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This intelligent, deeply personal work explores the often overlooked domestic lives of older people, to outstanding effect
Andrew Haigh’s 45 Years recently exploited the relatively unnoticed cinematic potential in the domestic lives of older people: the secret existences of a long marriage. Michael Haneke’s Amour, in its more exacting and terrifying way, did too.
Now this excellent debut from British writer-director Tom Browne approaches the same territory: an intimate, micro-budget drama which is absorbing, subtle and outstandingly acted. (Browne was the co-writer of Ben Hopkins’s The Nine Lives of Tomas Katz in 2000, and has had a substantial acting career under the name Tom Fisher.) His co-writer, Daniel Cerqueira, plays Daniel, a lonely middle-aged teacher in London, who receives a desperate telephone call from his elderly mother, Maria (Gemma Jones). His cantankerous and impossible father, Leonard (Richard Johnson), has evidently taken to lying on the downstairs couch, apparently stricken »
- Peter Bradshaw
He's a fuck-up, but he's here now, mopping the sweat off his mother's forehead, carrying her frail body to the bathroom — "like a princess," he jokes — doing everything he can to make it through the night with her. She's deep into Stage IV cancer, and he's finally giving a hard look to that 24-hour hospice number taped to the refrigerator. There will be time later to think about whether he did the best he could for her, but for now he can only pray the morning comes soon.
It's a »
Over the past two decades, Austrian auteur Michael Haneke has grown into one of the most formidable cinematic titans currently working today. Winning five awards for his six times competing at Cannes (including Palme d’Or wins in 2009 and 2012), several of his prominent early titles tend to be overlooked in broad discussions concerning the filmmaker’s continued observation of humankind’s increasing inability to communicate.
A purveyor of social maladies, usually within an isolated microcosm, Criterion’s restoration of his first French production, 2000’s Code Unknown, is a perfect opportunity to revisit a prescient example of greater cultural shifts and conflicts to come. Although contemporary audiences might be tempted to lump this early title from Haneke into a movement of cinema from this particular decade wherein interconnected vignettes became a popular format, this compilation of one shot, single-takes is beyond comparison with the glut of busy-bodied melodramas eventually running this composition tactic into the ground. »
- Nicholas Bell
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. Check out our rundown below and return every Tuesday for the best (or most interesting) films one can take home. Note that if you’re looking to support the site, every purchase you make through the links below helps us and is greatly appreciated.
Along with very possibly being Michael Haneke’s greatest work, Code Unknown so impresses in combining the helmer’s typically “austere” dressings and grim worldview that even many of his vocal detractors are left stunned. (Not all, of course, but there’s just no getting to certain people.) A freer work than, say, The Piano Teacher or Amour, it uses the well-known hyperlink form (which he himself worked with in 71 Fragments) but elevates above »
- TFS Staff
“The choosing of a role is so difficult for me. That’s the real challenge: to choose the role, not to do the role. Once you’ve chosen them, the process is much easier. Some roles are easier to choose, some roles are more difficult because they are more daring. Sometimes you have to dare,” Isabelle Huppert told Interview Magazine. “I pick someone like Erika in The Piano Teacher, for example, it was a daring choice which I never regretted afterwards. Sometimes you have to go that far. If it wasn’t for [director] Michael Haneke I would’ve certainly been a lot more intimidated and I’m not sure if I would’ve dared doing it. Given that it was Michael, I knew what he was capable of, and I knew I was going to be protected. Even if you are protected, at some point you are also exposed. But »
- Leonard Pearce
Dijon, France– The National Film Board, Cnc, presented a long-gestated subsidy fund for international sales agents at the 25th annual confab hosted by Arp, the guild regrouping auteurs, directors and producers on Friday. The fund, which is expected to reach an estimated 15 million Euros per year, has yet to be greenlit by the European Commission.
Addressing a jam-packed audience of high-profile lawmakers, institution execs and other industry figures, Daniela Elstner, president of Paris-based Doc & Film Intl. and Adef (association of French export companies), unveiled a White Paper put together by Adef and explained the key role that sales agents play today in economic and cultural terms.
This year at Cannes, French sales outfits repped half of the movies playing in official selection and won six prizes, including the Palme d’Or with Jacques Audiard’s “Dheepan” from Wild Bunch. Moreover, ticket sales for French films abroad reached 114.5 million admissions in »
- Elsa Keslassy
Read More: 2016 Oscar Predictions Every year, a few actors from small films manage to make their way into the Oscar race. Think Marion Cotillard in "Two Days, One Night," Quvenzhané Wallis in "Beasts of the Southern Wild," Emmanuelle Riva in "Amour" or Demián Bichir in "A Better Life" in recent years. None of them were sure things until the morning when Oscar nominations were announced. With our fingers crossed for a few surprises, here's a look at performances that deserve to become the next Wallis or Bichir or Riva or Cotillard. The ladies start us off this week; our picks for male underdogs will follow. Commenters should keep in mind that the list does not include work that looks like a reasonable bet to get nominated (like Brie Larson in "Room" or Cate Blanchett and Rooney Mara in "Carol"), and that it only includes films currently scheduled for at least a qualifying run during the. »
- Peter Knegt
The federation, comprised of 500 of the world's top critics, will honour Miller its Fipresci Grand Prix 2015..
The award will be presented to the Australian writer/director/producer at the opening ceremony of the 63rd Annual San Sebastián International Film Festival on September 18 in San Sebastian, Spain.
Since its early 2015 release, Mad Max has become one of the best-reviewed films of this or any year, earning a 98 per cent fresh rating on the online review aggregator Rotten Tomatoes, which lists Mad Max: Fury Road as the 12th best-reviewed film of all time.
Miller said he was proud of the Aussie cast and crew, "big time".
"Their skill set, their unfailing grace under pressure. This was a tough movie to make. It's so lovely to have our many labours acknowledged in this way. »
- Inside Film Correspondent
Sales veteran to debut in new role at Venice Film Festival.
Agathe Valentin has been appointed head of sales at Pyramide International, the sales arm of Paris-based auteur film production and distribution house Pyramide Films.
Valentin arrives from Les Films du Losange where she spent eight years rising to the position of head of sales and handling prestige auteur titles such as Michael Haneke’s Oscar-winning Amour and Stranger By The Lake.
“After eight years at Films du Losange, I felt ready for a new adventure and a fresh challenge,” Valentin told ScreenDaily.
She will make her first outing in her new role at the Venice Film Festival (Sept 2-12) with two festival titles: Early Winter and Montanha.
Australian Michael Rowe’s Early Winter, starring Paul Doucet as a security guard fighting to keep his marriage afloat opposite Suzanne Clement as his wife, will premiere internationally in Venice Days.
It marks an English-language debut for Rowe whose »
After a limited run in select theaters, a restored version of The Apu Trilogy is heading to Blu-ray from the Criterion Collection in November. Also due out: Richard Brooks' In Cold Blood, which seems appropriate for the season (at least in the Northern hemisphere); Michael Haneke's chilly Code Unknown; Kurosawa Akira's Ikiru; and Don't Look Back, the still-startling, still-fresh documentary by D.A. Pennebaker on Bob Dylan. You can find all the details below, courtesy of the official Criterion email. Code Unknown - Blu-ray & DVD Editions One of the world's most influential and provocative filmmakers, the Academy Award-winning Austrian director Michael Haneke (Amour) diagnoses the social maladies of contemporary Europe with devastating precision and staggering artistry. His 2000 drama Code Unknown, the first of his...
[Read the whole post on twitchfilm.com...]
Nearly four decades after winning his first Cesar, French star Jean Rochefort (whom Americans may recognize as the man Terry Gilliam intended to play Don Quixote) is still working steadily, though hardly ever in films of note. Simply put, projects like “Floride” — based on Florian Zeller’s prize-winning play “The Father” — rarely come his way anymore. Boasting a lead role as juicy as a sun-ripened orange, this late-career blessing may as well be Rochefort’s “Nebraska,” allowing the beloved character actor to adapt his persona — in which venerability leaves room for an almost childish streak of mischief — to that of a once-proud patriarch suffering from dementia. Sensitive without lapsing into sentimentality, “Floride” marks the sort of gently irreverent French film that elderly arthouse auds seem to love best, blending humor and pathos to crowd-pleasing effect.
- Peter Debruge
'The Beginning or the End' 1947 with Robert Walker and Tom Drake. Hiroshima bombing 70th anniversary: Six movies dealing with the A-bomb terror Seventy years ago, on Aug. 6, 1945, the U.S. dropped the first atomic bomb over the city of Hiroshima. Ultimately, anywhere between 70,000 and 140,000 people died – in addition to dogs, cats, horses, chickens, and most other living beings in that part of the world. Three days later, America dropped a second atomic bomb, this time over Nagasaki. Human deaths in this other city totaled anywhere between 40,000-80,000. For obvious reasons, the evisceration of Hiroshima and Nagasaki has been a quasi-taboo in American films. After all, in the last 75 years Hollywood's World War II movies, from John Farrow's Wake Island (1942) and Mervyn LeRoy's Thirty Seconds Over Tokyo (1944) to Steven Spielberg's Saving Private Ryan (1998) and Michael Bay's Pearl Harbor (2001), almost invariably have presented a clear-cut vision »
- Andre Soares
Criterion digitally restores its previous edition of Alain Resnais’ landmark directorial debut, Hiroshima Mon Amour, a jagged cornerstone of the French New Wave, which forever associated the reluctant auteur with one of the most acclaimed cinematic movements to date. Roughly preceding the renowned debut of Jean-Luc Godard and released the same month as Francois Truffaut’s The 400 Blows (they competed against one another at Cannes), Resnais’ contribution changed the way we regarded linear narrative and flashback sequences, and much like those iconic works of his peers, now bears several decades worth of critical acclaim on its shoulders. Tragic, moody and ultimately a poetic exchange of present interludes shattered by ghosts of the recent past, Resnais begins with motifs he would remain fascinated with throughout his career, the nature of remembrance and recollection, instances as shattered as the narrative chronologies in his films.
Fourteen years after the atomic bomb laid waste to Hiroshima, »
- Nicholas Bell
“He Said/She Said—Reflections On Love, Unreliable Memories, And The Atomic Bomb”
Director Alain Resnais achieved worldwide acclaim with his documentary short, Night and Fog (1955), which revealed to the world the true horrors of what went on in the Nazi concentration camps. For his first feature film, Resnais turned to fiction; and yet, he maintained a somewhat documentary approach in showing the world the true horrors of what occurred in Hiroshima, Japan when the first atomic bomb was dropped. Beyond that, Hiroshima mon amour (“Hiroshima, My Love”) is an art film that not only signaled the beginning of the French New Wave (although many film historians do not count it as an example of that movement), it also established Resnais’ singular, enigmatic and ambiguous style as an auteur. The director would go on to make even more thematically-mysterious pictures (namely Last Year at Marienbad) and become »
- firstname.lastname@example.org (Cinema Retro)
The film, which is written and directed by Martin Koolhoven (“Winter in Wartime”), stars Dakota Fanning (“Night Moves,” “The Runaways” and the upcoming “Franny”), Guy Pearce (“Memento,” “Lawless”) and Carice van Houten (“Black Book,” “Valkyrie”). Fanning stars as Liz, a heroine on the run from her past and chased by Pearce’s character, the diabolical Preacher. The movie is described as “a vivid and powerful epic of one woman’s defiant resistance.”
Els Vandevorst (“Winter in Wartime,” “The Surprise,” “Dogville”) of Holland’s N279 Entertainment produces, alongside Uwe Schott (“Cloud Atlas,” “Amour”) of X-Filme. Antonino Lombardo of Belgium’s Prime Time, »
- Leo Barraclough
Following up his Palme d’Or winner Amour, it was thought that Michael Haneke was hard at work on Flashmob, even courting a major actress to lead, but it looks like that project is no more. “I had a project under preparation but I abandoned it for several reasons which I will not discuss,” he recently told Le Parisien (via The Guardian). […] »
- Leonard Pearce
Given that flashmobs, by nature of what they are, are designed to surprise, perhaps the unexpected news of writer/director Michael Haneke dropping his long-developed Flashmob is only fitting. The one-time theatrical follow-up to his Best Picture-nominated Amour may be dead, but that doesn't mean the 73-year-old filmmaker isn't cooking up something to replace it. In an interview with Le Parisien, via The Playlist, Haneke revealed he dropped his proposed new movie, about a group of characters who connect through the Internet and an ending event, but he's now researching a France-set movie as a replacement project. Nothing else about this new movie is known. In fact, he even refused to say why he is no longer making his previously-stated next project. But that's not shocking. Haneke isn't really the talkative type, especially on his own projects. As of last year, Flashmob was expected to begin production during the summer, »
- Will Ashton
Michael Haneke’s next film will no longer be his previously announced project about disparate online characters brought together
When Flashmob was announced, it seemed like an eccentric idea for Michael Haneke to take on. A drama about a group of online characters brought together by a flashmob wasn’t what you’d expect from the director of The White Ribbon and Amour.
Related: Not coming soon: the films still stuck in purgatory
Continue reading »
- Benjamin Lee
The Cannes Film Festival often yields year-end awards contenders, from eventual Best Actor-winner Roberto Begnini ("Life is Beautiful") and "The Piano" and "The Pianist" to Michael Haneke's "Amour" and Best Picture-winner "The Artist." Last year's "Foxcatcher" wound up grabbing a few nods, more than Mike Leigh's "Mr. Turner," and the festival introduced several foreign film contenders, while "Clouds of Sils Maria," which didn't opened stateside until 2015, could provide a Supporting Actress shot for well-reviewed Kristen Stewart. So what of this year's crop of awards hopefuls? Weinstein Co. has a full slate this year: "Carol." This is a strong contender on many fronts. Most likely are its two leads. Rooney Mara shared the Cannes Best Actress jury award, which will help her going forward and lends support for a Best Actress slot along with Cate Blanchett. Mara was nominated once »
- Anne Thompson
Winners were announced on Sunday for the 68th annual Cannes Film Festival, and the top prize, the coveted Palme d'Or, went to Jacques Audiard's French film "Dheepan." This is the first time Audiard has won the award following three unsuccessful attempts ("A Self-Made Hero" in 1996, "A Prophet" in 2009 and "Rust and Bone" in 2012), though he did previously win a screenwriting award for "Self-Made Hero" and the Grand Prix for "A Prophet." -Break- His last two entries lost to films by Michael Haneke – "The White Ribbon" in 2009 and "Amour" in 2012 – so in his speech, Audiard thanked Haneke "for not making a film this year." Oscars next for Cannes winners Rooney Mara, Emmanuelle Bercot and Vincent Lindon? This year, Oscar-winning directors Joel and Ethan Coen presided over the jury, which also included international actors Rossy de »
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