6 items from 2017
To be shot in Western Sydney later this year, Slam follows the disappearance of a young Muslim woman in a climate of mistrust and xenophobia.
"I wrote Slam with urgency and anger in reaction to the world around me nose-diving into hatred and fratricide,. said Sen-Gupta..
.But I am very pleased that what has resulted is a poetic appeal to reason, a socially motivated thriller that transcends language and nationality. I am very excited to work with such a talented international cast and crew who were touched by the human story and will collaborate with »
- Inside Film Correspondent
Exclusive: Adam Bakri to lead Australian-French co-pro.
The Sydney-set thriller is scheduled to start shooting in late 2017 with post-production in Western Australia and France. It marks the first Australian production to receive funding from Cnc. Bonsai Films will distribute in Australia with Doc & Film International handling international sales.
Starring Adam Bakri (Omar), Rachael Blake (Sleeping Beauty) and Abbey Aziz (Let It Be Love), the film follows the disappearance of a young Muslim woman in Sydney in a climate of mistrust and xenophobia.
Australian production houses Invisible Republic, headed by Michael Wrenn, and George and Nille & Co, headed by Tenille Kennedy, are co-producing the film with Marc Irmer’s Paris-based Dolce Vita Films.
“Partho Sen-Gupta has the ability to take a dark subject matter and make an incredibly beautiful film as we saw with his »
- email@example.com (Liz Shackleton)
The film has received production funding from Screen Australia and the Safc in association with Screenwest, Lotterywest, Rising Sun Pictures and Kojo..
Executive producers are Jean-Luc de Fanti (The Private Lives of Pippa Lee), Terry Dougas (Jane Got A Gun), and Paris Kasidokostas-Latsis, whose film Good Time will screen in competition at Cannes this year.
Mother tells the story of »
- Harry Windsor
It’s a small world after all!
Though the BBC show came to an end in 2015, the cast has remained tight with one another.
- Christina Dugan
Prolificacy can catch up to even the most dogged of artists. For writer/director Alex Ross Perry, one of the most distinct and sharp voices of his generation, Golden Exits is the moment his speed (this is his third feature in a three-year span) has caught up. The whole movie revolves about exhaustion – the exhaustion of carrying on youthful enthusiasms into middle age, of maintaining relationships that have lost their spark, of answering the same questions about your life for fifteen straight years. So, too, can one nearly feel the exhaustion in making it. The gradual plodding of the keyboard and lack of interest in revision permeate a 94-minute film that manages to be both well-structured and underwritten. I looked at his 2014 breakout film, Listen Up Philip, and saw a man who wanted to reach the heights of Woody Allen at his most creatively feverish and emotionally unsteady. Three years later, »
- Scott Nye
“People never make films about ordinary people who don’t really do anything,” a young woman complains near the beginning of Alex Ross Perry’s “Golden Exits,” a dense, defiantly prickly film about ordinary people who don’t really do anything. Sure to raise a laugh from audiences who know what they’re in for, it’s both the most self-reflexive and self-congratulatory moment in a film that challenges viewers to connect the subtextual dots between its variously dissatisfied quinoa-class Brooklynites — one man’s “ordinary” is another man’s alien, after all — whose conflicts and yearnings don’t build to a tidy thematic destination. Many will accuse Perry of navel-gazing here, but that’s partly the point: “Golden Exits” means to frustrate, even to abrade, in its coolly articulate portrait of cosseted people who want for nothing and vaguely desire everything. An intriguingly motley ensemble, ranging from the Beastie Boys »
- Guy Lodge
6 items from 2017
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