1-20 of 41 items from 2017 « Prev | Next »
It’s the kind of teasing what-if with which we begin torturing ourselves as children: If you had to choose one, would you rather be deaf or blind? Would you rather have the gift of sight for a brief time only to have it taken away, or never know exactly what you’re missing? And if regaining your vision meant losing your most unique talent, would you take that trade? For blind Austrian pianist Maria Theresia “Resi” Paradis, the latter wasn’t a hypothesis or a choice, but a perverse quandary into which her body threw her — not that the draconian patriarchy of the late 18th century would have permitted her much say either way. A fresh, inquisitive portrait of her pivotal teenage years from director Barbara Albert, “Mademoiselle Paradis” is less interested in its subject’s potted biography than in how her era’s vicious politics of class and gender affected her plight. The »
- Guy Lodge
German telecommunications giant Deutsche Telekom is getting into the series game.
Deutsche Telekom on Friday unveiled its first-ever original fiction commission, greenlighting a 10-episode order of Germanized, a half-hour comedy series, for its streaming platform EntertainTV.
The culture clash comedy, in which 200 Germans “invade” a picturesque but bankrupt Basque village, features Christoph Maria Herbst, star of Stromberg, the German version of The Office, and French actress Roxane Duran (Riveria, The White Ribbon).
Germanized is a co-production between Germany's Bavaria Fernsehproduktion and France's Telfrance (Newen Group) and was developed and co-written by Franck Magnier and Alexandre Charlot, co-writers on hit French »
- Scott Roxborough
Deutsche Telekom has greenlit “Germanized,” a culture-clash comedy series about a French village on the verge of bankruptcy that welcomes a German company and hundreds of German workers. It is the first original for the telco’s EntertainTV service.
The French and German-language show hails from a Franco-German team. Franck Magnier and Alexandre Charlot (“Les Guignols de L’Info”), from the French side, and Thomas Rogel (“Heute Show”) and Peter Güde (“Stromberg”), from Germany, co-created the half-hour comedy. “Das Boot” producer Bavaria Fernsehproduktion, and Newen’s production company Telfrance will make the France-Germany co-production.
“After Uhd and the first exclusive series for EntertainTV, the next logical step is original productions,” said Deutsche Telekom’s Michael Hagspihl. “With our partners we have put together a strong team with stellar expertise in »
- Stewart Clarke
“Birthday” has been selected for 55th New York Film Festival (September 28th – October 15th). It will be screened on 30th September and on the 1st of October in Genre Stories section at the Film Society of Lincoln Center. Birthday is a short film directed by Alberto Viavattene, starring Roxane Duran (The white ribbon by …
The post Birthday Selected for 55th New York Film Festival! first appeared on Hnn | Horrornews.net 2017 - Official Horror News Site »
Michael Haneke is not known for light-heartedness. The Austrian filmmaker behind Funny Games, Caché, The White Ribbon, and Amour specializes in challenging, often incredibly bleak dramas where all is not right in the world. So when Haneke’s new film was announced with the title Happy End, most people familiar with the director likely assumed this […]
- Chris Evangelista
Locarno, Switzerland — Following on Kristen Stewart-starrer “Personal Shopper,” Olivier Assayas, president of Locarno’s main International Competition jury, will return to the French language for his next film, tentatively-entitled “E-book,” starring Juliette Binoche, Guillaume Canet, Vincent Macaigne, Christa Theret and Pascal Gregory.
Assayas’ films have been comedic at times, sometimes ironic. But, par for a director whose 17 features range from coming-of-age dramas, such as “Late August, Early September,” to “Demonlover,” set in a world of 3D manga pornography, or “Carlos,” a frenetic true-fact-based political thriller, or “Personal Shopper,” a ghost story, “E-book” once more explores new territory as a more full-blown comedy, here set in a Parisian publishing world. Charles Gilibert, Assayas’ regular producer, produces “E-book” for CG Cinema.
“‘Clouds of Sils Maria’ was a kind of comedy. This is a step further in that direction,” Assayas said at Locarno, ready for jury duty. The film will also be “very much actor and dialogue-driven, part »
- John Hopewell and Emiliano Granada
Now in its 71st year, the Karlovy Vary Intl. Film Festival continues to cast a wider net. The latest edition will debut another track — Artisans in Focus — targeting the crafts of filmmaking.
Hosted by Variety, Artisans in Focus will launch with a panel discussion at 2:30 p.m. July 2, moderated by Peter Caranicas, Variety’s managing editor, features. At the session, four renowned department heads whose work has had a major impact on the art of filmmaking will discuss their collaborations with producers, directors, actors – and with each other.
“While legendary film stars and great auteurs of global cinema are regularly celebrated, less heralded are the geniuses behind the camera,” says Variety VP and executive editor Steven Gaydos. “In a historic new event at this year’s Karlovy Vary Intl. Film Festival, Artisans in Focus will spotlight the brilliant individuals who create the images and sounds that form the magic of movies.”
The session will also survey the future of filmmaking as the digital revolution, including Vr, transforms the industry.
The Participants Are:
Annell Brodeur, a costume designer, known for her work on “Ain’t Them Bodies Saints” (2013), “Pete’s Dragon” (2016) and “6 Years” (2015). She’s now working on David Lowery’s “Old Man and the Gun,” starring Elisabeth Moss and Casey Affleck.
Ondrej Nekvasil, a Czech production designer who worked on “The Illusionist” (2006), “Snowpiercer” (2013) and “Underworld: Blood Wars” (2016); he has also designed for several TV series, including “Knightfall.”
Monika Willi, a film editor from Austria, best known for her collaborations with director Michael Haneke; she cut “Amour” (2012), “The White Ribbon” (2009) and “The Piano Teacher” (2001). Her next work is Wolfgang Fischer’s “Styx.”
Wojciech Staron, a Polish cinematographer who lensed “Saviour Square” (2006), “Mur” (2015), “Ausma” (2015), “Refugiado” (2014) and “The Prize” (2011); his next film is Diego Lerman’s “Una especie de familia.”
Artisans in Focus is produced in partnership with Barrandov Studio and Czech Anglo Prods.
Based in Prague, Barrandov Studio is the largest film and TV studio in the Czech Republic and one of the largest in Europe. Czech Anglo Productions, also in Prague, is a full service film production and co-production company.
Pictured above: “Pete’s Dragon,” on which costume designer Annelle Brodeur worked as a costume assistant.
Related storiesKarlovy Vary Film Festival Honors Talent Working in Front of and Behind the CameraFuture Frames Showcase at Karlovy Vary Casts the Spotlight on Promising Creative TalentKarlovy Vary International Film Festival Celebrates Critics Choice Movies »
- Variety Staff
Palme d'Or winner 'The Square' with Claes Bang: 'Gobsmackingly weird' Cannes Film Festival favorite may have a tough time landing a Best Foreign Language Film Academy Award nomination. Ruben Östlund's comedy-drama is totally unrelated to Jehane Noujaim's 2013 Oscar-nominated political documentary of the same title, which refers to downtown Cairo's Tahrir Square. Cannes' Palme d'Or winner 'The Square' & other Official Competition favorites' Oscar chances Screenwriter-director Ruben Östlund's The Square was the Palme d'Or winner at the 2017 Cannes Film Festival, which wrapped up on May 28. (See list of Palme d'Or and other 2017 Cannes winners further below.) Clocking in at about 2 hours and 20 minutes, Östlund's unusual comedy-drama revolving around the chaotic p.r. campaign to promote the opening of the titular installation – a symbolic square of light – at a contemporary art museum in Stockholm has been generally well-received by critics. In the opinion of The Guardian's Peter Bradshaw, »
- Steph Mont.
Thurman will receive the president’s prize on the festival’s opening night in the historic Bohemian spa town, while Renner, who will screen his wilderness-set thriller “Wind River,” will receive the same prize at the closing gala July 8.
Maven Pictures’ Trudie Styler will screen her debut gay teen comedy “Freak Show” during the festival. Italian actress Jasmine Trinca is set to present drama “Fortunata,” for which she won an acting prize at this year’s Un Certain Regard in Cannes. Thurman headed the Un Certain Regard jury.
The festival announced that German actress-scribe Anna Bruggemann will serve on the main Crystal Globe jury, »
- Will Tizard
Picking the best movies of any century is hard, but it’s especially challenging when dealing with a century of cinema as boundary-pushing as the 21st. IndieWire critics Eric Kohn and David Ehrlich made their own top 10 picks last summer, with Leos Carax’s “Holy Motors” and Sofia Coppola’s “Lost in Translation” taking the top spots, and now some of the best filmmakers in the business have weighed in with their own choices in a new survey from The New York Times.
Read More: Sofia Coppola Has No Interest in Making a Blockbuster or a Sequel
The newspaper reached out to the likes of Coppola, Denis Villeneuve, Antoine Fuqua, Alex Gibney and more to pick their brains on what is the best cinema has been over the last 17 years, and their answers are as expected (of course “No Country for Old Men” and “There Will Be Blood” have a »
- Zack Sharf
Austrian director Michael Haneke brings his new film, “Happy End,” to the 2017 Cannes Film Festival with a poster of a blue ocean, a French-language clip featuring glum dinner guests, and a wisp of a logline: A European bourgeois family is blind to the wider world around them, including the refugee crisis happening outside their door. But if it’s Haneke, what do we really need to know? This is the filmmaker whose last two films, “Amour” and “The White Ribbon,” won the Palme d’Or. And if this is Haneke, he doesn’t really do happy.
For all of the complexity of Haneke’s films and their refusal to dictate moral clarity, his worldview is consistent and straightforward. In Haneke’s world, society’s crimes and atrocities are not regretful footnotes of history »
- Chris O'Falt
Michael Haneke‘s “Happy End” was easily one of the most anticipated films at Cannes this year. Coming off his last two films, “The White Ribbon” and “Amour,” which both won the Palme d’Or, expectations for his latest effort were sky high. Some were saying they never saw a line outside the famous Debussy theater as big as the one for the film’s press screening earlier this week.
- Jordan Ruimy
Michael Haneke is up to his old tricks in “Happy End,” a movie that finds the chilly Austrian maestro returning to obsessions that have haunted his earlier work — from cultural nihilism to bourgeois solipsism, cold-hearted murder to compassionate end-of-life solutions — and in at least one case, continuing a story left unresolved in his previous film, “Amour.”
Although it reunites Jean-Louis Trintignant and Isabelle Huppert in uncannily similar father-daughter roles, “Happy End” hardly qualifies as an “Amour” sequel. In fact, if there weren’t already a film called “Loveless” in competition at this year’s Cannes film festival, that would have made an apt title for Haneke’s latest. Certainly, there’s almost no trace of the humane, empathetic sensibility that somehow snuck its way into “Amour” to be found here — which isn’t necessarily a bad thing, considering the director spent most of his career spelunking the ice caves of his own cynicism, »
- Peter Debruge
Of all the Cannes Film Festival’s favorite sons, Michael Haneke seems the most likely to make festival history and win an unprecedented third Palme d’Or. Now that we’ve seen “Happy End” we can say that statement remains truer than ever. It just probably won’t be for this one. Lacking the historical heft of “The White Ribbon” or the emotional through-line of “Amour,” “Happy End” is a more austere and enigmatic work about -among many other things — existential malaise among France’s top 1 percent. The compelling film is like the Austrian director’s answer to the age-old question “what do you. »
- Ben Croll
When lauded Austrian filmmaker Michael Haneke uses the word “happy” — especially when he uses it in the title of a film — it’s okay to not take it at face value. After all, this is the director behind such films as “The White Ribbon,” “Amour,” and “Funny Games.” He’s not really into “happy.” So buckle up for “Happy End”!
Haneke’s latest star-packed film — featuring new and returning talents like Isabelle Huppert, Jean-Louis Trintignant, Mathieu Kassovitz, Fantine Harduin, Franz Rogowski, and Laura Verlinden — is bound for Cannes, where it will likely only continue to elevate his stature at a festival that has long adored his work.
Read More: Cannes 2017: 22 Films We Can’t Wait to See at This Year’s Festival
- Kate Erbland
A heightened sense of anticipation pervades the days leading up to the 70th anniversary of Cannes Film Festival as we arrange screenings and parties and meetings for an adrenaline filled ten days. May 17 to 28 will be full of surprises as this unique high energy mix of glamour, work, fun and stress unfolds. A broad range of distinctive films in Competition, Un Certain Regard, Directors Fortnight (Quainzaine des realisateurs) and Critics Week (La Semaine de la critique), L’Acid compete with parties from cocktails sponsored by all the countries that are here (60+ including Armenia, Nigeria, Kazakhstan and Singapore) and with late night extravanzas on yachts and at villas in the hills.Claudia Dances! Claudia Laughs! Claudia Lives!
This year’s poster portrays Claudia Cardinale dancing on a fiery red background. The Italian actress moved to Paris a long time ago. As the Cannes Muse this year, her musings illuminate the terrific »
- Sydney Levine
Author: Stefan Pape
Given he’s one of our very favourite directors working today, it’s of great relief that Francois Ozon is such a prolific filmmaker, moving on from one project to the next in rapid fashion. This also means he releases a lot of films, which in turn, means we get to interview him a lot. Our latest meeting with the creative auteur was in Paris, to mark the release of Frantz…
So why the black and white aesthetic?
Actually the film was supposed to be shot in colour, but I decided one month before the shoot to change everything because after the location scouting, we found some very good places, especially in Germany, but it was full of colour, and I realised walking in the city, I saw some pictures of the place in black and white from the beginning of the century, and realised nothing had changed, »
- Stefan Pape
The Cannes Film Festival generates more attention and excitement than any other film festival in the world, but each year is an unpredictable journey. The Official Selection, alongside the sidebars of Directors Fortnight and Critics Week, offer up a tightly-curated into a range of international cinema from both familiar sources and surprising newcomers. This year’s edition is a reliable combination of top-tier directors whose work will be shown at Cannes until the end of time, notable filmmakers who usually deliver something worthwhile, and unproven quantities with a lot of potential.
Read More: 17 Shocks and Surprises from the 2017 Cannes Lineup, From ‘Twin Peaks’ to Netflix and Vr
In order to work through all of these different possibilities, we’ve broken down our list of anticipated Cannes titles into three categories: A-list auteurs, Discoveries and Safe Bets. Every day of Cannes will bring new updates on the latest films, some of »
- Indiewire Staff
With just about two weeks to go before its seaside premiere at the 70th annual Cannes Film Festival, the first image for Michael Haneke’s Happy End – his latest cold dose of cruel reality – has landed as hard as the realization that one day we will all die, and most likely alone. Of course, Haneke returns to Cannes this year a reigning champ, double-fisting Palmes d’Or after his last films to grace the Competition – The White Ribbon and Amour – emerged victorious. The question on many minds going into this year’s festival is whether he’ll win the top prize for a third time and break the all-time record he holds alongside fellow international auteurs Alf Sjöberg, Francis Ford Coppola, Bille August, Emir Kusturica, Shohei Imamura, the Dardennes brothers, and last year’s surprise winner Ken Loach.
Happy End reunites Haneke with two performers who have arguably given career-best »
- Daniel Crooke
Michael Haneke is among an elite group of filmmakers with two Palme d’Or wins under his belt, but he could make history this year as the first director to ever win three.
The Austrian auteur is returning to Cannes with competition title “Happy End,” starring Isabelle Huppert, Toby Jones, Jean-Louis Trintignant and Mathieu Kassovitz. A couple of first look images from the movie have arrived via French distributor Les Films du Losange, and you can check them out above and below.
Read More: 17 Shocks and Surprises from the 2017 Cannes Lineup
“Happy End” is set in the French port city Calais and focuses on the members of a bourgeois family. Their lifestyle contrasts greatly with the European refugee crisis happening outside their door. The specifics of the story are still unknown, but the distributor’s official page includes a revealing quote: “All around us, the world, and we, in its midst, »
- Zack Sharf
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