8 items from 2015
The induction ceremonies will take place at the guild’.s 20th Annual Excellence in Production Design Awards at the Beverly Hilton Hotel on Jan. 31.
“These women made great strides in their craft achieving prominence despite designing in a field dominated by men,” said the guild’s Council Chairwoman Marcia Hinds. “Acknowledgement of their efforts leads to a more balanced and open guild.”
The Hall of Fame honors are are only given posthumously. There are currently 44 members.
Dillon was the first female art director in the British film industry and became the first woman to win an Oscar for set decoration in 1949 for “Hamlet.” Her film credits include “Richard III,” “The Importance of Being Earnest,” “The Browning Version,” “The Prince and the Showgirl, »
- Dave McNary
“The Movie For Movie Lovers”
François Truffaut had an all too short but certainly brilliant career as a filmmaker. He began in the world of film criticism in France, but in the late 1950s he decided to make movies himself. Truffaut quickly shot to the forefront of the French New Wave in the late 1950s and early 60s, alongside the likes of Jean-Luc Godard, Eric Rohmer, Alain Resnais, and others. By the time the 70s rolled around, Truffaut was a national treasure in France and a mainstay in art house cinemas in the U.S. and Britain.
His 1973 masterpiece, Day for Night (in France La Nuit Américaine, or “American Night”), won the Oscar for Best Foreign Language Film of that year, the only time Truffaut picked up an Academy Award. Due to odd eligibility rules, the picture could be nominated for other categories the following year. For »
- firstname.lastname@example.org (Cinema Retro)
In 2002, Hossein Amini penned the Heath Ledger epic remake The Four Feathers, then passed nine years before reappearing on the scene with screenwriting turns on Drive, Snow White and the Huntsman, and 47 Ronin in rapid succession. Riding the wave of success, he switched gears and made his feature directorial debut with The Two Faces of January, starring the powerhouse trio of Viggo Mortensen, Kirsten Dunst, and rising star Oscar Isaac. Borrowing heavily from classic Hitchcockian tropes, the slow-burning thriller endeavors to be a location period film of love, intrigue, and danger in the great tradition of To Catch A Thief.
- Kyle North
Got your Summer film calendar planned yet? On Wednesday The Academy announced their May and June programs which will explore the past, present and especially the future of moviegoing, as the availability of a wide variety of platforms for viewing films alters the habits of today’s audiences.
“The New Audience: Moviegoing in a Connected World,” a live panel presentation on May 12, complements “This Is Widescreen,” an eight-week screening series beginning May 1 that illustrates one of the ways filmmakers more than a half-century ago responded to the competition of that era, television.
The New Audience: Moviegoing In A Connected World
Tuesday, May 12│7:30 P.M.│Samuel Goldwyn Theater, Beverly Hills
Moderator Krista Smith, Vanity Fair’s executive West Coast editor, will lead an onstage panel discussion of how filmmakers and studios seek to take advantage of the wide variety of viewing platforms available to contemporary audiences.
Scheduled guests include Walt »
- Michelle McCue
Two new analyses of the director’s macabre imagination offer equally compelling explanations for the big-screen nightmares he created
Hitchcock, described by a colleague as “a know-it-all Sob”, was the man who knew too much about us. His films exploited our abiding terrors – beaked raptors assaulting us from the skies, a loose stair opening an abyss beneath our feet, nourishment concealing death in a glass of bedtime milk – and added a new one when he made the shower a last redoubt of quaking vulnerability. Those who write about him have an anthropological conundrum to puzzle over: why are these irrational alarms so inescapable and why do we so enjoy being tormented when we watch The Birds, Shadow of a Doubt, Suspicion, Psycho and the rest?
The newest books on Hitchcock answer the questions in different ways. Peter Ackroyd sees him as a case for Freudian treatment, who assumed that his neuroses were universal. »
- Peter Conrad
Thrillers come in all shapes and sizes, from sophisticated legal dramas to high-octane and shocking action features.
With the atmospheric and absorbing Netflix original series Bloodline arriving this week, here are some of the best TV and movie thrillers on Netflix:
Not for the faint of heart, South Korean director Park Chan-wook's Oldboy tells the story of a man who is locked away for 15 years without knowing the identity of his captor or the reason for his punishment.
When he is released just as inexplicably, he finds himself with only five days to unravel the mystery, save the woman he loves and seek vengeance against the people who destroyed his life.
With non-linear storytelling and a powerful atmosphere of paranoia over five seasons, you'll learn to suspect everyone, »
L.A.-based Mexican producer-financier Alex Garcia, French producer Claudie Ossard and Amanda Neville, British Film Institute CEO, form the three-member jury panel at this year’s 8th Kustendorf Intl. Film and Music Festival, which opened Jan. 21 with a gala screening of Venice competition player “The Postman’s White Nights.”
Beforehand, director Andrei Konchalovsky took an audience through some of the challenges of filmmaking, such as the stolidity of the camera, which, per a festival report, he explained, citing Robert Bresson’s diktat: “The camera is like the eye of a cow.”
Also in attendance: Cannes director Thierry Fremaux, to present a restored copy of 1929’s “In the Night,” the only film helmed by resilient French actor Charles-Marie Vanel, whise 77-year career took included being seen with Cary Grant in Alfred Hitchcock’s “To Catch a Thief.” Vanel received a tribute-retrospective at Lyon’s 2013 Lumière Festival, which Fremaux runs with Institut Lumière president Bertrand Tavernier, »
- John Hopewell
8 items from 2015
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