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Abbas Kiarostami (June 22, 1940 - July 4, 2016) Photo: Anne-Katrin Titze
Composer Grégoire Hetzel (Catherine Corsini's Summertime, Anne Fontaine's The Innocents, Arnaud Desplechin's My Golden Days), filmmaker Roberto Andò (The Confessions, Long Live Freedom), and cinematographer Ed Lachman (Todd Solondz' Wiener-Dog, Todd Haynes' Carol and Far From Heaven) salute Abbas Kiarostami, who passed away in Paris on Monday, July 4, 2016.
Grégoire Hetzel: "Kiarostami forced entry into my childhood memories by retrospective invasion." Photo: Anne-Katrin Titze
"Kiarostami is one of my most beloved filmmakers. On hearing the news of his loss, I was instantly reminded that his films like The Traveler, Homework, Where is the Friend's Home? »
- Anne-Katrin Titze
A teaser trailer has arrived online for the second season of the critically-acclaimed Arctic drama series Fortitude; watch it below after the official synopsis…
Fortitude is a place like nowhere else. Surrounded by the savage beauty of the frozen landscape, the small town in the Arctic Circle is one of the safest towns on earth. There had never been a violent crime until one brutal murder revealed a much larger story lying deep beneath this seemingly quiet town.
After last year, Fortitude will never be the same again. As the town’s residents endeavor to rebuild their lives, a fresh new murder rocks the town and plunges it into turmoil oncemore. Meanwhile, out in the stunning icy wilderness, nature is growing more unpredictable, deadly, and dangerous.
In Fortitude, nothing, and no one, is ever what they seem.
- Amie Cranswick
Glen Basner’s FilmNation Entertainment has acquired international sales rights to “Wonderstruck,” starring Julianne Moore, Michelle Williams (“Manchester By the Sea”) and child star Oaks Fegley (“Pete’s Dragon”) and reteaming “Carol” director Todd Haynes and producer Christine Vachon at Killer Films.
Adding to Cannes’ market mix a high-profile higher-budget family adventure film with large above-the-line and production pedigree, FilmNation will talk up the title to buyers on the Croisette next week.
Based on a children’s book by Brian Selznick, whose “The Invention of Hugo Cabret” inspired Martin Scorsese’s “Hugo,” “Wonderstruck” traces the gradually weaving stories, though set 50 years apart, of two deaf children who both wish their lives had been different: Rose dreams of a mysterious actress, Ben of the father he has never known. Their stories will finally intertwine as both children set out on »
- John Hopewell
At first glance, this melodramatic noir is a gorgeous period picture, echoing the vintage visuals of Tom Ford’s “A Single Man” and Todd Haynes’ “Far From Heaven” and “Carol.” Given this movie’s origins as a Patricia Highsmith novel like Haynes’ most recent work, that early impression initially seems merited. Unfortunately, as “A Kind of Murder” progresses, it becomes clear that it resembles those films in look only. The fine cinematography, set design and costumes only serve as a distraction from the sparsely drawn story and uninteresting characters. With “Elizabeth Taylor in ‘Butterfield 8’” on a theater marquee and '60s dresses to die for, “A Kind of Murder” immediately establishes its setting in its opening scene, before it dives into parallel storylines. On one side, Newark bookstore owner Kimmel (Eddie Marsan) is grieving the loss of his wife after her murder, and he’s the prime suspect in »
- Kimber Myers
The weight of cinema’s history can be deeply felt in the cinema of Todd Haynes, whether he’s taking on various different forms in I’m Not There, something as specific as a single director in Far From Heaven or the structure of a film like Brief Encounter when it comes to his latest feature, Carol. For his next film, Wonderstruck, which is deep into casting, he’s undertaking perhaps his most ambitious homage yet.
His adaptation of the novel by Hugo author Brian Selznick follows a story that oscillates between two deaf children: a boy named Ben in Minnesota, circa 1977, dealing with the death of his mother and a girl named Rose in New Jersey, circa 1927, who ventures to New York to meet her idol, an actress named Lillian Mayhew. According to Deadline, the latter portion of the film will “presented as a silent film in both a »
- Leonard Pearce
The danger-filled arctic thriller has been in production since January 2016, and will see cast members Sofie Gråbøl (The Killing), and Richard Dormer (Game of Thrones) return, as well as Dennis Quaid (Far From Heaven) who is playing a new character in the second instalment of the show.
With more chilling and fast moving plot twists, this ambitious horror thriller set against the stunning Arctic wilderness.
- Paul Heath
As iconic logos go, it's impossible to beat those golden arches. Smart teaser work, then, to instantly brand your movie. On the other hand...
Does McDonalds really scream "Major Motion Picture" or will it have people thinking i saw a doc about that once.
The presence of the newly dazzling Michael Keaton (quite a comeback these past two years!) should help win the film attention. Keaton is the businessman who wrestled away control of McDonalds in the 1950s and made it into an empire... but not without a lot of behind the scenes drama apparently. The supporting cast includes John Carrol Lynch and Nick Offerman as the actual McDonald brothers, and Laura Dern as Keaton's wife. Patrick Wilson and Linda Cardellini play another couple though we're not sure how they fit into the story. The film opens on August 5th from the Weinstein Co who keep claiming they're determined to »
- NATHANIEL R
While attending the Camerimage International Film Festival last November, I was fortunate enough to speak with cinematographer Ed Lachman about Carol — one of the biggest titles they hosted, if it filling an opera house for a 10 a.m. screening should serve as any indication. His busy schedule for the day, as well as a few unexpected outside factors, cut this interview short, and a planned follow-up never came through.
With the film now out on Blu-ray, however — click here to find out how you can win a free copy — it’s about time the thing is shared, a decision also justified for a) the way it exhibits Lachman’s intelligence and candor in equal measure and b) the fact that we certainly admire his work, with or without Todd Haynes. (And, of course, we liked Carol enough to already get other talent on the record about their processes.) Abbreviated though it may be, »
- Nick Newman
Arriving on Blu-ray this week is Todd Haynes‘ immaculate drama Carol, which we named one of the best films of 2015. We’ve teamed with The Weinstein Company and Anchor Bay to give away three (3) Blu-rays of the film, which also includes a Digital HD code. See how to enter below and all entries must be received by 11:59 Pm Est on Sunday, March 20th.
To enter, do the first two steps and then 3, 4, and 5 each count as an entry into the contest.
1. Like The Film Stage on Facebook
2. Follow The Film Stage on Twitter
3. Comment in the box on Facebook with your favorite romance in cinema.
What's your favorite romance in cinema?Comment below for a chance to win #Carol on Blu-ray. See more ways to enter: http://bit.ly/1RhFOXW
Posted by The Film Stage on Monday, March 14, 2016
4. Retweet the following tweet:
We're giving away 'Carol' on Blu-ray! »
- TFS Staff
Saturday marks Killer Films co-founder Christine Vachon’s 10th Film Independent Spirit Award nomination (for producing Todd Haynes’ lesbian drama, “Carol,” with Elizabeth Karlsen and Stephen Woolley). It could also bring a second best feature award after her 2003 Spirits win with Jody Allen for another gay-themed Haynes film, “Far From Heaven.”
But whether or not the openly gay producer wins, this weekend will cap a season that’s brought her an AFI Award for “Carol” and a special honor at the Berlinale’s Teddy Awards recognizing her decades of support for Lgbt films and filmmakers.
After getting her start with the 1985 short “Tommy’s” (starring Steve Buscemi), Vachon’s first two features were driven by gay directors and subject matter: Todd Haynes’ 1991 “Poison,” which scored a one-two punch with Sundance’s Grand Jury Prize and a Berlinale Teddy; and Tom Kalin’s 1992 “Swoon,” which also nabbed awards in Park City and Berlin. »
- Gregg Goldstein
It's our last Carol interview, he announced with a catch in his throat, attempting to let the best film of 2015 go for awhile. Our subject today is one of the great cinematographers, Edward Lachman. His filmography is loaded with essential mavericks of independent cinema like Sofia Coppola, Robert Altman, Steve Soderbergh, Todd Solondz and European auteurs, too. But his most fruitful collaboration has been with Todd Haynes. Carol marks their fourth and arguably best collaboration and brough him his long overdue second Oscar nomination for Best Cinematography.
The New Jersey native started in Studio Arts like painting and art history and viewed them as more creative outlet than profession. Eventually he found he could earn a living as a cinematographer and a rich succession of images have flooded out of him ever since -- think of the golden ragged warmth of Erin Brockovich, the supremely stylized Sirkian homage of Far From Heaven, »
- NATHANIEL R
Director of photography Edward Lachman earned his first Oscar nomination for 2003’s “Far From Heaven,” which also marked his first collaboration with director Todd Haynes. This year, he finds himself nominated for another Haynes film with a same-sex love story — “Carol,” based on Patricia Highsmith’s novel “The Price of Salt,” and starring Cate Blanchett and Rooney Mara.
Absolutely. It’s a different time period — just after the war. The country hasn’t rebuilt itself. So it’s a much more austere era. And it fit the subject matter of Patricia Highsmith’s book. We were interested in documenting the time, and not the way it would have looked in cinema at the time, so we looked at the still photographers of the time. At that time, »
- Jenelle Riley
- Jazz Tangcay
Ed Lachman 's first credit as a cinematographer was on the 1974 film "The Lords of Flatbush," which introduced both Sylvester Stallone and Henry Winkler. More than four decades later, both he and Stalllone are nominated for the second Oscars of their respective careers. While Stallone contends again for reprising his role as Rocky Balboa in "Creed," the lenser is nominated for "Carol," another collaboration with director Todd Haynes with whom he worked on "Far From Heaven" (2002). He contended for an Oscar for that film and reaped an Emmy bid for Haynes' 2011 remake of "Mildred Pierce." -Break- Subscribe to Gold Derby Breaking News Alerts & Experts’ Latest Oscar Predictions During our recent conversation (listen above), Lachman reflected on the changing landscape of movie-making from film to digital, from images created on set to images manipulated during post-production. & »
For the longest time, it seemed like the last thing you should expect from Todd Haynes was a simple story. Coming out of the fertile 1990s Sundance scene, he was a provocateur and a delirious mash-up artist: his films were fractured narratives, or anti-narratives, or meta-narratives. His best work either smashed together wildly different styles and stories (as in his debut Poison ), or presented unsettling, contradictory ideas but refused climax or closure (as in his masterpiece Safe ). Even in a zeitgeist defined by Quentin Tarantino, the jukebox musicals Velvet Goldmine (1998) and I'm Not There (2007) looked like pastiche and homage taken to the farthest limit. But far more than Tarantino, Haynes, the former Ivy League semiotics student, insists on not simply getting swept away in the styles, but maintaining a critical viewpoint of how and why the styles function. In retrospect, everything about his method was already in place in his »
- Duncan Gray
Pick a period and he’ll nail the look; choose an emotion and he’ll layer it visually. Over a 40-year career, cinematographer Ed Lachman has developed a story-driven approach to the films he’s shot, stemming from his beginnings in European cinema with Wim Wenders, Jean-Luc Godard, and under DPs Sven Nykvist and Vittorio Storraro. He’s also joined with American auteurs, like frequent collaborator Todd Haynes (“Far From Heaven”, “I’m Not There”), Steven Soderbergh (“The Limey”, “Erin Brockovich”) and Sofia Coppola (“The Virgin Suicides”), each time delivering occasionally experimental period pieces. Read More: Retrospective: The Films Of Todd Haynes The Playlist's recent feature on Lachman’s work acknowledged his influence, as did the Academy of Motion Picture Arts and Sciences: his latest film, Haynes’ drama “Carol” (our review), earned Lachman his second Oscar nomination for Best Cinematography (after “Far From Heaven” in 2003). Based on Patricia Highsmith’s. »
- Charlie Schmidlin
As co-founder and former CEO of Focus Features, James Schamus was responsible for releasing some of the most elegant and stylish independent films of the past 15 years. Look closely at his similarly tony directorial debut, “Indignation,” and you can see traces of that prestigious lineup, from the detail-perfect period recreation of Todd Haynes’ “Far From Heaven” to the existential angst of the Coen brothers’ “A Serious Man” — connections that affirm both the quality of Schamus’ taste and the fact that the Columbia U. prof had been diligently studying the artists he’d championed. With “Indignation,” instead of handing the screenplay off to frequent collaborator Ang Lee, Schamus opted to make Philip Roth’s 29th novel his own first feature, choosing an emotional and incredibly personal piece of material (it fictionalizes Roth’s own early-’50s college experience) that adapts well to his polite, polished and reasonably old-fashioned aesthetic.
Though the »
- Peter Debruge
The scent of Southern climbing roses mingles with the ugly acridity of small-town racial prejudice in “Sophie and the Rising Sun,” a safe, gentle-hearted romantic drama that succeeds most winningly as a study of resilient female fellowship. Writer-director Maggie Greenwald’s first adult-oriented feature since 2001’s “Songcatcher” amply exhibits the quiet virtues of feminist empathy and lyricism that have made her voice a much-missed one on the U.S. independent scene, but this WWII-set story of a sensitive woman (Julianne Nicholson) vilified by her community for befriending a non-white outsider nonetheless falls quite far from “Far From Heaven,” hampered by some broad-brush scripting and an unpersuasive dynamic between its onscreen lovers. Flavorful performances — particularly from Margo Martindale and Lorraine Toussaint as the heroine’s uncertain allies — are notable compensation in a film that deserves to connect with older, underserved female viewers.
Augusta Trebaugh’s novel of the same title was published, »
- Guy Lodge
Continuing their support for women directors, Horizon Award co-founding producers Cassian Elwes, Lynette Howell Taylor, and Christine Vachon, announced the winners of the second annual Horizon Award. Academy Award nominee Chloë Sevigny will bestow up-and-coming filmmakers Macarena Gaona, Juliette Gosselin, Shanice Malakai Johnson, and Florence Pelletier with the Horizon Award at a reception in Park City, Utah, with creative talent, producers, entertainment executives and media in attendance to celebrate these rising women directors and their achievements in independent filmmaking.
The Horizon Award ceremony and reception will take place on Sunday, January 24th, 2016 at 6:30 pm at the WireImage Portrait Studio at Village at the Lift (825 Main Street, Park City), co-hosted by Jeff Vespa.
The Horizon Award is an annual award that seeks to identify and mentor talented, up-and-coming female directors – the primary goal being to support women directors early enough in their development to help them overcome the hurdles in advancing their learning curve and careers.
In addition to the Horizon Award, the four winners will receive grants from the Adrienne Shelly Foundation. The Foundation supports the artistic achievements of female filmmakers through a series of grants that reflect Adrienne Shelly’s dedication to the art of filmmaking and her own successful transition from actress to filmmaker.
This year’s winners are:
Horizon Award First Place
Co-directors of "Mes Anges à Tête Noire"
Horizon Award Runners-Up
Macarena (Macqui) Gaona (New York University) Director of "Channel 999 and Channel 1000"
Shanice Malakai Johnson (Scottsdale Community College) Director of "End to the Suffering"
On making the announcement, Cassian Elwes said: “I’m so excited to announce the winners of the second annual Horizon Award. This year’s overwhelming number of submissions and caliber of work made it very hard indeed to pick just one winner – the jury identified one grand prize winner, and two runners-up. Additionally, we have added new partners to our already formidable team – proving that not only is the move towards gender equality in the zeitgeist, but that there are very real advocates amongst our peers. After the recent summit for systemic change (hosted by Sundance and Women in Film), I am more convinced than ever that we can make a difference and that history is on our side. I remain steadfastly committed to the idea that, one day soon, women will have exactly the same opportunities as men to direct movies.”
Franklin Leonard, Founder and CEO of The Black List and one of the award’s original advocates added: “We are passionate supporters of this award that recognizes fresh voices and perspectives in storytelling. This effort mirrors our own effort – the Black List's 500 Feminist Films project, created by our Director of Community, Kate Hagen. We look forward to mentoring the winners in the year to come.”
The jury was comprised of 38 influential directors, producers, and executives from the filmmaking community who viewed 483 short film submissions from over 200 colleges and universities world-wide, including the U.S., Canada, England, Australia, India, China, South Africa, Scotland, France, Mexico, Portugal, Columbia, Brazil, Russia, Serbia, the Ukraine, and more. This year, submissions increased by over one hundred from last year, with additional countries and universities participating. Submissions were received from Nyu, USC, UCLA, Chapman, Emerson, Penn State, Loyola Marymount, University of Wisconsin, University of Washington, Syracuse, Tcu, Ryerson (Toronto), Oxford, University of Sydney, University of Melbourne, University of Delhi, and more.
Now in its second year, the Horizon Award provides an all-expense-paid trip for the winning female college students to the Sundance Film Festival, where they will have the opportunity to present their films to some of the industry’s most influential names. The winners receive mentorship, festival access, and important introductions by Elwes, Howell, and Vachon to agents, producers, executives, festival staff, and other influencers throughout the Sundance Film Festival.
The Horizon Award was founded by producer, Cassian Elwes ("Margin Call," "All is Lost," "Dallas Buyers Club"), and Michelle Satter, Founding Director, Sundance Institute’s Feature Film Program, in response to a Sundance Institute and Women In Film Los Angeles study that revealed that only 4.2% of the top 100 films each year from 2002-2013 were directed by women. Elwes partnered with Howell ("Captain Fantastic," "Mississippi Grind," "Big Eyes," "The Place Beyond the Pines:), and Vachon ( "Goat," "Carol," "Boys Don’t Cry," "One Hour Photo," "Far From Heaven"), to create the award as an opportunity for young female directors to have mentorship and networking opportunities in conjunction with Sundance, the home of American Independent film.
You can see links for more info on the study:
Phase I and II
Sponsors and Partners for the 2016 Horizon Award are: The Black List, CreativeFuture, The Creative Mind Group, Done To Your Taste Catering, FilmLA, Indiegogo, Mprm Communications, the Adrienne Shelly Foundation, Sundance Institute, Twitter, Verge, Vimeo, WireImage, Adina Design, and Women in Film. This impressive group has come together to support an award that they hope will continue to identify, nurture, and launch the careers of future female directors for years to come.
Full List of Jurors:
Robbie Brenner The Firm (Partner, President of Film)
Susan Carter Hall Painter
Amal ElWardi Zeal Media Company (Producer)
Keri Putnam Sundance Institute (Executive Director)
Michelle Satter Sundance Institute (Director, Feature Film Program)
Lauren Selig Shake and Bake Productions (Executive Producer)
Ruth Vitale CreativeFuture (CEO)
Hanna Weg Producer ("Septembers of Shiraz")
Joanne Wiles ICM (Partner/Agent, Motion Picture Talent)
Lisa Wilson The Solution Entertainment (Co-Founder/Partner)
- Sydney Levine
I’m “biast” (con): nothing
I have not read the source material
(what is this about? see my critic’s minifesto)
I first saw Carol at the London Film Festival last October. So, three months ago. And I’ve been terrified to write about it ever since. This happens sometimes with a movie I fall in love with, because I fear that nothing I could say would do it justice, that I would somehow diminish it with words that fail to capture how transcendent it is. I’ve seen the film twice more since — including again just this morning — in the hope that something would inspire me to feel as if I could pin it down in a fair way. »
- MaryAnn Johanson
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