9 items from 2017
An Academy Award-winner for his role in “Manchester by the Sea” (2016), Affleck will receive his kudo prior to a screening of “A Ghost Story,” in which he stars. Affleck, along with helmer-writer David Lowery, will introduce the film. Affleck starred in Lowery’s debut film “Ain’t Them Bodies Saints” (2013) and recently completed production on Lowery’s “The Old Man and the Gun.”
Like his older brother, multi-hyphenate Ben, Casey Affleck has a parallel career as a writer-producer-director. He is in post on his second feature as a helmer-writer, “The Light of My Life,” in which he also stars.
Future Frames Showcase at Karlovy Vary Casts the Spotlight on Promising Creative Talent
American composer and songwriter Howard will conduct the Czech National Symphony Orchestra in a performance of his music for the film “Fantastic Beasts and Where to Find Them” in front of Hotel Thermal on June 30, during the fest’s opening. Howard is currently preparing for his first live concert tour, a celebration of career highlights, with music, spoken word and video, that will visit 20 European cities.
Howard has composed music for more than 120 films, including Academy Award-nominated scores for “Defiance,” “Michael Clayton,” “The Village,” “The Fugitive,” “The Prince of Tides” and “My Best Friend’s Wedding” — not to mention Oscar-nominated songs for “Junior” and “One Fine Day.”
In addition to his contributions to film and television music, the Emmy- and Grammy-winning Howard has also composed concert pieces for the Pacific Symphony.
Laverty wrote the scripts for 12 features and two short films directed by Ken Loach, beginning with “Carla’s Song” (1996). Their most recent collaboration, “I, Daniel Blake” (2016), won the Palme d’Or at Cannes.
Laverty wrote the screenplay for Loach’s first Palme d’Or winner, “The Wind That Shakes the Barley” (2006). His credits with Loach include “My Name Is Joe,” (1998), a Cannes lead actor-winner for Peter Mullan and Cannes screenplay winner “Sweet Sixteen” (2002).
He also writes screenplays for his partner, the Spanish director and actress Icíar Bollaín.
An activist as well as one of Britain’s most celebrated directors, Loach worked briefly in theater before starting as a director for BBC television in the early 1960s. There, he helmed ground-breaking dramas such as “Up the Junction” and “Cathy Come Home.” The impact of the latter led to a change in Britain’s homeless laws. Acclaimed early features such as “Poor Cow” (1967) and “Kes” (1969) brought his trademarks of social realism and compassion to the big screen.
Even though Loach’s 50-plus-year career includes a dark period when he couldn’t get a project off the ground and he directed commercials to support his family, he has been extraordinarily prolific. Undoubtedly, this is due in part to his on-going collaboration with producer Rebecca O’Brien and long-term partnerships with screenwriters including Barry Hines, Jim Allen and perhaps most fruitfully, Paul Laverty. Loach is also known for introducing exciting new acting talents.
Actor, producer, musician and two-time Oscar-nominee Renner will receive his kudo at the fest’s closing gala on July 8. Renner will also introduce the crime thriller “Wind River,” directed by Taylor Sheridan.
Known for his intensity and ability to fully embody the characters he portrays, Renner received early critical acclaim as a serial killer in “Dahmer” (2002). He later established himself through roles in action and war movies, garnering an Oscar nomination for lead actor in Kathryn Bigelow’s war tale “The Hurt Locker” (2008). A supporting actor nom followed two years later for Ben Affleck’s bank heist drama “The Town” (2010).
The sensual, statuesque American actress and producer Uma Thurman will receive her honor on June 30, during the fest’s opening night. An Oscar-nominee for Quentin Tarantino’s “Pulp Fiction” (1994), Thurman’s memorable acting career is notable for her collaboration with iconic helmers.
Thurman was only a teenager when she made an impact in Stephen Frears’ “Dangerous Liaisons” (1988) and Terry Gilliam’s surreal “The Adventures of Baron Munchausen” (1988). However, the part of Mia Wallace in Tarantino’s sensational “Pulp Fiction” marked a turning point, garnering her numerous awards and nominations. Another successful Tarantino collaboration followed nearly a decade later with the cult double-header: “Kill Bill: Vols. 1 and 2” (2003, 2004). She received two Golden Globe nominations for her role as The Bride.
Thurman ultimately nabbed a Golden Globe for for her role in Mira Nair’s made-for-tv feature “Hysterical Blindness” (2002). She produced “The Accidental Husband” (2008) and the forthcoming “Girl Soldier.”
Renowned for his work for younger audiences, director-writer Vorlíček, 87, will receive an honor for his artistic contribution to Czech film.
Vorlíček teamed with writer and director Miloš Macourek, to form an original creative partnership responsible for a distinctive chapter in the development of Czech film. Their poetic vision, in which real life comes up against elements of fantasy, remains unique to this day.
Prime examples of Vorlíček and Macourek’s work include the “comic book” comedy “Who Wants to Kill Jessie?” (1966); the sci-fi comedy “You Are a Widow, Sir!” (1970).
Another comedy that employs fairytale motifs in contemporary Prague titled “How to Drown Dr. Mracek, the Lawyer” (1974); the TV series “Arabela” (1979-80); and “Rumburak” (1985).
Vorlíček is also known for his fairytale films, especially the comedy “The Girl on the Broomstick” (1971) and “Three Wishes for Cinderella” (1973), now a perennially popular Christmas classic on Czech television.
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- Alissa Simon
Film retrospectives will honor two icons of the stage and screen this summer in New York City. An exhibition celebrating Oscar-winning actress and singer Barbra Streisand, called “Simply Streisand,” will be held June 30-July 6 at the Quad Cinema. “Talking Pictures: The Cinema of Yvonne Rainer,” will feature screenings of the dancer, choreographer, and director’s work July 21–27 at the Film Society of Lincoln Center (Fslc).
“Simply Streisand” is a collection of Streisand’s “evergreen big-screen work” in honor of the legend’s 75th birthday. Streisand made her feature film debut at age 20 in “Funny Girl.” She won a Golden Globe and Oscar for the role of Fanny Brice. “Streisand’s screen presence was larger-than-life,” a press release details. “Her breathtaking singing voice and extraordinary comic chops turned a series musicals and comedies into smash hits.”
Streisand-led films like “Funny Girl,” “A Star Is Born,” “The Way We Were,” and “Hello, Dolly!” will screen at the retrospective. “The Mirror Has Two Faces,” “Yentl,” and “The Prince of Tides” — all helmed by Streisand — will also be shown.
Opening up about her lack of Best Director Oscar nods, Streisand recently said, “There were a lot of older people [voting]. They don’t want to see a woman director. I don’t know how many women wanted to see a woman director.” She added, “I directed because I couldn’t be heard.”
Check out the Quad’s website for “Simply Streisand’s” full schedule.
“Talking Pictures” will screen the radical work of Rainer, who completed her first film in 1972. Her “cinema signaled new possibilities for film language, retooling narrative generally and melodrama specifically with a disjunctive audiovisual syntax, restless political intelligence, deft appropriation, and deadpan wit,” a press release summarizes.
Rainer herself will attend the retrospective to discuss her career and work with writer Lynne Tillman. Their conversation will serve as the centerpiece of the film series.
All of the films Rainer directed — such as “Lives of Performers,” “Privilege,” and “Film About a Woman Who…” — will screen. Films that feature Rainer as subject and those that influenced her own filmmaking style will also be included. Among them are “Paul Swan” and “Madame X: An Absolute Ruler.”
Visit the Fslc website for the entire schedule and lineup for “Talking Pictures.”
Barbra Streisand and Yvonne Rainer Film Retrospectives Announced was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »
- Rachel Montpelier
Author: James Kleinmann
Saturday evening in New York saw the unlikely pairing of filmmaker Robert Rodriguez and the iconic Barbra Streisand take to the stage at the 16th Tribeca Film Festival for a memorable discussion as part of the Tribeca Talks series.
Rodriguez immediately addressed how the improbable duo came about, revealing that Streisand was the most adored star in his household when he was growing up. When she became the first woman to write, direct, produce and star in a major American movie with Yentil, he was inspired as a budding young filmmaker and his five sisters felt empowered.
Rodriguez shared: “It speaks volumes about the widespread appeal of Barbra Streisand. I grew up in a large Hispanic family of 10 kids in San Antonio, Texas, and in our household, there simply was no bigger star than Barbra Streisand.”
When he finally met Streisand as an adult, he says he »
- James Kleinmann
Barbra Streisand has a theory about her multiple Oscar snubs.
But Streisand said it wasn’t just men who didn’t want to recognize her efforts as a female director.
“There were a lot of older people,” she said, according to Variety. “They don’t want to see a woman director.”
“I don’t know how many women wanted to see a woman director,” she added.
From Coinage: Could You Afford to Go to the Oscars? »
- Jodi Guglielmi
Barbra Streisand argued that sexism cost her Oscar nominations for “Yentl” and “The Prince of Tides” during a spirited public interview at the Tribeca Film Festival on Saturday. But it wasn’t just men who balked at the idea of a woman calling the shots on a major motion picture.
“There were a lot of older people,” Streisand told her interlocutor Robert Rodriguez. “They don’t want to see a woman director.”
“I don’t know how many women wanted to see a woman director,” she added. »
- Brent Lang
One of Barbra Streisand’s simplest comments during her April 29 Tribeca Talk struck the hardest: “I love when I see a woman’s name on a movie, and I pray it’s good.” The determined hope of her sentiment came deep into a 70-minute conversation with industry friend (and superfan) Robert Rodriguez, which primarily focused on the multihyphenate’s time behind the camera.
Rodriguez had been making the case that Streisand’s directing career paved the way for Kathryn Bigelow’s historic 2010 Best Director Oscar win for “The Hurt Locker,” the first ever for a woman. Streisand was hesitant to take credit, but after their discussion, it was hard to dispute that she paved the way for women to take control in a notoriously sexist industry, with Rodriguez arguing several times that she was robbed of Best Director nods for smash »
- William Earl
Yesterday we received the sad news that director Jonathan Demme passed away after losing his battle to cancer and heart disease. Demme had a long career in a variety of film, from working with Roger Corman on 70s B-movies to powerful dramas like Philadelphia to documentaries and concerts films like Justin Timberlake + The Tennessee Kids.
What I consider to be his best film though, as well as my personal favourite Demme picture, is without a doubt The Silence of the Lambs. So much about that film is great – from its cast, music, cinematography – that makes it a memorable and excellent piece of film. The story behind how Demme became the film’s director is just as interesting as the film itself.
Before he signed on for the film, no studio wanted to touch Silence of the Lambs. Many thought »
- Ricky Church
The further I spin away from “Moonlight’s” best picture victory last February, which none of us really had the chance to unpack in all the chaos of the Oscars climax, the more stunned I am by its sheer unlikeliness. That exciting moment broke countless conventions.
So, too, did “The Silence of the Lambs” 25 years ago. With director Jonathan Demme’s untimely passing this morning, I’m reminded of just how many “rules” that film broke, and how it — like “Moonlight” — is a constant reminder: let convention be damned when it comes to the Oscar race.
To start, it was a horror film. Skew it to “thriller” if you want, but no movie as horrific as this had ever claimed the Academy’s top prize. And how could it? It’s difficult for genre filmmaking to translate broadly enough. Science-fiction is often the poster child for this, but horror faces an even steeper climb. »
- Kristopher Tapley
Oscar statue (Courtesy: Chris Pizzello/Invision/AP)
By: Carson Blackwelder
There was always a chance for the best picture category at the 2017 Academy Awards to feature solid representation for female producers and, with the nominations official, the numbers are in. Turns out there are five of the nine films in this year’s top category with women behind it — but how does that stand up to the rest of Oscar history?
As mentioned above, there are five out of the total nine films in the best picture category this year that took some girl power to get made. There’s Hell or High Water (Carla Hacken and Julie Yorn), Hidden Figures (Donna Gigliotti and Jenno Topping), Lion (Angie Fielder), Manchester by the Sea (Kimberly Steward and Lauren Beck), and finally Moonlight (Adele Romanski and Dede Gardner). This leaves out Arrival, Fences, Hacksaw Ridge, and La La Land as »
- Carson Blackwelder
9 items from 2017
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