The Piano
Quicklinks
Top Links
trailers and videosfull cast and crewtriviaofficial sitesmemorable quotes
Overview
main detailscombined detailsfull cast and crewcompany credits
Awards & Reviews
user reviewsexternal reviewsawardsuser ratingsparents guide
Plot & Quotes
plot summarysynopsisplot keywordsmemorable quotes
Did You Know?
triviagoofssoundtrack listingcrazy creditsalternate versionsmovie connectionsFAQ
Other Info
box office/businessrelease datesfilming locationstechnical specsliterature listingsNewsDesk
Promotional
taglines trailers and videos posters photo gallery
External Links
showtimesofficial sitesmiscellaneousphotographssound clipsvideo clips

Connect with IMDb


News for
The Piano (1993) More at IMDbPro »


2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006 | 2005 | 2004 | 2003 | 2002 | 2000

1-20 of 72 items from 2017   « Prev | Next »


Jane Campion: ‘The clever people used to do film. Now they do TV’

24 minutes ago | The Guardian - Film News | See recent The Guardian - Film News news »

From Sweetie to The Piano, she has made some of cinema’s strangest, strongest films. So why has she switched to the small screen?

Jane Campion, one of the world’s great film directors, has had it with the movies. It is eight years since she last made a full-length feature (the Keats biopic Bright Star), and 14 years since her sexually explicit thriller In The Cut almost did for her career. Now she is having a Gloria Swanson moment: she’s still big, it’s just the pictures that got small.

Movies, she says, have become conservative cash cows. “The really clever people used to do film. Now, the really clever people do television. I’d been feeling, in the film world, that if you come up with ideas, and you share them, the first concern is: how is the audience going to react?” Television has reinvigorated her. “Cinema in »

- Simon Hattenstone

Permalink | Report a problem


Tommy’S Honour – Starring Peter Mullan and Sam Neill Available on DVD July 18th

2 July 2017 9:08 PM, PDT | WeAreMovieGeeks.com | See recent WeAreMovieGeeks.com news »

Witness the inspirational true story of the father-son duo who revolutionalized the modern game of golf whenTommy’s Honour arrives on Digital HD June 30 and on DVD July 18 from Lionsgate. The compelling drama features standout performances from Peter Mullan and Jack Lowden who play the father-son golf champions who grow together in their fame, fortune, and misfortune.  Also starring Golden Globe® nominee Sam Neill (1999, Best Performance by an Actor in a Limited Series or Motion Picture Made for Television, Merlin) and winner of the Best Feature Film at the 2016 British Academy Scotland Awards, the Tommy’s Honour DVD will be available for the suggested retail price of $19.98.

Tommy’s Honour is the inspirational, true story of “Old” Tom and “Young” Tommy Morris, the real-life father-and-son team that revolutionized the modern game of golf. Set against the early days of the sport, the film follows the challenging and complex relationship between »

- Tom Stockman

Permalink | Report a problem


The 25 Best Sexy Movies of the 21st Century, From ‘Y Tu Mamá También’ to ‘Blue is the Warmest Color’

23 June 2017 7:06 AM, PDT | Indiewire | See recent Indiewire news »

It’s no secret that sex sells, and movies are no exception. But while plenty of films like to show gratuitous sex, they’re not always very good. That’s a problem, since movies have the power to shape not only the cultural norms, but personal ones. And what could be more personal than sex? Sexuality is an integral part of the human experience, not some sensational or shameful ploy to sell tickets (though it doesn’t hurt).

That’s why we think it’s important to single out the very best films that also happen to be incredibly sexy, titillating, and provocative. These are not only some of our favorite films in general, but they’re films that celebrate the broad spectrum of human sexuality while telling stories as cinematic as they are personal. Some don’t have any sex scenes at all, while some are notoriously near-pornographic. When these movies do show sex it is always in service of the story, and always in order to challenge, subvert, or celebrate contemporary beliefs about sexuality.

Turn on (and get turned on) by our list of the 25 best sexy movies of the 21st century (well, so far). You know you want to.

25. “Vicky Cristina Barcelona” (2008)

Undeniably sexy and amusing at once, Woody Allen’s 2008 Spain-set dramedy delights in pushing its various players into all sorts of romantic permutations and configurations. Anchored by Scarlett Johansson in a sneaky performance as the eponymous Cristina (pre-breakout Rebecca Hall is her best pal Vicky), the film follows a pair of friends as they meet and make lots of love with the beguiling Juan Antonio (Javier Bardem), who isn’t at all thrown off by the possibility of having two lovely ladies in his bed. In fact, he’s got another one to think about too, his free-spirited ex-wife (Penelope Cruz), who he just can’t get out of his head (or heart). On the surface, “Vicky Cristina Barcelona” is a dead sexy romp about free-wheeling love-makers (complete with plenty of naughty bits), but it’s also a film that boldly explores issues of fluidity and fidelity with an uncharacteristically easy touch. -Ke

24. “Shortbus” (2006)

With its three-person blowjob circle, non-simulated sex scenes including ejaculation, and close-up of a pee stream unleashing into a bathtub, “Shortbus” is not for everyone. It’s an ambitious film, one that attempts to have fun, be sexy, and tell a good story. If anyone could pull it off, it would be the man behind “Hedwig and the Angry Inch,” John Cameron Mitchell. “Shortbus” feels as much like an ensemble comedy as a playful experiment, though the two main characters are a sex therapist who’s never had an orgasm and a retired gay sex worker experimenting with opening up his relationship. With their partners, they both begin attending a weekly artist and sex salon, each hoping inspiration will strike. Mitchell wanted to use sex in new cinematic ways, “because it’s too interesting to be left to porn.” If it’s interesting sex you want, “Shortbus” has got it. -Jd

23. “Brokeback Mountain” (2005)

The end of this film is so movingly profound that your memory of it might not be that it was all that sexy. The love between these two men, buried under their rugged cowboy exteriors, ends with what can only be described as a sense of life-defining tragedy. Yet it is those brief moments where they let themselves go and unleash their animalistic passion, which “Crouching Tiger” director Ang Lee captures in his normal visceral fashion, that add a level of eroticism and physically affection that nearly makes all the pain worth it. Ennis and Jack rotate from almost fighting, as they pull at each others’ denim-clad exterior, to moments of being naked and incredibly tender. It’s virtually every cowboy fantasy rolled up into one. That they can only be themselves in the privacy of the great outdoors makes everything that much more liberating. Watching this film in 2005 felt taboo and rebellious, which resulted in a charged atmosphere in packed mainstream cineplexes around the country. -Co

22. “In the Cut” (2003)

Jane Campion’s handle on female desire has always been one of her best attributes as a director (and she’s got a lot of them), but nothing in her filmography is as overtly sexy and emotionally challenging as her 2003 Meg Ryan-starrer “In the Cut” (and that includes “The Piano,” which has a sexiness and eroticism all its own). Our first introduction to Ryan’s character is rooted in her coming to heady terms with her own sexuality, a theme that carries over throughout the often grisly drama. Increasingly drawn to Mark Ruffalo as a moody detective looking to solve a local murder that Frannie is tangentially involved in, Ryan’s character pushes the boundaries of “acceptable” desire. It’s a theme that Campion giddily plays into with some of modern cinema’s most satisfying and profound sex scenes, many of which center on — gasp — Frannie’s own pleasure over that of Ruffalo’s character. -Ke

21. “Hustle & Flow” (2005)

Craig Brewer’s crowdpleaser about a pimp dreaming of music fame is anchored by strong performances from Terrence Howard, Taraji P. Henson, and Taryn Manning. Howard plays Djay, while Henson and Manning are Shug and Nola, two of his girls. Hot-tempered and passionate, Djay begins making tracks with his friend Key (Anthony Anderson), and discovers he has a gift for lyrics. The catchy original soundtrack helps sell the story, as Djay’s songs seem to actually have a chance at getting radio play. While the strip club setting provides ample shots of semi-nude women, Djay and Shug’s sweet romance gives the film its emotional core and shows a softer side to Djay (and his temper). Their undeniable chemistry leads the previously timid Shug to throw down a sexy hook, her raspy croon on “It’s Hard Out Here for a Pimp” making Henson’s star power glaringly obvious. -Jd

20. “Beyond the Lights” (2014)

Chemistry is the name of the game in Gina Prince-Bythewood’s freight-train fast music industry romance, which pairs up rising starlet Gugu Mbatha-Raw (pure charm) alongside pre-“Birth of a Nation” Nate Parker. The pair exhibit major fireworks from the start, imagining Mbatha-Raw as hot new pop star Noni Jean, a big talent who is dangerously close to burning out and fading away, before she falls into the protective arms Parker’s do-gooder cop, Kaz Nicol. Prince-Bythewood’s film cannily sneaks in big questions about fame and the entertainment industry, along with issues regarding what’s actually sexy (Noni Jean is frequently kitted out in teensy costumes that make record execs happy, while diminishing her own humanity with every stitch), deep issues that are lovingly cradled by full-scale love story. When the pair finally give into their obvious attraction, “Beyond the Lights” pulls out the big guns, all gauzy love scenes and one particularly hot trip to Mexico, but the film maintains its sensuality by remembering that nothing is so sexy as mutual respect and admiration. -Ke

19. “In the Mood for Love” (2000)

Every Wong Kar-wai movie contains a kind of visual sensuality in every frame, but “In the Mood for Love” goes one step further — its slow-burning romance between a pair of would-be lovers who live across the hall from each other in sixties-era Hong Kong is rich with unobtainable desire. Much is left unsaid and unachieved about the fantasy of an extramarital affair shared by Chow Mo-wan (Tony Leung) and Su Li-zhen (Maggie Cheung), but the hints of attraction between them, unfolding in small gestures and passing glances, imbues each scene with the intensity of emotions specific to a period of repression. It’s a grand tragedy of issed opportunities framed by erotic implications. —Eric Kohn

18. “Ex Machina” (2014)

If you like high-tech voyeurism and intellectual sparring, you might find Alex Garland’s cerebral sci-fi thriller unearthing some hidden desires. An affable young programmer, Caleb (Domhnall Gleeson), is invited to the secluded jungle home of the CEO of his company, Nathan (Oscar Isaac) to participate in a top-secret experiment. Nathan wants to know if the cyborg he has been developing, Ava (Alicia Vikander) can convince Caleb that she has real consciousness. The tension is ripe between Nathan and Caleb as each attempts to alternately impress and control the other, but it is Caleb’s obsession with saving Ava that raises questions about the hero myth. Ava is the embodiment of male fantasy, trapped within a body invented to please and serve. As the two men fight over who best understands her mind, it turns out Ava was pulling the strings all along. There’s nothing sexier than a woman in charge. -Jd

17. “Quills” (2000)

It’s easy enough to get sucked into “Quills” based on the promise of Joaquin Phoenix playing an earnest (and incredibly sexy) young priest tempted by his attraction to a chambermaid. But somehow, much like Kate Winslet’s Madeline, we fall under the spell of the charismatic Geoffrey Rush, who plays his role as the Marquis de Sade with a deliciously dirty panache befitting the notorious French writer. The Marquis’ libertine ways run counter to the no-nonsense Royer-Collard (Michael Caine), who takes over the asylum with the intention of stifling the writer’s creative output. But even his own wife is no match for the words of the Marquis, which ooze both sensuality and liberty. Before long, any initial apprehension to the Marquis de Sade (he is a dirty old man, after all) is fully given over to the hope that his debauchery will win out, and that his desire, as well as that of Madeline and Coulmier (Phoenix) will be fully fulfilled — even though we know this is impossible. -Jr

16. “A Bigger Splash” (2015)

Watching “A Bigger Splash” feels like observing a sizzling chess game of attraction. Luca Guadagnino sticks Ralph Fiennes, Tilda Swinton, Matthias Schoenaerts, and Dakota Johnson on the world’s most gorgeous island and lets the sparks fly. Swinton plays a world-famous rock singer vacationing with her lover, a chiseled Schoenaerts who is practically a walking and talking sculpture of male beauty. Their time together is disrupted by the arrival of the rocker’s former lover and his daughter, a promiscuous young 22-year-old. Each character is so ready to succumb to sexual desire and so pent up with sexual attraction that Guadagnino creates the ultimate emotional orgy. The fun is in seeing how each person uses their sexuality to outsmart the next. You’ll be seduced from the first frame to the last. It feels like you’re watching each actor for the very first time. -Zs

On the next page: wild adventures in Florida, some of the century’s most jaw-dropping pairings, and at least one murder. 

Related storiesAbdellatif Kechiche is Auctioning Off 'Blue is the Warmest Color' Palme d'Or to Finance New FilmNetflix's New Ratings System Is a Terrible Idea13 Essential Lgbt Indies From the Post-'Brokeback Mountain' Era »

- Kate Erbland, Jude Dry, Eric Kohn, Zack Sharf and Jamie Righetti

Permalink | Report a problem


More Cannes Winners: Diane Kruger to Become the New Isabelle Huppert + Best Director Coppola Oscar Chances?

20 June 2017 8:05 PM, PDT | Alt Film Guide | See recent Alt Film Guide news »

'In the Fade' with Diane Kruger: Fatih Akin's German-language Avenging Woman drama may give its star the chance to become next awards season Isabelle Huppert. Diane Kruger: 2017–2018 awards season's Isabelle Huppert? The 2003 Cannes Film Festival's Female Revelation Chopard Trophy winner, Diane Kruger was Cannes' 2017 Best Actress winner for Fatih Akin's In the Fade / Aus dem Nichts. If Akin's German drama finds a U.S. distributor before the end of the year, Kruger could theoretically become the Isabelle Huppert of the 2017–2018 awards season – that is, in case the former does become a U.S. critics favorite while we stretch things a bit regarding the Kruger-Huppert commonalities. Just a bit, as both are European-born Best Actress Cannes winners who have been around for a while (in Huppert's case, for quite a while). Perhaps most importantly, like Huppert in Paul Verhoeven's Elle, Kruger plays a woman out for revenge in In the Fade. Diane Kruger-Isabelle Huppert 'differences' There is, however, one key difference between the two characters: in Elle, Huppert wants to avenge her own rape; in In the Fade, Kruger wants to avenge the death of her Turkish husband (Numan Acar) and their son (Rafael Santana) at the hands of white supremacist terrorists. Another key difference, this time about the Kruger-Huppert Cannes Film Festival connection: although Isabelle Huppert became a U.S. critics favorite – and later a Best Actress Oscar nominee – for her performance in Elle, her (unanimous) Best Actress Cannes win was for another movie, Michael Haneke's The Piano Teacher / La pianiste back in 2001. At that time, Huppert also became a U.S. critics favorite (winning Best Actress honors in San Diego and San Francisco; a runner-up in Los Angeles and New York), but, perhaps because of the psychological drama's sexually charged nature, she failed to receive a matching Oscar nod. Last year's Cannes Best Actress, by the way, was Jaclyn Jose for Brillante Mendoza's Philippine drama Ma' Rosa. Huppert had been in contention as well, as Elle was in the running for the Palme d'Or. Diane Kruger Best Actress Oscar nomination chances? A Best Actress nomination for Diane Kruger at the German Academy Awards (a.k.a. Lolas) – for her first German-language starring role – is all but guaranteed. Curiously, that would be her first. As for a Best Actress Oscar nod, that's less certain. For starters, unlike the mostly well-reviewed Elle, In the Fade has sharply divided critics. The Hollywood Reporter, for one, summarized Akin's film as a “thriller made riveting by an emotional performance from Diane Kruger,” while The Guardian's Peter Bradshaw called it a “mediocre revenge drama” with “a not particularly good” star turn. Besides, since the year 2000 just one “individual” Best Actress Cannes winner has gone on to receive an Oscar nomination for the same performance: Rooney Mara*, who, though one of the two leads in Todd Haynes' Carol (2011), was shortlisted in the Oscars' Best Supporting Actress category so as not to compete with her co-star and eventual Best Actress nominee Cate Blanchett. Then there's the special case of Penélope Cruz; the 2006 Best Actress Oscar nominee – for Pedro Almodóvar's Volver – was a Cannes winner as part of that family comedy-drama ensemble†. And finally, despite their Cannes Best Actress win for performances in (at least partly) English-language films, no less than seven other actresses have failed to be shortlisted for the Academy Awards this century. Björk, Dancer in the Dark (2000). Maggie Cheung, Clean (2004). Hanna Laslo, Free Zone (2005). Charlotte Gainsbourg, Antichrist (2009). Juliette Binoche, Certified Copy (2010). Kirsten Dunst, Melancholia (2011). Julianne Moore, Maps to the Stars (2014). Coincidentally, that same year Moore starred in Still Alice, which eventually earned her the Best Actress Oscar. Warner Bros. will be distributing In the Fade in Germany later this year. Regarding the Oscars, whether late in 2017 or late in 2018, seems like it would be helpful if Diane Kruger got a hold of Isabelle Huppert's – and/or Marion Cotillard's and Jean Dujardin's – U.S.-based awards season publicists. * Rooney Mara shared the 2011 Cannes Film Festival Best Actress Award with Emmanuelle Bercot for My King / Mon roi. † Also in the Cannes-winning Volver ensemble: Carmen Maura, Lola Dueñas, Blanca Portillo, Chus Lampreave, and Yohana Cobo. 'The Beguiled' trailer: Colin Farrell cast in the old Clint Eastwood role in Sofia Coppola's readaptation of Civil War-set, lust & circumstance drama. Sofia Coppola ends Cannes female drought About 13 years ago, Sofia Coppola became the first American woman to be shortlisted for the Best Director Academy Award – for the Tokyo-set drama Lost in Translation, starring Bill Murray and Scarlett Johansson. Coppola eventually lost in that category to Peter Jackson for the blockbuster The Lord of the Rings: The Return of the King, but she did take home that year's Best Original Screenplay Oscar statuette. There haven't been any other Oscar nominations since, but her father-daughter drama Somewhere, toplining Stephen Dorff and Elle Fanning, was the controversial Golden Lion winner at the 2010 Venice Film Festival. This year, Coppola has become only the second woman to win the Cannes Film Festival's Best Director Award – for The Beguiled, an American Civil War-set drama based on Thomas P. Cullinan's 1966 novel of the same name (originally published as A Painted Devil). With shades of Rumer Godden's Black Narcissus, The Beguiled follows a wounded Union soldier as he finds refuge at a girls' boarding school in Virginia. Sexual tension and assorted forms of pathological behavior ensue. Tenuous Cannes-Oscar Best Director connection From 2000 to 2016, 20 filmmakers† have taken home the Cannes Film Festival's Best Director Award. Of these, only four have gone on to receive matching Best Director Oscar nominations – but no wins: David Lynch, Mulholland Dr. (2001). Alejandro González Iñárritu, Babel (2006). Julian Schnabel, The Diving Bell and the Butterfly (2007). Bennett Miller, Foxcatcher (2014). Four other Cannes Best Director winners were bypassed by the Academy even though their movies featured – at least a sizable chunk of – English-language dialogue: Joel Coen, The Man Who Wasn't There§ (2001). Paul Thomas Anderson, Punch-Drunk Love (2002). Gus Van Sant, Elephant (2004). Nicolas Winding Refn, Drive (2011). In other words, a Best Director Cannes Film Festival win is no guarantee of a Best Director Academy Award nomination. Ultimately, Sofia Coppola's chances of an Oscar nod in the Best Director category depend on how well The Beguiled is received among Los Angeles and New York film circles, and how commercially successful – for an “arthouse movie” – it turns out to be. † During that period, there were three Cannes Film Festival Best Director ties: 2001: Joel Coen for The Man Who Wasn't There§ & David Lynch for Mulholland Dr. 2002: Im Kwon-taek for Painted Fire & Paul Thomas Anderson for Punch-Drunk Love. 2016: Cristian Mungiu for Graduation & Olivier Assayas for Personal Shopper. Both films opened in the U.S. in spring 2017 and may thus be eligible for the upcoming awards season. § Ethan Coen co-directed The Man Who Wasn't There, but didn't receive credit in that capacity. 'The Beguiled' with Nicole Kidman. The Best Actress Oscar winner ('The Hours,' 2002) had two movies in the Cannes Film Festival's Official Competition; the other one was 'The Killing of the Secret Deer,' also with Colin Farrell. Moreover, Kidman was the recipient of Cannes' special 70th Anniversary Prize. 'Sly' & 'elegant' Also adapted by Sofia Coppola, The Beguiled will be distributed in the U.S. by Oscar veteran Focus Features (Brokeback Mountain, The Danish Girl). The film has generally received positive notices – e.g., “sly” and “elegant” in the words of Time magazine's Stephanie Zacharek – and could well become a strong awards season contender in various categories. The cast includes The Killing of a Sacred Deer actors Nicole Kidman and Colin Farrell, in addition to Kirsten Dunst (the star of Coppola's Marie Antoinette), Somewhere actress Elle Fanning, Oona Laurence, Addison Riecke, Angourie Rice, and Emma Howard. As an aside, Cullinan's novel also served as the basis for Don Siegel's The Beguiled (1971), a Southern Gothic effort adapted by Irene Kamp and former Hollywood Ten member Albert Maltz. In the cast of what turned out to be a major box office flop: Clint Eastwood, Geraldine Page, Elizabeth Hartman, and Jo Ann Harris. Women directors at Cannes & the Oscars For the record, Soviet filmmaker Yuliya Solntseva was the Cannes Film Festival's first Best Director winner, for The Story of the Flaming Years back in 1961. The only woman to have directed a Palme d'Or winner is Jane Campion, for The Piano (1993). Early in 1994, Campion became the second woman to be shortlisted for an Academy Award in the Best Director category. The first one was Lina Wertmüller for Seven Beauties (1976). 'A Gentle Night' & 'Montparnasse Bienvenue' Qiu Yang's short film Palme d'Or winner A Gentle Night should be automatically eligible for the 2018 Academy Awards. But competition, as usual, will be fierce. In the last decade, the only short film Palme d'Or winner to have received an Oscar nomination is Juanjo Giménez Peña's Timecode (2016), in the Best Live Action Short Film category. This article was originally published at Alt Film Guide (http://www.altfg.com/). »

- Steph Mont.

Permalink | Report a problem


Awards Season Gets a Summer Start With Strong Contenders Like ‘War For the Planet of the Apes’ and ‘The Big Sick’

16 June 2017 4:17 PM, PDT | Thompson on Hollywood | See recent Thompson on Hollywood news »

Summer may seem far from award season prime time, but this was a busy week for awards watchers. Distributors and Oscar campaigners are already pushing out new movies and positioning them for slots on the awards calendar. How they did ranged from impressive to fairly dreadful. Here’s a look at how it shook out.

1.  “The War for the Planet of the Apes” (Fox, July 14)

Director Matt Reeves hosted the first unveiling of his “Dawn of the Planet of the Apes” follow-up, the third in the blockbuster series starring Andy Serkis as sentient ape leader Caesar. It took Reeves and VFX master Joe Letteri and his Weta team three years to execute this elaborate epic that continues to follow wily Caesar and his apes as they fight against extinction by humans in a wintry North American landscape.

A VFX nomination looks likely as Serkis and the sprawling ensemble are motion-captured live on set, »

- Anne Thompson

Permalink | Report a problem


Awards Season Gets a Summer Start With Strong Contenders Like ‘War For the Planet of the Apes’ and ‘The Big Sick’

16 June 2017 4:17 PM, PDT | Indiewire | See recent Indiewire news »

Summer may seem far from award season prime time, but this was a busy week for awards watchers. Distributors and Oscar campaigners are already pushing out new movies and positioning them for slots on the awards calendar. How they did ranged from impressive to fairly dreadful. Here’s a look at how it shook out.

1.  “The War for the Planet of the Apes” (Fox, July 14)

Director Matt Reeves hosted the first unveiling of his “Dawn of the Planet of the Apes” follow-up, the third in the blockbuster series starring Andy Serkis as sentient ape leader Caesar. It took Reeves and VFX master Joe Letteri and his Weta team three years to execute this elaborate epic that continues to follow wily Caesar and his apes as they fight against extinction by humans in a wintry North American landscape.

A VFX nomination looks likely as Serkis and the sprawling ensemble are motion-captured live on set, »

- Anne Thompson

Permalink | Report a problem


Film Society of Lincoln Center to Host Jane Campion Retrospective

8 June 2017 1:01 PM, PDT | Women and Hollywood | See recent Women and Hollywood news »

Jane Campion: cinematographos/YouTube

The Film Society of Lincoln Center (Fslc) has unveiled its schedule of programs and festivals this summer and fall, and a retrospective of director, writer, and showrunner Jane Campion is among the offerings. According to a press release, the “survey of Campion’s rich and revelatory body of work” will be held September 8–20, 2017. The director herself will attend a few select events.

“Since her indelible 1989 debut feature ‘Sweetie,’ New Zealand-born Jane Campion has been one of the most distinctive talents in world cinema,” the press release emphasizes. “For four decades now, Campion has moved freely across genres — family melodrama, gothic romance, literary adaptation, farce, suspense-thriller — and also between cinema and television.” Specific film screenings have not been announced yet, but the press release lauds Campion’s features as “notable for their visual inventiveness, dark sense of humor, and complex depictions of women and sexuality.” It seems likely that movies such as “Sweetie,” “The Piano,” “An Angel at My Table,” “Portrait of a Lady,” and “Bright Star” will be shown.

The retrospective will also mark the U.S. premiere of “Top of the Lake: China Girl,” co-directed and created by Campion. The upcoming season of the acclaimed feminist series sees Elisabeth Moss reprising her role as Detective Robin Griffin, a passionate defender of women and children. Nicole Kidman, Gwendoline Christie (“Game of Thrones), and Alice Englert (“Ginger & Rosa”) also star.

Campion is the first woman and only female director to win the Palme d’Or at the Cannes Film Festival. She received the honor in 1993 for “The Piano,” (which also earned her the Best Screenplay Oscar). She also took home the Short Palme in 1986 for her short film “Peel.” With the exception of “Blue Is the Warmest Color” stars Adèle Exarchopoulos and Léa Seydoux — who won a special Palme d’Or with director Abdellatif Kechiche in 2013 — no woman has ever won the award since.

“Too long! Twenty-four years! And before that, there was no one. It’s insane,” Campion said of her Palme d’Or win at Cannes this year. “And I’m really annoyed that the director-ess from ‘Toni Erdmann’ [Maren Ade] didn’t win last time. I thought, ‘Finally, a buddy.’ No. No! There’s no more guys winning. That’s it. It’s just going to be women winning from now on.”

In addition to the Campion retrospective, Fslc will also host “Talking Pictures: The Cinema of Yvonne Rainer,” from July 21 to 27. The “Lives of Performers” helmer’s work “signaled new directions for film language, retooling narrative generally and melodrama specifically with a disjunctive audiovisual syntax, restless political intelligence, deft appropriation, and deadpan wit,” the press release summarizes. The program’s lineup will feature films directed by and starring Rainer as well as projects that informed her work.

Head over to the Fslc website for additional details and ticket info.

Top of the Lake: China Girl” airs this fall on SundanceTV.

Film Society of Lincoln Center to Host Jane Campion Retrospective was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »

- Rachel Montpelier

Permalink | Report a problem


Exclusive: “She wasn’t even aware of being so good” – From the Land of the Moon director Nicole Garcia on Marion Cotillard

7 June 2017 12:16 AM, PDT | HeyUGuys.co.uk | See recent HeyUGuys news »

Author: Stefan Pape

 

It’s fair to say that Marion Cotillard has never quite achieved the same level of success in Hollywood as she has back in France. With recent, somewhat uninspiring endeavours, from Macbeth to Allied to Assassin’s Creed, rarely has she been dealt a nuanced role quite like those we’ve seen her undertake in La Vie En Rose and Two Days, One Night. This a trend she has carried on, gifted with a layered character in Nicole Garcia’s From the Land of the Moon – and to mark the film’s release, we spent some time in Paris with the venerable writer and director.

“Marion is incredible in this movie and I don’t think she was even aware of being so good,” Garcia said. “In this movie it’s a new territory for her that she hasn’t explored for a while now, and there »

- Stefan Pape

Permalink | Report a problem


Trailer Watch: Holly Hunter Deals with Trauma and Betrayal in “Strange Weather”

6 June 2017 11:01 AM, PDT | Women and Hollywood | See recent Women and Hollywood news »

Strange Weather

A woman searches for answers after her son’s death in a newly released trailer for Katherine Dieckmann’s “Strange Weather.” Darcy’s (Holly Hunter) son killed himself seven years ago, but she can’t move on — especially because she suspects her late son’s friend, Mark, stole his business plan. She embarks on a road trip through the deep South to confront Mark, who now runs a lucrative chain of restaurants.

“I’m here for moral support,” says Darcy’s best friend Byrd (Carrie Coon, “The Leftovers”). She adds, “I am not accompanying you on some mission of violence.” Byrd’s fears aren’t unfounded — Darcy has brought along a gun.

Darcy is convinced that Mark is a villain and her son is a victim, but Byrd seems to think she’s oversimplifying the situation and jumping to conclusions. “It’s like the way you see the world is the only way to see it. That’s just the story you’ve been telling yourself — that doesn’t mean it’s how it actually was,” Byrd says.

“I wanted to explore the complicated path of an unconventional female protagonist in a way that felt real to me in terms of the women I actually know in my life — women I rarely if ever get to see represented on the big screen,” Dieckmann told us. “They have reached a certain age but remain unresolved, alive, contradictory, compelling, and not prone to stereotyping.”

She continued, “‘Strange Weather’ deals with female friendship, learning to see outside the sphere of your own personal pain, and finding ways to overcome that pain in the process. These are all ideas that I was interested in exploring in a feature, and this story allowed me the context to dive into all of them.”

Dieckmann’s credits include “Motherhood,” “Diggers,” and “A Good Baby.”

Hunter won an Oscar in 1994 for “The Piano.” She also earned nods for “Thirteen,” “The Firm,” and “Broadcast News.” You can catch her next in Sundance hit “The Big Sick,” co-written by Emily V. Gordon. The critically acclaimed romantic comedy hits theaters June 23.

Strange Weather” hits theaters and VOD July 28.

https://medium.com/media/cf30ceb65820a3164d9babc5de6e1aaa/href

Trailer Watch: Holly Hunter Deals with Trauma and Betrayal in “Strange Weather” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »

- Laura Berger

Permalink | Report a problem


Why the Women Ruled Cannes 2017, Even When the Festival Failed Them

26 May 2017 12:07 PM, PDT | Indiewire | See recent Indiewire news »

Girl Talk is a weekly look at women in film — past, present, and future.

As the 70th edition of the Cannes Film Festival comes to a close, the tide appears to be turning for women. With Sofia Coppola, Naomi Kawase, and Lynne Ramsay in this year’s competition, the lineup included more work from female filmmakers than almost any other year of the aughts, although that still worked out to just 15.8% of the 19-film competition slate. But beyond the numbers, things are changing.

Nicole Kidman, the unofficial queen of this year’s festival thanks to her turns in four of its most anticipated entries (two of which were directed by women), used her platform to call for more female filmmakers across the board. “Still only about four percent of women directed the major motion pictures of 2016,” she said at the press conference for Sofia Coppola’s “The Beguiled.” “That there says it all. »

- Kate Erbland

Permalink | Report a problem


Cannes 2017: All Hail Jane Campion

26 May 2017 8:01 AM, PDT | Women and Hollywood | See recent Women and Hollywood news »

Me with Jane Campion at Cannes

Cannes Film Festival celebrated its 70th anniversary this year. Just remember that only one female director — Jane Campion — has won a Palme d’Or. She took home the honor in 1993 for her brilliant “The Piano.” (She’s actually won two — her short film debut “Peel” won the Short Palme in 1986.) Campion was on hand for the anniversary festivities this week and in a picture that has gone around the world, she stands next to many a white male director as the festival celebrates itself.

Campion was here not for a movie, but to promote the second season of “Top of the Lake: China Girl.” It’s worth noting that Campion’s last two projects have been for TV. The fact that TV has been more welcoming to women creatives is not lost on anyone. Watching the first two episodes of this series was a high point of my week — way more interesting than many of the films I saw. “Top of the Lake: China Girl” employs some of our finest actresses at the top of their game. The cast is led by Elisabeth Moss (who I had the chance to meet and is even more awesome than I ever could have expected) who is having a career-best year with “The Handmaid’s Tale” as well as this tour de force. Moss said her inspiration for her “Top of the Lake” character, Robin, is Jodie Foster’s Clarice Starling in “Silence of the Lambs.”

Moss in “Top of the Lake: China Girl”

Moss is joined by the delightful Gwendoline Christie who said she wrote to Jane Campion saying how much she wanted to work with her. Campion fashioned the role of Miranda for her. In a roundtable, Christie revealed that she was told in drama school that she “would be told no a lot and that would have to do with my appearance.” Lucky for us she didn’t give up because she has created some seriously iconic female characters, most especially Brienne of Tarth in “Game of Thrones.” (Side note — Christie was also incredibly lovely, and everyone who I met is now in possession of our Cannes 2017 infographic and a Women and Hollywood pin.)

Alice Englert — Campion’s extraordinarily talented daughter — plays Mary in the new season of “Top of the Lake.” Nicole Kidman plays her adoptive mother. Kidman’s character is in the throes of her daughter’s rebellion that seems to be breaking her. The Oscar winner wears a grey wig in the role. Kidman also wrote to Campion asking for a tiny part in the show and of course she gave her a bigger one.

Kidman in “Top of the Lake: China Girl”

Kidman was in four projects here in Cannes and went on an awesome feminist tirade in the press conference for Sofia Coppola’s “The Beguiled” and declared that she will work with a female director every 18 months. She also said that she is acting more than ever as she turns 50.

Jane Campion is an enormous presence. She participated in the roundtable with her co-writer Gerard Lee and co-director Ariel Kleiman. She owned the room and as the creator of project, she infuses herself fully into it. She’s clearly deeply involved in all elements of the show even when she isn’t directing per say, and it’s this intensity that makes her need to get back to regular life in between projects, she explained. It’s not that she isn’t ambitious, but she doesn’t feel the need like so many other directors, particularly the men we see here in Cannes, to work non-stop. That is why it is so important to relish when we have something with her vision to experience.

The only thing that I take issue with is that in both seasons of “Top of the Lake” Campion brought in a younger male director to work with her. I would have liked to see her bring in younger female directors. (But she does put her name on the films of younger women directors to help them, so there’s that.)

Campion is outspoken about the lack of women directors and she did not shy away from the topic during the roundtable. She said that it’s clear that the “ratio is so low” and the “number of opportunities women get” is not enough. But she was optimistic. She felt that “change is in the air” and that we are experiencing a “feminization of story telling.”

I asked her if she had communicated with the other female directors who were participating in the 70th anniversary celebration because from what I could tell, the ones I noticed all wore pants. Her answer was “I have never felt comfortable in an evening gown. It’s a no-go zone for me.”

Campion in pants on Cannes’ red carpet: Reuters/YouTube

Lastly, she did mention, maybe in jest, that she had spoken with Andrea Arnold about creating a “wonder woman” film school for women directors. She and other successful female directors would come and mentor a group of women. That’s an idea that I hope comes to fruition.

Cannes 2017: All Hail Jane Campion was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »

- Melissa Silverstein

Permalink | Report a problem


‘They’ Review: Imagine if a Young Abbas Kiarostami Made A Trans Childhood Film — Cannes 2017

25 May 2017 4:06 PM, PDT | Indiewire | See recent Indiewire news »

Not every filmmaker gets to make their feature-film debut at Cannes. But when you’ve studied with Abbas Kiarostami, and Jane Campion once said your voice had “a very unique flavor,” your chances are pretty good. Such is the case for Iranian writer/director Anahita Ghazvinizadeh and her stunning debut feature, “They,” an impressionistic character study about a gender non-conforming kid named J (Rhys Fehrenbacher).

Read More: ‘Top of the Lake: China Girl’ Review: The Highlight of the 2017 Cannes Film Festival Might Be a TV Show

Though Ghazvinizadeh’s voice is wholly her own, Kiarostami’s influence is all over “They.” And if you’re going to borrow from someone, one of the most singular filmmakers of the last 50 years isn’t a bad place to start. The Iranian auteur redefined the medium, eschewing flashy action sequences for quietly complex stories that often left viewers feeling baffled. In his last film to play Cannes, »

- Jude Dry

Permalink | Report a problem


Jane Campion Q&A: With ‘Top of the Lake: China Girl,’ She Celebrates TV at Cannes: ‘I Can Say Whatever the Hell I Want’

25 May 2017 1:18 PM, PDT | Thompson on Hollywood | See recent Thompson on Hollywood news »

Four years after lauded New Zealand noir mini-series “Top of the Lake,” Jane Campion, who was cheered at the Cannes 70th anniversary celebration as the only woman director to win the Palme d’Or (1994 Oscar-winner “The Piano”), is back in the festival with “Top of the Lake: China Girl.” She and returning co-writer Gerard Lee debuted all six SundanceTV episodes on May 23rd to raves.

Read More: ‘Top of the Lake: China Girl’ Review: The Highlight of the 2017 Cannes Film Festival Might Be a TV Show

Set five years later, “China Girl” follows Robin Griffin, Elisabeth Moss’s troubled homicide detective (she screams in her sleep), back to her old Sydney police precinct. She’s tough and no-nonsense, eager to prove her expertise against a sea of sexist cops, and saddled with a lanky partner (the hilariously endearing “Game of Thrones” star Gwendoline Christie), who is as sweet »

- Anne Thompson

Permalink | Report a problem


Jane Campion Q&A: With ‘Top of the Lake: China Girl,’ She Celebrates TV at Cannes: ‘I Can Say Whatever the Hell I Want’

25 May 2017 1:18 PM, PDT | Indiewire | See recent Indiewire news »

Four years after lauded New Zealand noir mini-series “Top of the Lake,” Jane Campion, who was cheered at the Cannes 70th anniversary celebration as the only woman director to win the Palme d’Or (1994 Oscar-winner “The Piano”), is back in the festival with “Top of the Lake: China Girl.” She and returning co-writer Gerard Lee debuted all six SundanceTV episodes on May 23rd to raves.

Read More: ‘Top of the Lake: China Girl’ Review: The Highlight of the 2017 Cannes Film Festival Might Be a TV Show

Set five years later, “China Girl” follows Robin Griffin, Elisabeth Moss’s troubled homicide detective (she screams in her sleep), back to her old Sydney police precinct. She’s tough and no-nonsense, eager to prove her expertise against a sea of sexist cops, and saddled with a lanky partner (the hilariously endearing “Game of Thrones” star Gwendoline Christie), who is as sweet »

- Anne Thompson

Permalink | Report a problem


‘Top of the Lake: China Girl’ Review: The Highlight of the 2017 Cannes Film Festival Might Be a TV Show

25 May 2017 7:05 AM, PDT | Indiewire Television | See recent Indiewire Television news »

Jane Campion’s “Top of the Lake: China Girl” is — among a seemingly infinite array of other things — a story about second chances. And while that theme is beautifully personified by any number of different characters during this six-hour miniseries, there’s a certain irony to the fact that this epic detective drama is built upon a foundation of redemption and regret. After all, Campion got it right the first time.

Premiering at Sundance in 2013 and airing on SundanceTV later that year, “Top of the Lake” was notable for being one of the first examples of a major filmmaker realizing the full potential of the “peak TV” era. It was also notable for being a staggering piece of long-form fiction, the Palme d’Or-winning director of “The Piano” returning to her native land of New Zealand for a violently beautiful mystery show that flipped the genre on its ass with savage grace. »

- David Ehrlich

Permalink | Report a problem


‘Top of the Lake: China Girl’ Review: The Highlight of the 2017 Cannes Film Festival Might Be a TV Show

25 May 2017 7:05 AM, PDT | Indiewire | See recent Indiewire news »

Jane Campion’s “Top of the Lake: China Girl” is — among a seemingly infinite array of other things — a story about second chances. And while that theme is beautifully personified by any number of different characters during this six-hour miniseries, there’s a certain irony to the fact that this epic detective drama is built upon a foundation of redemption and regret. After all, Campion got it right the first time.

Premiering at Sundance in 2013 and airing on SundanceTV later that year, “Top of the Lake” was notable for being one of the first examples of a major filmmaker realizing the full potential of the “peak TV” era. It was also notable for being a staggering piece of long-form fiction, the Palme d’Or-winning director of “The Piano” returning to her native land of New Zealand for a violently beautiful mystery show that flipped the genre on its ass with savage grace. »

- David Ehrlich

Permalink | Report a problem


Jane Campion on Lack of Female Filmmakers, ‘Top of the Lake: China Girl’

24 May 2017 10:10 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Jane Campion is a hugger. The Oscar winner, who punctuates every other sentence with a loud, earthy laugh, is so into physical affection that she won’t let a reporter from Variety leave an interview without dragging him onto a couch to snuggle with her and her “Top of the Lake: China Girl” co-director Ariel Kleiman. It’s definitely an unusual way to end a grilling by the press, but Campion claims this kind of emotional openness is one of the things that separates female filmmakers from their male counterparts.

“There’s a different ethos,” she says. “We’re always cuddling and carrying on. I was with Andrea Arnold last night and we were cuddling. Then Uma (Thurman) came along and we were all cuddling.”

Not that “China Girl” should be mistaken for something light and fluffy. It’s a hard-edged mystery that delves into the world of sex trafficking, »

- Brent Lang

Permalink | Report a problem


Cannes and Other Film Festivals Don’t Know How to Celebrate TV — Here’s How to Fix That

22 May 2017 9:00 AM, PDT | Indiewire | See recent Indiewire news »

After a long legacy of resistance, this year the Cannes Film Festival is embracing the revolution that is modern television with a few special presentations. This includes the full second season of “Top of the Lake,” directed by Jane Campion (“The Piano”) and Ariel Kleiman.

Read More: The 2017 IndieWire Cannes Bible: Every Review, Interview and News Item Posted During the Festival

On May 23, Cannes attendees will be able to screen all six episodes of the season subtitled “China Girl,” starting at 1 p.m. France time following an introduction by Campion. It’s set to end at around 8 p.m. that evening.

This, frankly, sounds like a bad way to spend a day of your life.

It’s not because “China Girl” will be bad — indeed, it will likely be as moving, intimate and intense as the first season, which ran in 2013 on the Sundance Channel (and also screened in its »

- Liz Shannon Miller

Permalink | Report a problem


Cannes and Other Film Festivals Don’t Know How to Celebrate TV — Here’s How to Fix That

22 May 2017 9:00 AM, PDT | Indiewire Television | See recent Indiewire Television news »

After a long legacy of resistance, this year the Cannes Film Festival is embracing the revolution that is modern television with a few special presentations. This includes the full second season of “Top of the Lake,” directed by Jane Campion (“The Piano”) and Ariel Kleiman.

Read More: The 2017 IndieWire Cannes Bible: Every Review, Interview and News Item Posted During the Festival

On May 23, Cannes attendees will be able to screen all six episodes of the season subtitled “China Girl,” starting at 1 p.m. France time following an introduction by Campion. It’s set to end at around 8 p.m. that evening.

This, frankly, sounds like a bad way to spend a day of your life.

It’s not because “China Girl” will be bad — indeed, it will likely be as moving, intimate and intense as the first season, which ran in 2013 on the Sundance Channel (and also screened in its »

- Liz Shannon Miller

Permalink | Report a problem


Cannes 2017 Women Directors: Meet Cecilia Atan and Valeria Pivato — “The Desert Bride”

22 May 2017 7:01 AM, PDT | Women and Hollywood | See recent Women and Hollywood news »

“The Desert Bride”

Cecilia Atan’s documentary series “Madres de Plaza de Mayo, la Historia” was nominated for the International Emmy Awards. “The Sea,” her first short film, screened at the Cannes Short Film Corner in 2012. “The Desert Bride” is her first fiction feature film.

Valeria Pivato has worked as an assistant director, script supervisor, and casting director. In 2013, she won the Patagonik International Screenwriters Competition for “Before and After… and After Again.” “The Desert Bride” is also her first fiction feature film.

“The Desert Bride” (“La Novia del desierto”) will premiere at the 2017 Cannes Film Festival on May 25.

W&H: Describe the film for us in your own words.

CA&VP: “The Desert Bride” is the story of Teresa, a 54-year-old woman who has worked for decades as a live-in maid in Buenos Aires. When the family sells the house, she is forced to take a job in the distant town of San Juan. Although uncomfortable with traveling, she embarks on a journey through the desert.

During her ­first stop, in the land of the miraculous Saint Correa, she loses her bag with all her belongings. This unexpected incident leads her to cross paths with El Gringo, a traveling salesman and the only one who can help Teresa ­find her bag. What seemed like the end of her world will ultimately prove her salvation.

W&H: What drew you to this story?

CA&VP: “The Desert Bride’s” script was born about five years ago. We wanted to explore the feminine world from a particular perspective: a woman whose life changes suddenly, at an age when reinventing herself does not seem possible in the world of today.

Live-in maids in Latin America work decades for families, but they are certainly not part of them. Teresa, our protagonist, is a woman who has dedicated her life to caring for a family and has not taken care of herself. She spent years refugee in her routine and in everything that is known to her.

The abrupt change of circumstances forces her to take a leap that she wouldn’t otherwise; this is the beginning of a new life.

W&H: What do you want people to think about when they are leaving the theater?

CA&VP: We hope that the audience jumps into the story and makes this journey with Teresa, and that they apply the transformation of the character to their own lives. We want them to forget about the real world for a while and return to it at the end of the film with an inspired smile.

W&H: What was the biggest challenge in making the film?

CA&VP: The film’s production model was not easy. Some creative aspirations weren’t exactly real possibilities, but every circumstance that seemed an obstacle slowly became a fortress.

A film is a living work, and transforming limitation into value is an important key of all creative processes. Each experience is unique, and we imagine that the next one will offer new obstacles that will become new strengths.

W&H: How did you get your film funded? Share some insights into how you got the film made.

CA&VP: Because “The Desert Bride” was our first movie, it was not easy to get financing. We worked almost five years to complete the budget.

In 2015, we won the First Feature Film Fund from Incaa (The Argentinian National Institute of Cinema). Because our project is an organic co-production, as [Chilean actress] Paulina García is our main character, we also applied for and received support from the Chilean National Fund. Then, closer to the shooting, we received a very important push by the government of San Juan province, Argentina, where we shot 80 percent of the film.

But, it is important for us to note that our film is not only the result of official funds from Argentina and Chile. It was possible thanks to a lot of people who helped us make our dream come true.

W&H: What does it mean for you to have your film play at Cannes?

CA&VP: Being in the Un Certain Regard section at Cannes marks the beginning of a new stage. We see it as a beautiful privilege and a projection of our future directorial careers.

W&H: What’s the best and worst advice you’ve received?

CA&VP: The best advice came when we were discussing the film’s budget: “The worst movie is the one you haven’t made at all.”

We didn’t receive any terrible advice. From the beginning, we both tried to be as connected to the day-to-day process as possible. We wanted to make our own experience and learn lessons from inevitable obstacles.

W&H: What advice do you have for other female directors?

CA&VP: The advice we would give a female director is the same that we would give a male director: Despite the bustle of making a movie, try to be true to yourself and never lose sight of the heart of your story.

W&H: Name your favorite woman-directed film and why.

CA&VP: One of the films that really touched us a couple of decades ago was Jane Campion’s “The Piano.” We were surprised by the relationship between the two main characters, how they meet each other and become closer in spite of their language and different cultures. All filmic elements — framing, light, art, costume, and music — gather to work as a perfect setting for this fine and subtle story.

We are very excited that she will be part of this year’s festival.

W&H: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directors yet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have on this topic.

CA&VP: The participation of women at Cannes this year is a clear example of the progress of women in the film industry. We are optimistic about it.

Day by day, roles that women occupy, both in front of and behind the camera, increase thanks to their tireless struggle.

Cannes 2017 Women Directors: Meet Cecilia Atan and Valeria Pivato — “The Desert Bride” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »

- Kelsey Moore

Permalink | Report a problem


2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006 | 2005 | 2004 | 2003 | 2002 | 2000

1-20 of 72 items from 2017   « Prev | Next »


IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.

See our NewsDesk partners