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Rupert Everett: ‘I was living in terror for my life when Aids began’

The star of new comedy Quacks had his big break in 1981, but spent the period in ‘sheer panic’ watching friends die. He talks about fear, flops and coming back from the wilderness years

In one way, Quacks is a natural place to find Rupert Everett. The keenly British comedy has “something of the Carry On, Stanley Baxter era” about it, he says – a sharp, playful script; a generous, gracious ensemble cast also featuring Rory Kinnear and Mathew Baynton; very accurate historical detail, such as Everett’s thunderous physician trying to cure what sounds like cystitis with the topical application of a baked potato. Really, what could be more fitting? Who else would you cast?

Yet the legacy of his first, dazzling appearance into British culture, the stage and then film version of Another Country, means that if you were alive and at all conscious in the early 1980s, you can
See full article at The Guardian - Film News »

Cannes Review: ‘Claire’s Camera’ Has Seductive Energy and Low Stakes

Hong Sang-soo’s first film starring Isabelle Huppert, In Another Country, counts as one of the more lightweight entries in the Korean auteur’s oeuvre. Compare it to Claire’s Camera, their second collaboration, and it suddenly looks like Inland Empire. That’s not to say Claire’s Camera is bad or unenjoyable. It has plenty of the charm characteristic of Hong’s cinema, and there are far worse ways to spend 69 minutes than in the company of his characters as they amble through sunny Cannes idly chatting about love and life, disappointment and fulfillment. At the same time, knowing the director is capable of achieving so much more with even less – one of his greatest films, Hill of Freedom, is similarly scaled and two minutes shorter – it’s difficult not to end up frustrated by what feels like a rushed and ultimately undercooked work.

That’s no doubt due
See full article at The Film Stage »

Cannes 2017. Two Hongs Make It Right: Hong Sang-soo's "Claire's Camera" and "The Day After"

There's a running joke—at least, I think it's a joke—that if you shoot part of your film in the French city of Cannes, you will automatically be selected by its film festival. Sneaky Hong Sang-soo, then, who quietly and quickly shot the short feature Claire’s Camera last year with Kim Min-hee, who was at the festival for The Handmaiden, and Isabelle Huppert, who was there with Elle. And now, this year in Cannes, here is the film. A nimble and thrifty filmmaker often directly inspired by the places he goes and the people he meets, Hong's wry and plaintive short story satirizes the film industry—raging unseen and unheard offscreen—while ennobling the magic of happenstance meetings and chance’s circuitous ironies.The film begins in a space possibly never seen in cinema: a temporary office in Cannes rented by a sales company to promote the film's they represent.
See full article at MUBI »

Cannes Film Review: ‘Claire’s Camera’

Cannes Film Review: ‘Claire’s Camera’
It may be the most crowded and party-fueled event on the global film calendar, but the Cannes Film Festival can be an oddly solitary, contemplative experience for attendees outside the inner circle — a two-week suspension from real life and relationships, in which the world looks at once a little clearer and stranger through rosé-filled glasses. Hong Sangsoo has been to Cannes enough times to know this, and his lovably slender, semi-sweet character study “Claire’s Camera” deftly captures the festival’s warmly disorienting effect on its stragglers — in this case, two bright, lonely women (Isabelle Huppert and Kim Minhee) who fleetingly bond over their respective limbo states, and whose lives may or may not be subtly redirected by the gaze of a Polaroid camera.

That playful allegory for the restorative powers of cinema lends but a tissue’s worth of extra weight to a gossamer charmer — at just over an hour,
See full article at Variety - Film News »

'The Day After' ('Geu-hu'): Film Review | Cannes 2017

'The Day After' ('Geu-hu'): Film Review | Cannes 2017
Given the importance and recurrence of repetitions in South-Korean director Hong Sang-soo’s work, it almost feels appropriate he has two films in Cannes instead of just one. Out-of-competition title Claire’s Camera was shot in color and in Cannes and stars his In Another Country lead, Isabelle Huppert, alongside the filmmaker’s new muse, Kim Min-hee. For his competition entry The Day After (Geu-hu), Hong returned to Korea and reunited with Kim and Huppert's In Another Country co-star Kwon Hae-hyo, who play a newly arrived employee and her lovesick boss, respectively.

In many ways, The Day After is a quintessential Hong joint....
See full article at The Hollywood Reporter - Movie News »

Cannes 2017 Review: Claire's Camera, Hong Sangsoo's Low-Key Cannes Holiday

Love him or hate him, Hong Sangsoo has been remarkably consistent with his films, which both offer viewers a familiar framework and new variations on his favorite themes. His 20th work Claire's Camera debuts this weekend as a Special Screening in the Cannes Film Festival, after shooting at the festival last year. The brief (68 minutes) film reunites him with his In Another Country (2012) star Isabelle Huppert and muse Kim Min-hee for the third time (with a fourth collaboration, The Day After, also premiering at Cannes in a few days in competition). Kim Min-hee plays an employee of a Korean film sales agent who is suddenly fired by her boss for unclear reasons during the market at the Cannes Film Festival. Meanwhile Huppert plays...

[Read the whole post on screenanarchy.com...]
See full article at Screen Anarchy »

Hong Sang-soo Pays Homage To Cannes With The Rewarding ‘Claire’s Camera’ [Cannes Review]

For ardent Hong Sang-soo fans, 2017 couldn’t be a more rewarding year. Not just because the South Korean filmmaker has three new films ready — the first, “On The Beach At Night Alone,” launched in Berlin — or even because two of those features are on offer at the Cannes Film Festival, “Claire’s Camera” and “The Day After.” No, it’s because a fascinating new frontier has been opened up for this prolific filmmaker: international locations in “On the Beach” and, even more prominently, “Claire’s Camera.” Oh, and Isabelle Huppert is back in Hong’s orbit for the first time since 2012’s “In Another Country” (also the director’s last Cannes Competition entry).

Continue reading Hong Sang-soo Pays Homage To Cannes With The Rewarding ‘Claire’s Camera’ [Cannes Review] at The Playlist.
See full article at The Playlist »

New Trailer & 3 Clips From Hong Sang-Soo’s ‘Claire’s Camera’ Starring Isabelle Huppert

Last year, Isabelle Huppert was the toast of the Croisette thanks to her steely turn in “Elle,” and this year she’s back with “Claire’s Camera.” The film marks her second with director Hong Sang-Soo following “In Another Country,” and for the director, it’ll be his second film this year at Cannes, with “The Day After” screening in Competition.

Continue reading New Trailer & 3 Clips From Hong Sang-Soo’s ‘Claire’s Camera’ Starring Isabelle Huppert at The Playlist.
See full article at The Playlist »

The Conversation: Top 3 Most Anticipated Directors’ Fortnight Picks: Denis, Baker & Dumont

Cannes 2017 is already a notable edition thanks to the festival’s inclusion of auteur helmed television entries, and (to the chagrin of some traditional minds) the appearance of Netflix properties in the main competition. But beyond these unavoidable progressions, the same kinds of regular maneuvering continues. While some auteurs locked out of the comp in 2015 have been invited back to the fold (Desplechin, Kawase) of Fremaux’s loving arms, the usual trend of displacement has crafted an unusually exciting crop of titles in the Directors’ Fortnight sidebar, as well as miscellaneous groupings of designated Special Screenings and Out of Competition slots specifically designed for auteurs who will remain part of the official program but away from the glaring inspection of competition pressures.

Edouard Waintrop scored a formidable coup with his opening film this year, Claire Denis‘ Let the Sunshine In (previously known as “Dark Sunglasses”). Denis, one of France’s finest auteurs, has been consistently overlooked by Fremaux and usually appears in competition at Venice. Alongside Denis, Waintrop snagged some Sundance titles (Bushwick, Patti Cake$) and a number of new projects from noted auteurs, like Abel Ferrara, Philippe Garrel, Sharunas Bartas, and Amos Gitai. The lineup also features a number of anticipated titles from new directors, including the sophomore film from Jonas Carpignano (A Ciambra), and some eclectic art-house genre titles (like the delicious sounding Marlina the Murderer in Four Acts from Indonesia’s Mouly Surya). Here’s our top three most anticipated from the Quinzaine:

Top 3 Quinzaine:

3. Jeannette – Dir. Bruno Dumont

Bruno Dumont, who was in the main comp last year with cannibal slapstick comedy Slack Bay, returns with an electro-pop musical on Joan of Arc set during the young girl’s developmental years, as based in part on a work by Charles Peguy.

2. The Florida ProjectSean Baker

Sean Baker returns to 35mm after 2015’s phenomenal Tangerine (famously shot on an iPhone). The American auteur’s latest stars Willem Dafoe alongside a group of newcomers in a film focusing on a six-year-old girl and her group of friends one Floridian summer as they embark on adventures while the adults contend with hard times.

1. Let the Sunshine In – Claire Denis

Inexplicably, Denis unites Juliette Binoche and Gerard Depardieu in this adaptation of Roland Barthes’ A Lover’s Discourse. And this is a comedy. Sacré bleu!

Bonus:

For this year’s select out-of-competition titles, Fremaux amassed some glittery new titles from renowned auteurs.

Top 3 Ooc:

3. Ismael’s Ghosts – Dir. Arnaud Desplechin

Desplechin is back, this time opening up the festival with Ismael’s Ghosts, starring his regular muse Mathieu Amalric as a man caught between his current wife (Charlotte Gainsbourg) and the ghost of his former lover (Marion Cotillard, who previously had a small role in 1996’s My Sex Life…).

2. Based on a True Story – Dir. Roman Polanski

Polanski returns with this intriguing sounding film written by Olivier Assayas and starring Eva Green and Emmanuelle Seigner, which details a writer who gets all wrapped up with an obsessive fan.

1. How to Talk to Girls at Parties – Dir. John Cameron Mitchell

The long awaited sci-fi film from John Cameron Mitchell stars Elle Fanning and Nicole Kidman (in one of four new projects at the festival) as aliens infiltrating London, based on a story by Neil Gaiman.

Special Events and Special Screenings:

Some of the auteurs standing out in the Special Events and Special Screenings are Abbas Kiarostami, Jane Campion, and a Virtual Reality project from Alejandro Gonzalez Inarritu (Flesh and Sand), making these mini-sidebars some of the most formidable programming of the fest in years.

3. Golden Years – Andre Techine

Techine was last in Cannes with an out-of-competition screening with 2014’s In the Name of My Daughter. This year he gets a Special Screening with Golden Years, scripted alongside Cedric Anger and starring Pierre Deladonchamps (Stranger by the Lake) as a Wwi deserter who goes into hiding by posing as a woman…but after the war ends, he can’t bring himself to revert to his former identity.

2. Claire’s Camera – Dir. Hong Sangsoo

Cannes 2017 will deliver a double dose of Hong Sangsoo, who returns to the competition with The Day After, who then gets to debut Claire’s Camera as a Special Screening, which reunites him with Isabelle Huppert (who headlined his 2012 In Another Country). Sangsoo filmed this project at Cannes while the festival transpired in 2016.

1. Twin PeaksDavid Lynch

And then, there’s the return of the master. David Lynch will be premiering the first two episodes of Twin Peaks, the hotly anticipated reunion of the iconic television show twenty-five years after the end of Season 2. Along with Campion’s unveiling of her second season of Top of the Lake, this will be a rare opportunity to see (at least partially) these new works in the cinema.

The post The Conversation: Top 3 Most Anticipated Directors’ Fortnight Picks: Denis, Baker & Dumont appeared first on Ioncinema.com.
See full article at IONCINEMA.com »

17 Shocks and Surprises from the 2017 Cannes Lineup, From ‘Twin Peaks’ to Netflix and Vr

For such a highly anticipated event, the Cannes Film Festival tends to contain a fairly predictable lineup: The Official Selection focuses on established auteurs whose work lands a coveted slot at the flashy gathering on autopilot. That was certainly the case last year, when the 2016 edition opened with a Woody Allen movie and featured new work from the likes of Pedro Almodovar, Nicolas Winding Refn, the Dardennes brothers and Olivier Assayas.

But we live in unpredictable times, and judging by today’s announcement of the Official Selection for Cannes 2017, even the world’s most powerful festival isn’t impervious to change. This year’s Cannes is filled with surprises: television and virtual reality, some intriguing non-fiction selections, and a whole lot of unknown quantities that push the festival in fresh directions.

That’s not to say that there aren’t a few familiar names that stand out. Todd Haynes is
See full article at Indiewire »

Cannes Wish List: 50 Films That Have a Serious Shot at the 2017 Festival Lineup

  • Indiewire
Cannes Wish List: 50 Films That Have a Serious Shot at the 2017 Festival Lineup
In order to make accurate predictions about the potential Cannes Film Festival lineup, it’s first important to explore which films definitely won’t make the cut. The glamorous French gathering is notorious for waiting until the last minute before locking in every slot for its Official Selection. That includes competition titles, out of competition titles, a small midnight section and the Un Certain Regard sidebar. Cannes announces the bulk of its selections in Paris on April 13, but until then, there are plenty of ways to make educated guesses. Much of the reporting surrounding the upcoming festival selection is simply lists of films expected to come out this year. However, certain movies are definitely not going to the festival for various reasons.

That’s why our own list of potentials doesn’t include “Image Et Parole,” Jean-Luc Godard’s followup to “Goodbye to Language,” which sales agent Wild Bunch now anticipates as a 2018 title.
See full article at Indiewire »

Hong Sang-soo Addresses His Marriage Scandal With a Movie in ‘On the Beach at Night Alone’ — Berlinale 2017

Hong Sang-soo Addresses His Marriage Scandal With a Movie in ‘On the Beach at Night Alone’ — Berlinale 2017
To the cadre of fans who have followed South Korean director Hong Sang-soo’s work over the years, he’s best-known for repeating different versions of the same formula: Portraits of chatty, neurotic creative types, usually filmmakers and actors, all of whom usually wind up drinking a lot of Soju and arguing through their problems with alternately funny and insightful results.

More recently, Hong has also been known as one half of a marriage scandal that dominated Korean tabloids more than any of his movies. While the media speculated, the peripatetic filmmaker quietly stuck to his one-film-a-year pace while remaining silent on the topic. Now, he has provided a response in the best terms at his disposal — with a movie. “On the Beach at Night Alone” is a fascinating sublimation of autobiography into Hong’s precise creative terms, a bittersweet character study as poignant, witty and deceptively slight as much
See full article at Indiewire »

‘Oj: Made in America’ Will Win the Best Documentary Oscar — Here’s Why

‘Oj: Made in America’ Will Win the Best Documentary Oscar — Here’s Why
As usual, the five nominees in the fiercely competitive Best Documentary Oscar category are comprised of high-profile hits and festival award-winners with the right combination of accessibility, artful filmmaking, and gravitas. However, this year’s race was marked by outside factors that included #OscarsSoWhite and the election of President Donald Trump. (Of note: Filmmakers of color directed four of the five nominated feature documentaries.)

Here’s how the documentary race shakes out:

O.J.: Made in America” (Ezra Edelman, Espn, May 20)

Scoring great reviews at the 2016 Sundance Film Festival was Ezra Edelman’s five-part movie “O.J.: Made in America,” an exhaustive, eye-opening examination of O.J. Simpson and race relations in Los Angeles from the ’60s through the Trial of the Century and beyond.

The movie swept through awards groups: it won three Cinema Eye Honors awards, took home the Ida for Best Feature, the Gotham, the National Board of Review, National Society of Film Critics,
See full article at Thompson on Hollywood »

‘Oj: Made in America’ Will Win the Best Documentary Oscar — Here’s Why

  • Indiewire
‘Oj: Made in America’ Will Win the Best Documentary Oscar — Here’s Why
As usual, the five nominees in the fiercely competitive Best Documentary Oscar category are comprised of high-profile hits and festival award-winners with the right combination of accessibility, artful filmmaking, and gravitas. However, this year’s race was marked by outside factors that included #OscarsSoWhite and the election of President Donald Trump. (Of note: Filmmakers of color directed four of the five nominated feature documentaries.)

Here’s how the documentary race shakes out:

O.J.: Made in America” (Ezra Edelman, Espn, May 20)

Scoring great reviews at the 2016 Sundance Film Festival was Ezra Edelman’s five-part movie “O.J.: Made in America,” an exhaustive, eye-opening examination of O.J. Simpson and race relations in Los Angeles from the ’60s through the Trial of the Century and beyond.

The movie swept through awards groups: it won three Cinema Eye Honors awards, took home the Ida for Best Feature, the Gotham, the National Board of Review, National Society of Film Critics,
See full article at Indiewire »

Honours for Isabelle by Anne-Katrin Titze

Isabelle Huppert on Elle: "I never worked with a trained cat before." Photo: Anne-Katrin Titze

Guillaume Nicloux's Valley Of Love, Mia Hansen-Løve's Things To Come (L’Avenir), and Paul Verhoeven's Elle have one thing in common - Isabelle Huppert. Metrograph in New York honoured Huppert by programming Catherine Breillat's Abuse Of Weakness (Abus De faiblesse); Claire Denis' White Material; Ursula Meier's Home; Hal Hartley's Amateur; Michael Haneke's The Piano Teacher and Hong Sang-soo's In Another Country.

Isabelle Huppert with Metrograph's Aliza Ma Photo: Anne-Katrin Titze

Isabelle spoke with Aliza Ma at Metrograph, following the screening of In Another Country about what two of her latest films have in common:

Isabelle Huppert: In both films there is a cat. In Things To Come it's a very, very big cat. Very heavy like an elephant. In Elle [France's Foreign Language Oscar submission] is a very different cat.
See full article at eyeforfilm.co.uk »

Oscars 2017 Documentary Shortlist Predictions: Anne Thompson Weighs In With Top Picks

Oscars 2017 Documentary Shortlist Predictions: Anne Thompson Weighs In With Top Picks
Many are called, few are chosen: The number of high-quality, awards-worthy documentaries seems to grow every year, but there’s still only 15 slots on the Oscar documentary shortlist. That will be announced December 5; the final five will be revealed on nominations morning, January 24. This year, 145 features were submitted.

This is the white-knuckle portion of the final campaign stretch, as documentary filmmakers and distributors hope their movies make it onto documentary branch voters’ viewing piles before they file their final grades. Those with the advantage are high-profile established hits and festival award-winners with the right combination of engaging accessibility, artful filmmaking, and gravitas.

So what’s looking like a strong bet? It’s a diverse list in more ways than one. Here are my picks for the Top 15, which are not listed in order of likelihood.

See more ‘Amanda Knox’: Why It Took Five Years to Unravel the Story of
See full article at Thompson on Hollywood »

Oscars 2017 Documentary Shortlist Predictions: Anne Thompson Weighs In With Top Picks

  • Indiewire
Oscars 2017 Documentary Shortlist Predictions: Anne Thompson Weighs In With Top Picks
Many are called, few are chosen: The number of high-quality, awards-worthy documentaries seems to grow every year, but there’s still only 15 slots on the Oscar documentary shortlist. That will be announced December 5; the final five will be revealed on nominations morning, January 24. This year, 145 features were submitted.

This is the white-knuckle portion of the final campaign stretch, as documentary filmmakers and distributors hope their movies make it onto documentary branch voters’ viewing piles before they file their final grades. Those with the advantage are high-profile established hits and festival award-winners with the right combination of engaging accessibility, artful filmmaking, and gravitas.

So what’s looking like a strong bet? It’s a diverse list in more ways than one. Here are my picks for the Top 15, which are not listed in order of likelihood.

See more ‘Amanda Knox’: Why It Took Five Years to Unravel the Story of
See full article at Indiewire »

Isabelle Huppert on How She Tackles Difficult Roles Like ‘Elle’

Isabelle Huppert on How She Tackles Difficult Roles Like ‘Elle’
Whereas every other celebrity who visited the sixth-floor Variety Studio at the Toronto Film Festival arrived by elevator, Isabelle Huppert took the stairs — which says a lot about the French star. With a genuine shot at an Oscar nod this year for her daring role in Sony Pictures Classics’ “Elle,” the 63-year-old — who has more nominations for France’s top award, the César, than any other actress (15) — never takes the easy route.

While many actors run from provocative, erotic, or otherwise risqué roles, Huppert is drawn to them — from her early, sexy career turns in “Going Places” and “Coup de torchon” to her most recent Cannes sensation, “Elle,” in which she plays the co-founder of a successful video-game company who reacts in an unexpected way after she is violently raped. At first, the character goes on with her life as if nothing had happened; then, after discovering the identity of her attacker,
See full article at Variety - Film News »

Isabelle Huppert on Finding Comedy in ‘Elle’ and ‘Things to Come,’ Iggy Pop, and More

I have had the privilege of sitting one-on-one with many artists whose work I admire, but I’ve never been quite so uneasy before speaking with Isabelle Huppert. It’s not just someone who I’ve spent some fair amount of time observing onscreen, as well as the woman who might be our greatest living actress — it’s also someone who, by now, has almost certainly been asked just about everything, especially during an ongoing press cycle that’s been especially lengthy. It’s always my goal to ask things that haven’t been brought up before, but the combination made this especially nerve-wracking.

Until I sat down and found someone who’s as blasé as she is ubiquitous, and as open as she is intelligent. It doesn’t hurt that she’s having a banner year with Paul Verhoeven‘s Elle and Mia Hansen-Løve‘s Things to Come — two of 2016’s best films,
See full article at The Film Stage »

From Ava DuVernay’s ’13th’ to ‘Oj: Made in America’: Four Docs That Define Black Lives Matter

From Ava DuVernay’s ’13th’ to ‘Oj: Made in America’: Four Docs That Define Black Lives Matter
There are four new documentaries that, while timed for Oscar votes, have a much bigger target audience: The American voters. These urgently topical films peel away decades of mythology, propaganda, and misinformation to reveal why so many people in this country are not only incarcerated in our thriving prison economy, but function inside prisons of misguided perception.

It’s easy to see why the New York Film Festival picked Ava DuVernay’s “13th” as its first-ever documentary opening-night film. In the year of Ferguson and Black Lives Matter, as fearful cops continue to gun down unarmed black men in the street, this must-see film will raise consciousness about how race affects the way we regard and behave toward the people around us. “13th” is a history of how white people have treated African-Americans since 1865 — when the 13th Amendment abolished slavery — and it roused the Lincoln Center crowd to multiple standing
See full article at Thompson on Hollywood »
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