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When it was announced that Tilda Swinton (We Need To Talk About Kevin, Only Lovers Left Alive) had been cast as The Ancient one in Marvel’s Doctor Strange, there was quite a bit of backlash surrounding the decision. On the one hand, we had gender-swapping – something usually applauded by the majority – but on the other, the character is usually depicted as an older Tibetan man, so this of course led to accusations of whitewashing.
Others have weighed in on this before, but now Swinton herself has shared her thoughts on the matter during an interview with Out Magazine. The actress reiterated the fact that “The Ancient One is a title that is not exclusively held by any one character, but rather a moniker passed down through time,” before going on to defend Marvel by citing their other diverse casting decisions in relation to Doctor Strange.
Ironically, their casting is »
- Mark Cassidy
Exclusive: UK cinema and distribution group plans Aldgate venue; acquires Venice hit Heal The Living.
The unified Curzon group continues to break new ground, whether that be the UK’s first £1m+ day and date release late last year or a fifth successive Foreign Language Oscar win in the shape of Son Of Saul in February.
The company now plans to ramp its production and VOD offerings and grow its cinema footprint, despite facing significant challenges to hold on to some key existing sites.
Screen spoke to CEO Philip Knatchbull about highlights, growth, venue battles and more…
Good afternoon »
- email@example.com (Andreas Wiseman)
Appropriately enough, Newsroom alum Grace Gummer guest-stars as the the would-be novelist/playwright who confronts her boss (Show Me a Hero‘s Jim Belushi) when he refuses her a byline. This in turn prompts a group of female newsroom researchers to rally against sexism in hopes of one day being published in a male-dominated industry. »
Eric Stevens takes up newly created role in bid to drive world sales.
Stevens joins from media technology and software company, Arts Alliance Media (Aam), where he oversaw a doubling of the organisation’s market share during his tenure as commercial director.
Whilst at Aam, he was responsible for a series of major global deals - most notably in Latin America, Europe and Asia.
Prior to this, Stevens served as managing director at Independent Film Company, the sales, production and distribution outfit responsible for We Need To Talk About Kevin and Hell And Back Again, both Oscar nominated, as well as Lena Dunham’s Tiny Furniture.
Stevens has also held positions with Ingenious Media and United International Pictures, working in distribution, sales, marketing »
Joe Oppenheimer, commissioning executive at BBC Films, the film production arm of the BBC, has stepped up to take the role of acting head of films, following the decision by existing chief Christine Langan to join Steve Coogan’s Baby Cow Productions as CEO. The BBC is in the process of looking for a permanent replacement for Langan, whose departure was confirmed by the BBC on Wednesday.
In a statement, Coogan told Variety: “Christine’s arrival as head of Baby Cow is a dream appointment for us. She is universally respected as a smart insightful executive with great taste. I experienced this up close when I was developing the film ‘Philomena.’ Christine’s input, guidance and passion helped bring it to life in the best possible way.
“She combines an ambition and vision for the company with a real understanding of how to nurture creative collaborations. Talent trusts her. Building »
- Leo Barraclough
BBC Films confirms Christin Langan departure to Baby Cow with recruitment for successor underway; Langan describes tenure as “great privilege”.
Langan’s departure was revealed by Screen’s sister publication Broadcast in July.
During her tenure at the broadcaster the executive has backed productions including Simon Curtis’ Academy Award-nominated My Week With Marilyn, Lynne Ramsay’s intense thriller We Need to Talk About Kevin and Stephen Frears’ Golden Globe and Academy Award-nominated and BAFTA »
- firstname.lastname@example.org (Andreas Wiseman)
Forget monsters, vampires, and ghosts: People are the scariest thing there is. Few supernatural horrors have the power to unnerve and flat-out scare in the way a well-crafted realistic thriller can cause an audience to become unglued. “We Need to Talk About Kevin” is light on jump scares, but it is more terrifying than any other film this decade. “Green Room” positively owns viewers by confronting them with a very believable, everyday evil. The bleak “Imperium,” in which Daniel Radcliffe plays a young FBI agent (based on real-life Fed Michael German) who goes undercover with neo-Nazis to uncover potential plans. »
- Russ Fischer
Jones will portray a mailman delivering packages containing rocks with the names of far-away cities to a recluse, played by Powers, living alone in a secluded Victorian house worn down by time. The packages are sent from his former lover (Fox), who has been driving cross country and living out of her van.
The producing team completed a successful Kickstarter campaign earlier this year, raising more than $28,000 to help cover production costs.
Veteran indie filmmaker Jeremiah Kipp (“Edward Albee: A Transformative Moment”) will direct the film from a script penned by Fox. Lauren Rayner (“Sugar”) is the lead producer. Executive producers include Michael J. Zampino, Fox, and Powers.
- Dave McNary
Hello, August! It’s a new month and you know what that means: a new batch of excellent horror films is coming to you hot and fresh courtesy of our friends over at Shudder. This month, Nina Forever, The Devil’s Rejects, Ju-On: The Curse 1 and 2 (never before officially released in the Us), American Psycho, and Manhunter are just a few of the films to join the ranks of Shudder’s horror programming.
Press Release: On August 10th, Shudder welcomes one of the most striking horror debuts in recent memory. From directors Ben Blaine and Chris Blaine is the grotesque, wickedly funny, affecting horror romance, Nina Forever.
After the love of his life, Nina, tragically dies in a car accident, Rob unsuccessfully attempts to take his own life. As he learns to come to terms with his grief, he ends up falling in love with a coworker, Holly. Their relationship gets complicated when Nina, »
- Tamika Jones
After a seven-year gap, fashion designer and director Tom Ford is following up the success of his directorial debut A Single Man with Nocturnal Animals, which has just been given a first look. The thriller follows an art gallery owner, Susan Morrow (Amy Adams), who reads deeply (perhaps too deeply) into the words of her ex-husband’s (Jake Gyllenhaal) latest novel, one she believes is a threat and tool of revenge against her. Paranoia and fear ensue as Susan must discover whether or not words are just words.
Ford told EW that, in penning the adaptation of Austin Wright‘s Tony and Susan, he added much to Adams’ character — including by casting lookalike Isla Fisher as her story-within-the-story double. Ford is a man certainly interested in aesthetics, and Animals is lensed by Seamus McGarvey, whose back catalogue includes Godzilla, Atonement, and We Need to Talk About Kevin.
See the first »
- Mike Mazzanti
Screen canvasses industry opinion on Langan’s tenure and the prospects for one of the UK’s cornerstone funders.
Attention is also now beginning to turn to who is likely to be her successor and what plans the BBC has for its film arm in the long run.
“Christine leaves BBC Films in good shape,” commented producer Stewart Mackinnon of Headline Pictures, who worked with the broadcaster’s film arm on titles including Quartet and The Invisible Woman, among other projects.
“The thing I remember particularly about Christine is her giving very good notes about the final editing of the film (Pride). She was very clear and very precise, and with a light hand on the tiller,” Livingstone said.
- email@example.com (Geoffrey Macnab)
Exclusive: Hot Cannes package You Were Never Really Here has secured a UK deal; shoot due to get underway late summer.
Studiocanal has swooped on UK rights to Lynne Ramsay’s anticipated thriller You Were Never Really Here which will star Joaquin Phoenix as a damaged war veteran who becomes a freelance rescuer of women trafficked into the sex trade.
Shoot is due to get underway in New York in late summer on the film which has attracted significant heat from buyers since its launch at Cannes where North American rights were snapped up by Amazon in a multi-million dollar deal.
Ramsay, whose last feature was the 2011 Golden Globe-nominated Tilda Swinton-starrer We Need to Talk About Kevin, will direct from her own adaptation of a novella by Jonathan Ames, who created the HBO show Bored To Death.
In the film, a storm of violence and corrupt power is unleashed against Phoenix’s character after the extraction »
- firstname.lastname@example.org (Andreas Wiseman)
They’ve made some of the best thrillers of the past six years. We list some of the best modern thriller directors currently working...
Director Guillermo del Toro once described suspense as being about the withholding of information: either a character knows something the audience doesn’t know, or the audience knows something the character doesn’t. That’s a deliciously simple way of describing something that some filmmakers often find difficult to achieve: keeping viewers on the edges of their seats.
The best thrillers leave us scanning the screen with anticipation. They invite us to guess what happens next, but then delight in thwarting expectations. We can all name the great thriller filmmakers of the past - Alfred Hitchcock, Carol Reed, Brian De Palma - but what about the current crop of directors? Here’s our pick of the filmmakers who’ve made some great modern thrillers over the past six years - that is, between the year 2010 and the present.
To think there was once a time when Jeremy Saulnier was seriously quitting the film business.
“To be honest," Saulner told us back in 2014, “Macon and I had really given up on our quest to break into the industry and become legitimate filmmakers. So what we were trying to do with Blue Ruin was archive our 20 year arc and bring it to a close. Really just revisit our stomping grounds and use locations that were near and dear to us and build a narrative out of that.”
Maybe this personal touch explains at least partly why Blue Ruin wound up getting so much attention in Cannes in 2013, signalling not the end of Saulnier and his star Macon Blair’s career, but a brand new chapter. But then again, there’s more than just hand-crafted intimacy in Saulnier’s revenge tale; there’s also its lean, minimal storytelling and the brilliance of its characterisation. Blue Ruin is such an effective thriller because its protagonist is so atypical: sad-eyed, inexperienced with guns, somewhat soft around the edges, Macon Blair’s central character is far from your typical righteous avenger.
Green Room, which emerged in the UK this year, explores a similar clash between very ordinary people and extraordinary violence. A young punk band shout about anarchy and aggression on stage, but they quickly find themselves out of their depth when they’re cornered by a group of bloodthirsty neo-Nazis. In Saulnier’s films, grubby, unseemly locations are matched by often beautiful locked-off shots. Familiar thriller trappings are contrasted by twists of fortune that are often shocking.
Here’s one of those directors who can pack an overwhelming sense of dread in a single image: in Sicario, his searing drug-war thriller from last year, it was the sight of tiny specks of dust falling in the light scything through a window. That single shot proved to be the calm before the storm, as Villeneuve unleashed a salvo of blood-curdling events: an attempted FBI raid on a building gone horribly awry. And this, I think, is the brilliance of Villeneuve’s direction, and why he’s so good at directing thrillers like Sicario or 2013’s superb Prisoners - he understands the rhythm of storytelling, and how scenes of quiet can generate almost unbearable tension.
Another case in point: the highway sequence in Sicario, where Emily Blunt’s FBI agent is stuck in a traffic jam outside one of the most violent cities in the world. Villeneueve makes us feel the stifling heat and the claustrophobia; something nasty’s going to happen, we know that - but it’s the sense of anticipation which makes for such an unforgettable scene.
Prisoners hews closely to the template of a modern mystery thriller, but it’s once again enriched by Villeneuve’s expert pacing and the performances he gets out of his actors. Hugh Jackman’s seldom been better as a father on the hunt for his missing child, while Jake Gyllenhaal mesmerises as a cop scarred by his own private traumas.
Ramsay’s We Need To Talk About Kevin may be the most effective psychological thriller of recent years. About the difficult relationship between a mother (Tilda Swinton) and her distant, possibly sociopathic son (Ezra Miller), Ramsay’s film is masterfully told from beginning to end - which is impressive, given that the source novel by Lionel Shriver is told via a series of letters. Ramsay takes the raw material from the book and crafts something cinematic and highly disturbing: a study of guilt, sorrow and recrimination. Tension bubbles even in casual conversations around the dinner table. Miller is an eerie, cold-eyed blank. Swinton is peerless. One scene, in which Swinton’s mother comes home in the dead of night, is unforgettable. Here’s hoping Ramsay returns with another feature film very soon.
Morten Tyldum - Headhunters
All kinds of thrillers have emerged from Scandinavia over the past few years, whether on the large or small screen or in book form. Morten Tyldum’s Headhunters is among the very best of them. The fast-paced and deliriously funny story of an art thief who steals a painting from the wrong guy, Headhunters launched Tyldum on an international stage - Alan Turing drama The Imitation Game followed, and the Sony sci-fi film Passengers is up next. It isn’t hard to see why, either: Headhunters shows off Tyldum’s mastery of pace and tone, as his pulp tale hurtles from intense chase scenes to laugh-out-loud black comedy.
Granted, Joel Edgerton’s better known as an actor, having turned in some superb performances in the likes of Warrior, Zero Dark Thirty and Warror. But with a single film - The Gift, which he wrote, directed, produced and starred in - Edgerton established himself as a thriller filmmaker of real promise. About a successful, happily married couple whose lives are greatly affected by an old face from the husband’s past, The Gift is an engrossing, unsettling movie with superb performances from Jason Bateman and Rebecca Hall as well as Edgerton.
A riff on the ‘killer in our midst’ thrillers of the 80s and 90s - The Stepfather, The Hand That Rocks The Cradle and so on - The Gift is all the more effective because of its restraint. We’re never quite sure who the villain of the piece is, at least at first - and Edgerton’s use of the camera leaves us wrong-footed at every turn. The world arguably needs more thrillers from Joel Edgerton.
If you haven’t seen The Gift yet, we’d urge you to track it down.
David Michod - Animal Kingdom
The criminals at play in this true-life crime thriller are all the more chilling because they’re so mundane - a bunch of low-level thieves, murderers and gangsters who prowl around the rougher parts of Melbourne, Australia. Writer-director David Michod spent years developing Animal Kingdom, and it was worth the effort: it’s an intense, engrossing film, for sure, but it’s also a believable glimpse of the worst of human nature. Ben Mendelsohn and Jacki Weaver play villains of different kinds; the latter a manipulative grandmother who looks over her brood of criminals, the former a spiteful thief. Crafting moments of incredible tension from simple exchanges, Michod launched himself as a formidable talent with this feature debut.
Affleck’s period drama-thriller Argo won all kinds of awards, but we’d argue his earlier thrillers were equally well made. Gone Baby Gone was a confident debut and an economical adaptation of Dennis LeHane’s novel. The Town, released in 2010, was a heist thriller that made the most of its Boston setting. One of its key scenes - a bank robbery in which the thieves wear a range of bizarre outfits, including a nun’s habit - is masterfully staged. With Affleck capable of teasing out great performances from his actors and staging effective set-pieces, it’s hardly surprising he’s so heavily involved in making at least one Batman movie for Warner - as well as playing the hero behind the mask.
The quiet, almost meditative tone of Anton Corbijn’s movies mean they aren’t necessarily to everyone’s taste, but they’re visually arresting and almost seductive in their rhythm and attention to detail. Already a celebrated photographer, Corbijn successfully crossed over into filmmaking with Control, an exquisitely-made drama about Joy Division lead singer Ian Curtis. Corbijn took a markedly different direction with The American, a thriller about an ageing contract killer (George Clooney) who hides out in a small Italian town west of Rome. Inevitably, trouble eventually comes calling.
Corbijn’s direction remains gripping because he doesn’t give us huge action scenes to puncture the tension. We can sense the capacity for violence coiled up beneath the hitman’s calm exterior, and Corbijn makes sure we only see rare flashes of that toughness - right up until the superbly-staged climax.
A Most Wanted Man, based on the novel by John le Carre, is a similarly astute study of an isolated yet fascinating character - in this instance, the world-weary German intelligence agent Gunther Bachmann, brilliantly played by Philip Seymour Hoffman. Tragically, the film proved to be one of the last before Hoffman’s death in 2014.
Mention Greengrass’ name, and the director’s frequent use of handheld cameras might immediately spring to mind. But time and again, Greengrass has proved a master of his own personal approach - you only have to look at the muddled, migraine-inducing films of his imitators to see how good a director Greengrass is. Part of the filmmakers’ visual language rather than a gimmick, Greengrass’ camera placement puts the viewer in the middle of the story, whether it’s an amnesiac agent on the run (his Bourne films) or on a hijacked aircraft (the harrowing United 93). While not a huge hit, Green Zone was an intense and intelligent thriller set in occupied Iraq. The acclaimed Captain Phillips, meanwhile, was a perfect showcase for Greengrass’ ability to fuse realism and suspense; the true story of a merchant vessel hijacked by Somali pirates, it is, to quote Greengrass himself, “a contemporary crime story.”
We can’t help thinking that, with a better marketing push behind it, Triple 9 could have been a much bigger hit when it appeared in cinemas earlier this year. It has a great cast - Chiwetel Ejiofor, Norman Reedus, Anthony Mackie and Aaron Paul as a group of seasoned thieves, Kate Winslet cast against type as a gangland boss - and its heist plot rattles along like an express train.
Hillcoat seems to have the western genre pulsing through his veins, and he excels at creating worlds that are desolate and all-enveloping, whether his subjects are period pieces (The Proposition, Lawless) or post-apocalyptic dramas (The Road). Triple 9 sees Hillcoat make an urban western that is both classic noir and entirely contemporary; his use of real cops and residents around the film’s Atlanta location give his heightened story a grounding that is believable in the moment. Nowhere is this more in evidence than in the scene in which Casey Affleck’s cop breaches a building while hunkered down behind a bullet-proof shield. Hillcoat places us right there in the scene with Affleck and the cops sneaking into the building behind him; we sense the claustrophobia and vulnerability.
Hillcoat explained to us in February that this sequence wasn’t initially written this way in the original script; it changed when the director and his team discovered how real-world cops protect themselves in real-world situations. In Triple 9, research and great filmmaking combine to make an unforgettably intense thriller.
Jim Mickel - Cold In July
Seemingly inspired by such neo-Noir thrillers as Red Rock West and Blood Simple, 2014‘s Cold In July is a genre gem from director Jim Mickle (Stake Land, We Are What We Are). Michael C Hall plays an ordinary guy in 80s America who shoots an intruder who breaks into his home, and becomes drawn into a moody conspiracy that takes in crooked cops, porn and a private eye (who's also keen pig-rearer) played by Don Johnson. Constantly shifting between tones, Mickel’s thriller refuses to stick to genre expectations. In one scene, after Hall shoots the burglar dead, Mickel’s camera lingers over the protagonist as he cleans up the blood and glass. It’s touches like these that make Cold In July far more than a typical thriller.
Mickel’s teaming up with Sylvester Stallone next; we’re intrigued to see what that partnership produces.
As a filmmaker, Scorsese needs no introduction. As a director of thrillers, he’s in a class of his own: from Taxi Driver via the febrile remake of Cape Fear to the sorely underrated Bringing Out The Dead, his films are full of suspense and the threat of violence. Shutter Island, based on the Dennis LeHane novel of the same name, saw Scorsese plunge eagerly into neo-noir territory. A murder mystery set in a mental institution on the titular Shutter Island, its atmosphere is thick with menace. Like a combination of Robin Hardy's The Wicker Man and Adrian Lyne’s cult classic Jacob’s Ladder, Shutter Island’s one of those stories where we never know who we can trust - even the protagonist, played by Leonardo DiCaprio.
After the trial by fire that was Alien 3, David Fincher found his footing in the 90s with such hits as Seven and The Game. In an era where thrillers were in much greater abundance, from the middling to the very good, Seven in particular stood out as a genre classic: smartly written, disturbing, repulsive and yet captivating to look at all at once. Fincher’s affinity for weaving atmospheric thrillers continued into the 2010s, first with The Girl With The Dragon Tattoo, a superb retelling of Stieg Larsson’s book which didn’t quite find the appreciative audience deserved, and Gone Girl, an even better movie which - thankfully - became a hit.
Based on Gillian Flynn’s novel (and adapted by the author herself), Gone Girl is both a gripping thriller and a thoroughly twisted relationship drama. Fincher’s mastery of the genre is all here: his millimetre-perfect composition, seamless touches of CGI and subtle yet effective uses of colour and shadow. While not a straight-up masterpiece like the period thriller Zodiac, Gone Girl is still a glossy, smart and blackly funny yarn in the Hitchcock tradition. If there’s one master of the modern thriller currently working, it has to be Fincher.
See related John Hillcoat interview: Triple 9, crime, fear of comic geniuses Jim Mickle interview: Cold In July, thrillers, Argento Jeremy Saulnier interview: Green Room, John Carpenter Jeremy Saulnier interview: making Blue Ruin & good thrillers Denis Villeneuve interview: Sicario, Kurosawa, sci-fi, ugly poetry Morten Tyldum interview: The Imitation Game, Cumberbatch, Headhunters Paul Greengrass interview: Captain Phillips & crime stories Movies Feature Ryan Lambie thrillers 15 Jun 2016 - 06:11 Cold In July Triple 9 Shutter Island Gone Girl David Fincher Martin Scorsese John Hillcoat Directors thrillers movies »
In its second pre-buy of the festival, Amazon Studios has picked up North American rights to Lynne Ramsay's You Were Never Really Here. The film, which stars stars Joaquin Phoenix, is about to begin shooting in New York. A source pegged the deal at around $3.5 million, which beat fellow suitor A24's bid. Ramsay, who directed the Tilda Swinton-Ezra Miller starrer We Need to Talk About Kevin, adapted the screenplay for You Were Never Really Here, which is based on a Jonathan Ames novel. The story centers on a former war vet (Phoenix) who devotes himself to
- Tatiana Siegel
Updated: A24 has acquired U.S. rights to “You Were Never Really Here,” Variety has learned.
The drama, starring Joaquin Phoenix and directed by Lynne Ramsay (“We Need to Talk About Kevin”), is one of the buzzier projects to be sold on the Cannes market. The story focuses on a former war veteran (played by Phoenix) who tries to save women trapped in the world of sex trafficking. It’s seen as being a revenge fantasy in the style of “Drive.”
Ramsay adapted the script, which is based on the novel by Jonathan Ames.
Production will begin this summer.
Sources tell Variety that A24 and Amazon Studios were in a bidding war for the movie.
Three days in, the Cannes Film Festival market has been unusually slow, with few big, splashy deals for pre-packaged projects or films that are screening in the festival.
Sales for “You Were Never Really Here” are being handled by Insiders, »
- Elsa Keslassy and Ramin Setoodeh
When news broke that director Lynne Ramsay had dropped out of Jane Got A Gun just before the start of principal photography, film fans around the world drew a collective, sharp intake of breath. History has taught us that great female filmmakers can be banished to movie jail for as slight a transgression as mediocre box office performance of a completed film, so surely this would mean the end of Ramsay’s career entirely?
Fast forward to the Cannes Film Festival and we have cause to wildly celebrate, as You Were Never Really Here was presented to the international market as a project seeking buyers and distributors.
The fact that You Were Never Really Here also boasts a script by Ramsay – which she adapted from the 2013 novella of the same name by Jonathan Ames – would make this film exciting enough, but added to that pedigree is the fact that Academy »
- Sarah Myles
Phoenix will play a damaged war veteran, now a freelance rescuer of women trafficked into the sex trade.
When the extraction of a girl from a Manhattan brothel goes wrong, a storm of violence and corrupt power is unleashed against him, stirring a vengeance that may be his awakening.
Source: Screen »
- Garth Franklin
It’s hard to believe it’s been half-a-decade since the last feature from director Lynne Ramsay, the haunting We Need to Talk About Kevin. After departing Jane Got a Gun, we’ve been waiting to hear what the director would take on next and today the answer has finally arrived.
Coming out of Cannes, Screen Daily reports that Joaquin Phoenix will lead her new thriller You Were Never Really Here. The story centers around a tormented war veteran with a troubled past. He takes it upon himself now to rescue women trafficked into the sex trade. However, “when the extraction of a girl from a Manhattan brothel goes wrong, a storm of violence and corrupt power is unleashed against him, stirring a vengeance that may be his awakening.”
With Ramsay scripting the project herself based on Jonathan Ames‘ novel, it sounds like an extremely promising collaboration with tinges of Taxi Driver. »
- Jordan Raup
There are few filmmakers who have experienced what Lynne Ramsay has gone through over the past couple of years. After making what was arguably her widest reaching film to date, 2011’s harrowing and highly acclaimed “We Need To Talk About Kevin,” she geared up to direct Natalie Portman in the western “Jane Got A Gun.” To […]
- Kevin Jagernauth
It is one of four high-profile projects being introduced to the market this Cannes by Insiders - the La-based sales company headed by Wild Bunch co-chief Vincent Maraval — alongside Oscar-nominated Mustang director Deniz Gamze Erguven’s Los Angeles-set Kings, starring Halle Berry, contemporary noir Under the Silver Lake and terror attack drama Westgate.
In Ramsay’s You Were Never Really Here, Phoenix will play a damaged war veteran, now a freelance rescuer of women trafficked into the sex trade.
When the extraction of a girl from a Manhattan brothel goes wrong, a storm of violence and corrupt power is unleashed against him, stirring »
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