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The ever-divisive Lars Von Trier is re-examined by Lewis Bond in this thorough video essay, which examines the way the Danish provocateur breaks down rules about the forms of cinema and then recombines them. Comes with lots of context and an amusing press conference clip of Willem Dafoe explaining on-set improv in Antichrist, where he didn’t even know if he’d be naked or not before starting a scene. »
- Filmmaker Staff
Two weekends ago, Nicolas Winding Refn’s glitzy surreal horror film “The Neon Demon” opened on 783 screens, and when the weekend was over the box-office tally was far scarier than anything in the movie. Presented as a “mainstream” crossover thriller, the film had grossed just $589,000, with a mind-bendingly low per-screen average of $752. When a movie that’s striving to be a work of art falls on its face commercially, there’s no shame in that failure. The history of cinema is dotted with great films that didn’t, at first blush, find their audience, and then become appreciated over time. Yet in this case, the failure may contain a lesson.
The reason that Amazon Studios shoved “The Neon Demon” into so many theaters in the first place is that the relatively young company was betting — reasonably, I would say — that the movie, on its gorgeously bloody Day-Glo surface, was studded »
- Owen Gleiberman
Willem Dafoe is not an insecure person. Holding court before a throng of journalists at the Karlovy Vary International Film Festival, the actor was asked about his crooked smile, and if — as a younger actor — he ever considered having it “fixed” in order to be more conventionally attractive. He grinned: “They were my teeth, and they looked fine to me.”
Dafoe, who came to this idyllic Czech spa town in order to receive a Crystal Globe for his contributions to world cinema and host screenings of “Pasolini” and “The Last Temptation of Christ,” shows his teeth without hesitation. The jagged lines of his face have steered him towards a career pockmarked with sadists and supervillains, but in person the man is almost constantly beaming. It’s been almost 40 years since he took a break from experimental theater in order to shoot an ill-fated role in “Heaven’s Gate” (he was »
- David Ehrlich
Actor Willem Dafoe is a two-time Academy Award nominee, with a remarkable resume. He is known for striking a very clear balance between big budget projects and independent movies – with roles in a diverse range of films, including Platoon, The Last Temptation Of Christ, Clear And Present Danger, The English Patient, Speed 2: Cruise Control, and Antichrist. Currently, however, it is his role as the Atlantean Nuidis Vulko in Justice League that is attracting the most attention.
All eyes were upon him recently as he attended the Karlovy Vary International Film Festival to receive the Crystal Globe Award for contributions to world cinema. The event called for a press conference, and The Playlist was on hand for the actor’s comments on many aspects of his career – including Justice League, which is currently in production.
“I don’t want to talk about that. I’ve got so many movies to talk about. »
- Sarah Myles
In an interesting, in-depth interview with The Playlist, Willem Dafoe (Spider-Man, Antichrist, Shadow Of The Vampire) discusses everything from his 35-year stint in Hollywood, to the directors he's worked with, to his many roles. Of course, one particular upcoming role has the Cbm community very excited indeed. The recent Justice League set reports confirmed that Dafoe would be playing an Atlantean named Vulko in the movie, but unfortunately the actor isn't interested in discussing anything related to his role. When asked about that and his co-star, Gal Gadot, he did confirm that he'd already shot some of his scenes and would be returning to film some more at a later date. "She looks good. (Laughs) I don’t want to talk about that. I’ve got so many movies to talk about. I’ll let them orchestrate the publicity on that movie. I’m happy to be a part of »
The President’s Award
Actress Jirina Bohdalová will receive the President’s Award at the upcoming 51st Karlovy Vary Intl. Film Festival. A force in Czech entertainment for nearly 80 years and one of its most beloved figures, the still-active Bohdalová’s career spans stage, film, and television performances. Cementing her reputation as a national treasure, she also hosted (with Vladimír Dvorák) the massively successful, long-running, live TV sketch show “Televarieté,” dubbed foreign films and provided expressive voice work on numerous Czech animated TV series, particularly the fairy tales created for “Evening Story.” [“Vecernícek”]. Writer-director Slávek Horák [“Home Care”] recalls, “Whole generations [including mine] grew up listening to her every evening at 7, universally accepted by kids and parents as the bedtime call.”
So ubiquitous a figure is “Bohdalka” [as her fans affectionately refer to her] that it is nearly impossible to conceive of Czech popular culture without her.
Born in 1931 to a working-class family in Prague, Bohdalová was a precocious extrovert from a young age. »
- Alissa Simon
The daughter of the English actor and singer Jane Birkin and the French musician Serge Gainsbourg, Charlotte Gainsbourg was born in London in 1971 and raised in Paris. She was awarded the César award for most promising actress in 1986, and for best supporting actress in 2000. After roles including Jane Eyre (1996) and I’m Not There (2007), she starred in Lars von Trier’s Antichrist (for which she won best actress at the 2009 Cannes film festival), Melancholia and Nymphomaniac. Her albums 5:55, Irm and Stage Whisper were released between 2006 and 2011. She now stars in Independence Day: Resurgence, out on Thursday.
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- Kathryn Bromwich
Exclusive: UK distributor also acquires upcoming sports biopic Borg vs McEnroe, Directors’ Fortnight title After Love and Scottish indie music doc Lost In France.
Curzon Artificial Eye has swooped on four buzz titles at the Cannes Film Festival, acquiring UK and Eire rights to Lars Von Trier’s The House That Jack Built, Shia Labeouf-starrer Borg vs McEnroe, Joachim Lafosse’s After Love and Niall McCann’s Lost in France.
The pre-buy of serial killer drama The House That Jack Built continues the distributor’s long-standing relationship with the controversial Danish director, stretching back to Antichrist and includes Melancholia and Nymphomaniac Volumes I & II. The deal was negotiated with Susan Wendt at TrustNordisk.
The $9.8m project will shoot in Sweden this year, before a Copenhagen shoot in 2017. Zentropa producer Louise Vesth revealed details of the highly-anticipated feature to Screen in Cannes earlier this week, when several early deals were revealed.
The film, originally »
- email@example.com (Michael Rosser)
Exclusive: TrustNordisk secures pre-sales on serial killer feature.
Scandinavian sales agent TrustNordisk has pre-sold Lars Von Trier’s next film The House That Jack Built to Latin America (California Filmes), Benelux (September), Poland (Gutek), Taiwan (Moviecloud), Former Yugoslavia (Cinemania), Czech Republic (Aero) and Romania (Independenta Film 97).
The story is told from the point of view of Jack, a serial killer who aspires to commit the perfect murder over a decade of practice.
TrustNordisk had planned to start sales in earnest after the cast was announced, but found that buyers were very eager to secure the next project from the filmmaker behind Nymphomaniac, Antichrist and Melancholia.
“We knew that Lars was still hot. People are so excited to buy his title at this stage and that makes me very happy. It underlines that Lars is one of the world’s best directors working today,” said TrustNordisk CEO Rikke Ennis
- firstname.lastname@example.org (Wendy Mitchell)
I‘ve had countless good times at Cannes (watching Jean-Luc Godard toy with press questions like a highbrow executioner, hanging out with a what-am-i-doing-here? Howard Stern), but here are the five peak experiences that have stayed with me the most:
(1) Meeting Mark Wahlberg in the Majestic Hotel bar.
It was early in his screen career, just after his breakthrough role in “Fear” (the 1996 stalker thriller that co-starred Reese Witherspoon), and he thanked me for singling out his performance in my review. He was dressed in a conservative cream-colored suit and dark tie, and I noticed how small he seemed: just about my height (5-foot-7), without any overt Calvin Klein- poster muscle bulk. The most striking thing about him, though, was his meticulous boy-next-door politeness. He was so not Marky Mark that I thought, “This little chat is the best acting I’ve seen him do.” I knew right then that »
- Owen Gleiberman
The great Willem Dafoe (John Wick, Antichrist) has joined Prometheus star Noomi Rapace and Glenn Close in sci-fi thriller What Happened to Monday?, which was filmed last July at the Castel Film Studios in Bucharest. Dead Snow and Hansel & Gretel: Witch Hunters‘s Tommy Wirkola directed the feature, which is produced by Vendome Pictures and Raffaella Productions and fully financed by Snd, which will handle French distribution rights […] »
Ahead of this year’s Cannes Film Festival, Screen looks back at the hits and misses of 2009 according to our jury of critics.
Screen’s jury of international critics has long been a strong diviner as to what will win the top prizes at the Cannes Film Festival – and 2009 was no different.
The winner of the coveted Palme d’Or was Michael Haneke’s chilling pre-war drama The White Ribbon, which came a close joint second on the grid with 3.3 alongside Jane Campion’s period romance Bright Star.
While the Palme d’Or alluded Audiard in 2009, the French filmmaker returned in 2015 with Dheepan and picked up the festival’s top prize.
The 2009 line-up also featured a divisively generous portion of violence courtesy of [link »
Though I don’t generally consider myself to be on the wavelength of Lars von Trier (“Antichrist” and “Breaking The Waves” being the two exceptions), I will admit that the Danish provocateur has a considerable talent for conveying the sensation of depression through cinema. Nearly all his movies deal with or are about diagnosable unhappiness in one way or another; hell, he’s even made a "Depression Trilogy" in which characters struggle with unthinkable trauma and violence both emotional and physical. “Melancholia,” the second film in the aforementioned trilogy, looks at how clinical depression warps and perverts our perspectives in all manner of nasty ways — in many cases, until we no longer recognize ourselves or the ones we love. That very specific perspective on emotional decline is the subject of a pretty great new video essay from The Nerdwriter that looks at how von Trier’s film deals with what »
- Nicholas Laskin
Over/Under Movies is back. On this 45th episode of the podcast, in which an overrated and underrated film within the same genre, style or tone are considered, show host Oktay Ege Kozak finds common ground in two films that could be included in a double feature called "The Kid Dies In The Picture and The Parents Lose Their Minds." It's Lars von Trier's infamous "Antichrist" as the overrated against Nicolas Roeg's classic "Don't Look Now" as the under. Co-hosts Ryan Oliver and Erik McClanahan join in as usual for a lively chat, but don't expect them to agree. Read More: Review: Lars Von Trier's 'Nymphomaniac: Volume II' Starring Charlotte Gainsbourg, Jamie Bell & Shia Labeouf All episodes are brought to you by The Playlist and can be found on iTunes, Soundcloud and YouTube. You can stream or download the podcast via the Soundcloud embed below, or subscribe »
- Erik McClanahan
Mark, Aaron, Cole, and Dustin go further than most people want to go. This is our exploration of the gross film, and whether the subgenre has any artistic merit. Our main episode is a deeper look at Lars von Trier’s Antichrist (2009), followed by a history of gore and violence in film, and then a discussion about Ken Russell’s The Devils (1971) and Pier Paolo Pasolini’s Salò.
About the film:
Lars von Trier shook up the film world when he premiered Antichrist at the 2009 Cannes Film Festival. In this graphic psychodrama, a grief-stricken man and woman—a searing Willem Dafoe and Cannes best actress winner Charlotte Gainsbourg—retreat to their cabin deep in the woods after the accidental death of their infant son, only to find terror and violence at the hands of nature and, ultimately, each other. But this most confrontational work yet from one of contemporary cinema »
- Aaron West
As a child, Robert Eggers was obsessed with witches and mythical creatures, while other children dreamed of Disneyland, Eggers’ dream vacation probably looked more like something out of Häxan. It makes sense then, that he would grow up to become a sorcerer of sorts, at least one could call him that based on the enthralling qualities of his debut feature The Witch, an otherworldly folk tale set in seventeenth century New England which deals with how a Puritan family chooses to face the presence of the occult. Or at least, what they think are the dark forces that might have turned the eldest daughter, Thomasin (Anya Taylor-Joy) into a witch.
Not one to place judgment on his own characters, Eggers invites the audience to try and uncover the mysteries along with the family. We aren’t allowed to feel smarter than the characters, just because we’re “modern,” instead he »
- Jose Solís
In a decision which has shocked cineastes across France, the Administrative Court of Paris has banned the exhibition or distribution of Lars Von Trier's critically acclaimed 2009 film Antichrist pending it being given a higher age rating. The film was originally approved as suitable for persons aged 16 or over by the Classification Commission and the Minister of Culture, and there is outrage at the idea that a court can overturn this.
The case against the film was brought by Catholic family values group Promouvoir, which campaigns to reduce the amount of sex and violence on French screens. It is partly the relationship between the two which has sparked criticism, with Gaspar Noé, whose film Love was targetted by the group, noting that a lot less fuss is made over guns than over penises, which are generally less dangerous.
Promouvoir has also challenged Fifty Shades Of Grey and. »
- Jennie Kermode
French conservative values group Promouvoir has won another victory in its crusade against sex and violence on French screens. Lars von Trier’s 2009 drama, Antichrist, which scooped the best actress prize for Charlotte Gainsbourg in Cannes, has seen its operating visa revoked by the Administrative Court of Paris. The court cited “scenes of great violence” and “non-simulated sex” in its Wednesday decision, per multiple reports. The move comes at a time when the industry is… »
2015 was a successful year regarding the quantity and quality of foreign productions shot in Poland. At the beginning of the year, Anne Fontaine (“Coco Before Chanel,” “Perfect Mothers”) filmed a French-Polish co-production “Agnus Dei” in Warmia, which premiered at this year's Sundance Film Festival. The film features Polish and French actresses among others Lou de Laage, Agata Kulesza, Agata Buzek and Joanna Kulig.
In the spring, the crew of a Polish-German-French-Belgian co-production about the life of Maria Sklodowska-Curie (dir. Marie Noelle) spent 20 days on the set in among others Lodz, Leba and Krakow. The cast is international, and the film is made in French. The Polish Nobelist is portrayed by Karolina Gruszka (“Oxygen”).
The summer brought about increased activity of German producers. A Zdf TV show, “Ein Sommer in…” was filmed in two resort towns in the north-eastern Poland – Mikolajki and Mragowo. Ard and Tvp collaborated on the set of "Polizeiruf 110" ("Police Call 110"), which was filmed in July and August among others in a Polish border-town – Swiecko. Also in July began the shooting of a new part of detective TV series "Der Usedom-Krimi" filmed on both the Polish and German side of the Usedom island.
However, a true influx of foreign productions took place in the autumn. American-Polish thriller “Chronology” was filmed in Poznan. The cast includes William Baldwin (TV series "Gossip Girl," "Adrift in Manhattan") and Danny Trejo (“Machete,” “From Dusk till Dawn”).
The Goetz Palace in Brzesk, in Malopolska hosted filmmakers from India who for six days were shooting “Fitoor,” an Indian adaptation of Dickens's “Great Expectations.” The crew consisted of over 40 Indians and almost 80 Poles. Another crew from India – this time from the so-called Kollywood in the south of the country – spent twenty days on the set in various Polish locations (among others Zakopane, Walbrzych, Krakow, Leba). The film titled “24” features Surya, a Tamil superstar, in the main role.
The autumn months were also very intensive in Lodz with three simultaneous big film sets. Andrzej Wajda (“The Promised Land,” “Walesa. Man of Hope”) worked on his new film “Powidoki”; Opus Film, the producer of “Ida”, organized for an Israeli partner eleven-day shoot to a film set in 1970s – “Past Life,” directed by Avi Nesher; and American director Martha Coolidge (“The Prince and Me,” TV shows “Sex and the City,” “The Twilight Zone,” “Weeds”) filmed her project “Music, War and Love,” whose producer is among others Fred Roos known from such films as “Apocalypse Now,” “The Godfather” or “Lost in Translation.” The picture features Adelaide Clemens (“The Great Gatsby”), Connie Nielsen (“Gladiator”), Toby Sebastian (“Game of Thrones”) and Stellan Skarsgård (“Nymphomaniac”).
The end of the year was also very successful for Malopolska and Krakow. Two movies were filmed in the region – an American-British biography of Martin Luther commissioned by PBS with Padraic Delaney (“The Wind that Shakes the Barley,” “The Tudors”) in the main role; and a feature titled “True Crimes” starring two-time winner of a Golden Globe – Jim Carrey (“The Truman Show,” “Eternal Sunshine of the Spotless Mind,” “The Mask”) as the protagonist. The crew spent 32 days on the set in Krakow. The picture was directed by Greek Alexandros Avranas (“Miss Violence”), written by Jeremy Brock (“Brideshead Revisited,” “The Last King of Scotland”), and produced by Brett Ratner (“X-Men 3: the Last Stand,” TV series “Rush Hour”). Accompanying Jim Carrey were Charlotte Gainsbourg (“Nymphomaniac,” “Antichrist”); Marton Csokas (“The Lord of the Rings: the Return of the King,” “The Amazing Spider-Man 2”) and Polish actors Agata Kulesza (“Ida”) and Robert Wieckiewicz (“Walesa. Man of Hope”).
The first information about productions planned for 2016 has already been released. In January, Krakow will host the crew of French black comedy “Grand Froid,” Gérard Pautonnier's debut featuring Jean-Pierre Bacri (“The Taste of Others,” “Let It Rain”), Olivier Gourmet (“Rosetta,” “The Son”) and Arthur Dupond (“Bus Palladium”). The project won the first edition of the Krakow International Film Fund. »
- Sydney Levine
The Guardian film team’s round-up of today’s movie news
Your daily update of the latest news and reviews from the Guardian film team. Now showing ... Reese Witherspoon has spoken out about why she got sick of being offered dumb girlfriend roles; nine years after release, Lars von Trier’s horror Antichrist gets a temporary ban in France; and which film should you go and see this weekend?
Follow us on Twitter (GuardianFilm, Henry, Ben, Catherine and producer Rowan) and check out our Facebook page. Comment on the show below
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- Presented by Benjamin Lee with Henry Barnes Produced by Rowan Slaney
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