tom Grater)

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The Young Girls of Rochefort

2 May 2017 10:53 AM, PDT | Trailers from Hell | See recent Trailers from Hell news »

Perhaps motivated by the success of La La Land, Criterion has reissued two impressive Jacques Demy musicals as separate releases. This all-singing, all-dancing homage to candy-colored vintage Hollywood musicals is a captivating Franco-American hybrid that allows free rein to Demy’s marvelously positive romantic philosophy.

The Young Girls of Rochefort

Blu-ray

The Criterion Collection 717

1967 / Color / 2:35 widescreen / 125 min. / Les Demoiselles de Rochefort / available through The Criterion Collection / Street Date April 11, 2017 / 39.95

Starring: Catherine Deneuve, Françoise Dorléac, Danielle Darrieux, George Chakiris, Gene Kelly, Michel Piccoli, Jacques Perrin

Cinematography: Ghislain Cloquet

Production Designer: Bernard Evein

Film Editor: Jean Hamon

Original Music: Michel Legrand

Produced by Mag Bodard, Gilbert de Goldschmidt

Written and Directed by Jacques Demy

 

I was going to squeak by reviewing only Jacques Demy’s The Umbrellas of Cherbourg, but the interest in the new La La Land prompted some emails and messages that tell me a revisit of the charming »

- Glenn Erickson

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On this day: Annie Hall, Hot Fuzz, Jessica Lange

20 April 2017 5:00 AM, PDT | FilmExperience | See recent FilmExperience news »

On this day (April 20th) in history as it relates to showbiz...

1893 Harold Lloyd, silent comedian of excellence, born in Nebraska

1889 Adolf Hitler born. The German Führer has been played in movies by literally hundreds of actors including in recent years Robert Carlyle, Udo Keir, Noah Taylor, and Bruno Ganz. On this awful subject let's consider it a shame that Jodie Foster never made that rumored Leni Reifenstahl (Triumph of the Will) biopic she was interested in doing. That would have made an interesting less covered piece of the ever-harrowing Nazi puzzle.

⇱ 1924 Oscar nominated actress Nina Foch (Executive Suite, An American in Paris, Spartacus) is born in The Netherlands. She was awesome. 

1937 Modern gay hero George Takei born in Los Angeles. Becomes famous as Lt. Sulu in the Star Trek TV series in the 60s.

»

- NATHANIEL R

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What Are You Watching?: Vincente Minnelli’s kinky Technicolor flop

7 April 2017 1:08 PM, PDT | avclub.com | See recent The AV Club news »

What Are You Watching? is a weekly space for The A.V Club’s film critics and readers to share their thoughts, observations, and opinions on movies new and old.

Vincente Minnelli’s famous musicals—among them Meet Me In St. Louis and An American In Paris—tend to eclipse his 1948 Technicolor flop The Pirate, one of his richest and strangest works. One of his kinkiest, too. Minnelli himself considered it a surrealist film. Judy Garland, to whom he was married at the time, plays Manuela, a virginal orphan who has been arranged to marry the middle-aged Don Pedro (Walter Slezak) but fantasizes about being kidnapped and ravished by the legendary murderous pirate Macoco. Gene Kelly plays Serafin, a horny, vain actor who gets the hots for Manuela, learns of her unladylike desires by way of a hypnosis-induced song-and-dance number, and proceeds to masquerade as the infamous criminal by ...

»

- Ignatiy Vishnevetsky

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Elizabeth Hurley Brings Her Dapper Son as Date to An American in Paris Opening Night in London

22 March 2017 11:36 AM, PDT | PEOPLE.com | See recent PEOPLE.com news »

Elizabeth Hurley is one cool mama.

The Royals star attended An American in Paris’ opening night in London with a rather handsome date: her 14-year-old son, Damian.

Before taking in the musical, inspired by the 1951 Academy Award-winning film of the same name, the mother-son duo posed for photos on the blue carpet. Hurley, 51, flaunted her toned legs in a black Versace minidress adorned with sequins, topped with a simple black coat. The actress shared a solo shot of her look on Twitter, raving about the show.

“It’s outstandingly good and the dancing is sublime,” she wrote on Wednesday.

Meanwhile, »

- Stephanie Petit

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Theatre Review: An American In Paris (West End)

22 March 2017 7:23 AM, PDT | The Hollywood News | See recent The Hollywood News news »

An American In Paris theatre review: The multiple Tony award-winning Broadway show transfers to London’s West End.

An American In Paris theatre review, Barbara Jones at the Dominion Theatre, London.

The story begins in 1945, just as the Nazis are defeated in Paris, and the briefest hint of this is made so memorable by the daring and clever replacing of an enormous Nazi flag by an equally enormous French flag, which virtually enshrouds both stage and audience – and so this superb new show begins!

An American In Paris is, without doubt, a beautiful, funny, all-singing, all-dancing musical, but it is gives so much more.

As a first ballet experience it is exciting and entrancing, but for a ballet connoisseur, the brilliant choreography and sophisticated dancing technique are faultless and admirable. Words are unnecessary – every emotion from pathos to overwhelming joy, is expressed by the moving portrayal of Lise by Leanne Cole »

- Barbara Jones

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